Development of a Local Labor Market Analysis Model to Identify Employment Opportunities for Persons with Disabilities Living on Reservations
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More Banks in Arkansas Form Captive Insurance Companies and Look to Arkansas As the Preferred Domicile
More Banks in Arkansas Form Captive Insurance Companies and look to Arkansas as the Preferred Domicile by Josh Miller, CEO, KeyState Captive Management & Zach Stedman, Member, Mitchell, Williams, Selig, Gates Woodyard PLLC The Growth of Bank Captives companies” said CEO of Indiana Bankers Identifying and Addressing Your Association, Amber VanTil. “We have been There is no avoiding it. Cyber security and Bank’s Unfunded Risks discussing bank captives with other state reputation protection are among today’s It is important to recognize that the captive banking associations throughout the significant, emerging risks, thus creating structure does not typically replace a bank’s country and there’s been tremendous exposures for banks of all sizes. At the same primary commercial insurance program. interest.” time, commercial insurance carriers are However, it does allow a bank to more pushing banks to higher deductibles, so “Arkansas banks are increasingly looking to formally self-insure risks that are currently there remain significant gaps in coverage captive insurance companies as a tool for unfunded or that the bank has considered and exclusions in commercial insurance identifying and funding for risks that are retaining (i.e., increased deductible layers). policies. This creates unfunded risks, which not covered by their commercial insurance Typically, the captive augments commercial must be evaluated as a part of any bank’s program,” notes Lorrie Trogden, CEO of policies in the following ways: enterprise risk management process. the Arkansas Bankers Association. “We are Covers the bank’s commercial deduct- also very pleased that Arkansas Insurance To address the concerns, banks throughout ible layers, including specific deduct- Department Commissioner Allen Kerr has the country are forming captive insurance ibles for more catastrophic losses like developed a robust and business friendly companies to cover these unfunded risks. -
Resolution of the Navajo Nation Council
RESOLUTION OF THE NAVAJO NATION COUNCIL 20th NAVAJO NATION COUNCIL - Third Year, 2005 AN ACT RELATING TO RESOURCES, AND DINÉ FUNDAMENTAL LAW; ENACTING THE DINÉ NATURAL RESOURCES PROTECTION ACT OF 2005; AMENDING TITLE 18 OF THE NAVAJO NATION CODE BE IT ENACTED: Section 1. Enactment of the Diné Natural Resources Protection Act of 2005 The Navajo Nation Council hereby enacts the Diné Natural Resources Protection Act of 2005. Section 2. Purpose The purpose of the Diné Natural Resources Protection Act of 2005 is to ensure that no further damage to the culture, society, and economy of the Navajo Nation occurs because of uranium mining within the Navajo Nation and the Navajo Indian Country and that no further damage to the culture, society and economy of the Navajo Nation occurs because of uranium processing until all adverse economic, environmental and human health effects from past uranium mining and processing have been eliminated or substantially reduced to the satisfaction of the Navajo Nation Council. Section 3. Amendments to Title 18 Navajo Nation Code The Navajo Nation Council hereby amends the Navajo Nation Code, Title 18, as follows: §1301. Findings A. The Navajo Nation Council finds that the wise and sustainable use of the natural resources in Navajo Indian Country traditionally has been, and remains, a matter of paramount governmental interest of the Navajo Nation and a fundamental exercise of Navajo tribal sovereignty. B. The Navajo Nation Council finds that the Fundamental Laws of the Diné (Diné Bi Beenahaz'annii), as set forth in the 2002 amendments to Title 1 of the Navajo Nation Code, Resolution No. -
Remarks at a White House Meeting with the American Retail Federation May 16, 1984
Remarks at a White House Meeting With the American Retail Federation May 16, 1984 Good afternoon, I'm glad to welcome you -- I know you've probably been welcomed by others already -- you, the merchants of America, back to the White House. It's hard to believe that 2 years have passed since we last met -- 2 short years, but what a difference. As you probably remember, when we met in the Rose Garden, I didn't have very much good news to give you. The American people had paid a steep price for years of good intentions badly misdirected. And as a result, our national economy had nearly reached the breaking point. As a result of that crisis that faced us -- well, we weren't, however, pursuing a program based on the shifting sands of government expediency. Another quick fix certainly would have failed. There was only one way to go, and that was use three simple words as our guide: Trust the people. Lasting economic recovery had to be built on the solid rock of the American free enterprise system. And when I think back to all the critics who cynically said we couldn't possibly get it done, I find myself remembering my previous life in the entertainment world. You know, back in the days of vaudeville, vaudevillians trying to get bookings and even young ones trying to break into the show business would go into an empty theater, and there'd be an agent sitting out there in about the third row, all alone in the theater, cigar in his mouth, wearing a check suit and -- [laughter] -- the vaudevillian would have to show his wares to this cynic. -
Supporting the Creative Industries of Massachusetts Creativenext Listening Tour Summary Report
Supporting the Creative Industries of Massachusetts CreativeNEXT Listening Tour Summary Report INTRODUCTION This report provides an overview of the CreativeNEXT listening tour, an event series which engaged the creative industries of Massachusetts throughout the summer of 2012. The purpose of these roundtable events was to evaluate the needs and opportunities that exist within the creative industries and to provide insights to guide the development of the Massachusetts Creative Economy Council’s priority focus areas. The Patrick-Murray Administration’s Creative Economy Industry Director Helena Fruscio and the Massachusetts Creative Economy Council reached over 580 businesses, organizations, and individuals during the twenty-one events and discussed the growth and sustainability of the creative industries and their future in Massachusetts. Additionally, the CreativeNEXT tour: Gathered Input: Engaged individuals working in the creative industries in a discussion about needs and provided an opportunity to be “part of the solution”. Collected Data: Polled the industry about the size and scope of their businesses and organizations. Mobilized Support: Provided an opportunity for community leaders and business support organizations to engage with the creative industries. Enhanced Visibility: Increased profile of the creative industries across the Commonwealth. BACKGROUND What are the creative industries? In Massachusetts, the creative industries include the many interlocking industry sectors that provide creative services or create and promote -
Prize-Winning Microscopy Image Lights up Times Square in New York 21 May 2014
Prize-winning microscopy image lights up Times Square in New York 21 May 2014 on a large, high-resolution screen in New York's iconic Times Square. "The image is of a mouse sperm cell, also known as a spermatocyte, highlighted with three fluorescent labels that show DNA (blue), KASH5 protein (green) and the SCP3 protein (red), which is required for the pairing of chromosomes," explains Wright. "This image was a particularly striking example when we captured it—the orientation of the proteins we were studying and the two sperm cells stained in blue on both sides made it aesthetically pleasing." The image was the result of a collaboration between Wright, head of the IMB Microscopy Unit (IMU), Horn, a senior research fellow, and the research teams of Colin Stewart and Brian Burke, also of the IMB, who discovered that the KASH5 protein is vital for successful chromosomal movements during meiosis—the division of cells necessary for successful sexual reproduction1. The prize-winning image of a developing mouse sperm Sperm and eggs need accurate chromosome cell, captured by A*STAR researchers Graham Wright pairing if they are to mature correctly, so without and Henning Horn. The locations of DNA (blue), KASH5 chromosomal activity guided by the KASH5 protein, protein (green) and SCP3 protein (red) were revealed fertility is adversely affected. using immunofluorescence staining. Credit: A*STAR Institute of Medical Biology The researchers collected the image on a GE DeltaVision OMX microscope, which enables biological samples to be imaged in superresolution in three dimensions. Wright and Horn spent time Science and show business may sound like an perfecting their sample preparation and honing the unusual combination, but advances in technology settings on the microscope to acquire their high- mean that scientists can now capture dramatic resolution prize-winning image. -
Honours Bachelor of Producing for the Creative Industries
Honours Bachelor of Producing for the Creative Industries Applying for Ministerial Consent Under the Post-secondary Education Choice and Excellence Act, 2000 The Secretariat Postsecondary Education Quality Assessment Board 315 Front Street West 16th Floor Toronto, ON M7A 0B8 Tel.: 416-325-1686 Fax: 416-325-1711 E-mail: [email protected] sheridancollege.ca Section 1: Introduction 1.1 College and Program Information Full Legal Name of Organization: Sheridan College Institute of Technology and Advanced Learning URL for Organization Homepage (if applicable): http://www.sheridancollege.ca/ Proposed Degree Nomenclature: Honours Bachelor of Producing for the Creative Industries Location Trafalgar Campus, 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Contact Information: Person Responsible for this submission: Name/Title: Melanie Spence-Ariemma, Provost and Vice President, Academic Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x4226 E-mail: [email protected] Name/Title: Joan Condie, Dean, Centre for Teaching and Learning Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x2559 E-mail: [email protected] Site Visit Coordinator (if different from above): Name/Title: Ashley Day, Coordinator, Program Review and Development Services Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x5561 E-mail: [email protected] Honours Bachelor of Producing for the Creative Industries -
Page 1 Vegetation Removal: BLM's High Stakes Gamble with Our
RReeddRRoocckk WILDERNESSWILDERNESS The Newsletter of the Southern Utah Wilderness Alliance Volume 32,35, Number 1 • Spring 20152018 Vegetation Removal: BLM’s High Stakes Gamble with Our Public Lands Page 2 Redrock Wilderness Cover Photo: One of a pair of bulldozers implementing a controversial BLM chaining project to remove pinyon pine and juniper trees from public lands in Utah’s Hamlin Valley. Photo by SUWA/Twig Media Lab. The mission of the Southern Utah Wilderness Alliance (SUWA) is the preservation of the out- standing wilderness at the heart of the Colorado Plateau, and the management of these lands in Staff their natural state for the benefit of all Americans. Steve Bloch, Legal Director SUWA promotes local and national recognition of Ray Bloxham, Wildlands Field Director the region’s unique character through research and Joe Bushyhead, Staff Attorney public education; supports both administrative and Adrienne Carter, Legislative Advocate legislative initiatives to permanently protect Colorado Neal Clark, Wildlands Director/House Counsel Plateau wild places within the National Park and National Wilderness Preservation Systems or by Clayton Daughenbaugh, Midwest Field Organizer other protective designations where appropriate; Karin Duncker, Associate Director builds support for such initiatives on both the local Michelle Farnsworth, Administrative Director and national level; and provides leadership within the Maddie Hayes, Membership Coordinator conservation movement through uncompromising Scott Groene, Executive Director advocacy for wilderness preservation. Mathew Gross, Media Director SUWA is qualified as a non-profit organization Travis Hammill, Eastern Grassroots Organizer under section 501(c)(3) of the federal tax code. Luke Henry, Wildlands Attorney Therefore, all contributions to SUWA are tax-de- Olivia Juarez, Latinx Community Organizer ductible to the extent allowed by law. -
Political Economy of the Culture Industries
Toward a Political Economy of Digital Culture: From Organized Mass Consumption to Attention Rivalry By Jeffrey A. Hart Department of Political Science Indiana University Bloomington, IN 47405 Prepared originally for a Short Course on Culture Industries, Technologies, and Policies, at the Annual Meeting of the American Political Science Association, Philadelphia, August 30, 2006. Revised January 15, 2009 for publication in J.P. Singh, ed., Cultural Policies and Power (Lexington, Mass.: Lexington Books, forthcoming). Please do not cite or quote without the written permission of the author. Introduction According to the editor of this volume, the term “cultural industries” includes “the arts and creative sectors that encompass, but are not limited to, publishing, film, music, photography, design, and tourism.”1 Because of the development of digital technologies in computers and telecommunications equipment, more and more cultural artifacts are being produced, stored, and delivered digitally. The increased speed of digital devices and innovations in computer networks and digital compression technologies make it both easier and less expensive to deliver words, music, symbols, and images (in fact, anything that can be digitized) to consumers around the world. One of the key consequences is that the cultural industries, which used to depend solely on analog technologies, have had to adjust their business models and strategies to 1 J.P. Singh, “APSA Short Course on Culture Industries, Technologies, and Policies,” August 20, 2006, http://www3.georgetown.edu/grad/cct/10344.html. deal with the new digital technologies. Some firms have done this successfully, others have not. Also, cultural industries catering to mass audiences tended to use one-way distribution systems (e.g. -
Color-Conscious Casting in American Theatre
\\jciprod01\productn\H\HLS\9-2\HLS201.txt unknown Seq: 1 5-JUN-18 10:21 There’s No Business Like Show Business: Abandoning Color-Blind Casting and Embracing Color-Conscious Casting in American Theatre Kristin Bria Hopkins* Abstract The commercial theatre industry suffers from institutional racism that has yet to be remedied. Currently, the industry advocates for color-blind casting as the best method to give actors of all ethnicities an equal playing field in the casting process. Unfortunately, minority actors are still cast at significantly lower rates than White actors. Instead of encouraging color-blind casting, the theatre industry should imple- ment color-conscious casting. Under a color-conscious casting policy, race and ethnicity would be a factor that directors, casting teams, and producers must consider during the casting process to encourage more actors of color to audition. Ignoring race in an appearance-based industry, where there is a history of discrimination, only furthers discrimination. Because much artistic deference is given to casting teams, this Note will address why a color-conscious temporary affirmative action policy is necessary to remedy the effects of past discrimination in the theatre industry. Introduction In March 2016, the production team of Hamilton: An American Musical (“Hamilton”) released a casting notice seeking “non-white” actors to audi- tion for the show’s Broadway replacements and future regional productions.1 Hamilton portrays the life of Alexander Hamilton in a new and innovative * Editor-in-Chief of the William & Mary Business Law Review. J.D., William & Mary Law School, May 2018. B.A., The College of William & Mary, 2015. -
A Show-Stopping Hotel and Retail Complex Plans to Take Center Stage at 1568 Broadway
https://www.globest.com/2018/09/21/ll-maefield-and-fortress-reveal-2-5b-times-square-development/ September 21, 2018 L&L, Maefield and Fortress Reveal $2.5B Times Square Development A show-stopping hotel and retail complex plans to take center stage at 1568 Broadway. By Betsy Kim | September 21, 2018 at 07:06 PM TSX Broadway at 1568 Broadway/ Project rendering, image credit: courtesy of L&L Holding Company NEW YORK CITY —The show business of real estate will be right at home in the heart of Times Square. In some locations such as Times Square, the Strip in Las Vegas and the Ginza District in Tokyo, real estate has a distinctive use for not only experiential interior functions but also building exteriors that act as unique platforms for advertising and marketing. L&L Holding Company, Maefield Development and Fortress Investment Group plan to bring this to a whole new level. Literally. Their new project will include a permanent, outdoor stage suspended 30 feet in the air overlooking the TKTS red steps. Plus, the building façade will be equipped with LED-lighting across its full 46-stories, and an 18,000 square-foot wraparound sign. Construction of this massive hotel, tech retail and theatre development and signage, called TSX Broadway, begins late this winter. The $2.5 billion cost includes the $540 million purchase of the 43-story Doubletree Guest Suites from Sunstone Hotel in December 2015, noted in Real Capital Analytics. The new owners will demolish the hotel that’s at 1568 Broadway to build a new 550,000 square-foot, 46-story tower. -
Program Notes by Joshua S. Ritter, Education Director
Program Notes by Joshua S. Ritter, Education Director There’s No Business Like Show Business! Irving Berlin’s unforgettable tune captures the essence of life in the entertainment business like no other song in history. Only Berlin could so eloquently express the highs and lows that accompany a theatrical career. Remarkably, Berlin was concerned about including “There’s No Business Like Show Business” due to a muted initial response from his colleagues. Unbeknownst to Berlin, their silence was one of awe rather than disapproval. When Berlin submitted his score to producers Rogers and Hammerstein for the second round of rehearsals without the famous song, he drew the following reaction: “Where’s that ‘Show Business’ thing?” Hammerstein asked, sure that he had misplaced the number. “I left it out,” Berlin said somberly. “In Heaven’s name, why?” Hammerstein inquired. “I didn’t think you liked it,” Irving retorted. “You didn’t say enough.” Later, Hammerstein reflected on the situation: “He was just going to throw it away. Now out of context of the play, it’s merely the song that means show business.” However, despite Berlin’s incredible work on the production, he was not the original intended composer and lyricist for Annie Get Your Gun. Dorothy Fields conceived the idea for the musical and she intended to write the lyrics and co-write the book with her brother Herbert. She stated that the idea formed in her head after witnessing a decorated soldier who was extremely successful at a Coney Island shooting gallery. This observation conjured images of the famous sharpshooter Annie Oakley and the idea for the show was born. -
Rural Prosperity Through the Arts& Creative Sector
RURAL PROSPERITY THROUGH THE ARTS & CREATIVE SECTOR A Rural Action Guide for Governors and States About the National Governors Association (NGA) and the NGA Center for Best Practices The National Governors Association (NGA), founded in 1908, is the association through which the nation’s governors share best practices and apply creative leadership to state issues. Its members are the governors of the 55 states, commonwealths and territories. The NGA Center for Best Practices (NGA Center) is the only research and development organization that directly serves the nation’s governors and their key policy staff members. Governors rely on the NGA Center to provide tailored technical assistance for the challenges that face their states; identify and share best practices from across the states; and host meetings of governors’ staff members, leading policymakers, program officials and scholars. Through research reports, policy analyses, cross-state learning labs, state grants and other unique services, the NGA Center informs governors about what works and highlights the lessons governors can learn from others grappling with similar issues. For more information about NGA and the Center for Best Practices, please visit www.nga.org. Acknowledgments This report was prepared by Sally Rood at the NGA Center for Best Practices with generous input and editing from staff identified below from the National Endowment for the Arts (NEA), National Assembly of State Arts Agencies (NASAA) and the NGA Center. The NGA Center wishes to thank the NEA and its Acting NEA Chairman Mary Anne Carter for the NEA’s generous support of this Action Guide. Mary Anne, along with other colleagues at NEA — Jennifer Hughes, Sunil Iyengar, Andi Mathis, Bonnie Nichols, Laura Scanlan and Tom Simplot — provided invaluable feedback during their review of report drafts.