text:
Growing instances of corruption suspected among law enforcement
by Linda Straker
Suspicious cases of corruption pertaining to accepting gifts among police officers
Receiving unsolicited or solicited gifts is in violation of Police Standing Order
Vannie Curwen, Head of the Community Relations Department of the Royal Grenada Police Force has admitted that his office has had to investigate suspicious cases of corruption pertaining to accepting gifts among police officers.
"The biggest concern that we probably have is taking a gift or two from somebody who might give it for a particular favour, it might be considered innocent based on how you look at it, but it is still part of the corruption cycle," Curwen said.
Explaining that the receiving of unsolicited or solicited gifts are not only a violation of the Police Standing Order, Curwen said it is also a violation of a recently enacted law that focuses on the life of public officers such as police officers and other civil servants.
"Police officers should not be personally benefiting from any gift…You ought not to have used your job to benefit personally and if there is to be any benefit it must be a benefit to the organisation," he said, referring to police officers.
"We are doing everything we can to ensure that this doesn't grow in terms of corruption and if one is found suspicious of such an offence, there is an investigative process that follows," he said. He admitted that in recent weeks and months the relevant department within the police force had to investigate some of their own.
"We have had investigations that we have done at different levels and a decision is made as to how to treat a particular misconduct. If there is evidence of a criminal offence the matter is sent to the director of public prosecution," he said.
Grenada's Prevention of Corruption Act defines corruption as an act committed by a person that is inconsistent with his or her lawful duties and the rights of others, by unlawfully and wrongfully using his or her influence, office, or character to procure some gratification for himself or herself or another person and includes bribery, fraud and other related offences.
Tags: linda strakerpolicepolice standing orderprevention of corruption actvannie curwen
Grenada Tourism Authority launches "Something For Everyone" Campaign
Caregon Thomas says:
It's public knowledge, the fact that we have been openly accepting bribes for favours from foreign countries and international companies who offer empty promises and are always at the ready to buy-up and take advantage of our lax situation, for as long as I can remember. Which in turn seldom or never really benefit the people at grass root level… As an example, this whole investigation should be a clean sweep and begin from the very top.


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One Piece And The Importance Of Finding Family Among Your Friends
The Straw Hat Crew is a celebration of unconventional "families"
Daniel Dockery
June 16, 2019 1:00pm EDT (6/16/19)
Growing up, I heard a number of t-shirt-ready catchphrases about family, like "NOTHING IS THICKER THAN BLOOD!" and "YOUR FRIENDS WILL COME AND GO, BUT YOU'LL ALWAYS HAVE YOUR FAMILY!" Usually, these came from people that weren't actually in my family, and to a child, they all sounded like inescapable warnings: "YOUR FRIENDS WILL LEAVE YOU, BUT YOUR FAMILY IS AN UNDERGROUND TOMB FROM WHICH THERE IS NO EXIT." Even as an adult they seem ominous, as if your family isn't something that you find love and comfort in, but rather just something you suffer through. And to a few of my friends, they are.
So when someone tells me "My friends have become my family," I totally understand. Heck, my favorite series is One Piece. I HAVE to understand.
If you watch One Piece, you've definitely heard the term "nakama." To put it simply, it means "friend," but when filtered through the world of One Piece, it's come to represent the people that you're so close to that they've become family or even more than that. It's mostly used to describe Luffy's crew, people and cyborgs and skeletons and creatures that have always had an unconventional definition of family but have now settled in with a bunch of weirdos that love them. And even though life aboard the Thousand Sunny is a non-stop barrage of sitcom hijinks, there's a deeper message there about how the family that you pick can be healthier for you than the family that you're born into.
Of course, you have Luffy, who barely knows his Dad but doesn't seem to mind that much. But you also have Sanji, who was born into a family of tyrannical super solider psychopaths and fled to find companionship among a boat full of unruly cooks. And sure, neither Zeff or the Straw Hats are perfect, but they actually care for Sanji's well-being. They want the best for the dude. Vinsmoke Judge is just embarrasssed of him, forcing the looming spectre of family upon Sanji in order to make him feel nothing but guilt.
And then there's Nami, whose adoptive mother was cruelly murdered by Arlong. She was then "adopted" by Arlong's pirate crew, who blackmailed her into doing work for them. After spending most of her life doing that, she finally met Luffy, a pirate that also knew her gifts. But unlike Arlong, Luffy brought no demands. He didn't want to "use" her. Even when he beat down Arlong, he didn't do it for the promise that Nami would join the Straw Hats. He just did it because, crew member or otherwise, Nami was his "nakama" now. And when you have someone like that in your life, you can't help but kinda want to jump on a sheep-themed boat with them.
Chopper was a part of a herd of reindeer until he ate the Devil Fruit that turned him into the adorable half reindeer/half man that he is now. He was kicked out of his family simply for being different and after a string of parental figures like Dr. Hiriluk, he finally found his "forever home" among the Straw Hats. And that's the point of the Straw Hats in the end. Luffy becoming King of the Pirates is almost secondary when you consider how important it is that all of these crew members have found their place in the world, a place that loves them.
I think this theme is important to remember on Father's Day because I know a lot of people that aren't close with their families, and some that don't even speak to their families anymore. This kind of thing can happen for a number of reasons, but a common one is that their parents just didn't accept them anymore. Their parents were toxic and cruel when they should've been understanding and respectful.
There's a big difference between not wanting to visit your parents because they're making a ham for Christmas dinner when everyone else wanted turkey, and not wanting to visit your parents because they maintain a sense of vileness that goes against everything you believe in. The first is something you can manage (because Christmas hams are DELICIOUS), the second is something that hurts you over time. I've watched my friends go through it. It eats at them in ways that they can barely describe. It can make you feel worse than just about anything else in the world.
So to all of those people who have found family among friends, I hope you have a great day, even if you're not celebrating anything on it. As One Piece shows us, to find people that are willing to care for us in a way that families should is truly a gift. Anyone that hurts you and then tries to pass it off with "BUT I AM YOUR FAMILY, AND YOU HAVE TO DEAL WITH ME, BECAUSE I AM, UMM, YOUR FAMILY!" is full of it. Be like the Straw Hat Crew. Embrace those that embrace you. Find joy among the people that make you feel happiest. Give love to those that make you feel worthy of it.
(And watch One Piece on Crunchyroll! It's great, and the Wano arc is almost here! I love it! You'll love it!)
Do you have friends that you consider family? Would you join the Straw Hat Crew? Let us know in the comments!
Daniel Dockery is a writer and editor for Crunchyroll. You can follow him on Twitter.
Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!
one piece, luffy, nami, father's day
Meet the Fathers: Eleven Classic Anime Dads and Where to Find Them
QUIZ: Can You Name All Of These Anime Dads?
Namie Amuro Provides Theme Song for "One Piece" Winter TV Special

redpajama_set_name: RedPajamaCommonCrawl


Amazon Fire HD 10 is a modest cellphone released a few years ago, packing a 5 mega-pixels back side camera, a 1500 MHz processing unit and a really big 10.1 inches multi touch display.
This device is powered by a fast 1.5 gigahertz CPU, bundled in the MediaTek system chip and 1 GB of RAM memory. This cellphone counts with an amazing 32 GB internal memory and an SD memory card expansion slot, which allows you to install hundreds of applications without having to worry about filling it.
This phone feels much lighter than what one would think about a phone like this. This cellphone is offerred in two different color options, black and white. This phone is very slim and practical, with a thickness of just 0.3". This phone is a very compact phone, considering it packs a 10.1" screen and it is only 10.31" long.
The Amazon Fire HD 10 includes an average 10.1 inches screen with a 800 x 1280 resolution, making everything look quite good. This screen uses IPS LCD capacitive technology, and allows multi-touch gestures.
This cellphone doesn't have a sim card, because it doesn't work with GSM services.
The Amazon Fire HD 10 only features a 5 megapixels back facing camera. It is capable of shooting videos up to 1920x1080 (Full HD). In addition, the camera has geo tagging.
This phone also features Bluetooth (provides communication with other bluetooth cellphones and accessories), and Accelerometer.
This phone is really overpriced considering it is priced 230 dollars, and other similar phones are sold for much less than that. This phone is sold with 5W power adapter, USB 2.0 cable and Quick Start Guide.


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Google's possible pullout a boost to China rival
admin Contributor
BEIJING (AP) — A possible Google pullout from China could give a boost to its ambitious local rival Baidu Inc., which dominates the Chinese market and is expanding abroad.
Baidu, launched in 2000, is a standout in the global search industry — a local competitor that beats giant Google Inc. Baidu has 60 percent of China's search market and has held onto that despite Google's launch of a local site and relentless efforts to tailor its services to Chinese tastes.
If Google closes China-based Google.cn, Baidu might be able to pick up many of its users and advertisers, analysts said. Google's main U.S. site has a Chinese section but government filters hamper access for users in China.
"We view this development as a major positive opportunity for Baidu," Citigroup analysts Catherine Leung and Mark S. Mahaney said in a report.
Baidu shares on the U.S. Nasdaq market jumped 13.7 percent on Wednesday to $439.48 after Google's announcement that it would stop censoring search results in China and might pull out of the country.
Little known abroad, Beijing-based Baidu is one of the world's most-popular Web sites based solely on its following in China, the world's most populous Internet market with 338 million people online as of June. Web traffic monitoring company Alexa ranks Baidu as the world's 8th most-visited site.
The company launched its first site abroad in 2007 in Japan and industry analysts expect other markets to follow. Less competition from Google might allow Baidu to boost profits and speed up its overseas expansion.
Baidu, pronounced "Bye-doo," has benefited in the past from government controls over Internet access, though it is unclear whether Beijing tries to promote the site over foreign rivals. China's extensive system of Web filtering tries to block access to material deemed subversive or pornographic.
Baidu built up a commanding lead in market share after the government's filters slowed access to Google's U.S.-based site. Google launched its China-based site in 2005 to speed up access and opened a Beijing center to create services for the China market but Baidu has held onto its lead.
Baidu had 58.4 percent of the search market in the final quarter of 2009, while Google had 35.6 percent, according to Analysys International, a Beijing research firm. Google was up from 29.1 percent the previous quarter, but most of the gains were at the expense of other rivals such as Yahoo's China site.
In 2006, Baidu launched a Chinese-language encyclopedia inspired by the cooperative reference site Wikipedia after access to the American site was blocked, possibly because it has articles about Tibet, Taiwan and other sensitive topics.
Like Wikipedia, Baidu's Baike carries user-written entries but warns that it will delete content about sex, terrorism and attacks on the government.
Leaving China would hamper Google's ability to keep up with local tastes and maintain its business with Chinese advertisers who target audiences both at home and abroad, said Edward Yu, president of Analysys.
"That part of the business will disappear if Google moves out of China," Yu said.
Tags : china corporate news united states


76% of the villas for sale have pictures. On average an advert for Villas Airport Road has 10.88 pictures.
As a first option people in Airport Road look for a house with 3 bedrooms. This is followed by 4 and 5 bedrooms.
On average the price per square foot is AED 267.52/sq. feet, with a price trend of AED 1,283,000 and an area of 4,795 sq. feet.


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Ten Keele Street10 Keele Street, Collingwood VIC 3066
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Building type Mid-rise
Floor count 8
More about Ten Keele Street
10 Keele Street is making a grand entrance in Collingwood, brought to you by Pirovich Developments and Carr Design. The architects have made sure to honour the neighbourhood's past by fusing contemporary style with elements of the suburb's heritage buildings and warehouses.
Comprising 45 residences spread across eight levels, this mid-rise hosts an exterior that mirrors the brick-and-concrete landscape of Collingwood's diverse industry past. The facade responds to the local warehouse vernacular with an array... Read More
Comprising 45 residences spread across eight levels, this mid-rise hosts an exterior that mirrors the brick-and-concrete landscape of Collingwood's diverse industry past. The facade responds to the local warehouse vernacular with an array of neutral textures and colours, floor-to-ceiling glazing, and industrial concrete.
Step inside your apartment and you'll be greeted with interiors that reflect the exterior, characterised by subtle colour palettes and textures that deliver a perfect canvas on which to layer your individual style. Prepare to be impressed by the private outdoor space that links the living room to the master bedroom, providing an ideal space for relaxing and entertaining.
Residents will appreciate the spacious kitchens which feature an island bench, top-quality Miele appliances, integrated pantry, and premium marble or porcelain benchtops. Bathrooms also feature luxury fittings, providing a relaxing sanctuary where you can unwind at the end of the day.
Architect: Carr Design
Developer: Pirovich Developments
Builder: Pirovich Constructions
Local Government Area: Yarra (City)
Suburb: Collingwood, VIC
Project Status: Under Construction
Project Type: Apartments
Listing Type: Residential
Building Type: Mid-rise
Nearby Public Transport: Smith Street trams
Floor Count: 8
Number of Buildings: 1
Number of Residences: 45
Amenities: Outdoor terrace
Forum Thread: COLLINGWOOD + ABBOTSFORD | 3066 + 3067 | Projects
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Ten Keele Street Updates
Melbourne's development by tram: the 86
Tram route 86 is the last of the routes in Northern Melbourne and it also happens to be the route with the largest development pipeline thus far in this series. By...
Poised and primed: key developments gain approval
The past fortnight has brought a number of high profile approvals which have been placed firmly in the public eye, but what of the lesser known planning applications...
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Location of Ten Keele Street
Education near Ten Keele Street
25 Victoria Street, Fitzroy VIC 3065
0.8km from project
Australian Catholic University
115 Victoria Parade, Fitzroy VIC 3065
Grattan Street, Parkville, Victoria, 3010
124 La Trobe St, Melbourne VIC 3000
196 Flinders Street, VIC 3000
Collingwood College
Cnr Cromwell St/McCutcheon Way, Collingwood VIC 3066
Academy of Mary Immaculate
88 Nicholson Street, Fitzroy VIC 3065
Fitzroy High School
Falconer Street, Fitzroy North VIC 3068
Holmes Secondary College
185 Spring Street, Melbourne VIC 3000
Sophia Mundi Steiner School
1 St Heliers Street, Abbotsford VIC 3067
St Joseph's School
46 Otter Street, Collingwood VIC 3066
Fitzroy Primary School
319 George Street, Fitzroy VIC 3065
Clifton Hill Primary School
185 Gold St, Clifton Hill VIC 3068
St John's School
77 Queens Parade, Clifton Hill VIC 3068
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Every parent wants to do what is best for their child and to ensure their child is safe, secure, and protected from the harms that live in the world. At times, this might mean protecting a child from falling when she stumbles or making sure he always holds an adult's hand when crossing the street. When it comes to riding in a car, it means selecting a car seat that will keep a child safe in the tragic event that a car accident takes place.
Car seats are a requirement under the laws of Illinois which mandate that all children under eight years old be secured in a car seat. But the laws do not specify which car seat, or even which style, must be used, leaving it up to parents to make those critical decisions. A variety of car seats are on the market and can give parents a range of choices from which to decide but also create the possibility that parents will make the wrong choice, select the wrong seat, or even use it in an improper or faulty manner.
There are numerous places in and around Chicago that offer free safety checks for children's car seats to ensure that parents are using the right kind of seat and in the right manner to keep their children as safe as possible yet the organizations that offer such checks routinely report that only a small proportion of the city's parents take advantage of the free car seat review.
The state of New York was concerned about the use of children's safety seats and recently began inspections this fall. Overall, 931 car seats were checked but according to officials, only 112 of those seats were installed properly – merely 12 percent of the car seats reviewed. The issue is important as experts report that 96 percent of American parents believe they have installed a child safety seat correctly but that nearly 70 percent of those parents are incorrect.
Though that recent review occurred in New York, similar results have been noticed in Chicago and across Illinois. In some cases, an improperly installed car seat is caught at an inspection or in another safe environment, but tragically, other issues with car seats are not identified until after a car accident takes place.
One of the biggest issues surrounding the use and installation of car seats is using an improper seat based on a child's size. Different types of seats are designed for children at different stages of their lives and therefore parents should be mindful of height, weight, and age requirements as they apply to a child safety seat. Once a child outgrows the limits of a car seat, parents should move them to an appropriate restraint device whether that is another seat or a booster. Further, children should be kept rear-facing in the back seat until they are two years old or until they outgrow the height and weight requirements of a rear-facing car seat. No rear-facing car seat should ever be placed near a forward air bag and regardless of their age, children should always be restrained in the back seat of a car. If if you are involved in a collision, make sure you have your child's car seat reviewed by a safety expert before using it again. Often, car seats must be replaced following a crash even if there is no visible damage to the seat itself.
The installation of a car seat is one, but not the only, area where misuse can occur. Additionally, parents often leave the restraining straps of a seat too loose or have the straps adjusted to an improper position which limits a seat's effectiveness should a crash take place. Other problems may occur if a seat is not reclined to an appropriate angle, if proper head cushioning is not used, or if a child's limbs extend too far beyond a seat's boundaries.
If your child was involved in a car accident and was injured as a result, know that both you and your child may be entitled to legal relief for the damages done in that collision, and working with a personal injury lawyer can help you understand that possible relief. The personal injury law firm of Abels & Annes, P.C. has helped many families over the years obtain the relief they deserve following a car accident and we are ready to help you as well if your family was affected by a crash.
For your convenience, we have a licensed lawyer available to take your call 24 hours a day, seven days a week toll free at (855) 529-2442 or locally at (312) 924-7575. If you call us, you will be offered a case consultation about your accident without any cost to you or any obligation on your part. Further, if we represent you, we will never charge you a fee unless we are successful on your behalf and we will advance all case-related expenses so that you can get the assistance you need without having to worry about the financial toll it may enact.
At Abels & Annes, P.C., we believe in helping victims of Chicago car accidents. If we can help you, call us today or contact us online and let us fight for your right to relief.
Rear-End Car Accidents are the Most Common Collisions in the Country, Chicago Car Accident Lawyers Blog, published October 19, 2015.
Parents Flunk Child Car Seat Safety Checks, Claims Journal, published November 9, 2015.


Poker Kaki Forum • View topic - Poker Games in City of Dreams Manila?
Poker Games in City of Dreams Manila?
Re: Poker Games in City of Dreams Manila?
it is located @ the 2nd floor, normally there will be more players start from 5pm onwards till midnight. u need to try the luck in the afternoon.


The Museum Cafe is open every day for breakfast, lunch, and snacks in between. No outside food is allowed in the Museum Cafe or Museum.
The Cafe is open every day from 8:30 a.m. to 4:30 p.m. except for Yom Kippur, October 9, 2019, and Christmas Day, December 25.
Extended spring and summer hours: From March 25 through June 14, 2019, the Cafe will be open until 5:00 p.m. Monday through Friday.
We are located adjacent to the US Holocaust Memorial Museum. When exiting the museum facing Raoul Wallenberg Place, cross the plaza and enter the building to your right to find the Cafe.
The Cafe serves breakfast, soups, salads, and sandwiches including vegetarian-friendly and kosher options. Kosher items are prepared and sealed offsite under rabbinical supervision.
Visiting the Museum with a group? The Cafe offers bag lunches for groups of five or more to eat on the go. Please place your order online or by fax at least three business days before your visit. All orders including kosher items must be made at least one week in advance.
All orders can be picked up in the Museum Cafe.
Payment is due in full on the day of your visit.
Please give us at least 48 hours' notice when canceling an order. Orders canceled with less than 48 hours' notice will be charged 50 percent of the cost of the order.
Please e-mail cafe@ushmm.org or call 202.488.6151 with any questions about your order.
The Museum is located on the National Mall and is open every day except for Yom Kippur and Christmas.


text:
Feds give to good causes
By FEND Staff
GivingTuesday, the annual day of federal employee gifting of time and money to charity, has passed. But the Combined Federal Campaign, which runs through Jan. 15, 2022, is reminding feds there is still time to join in.
Giving Tuesday came around again—Tuesday, Nov. 30—a day that for many feds brings the perfect activity, and antidote, to the shopping and consumerism of Black Friday and Cyber Monday. Instead, it's all about choosing your favorite causes, and donating what you can to those who need it most.
And if you didn't get your donation in before or on GivingTuesday, remember there's still plenty of time. The Combined Federal Campaign solicitation period runs through Jan. 15, 2022.
For feds, that means you can go to just one website and get direct access to thousands of different charities, all via a single pathway to send help to one—or a half-dozen—much-needed support, whether in the form of money or a pledge of your time. Just visit the Combined Federal Campaign's National Capital Area page, the federal employee portal to GivingTuesday as well as its months-long annual Combined Federal Campaign.
"On November 30, 2021, we're uniting for a worldwide celebration of generosity," as the campaign said of GivingTuesday on its website. "GivingTuesday is an opportunity for people around the world to come together through generosity in all its forms by sharing acts of kindness and giving their voice, time, money, goods, and advocacy to support communities and causes."
Every year, feds join in to give millions of dollars—and thousands of hours of their time—to make a better world. In fact, the program, created in 2012, gets support from hundreds of millions of people around the world.
"Whether it's making someone smile, helping a neighbor or stranger out, showing up for an issue or people we care about, or giving some of what we have to those who need our help, every act of generosity counts, and everyone has something to give," the group notes.
NEXT STORY: View the November 15, 2021 issue as a PDF


In 27 b.C., Agrippa, son-in-law and architect of Augustus, erected the Pantheon on the site where Romulus according to the legend ascended to Heaven during a ceremony. It was a common temple rectangular in shape, medium size, conceived as a place of worship for various divinities.
Through the years the temple suffered fires and other disasters, it was restored several times till the final reconstruction by the emperor-architect Hadrian between 118 and 128 A.D.
The pronaos with its sixteen columns, the enlargement of the rotunda and the dome, the largest existing one built in brickwork up to our time, are for sure by Hadrian. Hadrian himself wishing to commemorate Agrippa replaced word for word on the temple's façade Agrippa's original inscription: "Marcus Agrippa, son of Lucius, Consul for the tird time, built". In 608 the emperor Foca handed it over to Pope Boniface IV who consacreted it as catholic church: Sancta Maria ad Martyres, a masterpiece of the Roman architecture and first example of pagan temple transformed into catholic church. The temple stood originally on a base having a high staircase surrounded by a collonaded portico on a lower level than the modern one. Originally the dome was externally covered by gilt bronze tiles stolen in 663 by the Emperor of East Constant II and later substituted by a lead covering in 735. The same happened to the bronze covering of the porticoes which was removed by the Pope Urban VII and used for the casting of cannons and for the baldachin of St.Peter. Not many things were added to the original architecture: the church decorations, the tombs of great artists (Raphael) and those of the Kings of Italy. Bernini added two ugly bell towers called "asses'ears" demolished at the end of the 1800's. Inside the Pantheon, there are also honorary busts which Pius VII had removed and transported to the Capitole, inside the Gallery (collection of busts of illustrious men) Nowadays the lack of coverings reveals the original brickwork structure with weight and thrust which support the ring. The pronaos hides the cupola from sights till the entrance in the space determined by a sphere which can be inscribed in a cylinder finished and unfinished together. The floor is covered with polychromatic marbles so as the walls which support the huge cupola culminating in the great eye at the summit, 9mt wide, which illuminated the whole interior and served for the smoke of the sacrifices. The axes of the building contemplate a small diversion from the traditional north-south direction: every year on the 21st June at 12,00am, summer equinox, the sun through the eye invests the visitors entering from the main door.
Full day tours Classic Rome and Imperial Rome. Visit inside the Pantheon and the Colosseum skipping the line!


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New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease?
Christian Holscher, Lin Li
Type 2 diabetes has been identified as a risk factor for Alzheimer's disease (AD). This is most likely due to the desensitisation of insulin receptors in the brain. Insulin acts as a growth factor and supports neuronal repair, dendritic sprouting, and differentiation. This review discusses the potential role that insulin-like hormones could play in ameliorating the reduced growth factor signalling in the brains of people with AD. The incretins glucagon-like peptide-1 (GLP-1) and glucose-dependent insulinotropic polypeptide (GIP) have very similar properties in protecting neurons from toxic effects, and are capable of reversing the detrimental effects that beta-amyloid fragments have on synaptic plasticity. Therefore, incretins show great promise as a novel treatment for reducing degenerative processes in AD
Published (in print/issue) - Sep 2010
http://www.ncbi.nlm.nih.gov/pubmed/18930564?itool=EntrezSystem2.PEntrez.Pubmed.Pubmed_ResultsPanel.Pubmed_RVDocSum&ordinalpos=16
Dive into the research topics of 'New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease?'. Together they form a unique fingerprint.
Hope Medicine & Life Sciences 100%
Neuroprotection Medicine & Life Sciences 91%
Incretins Medicine & Life Sciences 75%
Hormones Medicine & Life Sciences 61%
Insulin Medicine & Life Sciences 59%
Intercellular Signaling Peptides and Proteins Medicine & Life Sciences 47%
Psychologic Desensitization Medicine & Life Sciences 37%
Holscher, C., & Li, L. (2010). New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease? Neurobiology of Aging, 31(9), 1495-1502. https://doi.org/10.1016/j.neurobiolaging.2008.08.023
Holscher, Christian ; Li, Lin. / New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease?. In: Neurobiology of Aging. 2010 ; Vol. 31, No. 9. pp. 1495-1502.
@article{417b88381100402ea071874ecd15b86e,
title = "New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease?",
abstract = "Type 2 diabetes has been identified as a risk factor for Alzheimer's disease (AD). This is most likely due to the desensitisation of insulin receptors in the brain. Insulin acts as a growth factor and supports neuronal repair, dendritic sprouting, and differentiation. This review discusses the potential role that insulin-like hormones could play in ameliorating the reduced growth factor signalling in the brains of people with AD. The incretins glucagon-like peptide-1 (GLP-1) and glucose-dependent insulinotropic polypeptide (GIP) have very similar properties in protecting neurons from toxic effects, and are capable of reversing the detrimental effects that beta-amyloid fragments have on synaptic plasticity. Therefore, incretins show great promise as a novel treatment for reducing degenerative processes in AD",
author = "Christian Holscher and Lin Li",
journal = "Neurobiology Aging",
Holscher, C & Li, L 2010, 'New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease?', Neurobiology of Aging, vol. 31, no. 9, pp. 1495-1502. https://doi.org/10.1016/j.neurobiolaging.2008.08.023
New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease? / Holscher, Christian; Li, Lin.
In: Neurobiology of Aging, Vol. 31, No. 9, 09.2010, p. 1495-1502.
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AU - Holscher, Christian
AU - Li, Lin
N2 - Type 2 diabetes has been identified as a risk factor for Alzheimer's disease (AD). This is most likely due to the desensitisation of insulin receptors in the brain. Insulin acts as a growth factor and supports neuronal repair, dendritic sprouting, and differentiation. This review discusses the potential role that insulin-like hormones could play in ameliorating the reduced growth factor signalling in the brains of people with AD. The incretins glucagon-like peptide-1 (GLP-1) and glucose-dependent insulinotropic polypeptide (GIP) have very similar properties in protecting neurons from toxic effects, and are capable of reversing the detrimental effects that beta-amyloid fragments have on synaptic plasticity. Therefore, incretins show great promise as a novel treatment for reducing degenerative processes in AD
AB - Type 2 diabetes has been identified as a risk factor for Alzheimer's disease (AD). This is most likely due to the desensitisation of insulin receptors in the brain. Insulin acts as a growth factor and supports neuronal repair, dendritic sprouting, and differentiation. This review discusses the potential role that insulin-like hormones could play in ameliorating the reduced growth factor signalling in the brains of people with AD. The incretins glucagon-like peptide-1 (GLP-1) and glucose-dependent insulinotropic polypeptide (GIP) have very similar properties in protecting neurons from toxic effects, and are capable of reversing the detrimental effects that beta-amyloid fragments have on synaptic plasticity. Therefore, incretins show great promise as a novel treatment for reducing degenerative processes in AD
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Holscher C, Li L. New roles for insulin-like hormones in neuronal signalling and protection: New hopes for novel treatments of Alzheimer's disease? Neurobiology of Aging. 2010 Sep;31(9):1495-1502. https://doi.org/10.1016/j.neurobiolaging.2008.08.023


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Overcome Resistance With the Right Questions
Managers meet resistance every day. The way they handle it often is counterproductive. The resistance can come from a boss who won't approve a project, a management peer who refuses to provide resources, a customer who flatly rejects a proposal — anybody blocking you from meeting a goal. The typical manager's default response when somebody […]
Kevin Daley
Managers meet resistance every day. The way they handle it often is counterproductive.
The resistance can come from a boss who won't approve a project, a management peer who refuses to provide resources, a customer who flatly rejects a proposal — anybody blocking you from meeting a goal.
The typical manager's default response when somebody keeps saying no is to keep selling the idea. The manager trots out more evidence to support the idea and describes the payoffs for the other person. And the person keeps saying no.
There's a better way.
Asking a series of easily answered questions will help the other person rethink his assumptions and open up possibilities for agreement. The idea was first proposed by Socrates in classical Athens some 2,400 years ago. The Socratic Method has helped opposing parties reach agreement ever since, though in today's more confrontational world it's greatly underused.
Asking a question like "Why do you say that?" can help you learn the reason why the other person isn't cooperating. The reason might surprise you.
Let's say that the financial officer is telling you the budget for your project is too high. Resist the impulse to list all the reasons why its benefits will outweigh its cost. Even worse, don't get into describing how the cost can be lowered. If, instead, you ask the officer why he said the budget's too high, you might learn it's too high for this quarter but that the project could be considered for the next quarter.
Or let's say an impatient boss says the meeting you led didn't accomplish anything. Ask what she means, instead of telling her about everything it did accomplish. Maybe she wanted it to resolve an issue — uppermost on her mind — that wasn't on the agenda.
You can easily dig a hole for yourself if you give a facile response to an objection without fully understanding what the other person means. A prospective customer asked a salesperson if his company provides customized products. The salesperson launched into a detailed description of the customized options the company offers. The customer was only making idle chatter, though. He was looking for a low-cost off-the-shelf solution. The salesperson's company could easily provide the wanted solution but the presentation got off track and never recovered.
Socrates put the case for using questioning rather than rapid-fire talking neatly: "Nature has given us two ears, two eyes, and but one tongue — to the end that we should hear and see more than we speak," he said. That's why we advise managers to give the other person most of the talk time whenever a discussion reaches an impasse.
Let's get more specific: what kinds of questions should you be asking?
You'll need different kinds of questions for different stages in the discussion. Here's a list of six categories of questions for a Socratic Dialogue, compiled by Richard Paul of the Center for Critical Studies:
Questions that help clarify what the other person means.
Questions that probe assumptions.
Questions that look into the rationale, reasons and evidence the other person's using.
Questions examining viewpoints and perspectives.
Questions that probe implications and consequences.
Questions get to the root of the other person's questions.
Asking the right questions is only the beginning of the process, however. You also have to listen carefully to the answers. Taking a cue from Socrates, you should listen with your eyes as well as your ears because the other person might be saying a lot with body language. Posture and movement can signal interest, openness and involvement — or their lack. If there's a disconnect between what you're hearing and what you're seeing, the other person's body language might have more meaning than the words being spoken.
Make it clear from your own body language that you're listening. It's not enough just to ask the question; you have to hear the answer. Lean forward, look closely at the other person, nod in agreement when appropriate. Paraphrase what you're hearing, to show you're listening — and to be certain that you heard it right.
Finally, as with any other dialogue, you must appeal to both the head and the heart of the other person. It isn't only the soundness of your argument that will determine the dialogue's outcome. Unless you also connect on an emotional level you can't be certain that the agreement you reach will be honored.
Kevin Daley is the founder of Communispond Inc., which has taught over 600,000 managers to communicate more effectively and is now celebrating its 40th anniversary. Now the lead executive coach for the company, Daley is the author of Talk Your Way to the Top and Socratic Selling, both published by McGraw-Hill.
Read more on Business communication or related topics Difficult conversations and Power and influence
Kevin Daley is the founder of Communispond Inc., which has taught over 600,000 managers to communicate more effectively. Now the lead executive coach for the company, Daley is the author of Talk Your Way to the Top and Socratic Selling.


I wanted to let you know that last week the Guardian withdrew all of its advertising from Google and YouTube after it discovered that some of its ads, including for the membership scheme, were being inadvertently placed next to extremist material.
A media agency, acting on the Guardian's behalf, used Google Display Network, which involves an automated system known as programmatic trading.
David Pemsel, the Guardian's chief executive, wrote to Google to say it was "completely unacceptable" for its advertising to be misused in this way.
You can read more about the Guardian's response here.
Google and YouTube promised to make significant changes to its policies to deal with the problem, but other companies, advertising firms and government departments have also since pulled their adverts, or are considering doing so.
It is another worrying example of the challenges we face as a progressive news organisation in a fast-changing digital age.
5. Hot air and intrigue: did Donald Trump leak his own tax return?
2017-03-19 Google braces for questions as more big-name firms pull adverts, The Guardian 2017-03-21 War/Peace: Excellent! Interview, 97-year-old Nuremberg prosecutor, CBC, The Current.


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Home/News/Business/Finance/Company earnings/Profits rise but revenues tank for Japan's K-Line
Asia-PacificBusinessCompany earningsEuropeInsightsInternationalMaritimeNewsShippingTrade and Compliance
Profits rise but revenues tank for Japan's K-Line
Jim Wilson, Australia Correspondent Thursday, August 1, 2019
(Photo credit: K-Line)
Kobe, Japan-headquartered ocean shipping company Kawasaki Kisen Kaisha Line (K-Line) has swung its bottom line profit figure from red to black. But even though profit increased, the top line revenue figure took a big tumble.
Japan's financial year runs from April to March. So, for K-Line, April to June is the first quarter.
K-Line (JPX: 9107) reported revenues of 183.31 billion yen (US$1.69 billion) in its first quarter.
That's a 13.6 percent decline from revenue of 212.18 billion yen recorded for the three months to June 30, 2018.
However, happily for the company, it swung big losses last year into small profits this year.
K-Line's operating revenues for the first quarter of the Japanese financial year stood at 4.05 billion yen (US$37.28 million). That's an increase of 17.42 billion yen (US$160.3 million) from the prior corresponding period.
Profit attributable to owners also saw a huge turnaround. At the end of the first quarter of the Japanese financial year, K-Line reported 7.78 billion yen (US$71.57 million) in profits attributable to owners. In the prior corresponding period it had made a substantial loss and so the first quarter of the new fiscal year figure represents a 27.05 billion yen (US$248.87 million) increase.
All revenue and profit figures hereafter are in billions of yen, unless otherwise stated. One billion yen is worth, at the time of writing, about US$9.17 million.
K-Line is active in a number of freight and ancillary businesses. These include marine freight, shipping agency, terminal operations, ship management, harbor transportation (tugs and towage), warehousing, logistics, land transportation, container repair and other businesses.
K-Line reported a decline of 9.1 billion yen in its dry bulk revenues. Its first quarter figure stood at 55.5 billion yen in the three months ended June 2019. That's a 14.2 percent decline. The company also recorded a small loss of 0.4 billion yen in this segment.
As with the other large Japanese multi-fleet operators, K-Line noted that freight rates for capesize dry bulk shipping were weak in the early part of the year due to the effects of the failed-dam tragedy in Brazil. K-Line noted that iron ore prices rose later in the year due to an upturn in Chinese steel production. And that led to a general recovery in the charter market.
In the medium- to smaller-size vessel freight markets, grain shipments from South America drove a rise in rates for the Atlantic trades. That, in turn, led to a concentration of ships in that ocean and an easing of rates. Globally, the vessel supply-demand imbalance continued despite the scrapping of larger ships as "new medium- and small-size vessels were launched one after another."
K-Line noted that it sought to reduce operational costs and increase efficiency but, nonetheless, the dry bulk segment went into decline.
Looking forward, K-Line noted concerns over "protracted trade disputes" between the U.S. and China and a slowdown in demand for Chinese steel. However, it hopes for an improvement in the vessel supply situation due to the practice of sailing more slowly, the implementation of new environmental regulation (presumably IMO 2020) and an increase in scrapped vessels.
"As a result, market rates are expected to generally improve, mainly in the Cape-size sector," the company said.
Energy resource transport
K-Line groups together LNG carriers, oil tankers and thermal coal bulkers in this category.
This business division experienced largely flat revenues. It recorded 20.2 billion yen for the first quarter of fiscal year 2018 and 20.5 billion yen in the first quarter of fiscal year 2019. However, the segment profit rose a spectacular 525.8 percent!
In absolute terms it was rather less spectacular, increasing from 0.3 billion yen to 1.8 billion yen. Still, 1.8 billion yen is equivalent to about US$16.6 million.
LNG carriers, large crude oil tankers, LPG carriers and thermal coal carriers experienced "firm" business because of their mid- and long-term charter contracts.
"The overall transportation business recorded year-on-year increase in both revenue and profit," the company said.
Product logistics
The word "product" in the maritime world usually means "products of oil" e.g. gasoline. However, like the other Japanese carriers, K-Line uses the word "product" to mean general cargo of various kinds. K-Line also puts it car carrying business in this segment.
Revenues in the product logistics segment fell by 17.1 percent, reducing by 20.4 billion yen to 98.7 billion yen in the three months to the end of June this year. But the segment experienced a large 18.6 billion yen turnaround from loss to profit. K-Line's first quarter 2019 product logistics segment recorded a 1.8 billion yen profit.
Product logistics (A): automotive carriage
The volume of shipped finished vehicles declined in several regions, including South America, but stable cargo movements were "maintained" in the trades from the Far East. K-Line carried a total of 913,000 units.
There was also a "rationalization and realignment" of unprofitable trades.
K-Line's car carrying business recorded a year-on-year increase in revenues and generated a profit for the company, K-Line said.
Looking forward, it is potentially a bit of a mixed bag for the car carrying business. K-Line notes that there is growing uncertainty over finished vehicle sales markets because of U.S. tariffs and the U.K.'s "planned" withdrawal from the European Union. But, more immediately, the company is optimistic that earnings will improve due to improvements in ship allocation and operational efficiency through a realignment of the car carrying trade.
K-Line expects to increase the number of vehicle units to be handled to expand to between 2.45 million to 2.56 million in the full financial year.
Product logistics (B): other
K-Line commented that in the domestic logistics sector, business performance "remained steady" due to towage, sea-land integrated transport and warehousing.
International logistics did not fare as well; intra-Asia cargo and air cargo volumes declined due to reduced demand. And the trade war between the U.S. and China did not help matters either, helping to drive down cargoes.
As a result, the overall logistics business recorded a year-on-year decline in revenue and profit.
Looking forward, K-Line expects continued stable earnings in the domestic logistics sector in towage, sea-land integrated transport and warehousing. And, despite the U.S.-China trade dispute, K-Line expects demand for North America will remain "robust" with southeast Asia and Central America being used as "alternative exporting areas."
Containerships
K-Line is an investor and participant in the Ocean Network Express, or ONE. Details regarding ONE are not covered in this article because FreightWaves reporter Mike Angell has provided an in-depth report on that company's results. However, in short, K-Line said that ONE had achieved freight rate increases in long-term contracts in North America services and had experienced steady liftings. But, it added, there was a decrease in rates in Europe-dominated services.
"As a result, ONE overall recorded a year-on-year increase in revenue and turned a profit," K-Line said.
Overall, in conclusion, the company commented that, "although the forecasts of full-year results are expected to be recovered into profit, we consider it an urgent management priority to improve our financial strength and stabilize our business foundation."
K-Line operates 489 vessels with a combined deadweight tonnage of 40,942,690 deadweight tons. Deadweight is a measure of the carrying capacity of an ocean going ship and it is measured in metric tonnes. One metric tonne is equivalent to 2,204.6 U.S. pounds.
The company operates 199 dry bulk carriers, 27 thermal coal carriers, 48 liquefied natural gas carriers, 20 oil tankers, 85 car carriers, 47 box ship and numerous other vessels such as offshore support craft, short sea and coastal ships.
K-Line celebrated 100 years of history in April 2019. Today, the company is active around the world and has just over 6,000 employees globally.
K Line Maritime maritime cargo maritime freight maritime industry maritime news maritime shipping ocean cargo ocean carriers ocean freight Ocean Network Express Ocean shipping
Fires on the Ocean
What is the global container index?


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"Colossal" at the Olney Theatre Center in 2014. Pictured: Joseph Carlson, Michael Patrick Thornton, Samm Faria, James Whalen, KenYatta Rogers, and Jeff Kirkman III. (Photo by Stan Barouh)
Access and Ability | Education | Feature | November 2015 October 20, 2015 Allison Considine	1 Comment
Theatre Artists With Disabilities Are Ready, Willing, and, Yes, Able
Obviously theatres should give priority to disabled actors in roles defined as disabled. The next step: to consider them for all roles.
By Allison Considine
In 1920, Helen Keller traveled the Orpheum Circuit and was able to tell her story the way that Hollywood wouldn't. She, along with many performers with disabilities, found her voice on vaudeville and in sideshows.
But some time within the last century, the prospect of watching performers with rare traits in sideshows turned from an awe-inspiring experience to something associated with exploitation and fear.
"There was a time when people with unique disabilities could make a living because of their disability," says Howard Sherman, senior strategy consultant for the Alliance for Inclusion in the Arts. "But the idea of looking at people with disabilities became socially unacceptable."
Social stigmas surrounding people with disabilities—both the gawkers' fascination and the looking away of "polite" society—have persisted long past the days of the side show. These days, when disability is depicted onstage, it is very often positioned within a stereotypical narrative of uplift and courage, and roles in such projects are still too rarely even offered to actors with disabilities.
While many theatres strive to promote ethnic diversity in casting and aim for gender equity in the hiring of playwrights and directors, the largest minority group in the country is still mostly left out of the picture. One in five Americans identifies as having a disability, and performers with cognitive, mobile, and physical disabilities span all ethnic groups, gender identifications, and age groups. So where are their stories, and who gets to perform them onstage?
This year marks the 25th anniversary of the Americans with Disabilities Act, and the occasion has ignited celebrations as well as spurred conversations about how far we've really come in terms of providing access and acceptance. The status of performers with disabilities can be a contentious topic in the theatre—ostensibly a place where empathy for unique life stories should live and thrive, but which in many cases falls short of embracing the full range of human experience.
"I think we know that the playing field is not fair," says Michael Patrick Thornton, actor and artistic director of the Gift Theatre in Chicago. (Thornton uses a wheelchair.) "However, I feel like the purpose of the arts is for us to try to understand each other a little bit more as human beings and to try to increase empathy."
It's not as if stories about people with disabilities are rare: The past two seasons on Broadway showcased seven productions featuring disabled characters; none of them were played by actors with disabilities. And while the Great White Way is just one slice of the landscape of the American theatre, the casting of these commercial productions—many of which typically get their start at nonprofits—is emblematic of the country as a whole. Which is why Deaf West's production of Spring Awakening on Broadway this season, featuring a large cast of Deaf actors, can be seen as a giant leap in the right direction. The production is also a harsh reminder that the inclusion of Deaf or disabled actors onstage has been sorely lacking.
Deaf West's revival of Spring Awakening adds a new layer to Steven Sater and Duncan Sheik's coming-of-rage musical, based on Frank Wedekind's 1891 play about repressed German teenagers struggling to communicate with their elders. In director Michael Arden's conception, Deaf and hearing actors perform alongside each other using American Sign Language, and Arden has designated the characters played by Deaf actors, such as Wendla and Moritz, as Deaf.
"Spring Awakening" featuring Katie Boek and Sandra Mae Frank. (Photo by Joan Marcus)
"People are responding because we are telling the story through nontraditional means, and that makes the audience pay attention a little bit closer," says Arden.
The ensemble also includes Ali Stroker, by all accounts the first actor who uses a wheelchair to be cast in a Broadway show. "That is a pretty stark fact," says casting director David Caparelliotis, a member of the Casting Society of America's Diversity Committee. "That needs to be the starting point from which we are now saying, 'That can't be anymore.'"
This past spring, New York City's Apothetae theatre organized a national convening of theatres to discuss issues facing disabled artists. Minneapolis's Mixed Blood Theatre recently created a list of plays about the disabled experience, and in September, the newly formed CSA Diversity Committee and the Alliance for Inclusion in the Arts held a forum for artists and casting directors to discuss how to work toward the goal of access, inclusion, and better representation onstage.
"One-fifth of American society has a disability, so what we must focus on is a) representing that in the stories that are told, and b) making sure people with disabilities have the equal opportunity to be part of telling those stories," explains Sherman.
Obviously, representation onstage is crucial to how people perceive any underrepresented group. "Historically, disability has been invisible, set aside, and not wanted to be looked at in our culture," says Gregg Mozgala, Apothetae's artistic director. His company works with the Lark Play Development Center to commission plays highlighting disability issues. "My background is as an actor," adds Mozgala, who has cerebral palsy. "There were no real satisfying narratives that reflected my experience as a disabled American that didn't fall into the usual tropes of inspiration or overcoming adversity."
That Uppity Theatre Company of Saint Louis, Mo., brings artists with disabilities together to share their own personal stories in front of audiences with the DisAbility Project. "It excites me to create material that is driven by their concerns," says artistic director Joan Lipkin. "We examine issues that are significant to the people in the group."
Theater Breaking Through Barriers in New York City is also committed to producing work about the disabled experience, and its "Power Plays" initiative commissions playwrights to create stories about disabilities. Neil LaBute, John Guare, David Henry Hwang, Bekah Brunstetter, and Bruce Graham all wrote 10-minute plays for TBTB's 2014 program.
Samuel D. Hunter's "Good Beer" in the Still More of Our Parts Festival with Theatre Breaking Through Barriers in 2013. Pictured: David Harrell and Shannon De Video. (Photo by Carol Rosegg)
Mixed Blood Theatre, with the help of a TCG A-ha! grant, has created the Disability Visibility project and solicited 40 people to recommend plays featuring characters with disabilities or with related theme and content. Mixed Blood has committed to subsidize three productions of these plays for theatre companies that employ actors with disabilities to play the roles of the disabled characters.
"I do hope that this is the first pebble in the water that ripples out to become an overall transformation of the regional theatre movement and its relationship with artists with disabilities," says artistic director Jack Reuler. Fifteen years ago, Reuler visited Interact Center for the Visual and Performing Arts, a theatre in St. Paul, Minn., dedicated to artists with disabilities, and realized he had been remiss on that aspect of inclusion at his own theatre. With the Disability Visibility project, he hopes to encourage other theatres to join the effort.
Aditi Kapil, playwright-in-residence at Mixed Blood and author of Love Person, read through all of the submissions. "We hit every possible genre, every possible theatrical style—there is something for everyone," says Kapil. She will be directing Love Person—a four-person chamber play about love and communication told via ASL, Sanskrit, and English—at Park Square Theatre in St. Paul next year. "I wanted to create something that was purely bilingual, so that at no point you are looking off to the side for your access," explains Kapil. "The access is part of the play; it's not called access, it's called art."
Who Gets the Call
But even when stories about disabilities make their way into the limelight, actors with disabilities do not always have access to the roles. Shouldn't they? This is a fraught debate, even among members of the community of disabled artists. Advocates differ on whether nondisabled actors should ever portray characters that are defined as being disabled, or whether it's acceptable some of the time—or whether it varies according to the role's demands and the type of disability.
"Theatre companies don't want to work with disabled actors; they would rather hire an able-bodied actor to play disabled," says Nicholas Viselli, artistic director of TBTB. Instead, Viselli says, "They might hire a disabled person to show that actor how to play disabled," a practice he calls "wrong on all levels."
"The Unexpected Guest" at Theatre Breaking Through Barriers. Pictured: Pamela Sabaugh, Scott Barton, Melanie Boland, Ann Marie Morelli, Lawrence Merritt, and David Rosar Stearns. (Photo by Carol Rosegg)
But Thornton, a paralyzed actor, rallies for a level playing field for all actors. "Just because I can't play Lance Armstrong in the biopic doesn't mean that I across-the-board believe that only disabled actors should play disabled roles," he says, noting that such a rule would deprive the world of great performances by Daniel Day-Lewis and Dustin Hoffman, among others. "A hardline ideology doesn't get us anywhere."
Whether or not an actor with a disability should be the only choice to play a disabled character, everyone agrees that performers with disabilities should at least get a fair opportunity to audition for the part.
"Something people don't think about a lot is that most actors with disabilities don't even get the opportunity to play themselves," says Christine Bruno, actor and disability advocate for the Alliance for Inclusion in the Arts. "In our community we use the term 'cripface'—playing disability is akin to blackface. If you present it that way, people get the comparison."
Casting directors often receive the brunt of the criticism, but the issue lies outside of the audition room. The trouble is deep in the infrastructure and processes that go into mounting a production.
"A lot of that contentiousness is misdirected," says casting director Joy Dewing, who is also on the CSA Diversity Committee. "It is very frustrating for us to be on the other side and be the scapegoat" when nondisabled actors are cast as disabled characters. "We are bringing in as many actors we can find who have that disability. At the end of the day, the producer is going to hire the person who will sell tickets; it's not our decision."
Indeed, many theatre companies find that authentically casting plays is much easier said than done. For a production of The Miracle Worker at the Coterie Theatre in Kansas City, Mo., for instance, the theatre hoped to cast the role of Helen Keller with a blind actor, but it didn't work out. The theatre sought out a local girl, a Braille Challenge champion, and enlisted her in acting classes months before auditions. "It was a disappointment to me that after our classes, we felt she wasn't ready for that role," says producing artistic director Jeff Church. "It is a very difficult piece of physical theatre. I didn't want it to be unsafe for her or the title actress—you don't realize how complicated it is until you get right in the middle of it."
"The Miracle Worker" at The Coterie Theatre. Pictured: Juliana Ladd, Vanessa Severo, Jennifer Mays, Josephine Pellow, Walter Coppage, Lisa Lehnen, and Dianne Yvette. (Photo by J. Robert Schraeder)
The young girl is continuing to take acting classes, and the Coterie is forging ahead with efforts both to be more accessible to audiences and to provide outreach to more disabled performers. But Viselli of TBTB says that after working with both actors with disabilities and nondisabled actors for many years, there should be no qualitative difference. "Every artist has their own individual needs," he says. "Once you are aware of what an individual's needs are, you work with them."
Salt Lake City Acting Company asked for recommendations of Deaf actors and hired an interpreter for auditions for a production of Nina Raine's Tribes. No one showed up, they say, so the company cast a hearing actor in the role of Billy, a deaf boy raised to read lips in a hearing family. But after attending diversity and inclusion workshops at the TCG conference and speaking with the Deaf community in Salt Lake City, the theatre changed course a week before rehearsals began. "I am really surprised that I didn't know this before," says executive artistic director Cynthia Fleming. "It just really feels that it is impossible not to listen to the very community this play is striving to give a voice to, and I hope that more hearing people's thinking expands like mine has." The company ended up finding a deaf actor from New York, Stephen Drabicki, who played the part in the October production.
Andrew Hinderaker's Colossal has been making its way to theatres across the country, and will next appear at San Francisco Playhouse and Southern Rep Theatre in New Orleans this season. The play requires fight captions, a drum line, dancing football players, and a special caveat: The quadriplegic character must be played by a disabled actor. "There is a big pool of artists with disabilities that we don't often know about because they are never asked, and they are never included," says Hinderaker. "So I think what has been a by-product of Colossal is that we are starting to generate lists of artists with disabilities who are immensely talented and are on people's radar for roles that do or do not intersect with disability."
Hinderaker wrote the role of the quadriplegic football player for Thornton, who played it in the play's premiere at Olney Theatre Center in Maryland. Still, Thornton says he would be "fine" with a nondisabled actor in the role, "if the actor really digs in and they are visiting the local rehab place. Are they going to really approximate what it is to be disabled? No, but in their own way, perhaps they will emerge from that a little more empathetic. That's okay with me."
"The Curious Incident of the Dog in the Night-Time" featuring Andrew Long and Tyler Lea. (Photo by Joan Marcus)
The Curious Incident of the Dog in the Night-Time on Broadway has received criticism from autistic activists for casting a nonautistic performer, Alex Sharp (who won a Tony), as Christopher, an extraordinary boy represented as being on the autism spectrum. (His replacement, Tyler Lea, is also nonautistic.) Others in the autism community, though, have embraced the production, which, through lighting and set design, creatively invites audiences inside the character's math-obsessed mind. By working with Quality Services for the Autism Community, associate director Benjamin Endsley Klein says he's been careful to present Christopher accurately. For many families with children with autism, Curious Incident counts as the first time their own experiences have been reflected onstage. Theatre Development Fund cosponsored an autism-friendly performance earlier this year for autistic children and their families.
"It was incredibly emotional—we were all in puddles by the end of it," says Klein. "It was definitely the highlight of our year, and we are looking forward to doing it again."
When Ability Is Not the Point
Perhaps the best way to change the perception of normalcy in theatre is to cast actors with disabilities in roles not defined as being disabled. For his part, Thornton says he tries to steer away from playing only roles about the disabled experience, which he calls "empathetic tourism." Audience members are affected by the disability onstage, he says, but they leave the theatre and don't do anything about it.
"It is relegated to a sort of suburb of normalcy, as opposed to folded in and wet-wired into the main geography of what we consider normal," says Thornton. He's much happier with a role like the lead in Will Eno's Title and Deed, which he played at the Lookingglass Theatre in Chicago earlier this year. Eno doesn't define the character's ability status at all; he is merely described as a "foreigner."
TBTB has an ensemble of disabled and nondisabled actors, and produces some plays that are unrelated to disability. Their latest show, Agatha Christie's The Unexpected Guest, for instance, featured blind performers, amputees, an actor using a wheelchair, and an actor using a cane in traditionally nondisabled roles.
And Nicu's Spoon Theater, an NYC company dedicated to disabled artists, mounted Richard III in September. Their production imagines "a whole new society where [Richard III] is 'perfect' in a disabled world, and every character in the play is disabled except for Richard III," says artistic director Stephanie Barton-Farcas.
The cast of Nicu's Sppon Theatre's production of "Richard III." Pictured: Jessica Levesque, Guy Ventoliere, Estelle Olivia, Perri Yanniv, Stephanie Gould, and Joe Genera.
(Photo by Colette J. Panetta)
Larger theatres have also embraced this mandate. After putting out a call for disabled performers, Goodman Theatre just cast Anita Hollander, an amputee, in Thornton Wilder's The Matchmaker, a 1955 romantic farce that doesn't define any roles as being disabled.
Oregon Shakespeare Festival in Ashland, Ore., has been a leader in integrating actors with disabilities into their company, regardless of what type of actor a role calls for.
"We have been working to reflect the entirety of the U.S. in the stories we chose and the human beings we choose to embody those stories," says associate producer Claudia Alick. "In the past eight years, we actually haven't had a season that had a script in it that demanded somebody who led with an identity of disability." But in its current season, OSF actor Regan Linton appeared in both Secret Love in Peach Blossom Land and Much Ado About Nothing. Linton's use of a wheelchair became a trait of her character Don John in Much Ado—Linton's nondisabled understudy even had to learn to use a wheelchair for the part.
"Much Ado About Nothing" at Oregon Shakespeare Festival. Pictured: Regan Linton and Barret O'Brien. (Photo by Jenny Graham)
Bringing traits of the actors—whether a visible tool for independence, like a cane or a wheelchair, or a physical disability—into a play that is not about disability may be the most game-changing insight into what actors with disabilities are really capable of onstage.
"It is my hope that people will get a chance to see these fantastic actors who might not have the opportunity to be cast in certain roles," says Spring Awakening director Arden. "Someone might come and see this and change their mind about what is traditional, and that roles can be played by just about anyone."
What's the Game Plan?
So the conversations are happening. What's next? On Sept. 21, the Alliance for Inclusion in the Arts and the CSA diversity committee gathered representatives of Actor's Equity and SAG-AFTRA, 60 artists with disabilities, and 30 casting directors to discuss plans for creating a more level and accessible playing field. "Even though the actors came in with their frustrations, there was such a positive tone in that room," says casting director Rosalie Joseph. "There was no division, and I feel really good about that; it was all about building."
Going forward, the diversity committee will be conducting free workshops and classes for actors with disabilities. "We really want to do what we can to help arm them with the techniques that come with auditioning more regularly," says casting director Caparelliotis.
Some members of the disability community are concerned that this "moment" for disabled artists will pass (as others have before), and that the processes and infrastructures of U.S. theatre will remain closed them. But in addition to providing training for actors with disabilities and educating directors and producers about inclusivity, the casting directors on the CSA committee have pledged to be consistent in these new practices moving forward.
The bottom line: American theatres—whether they have been practicing inclusive casting for decades or are just adapting their performance spaces to be more accessible—are being challenged to not only consider a canon of work representing a growing population, but policies that regularly get members of that population into the audition room, as well.
The causes of representation and access are intertwined, finally. Stories featuring disabled characters and productions featuring disabled performers—often but not always the same thing—can have a huge impact on today's audiences, and possibly tomorrow's theatremakers. Every actor can recall the play they saw, usually at a young age, which resonated with them: The character or the story struck a chord of recognition, and suddenly they felt the need to hop onstage themselves. The untapped pool of talented young people with disabilities, who have too few role models to look up to, need to see those stories, those characters, and those actors onstage.
"People go to the theatre so they can look onstage and say, 'Hey, that's me up there,' and catch a glimpse of their own lives in front of them," says Arden.
During a question-and-answer session after an autism-friendly performance of Curious Incident, a little girl asked if she could go onstage and sing a song from West Side Story. "She had just been at the theatre all day and you could see in her eyes that she wanted to come on up," says associate director Klein. "We have cops in the show, and she sang 'Gee, Officer Krupke' and did some choreography. There is a definite sense from people watching the show that theatre is a fun, wonderful environment and they want to be a part of it."
Alliance for Inclusion in the ArtsApothetaeCoterie TheatreDeaf WestDeaf West TheatredisabilityGoodman TheatreInteract Center for the Visual and Performing ArtsLark Play Development CenterMixed Blood TheatreNicu's Spoon TheaterOlney Theatre CenterOregon Shakespeare FestivalPark Square TheatreSalt Lake Acting CompanySan Francisco PlayhouseShowcaseSouthern Rep TheatreThe Gift TheatreTheater Breaking Through BarriersTheatre Development Fund
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We should all be pretty well-lit by now. Executives and practitioners alike are buzzing about how to bring their companies into the digital age. What? Your company's not considered a "digital native?" You've probably got more than your fair share of opportunities then.
Far too many IT leaders never achieve the balance [between operations and innovation], ceding to tired expectations that they'll keep employees happy and systems humming. As with anyone who's struggled with shedding a few pounds, the self-talk focuses on what will happen once the weight has been shed. 'Once I lose the weight, I'll get back to the beach," we reassure ourselves.
In digital-speak, this sounds like: 'Once I [sunset the mainframe / outsource the billing system / get the new inventory system into production / hire a data scientist] we can start innovating.' But new temptations get in the way, and we fall off the wagon. We may actually gain a few pounds, putting us even farther away from the beach.
Driving a digital strategy mandates change. The one key reliable incentive to get off the couch and onto the digital treadmill is the success of a competitor.
Of course, there are other reasons to go digital besides competitive leapfrogging. Faster time to market, greater economies of scale, and an improved customer experience are only a few of them. All the more reason that the pressure is mounting for executives to start somewhere.
Does "digital" automatically imply "enterprise?" Can lines of business deploy their own digital functions?
Is there a "playbook" for digital? What does it look like?
Our board is intermingling the terms "digital" and "innovation." How does digital impact innovation, and vice versa?
What is the impact of analytics and data on digital?
How do we know if we really need a Chief Digital Officer?
Should I lobby for the role of Chief Digital Officer?
We have many different opportunities to leverage digital capabilities. How do we know where to start?
Are there any lessons learned that you could share? We don't want to repeat the mistakes of others.
Of course, you could answer any and all of these questions with, "It depends on your corporate culture." (I used to be a management consultant and threw around that response with abandon.) Realistically though, every company faces its own challenges deploying digital.
By letting business strategy drive digital initiatives, the company can avoid wholesale changes to its vocabulary and ensure that the business continues to own its own initiatives and measures. At the same time, IT organizations can position themselves as digitally savvy and distinctly valuable.
Strategy maps can be deconstructed down to specific conversations about talent, data, and new technologies that can help deliver digital programs. Of course, your mileage will vary.
How far along are you on your digital journey?
How directly is IT involved in that journey?
How did you / will you make the pitch?
Is digital a centralized or disparate effort?
Is there a formal or de facto digital leader? If so, does he or she have the accompanying title?
Is there an awareness of the role that analytics will play in digital enablement?
Is there an awareness of the role that data will play in digital enablement?
Are you coupling or planning to couple digital with innovation?
What is your CEO's and/or board's involvement with new digital capabilities?
If you have indeed already delivered on the digital promise, what does the payoff look like?


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Jessica G
What is the difference between a process, a container, and a VM?
Many people ask "What is the difference between a VM and a container?", but in my opinion a more interesting question is …
"What is the difference between a process and a container?"
When containers started gaining popularity back in 2013, it was common to hear "Containers are like mini VMs". This statement made sense because people where using containers instead of VMs, but in my opinion a more technically appropriate statement would be to say that a container is a process.
This post will describe what a process is, what a container is, and also what a VM is. Then go on to compare the three.
In reality, a container is like a VM and also not like a VM. It just depends on what you are evaluating.
Here we evaluate two different things to display this:
What problem does each technology solve; how does the end user/end system interact with it. This addresses how "containers are like a VM".
How the implementation of the technology differs. Mainly looking deeper into how each technology is isolated from the operating system. This addresses how "containers are not like a VM".
The following sections of this post include:
What is a process, why do we need them.
What is a container, what are they used for.
What is a virtual machine, what are their use cases.
Compare a process to a container to a virtual machine.
What is a process?
A process represents a running program; it is an instance of an executing program. A process consists of memory and a set of data structures. The kernel uses these data structures to store important information about the state of the program.
What problem is a process solving? Why do we need them?
The CPU can only execute one program at a time, therefore it must share the CPU with many programs and task switch between them. The CPU needs to remember where it left off in the execution of the program (among other things). The process is the abstraction that stores that state of the running program.
Isolation for a process
By default a process has pretty minimal isolation from the operating system resources. For example, you can easily get an error if you try to run multiple services on the same port. There are two main things that are isolated by default for processes:
A process gets its own memory space.
A process has restricted privileges. A process gets the same privileges as the user that created the process.
There are a bunch of definitions of what a container is.
Nigel Poulton's definition is an "Isolated area of an OS with resource limits usage applied."
The Wikipedia's definition says "containers is a generic term for an operating system level virtualization. … There are a number of such implementations including Docker, lxc, and rkt."
In the Unix/Linux System Admin book they describe a container to be an isolated group of processes that are restricted to a private root filesystem and process namespace.
My personal definition of a container is a group of processes with some cool kernel features sprinkled on top that allow the processes to pretend that they're running on their own separate machine. While the host machine knows that the container is actually a process, the container thinks that it is a separate machine. These awesome kernel features that make this possible are:
namespaces = Namespaces are the feature that make the container look and feel like it is an entirely separate machine.
cgroups = A way to group processes together in the kernel and limit resources for that grouping. These were developed at Google in 2006 and were first called "process containers".
capabilities = A list of the superuser privileges that can be enabled or disabled for a process.
My favorite kernel features are the namespaces. There are 7 different linux namespaces, each for a different resource. The Linux man page has a great description for a namespace:
A namespace wraps a global system resource in an abstraction that makes it appear to the processes within the namespace that they have their own isolated instance of the global resource.
Namespaces are my favorite because they allow the container to have the look and feel of being their own separate machine. The 7 different types of namespaces relate to 7 different resources that get their own isolated instance in a container:
cgroups — isolates the root directory
IPC — isolates interprocess communication
Network — isolates the network stack
Mount — isolates mount points
PID — isolates process IDs
User — isolates User and Group IDs
UTS — isolates hostnames and domain names
If you want to get a deeper explanation of this content, I highly recommend watching the "What is a Container?" section on Wes Higbee's course Containers and Images: The Big Picture.
What problem is a container solving?
Containers allow many applications to run on one server, but is a pseudo-isolated environment. The container is pretending to be its own operating system. It can run a group of processes in, what it thinks is, an isolated environment. Since the container runs on the same OS as the host machine, the container has less resource overhead than say a VM.
As a recap, to create a container, cgroups are used to group together processes into namespaces. The cgroups limits what resources (i.e CPU, memory) are available to the group. While namespaces create isolated instances of seven different resources (i.e. network stack, hostname, mounts, etc) giving the container the impression its a separate operating system.
What is a virtual machine (VM)?
A "virtual machine" was originally defined by Popek and Goldberg as "an efficient, isolated duplicate of a real computer machine." VMs are a type of server virtualization. When talking about VMs there are a few important parts: 1) the hypervisor and 2) the actual VM (aka Guest OS). The hypervisor is the software that runs the VMs. It provides a layer of abstraction between the hardware and the VM allowing for more portability and better use of the host's hardware resources.
What problem is a VM solving?
VMs make it possible to run many different types of operating system instances on a single machine. Additionally, VMs make it possible to run multiple applications on one server in a safe and secure manner making more efficient use of the computer's physical resources. Virtualization makes it possible to convert the physical hardware into a shareable form. Back in the day before VMs, businesses typically ran one application per server. This meant there would often be tons of idle CPU on these server, over 90% idle sometimes! The VM technology made it possible to run many VMs and therefor many applications and reduce unused system resources.
VM Isolation
A VM has full isolation from the host's operating system, it only shares the hardware. This level of isolation is much more isolated than processes and containers, since both of those rely on the host OS. Keep in mind that this full isolation comes with a tradeoff, it uses more resources to do so. So it is more isolated, more secure, but uses more of the host's resources to run it's own OS.
If you want a great explanation of this, I highly recommend the "What are Containers?" section on Nigel Poulton's course Docker Containers — The Big Picture.
Process vs Container vs VM
If we are evaluating the technology implementation, it seems more appropriate to say a container is more like a process than a VM.
However if we are talking about the use case and how an end user interacts with the product, a container is more like a VM solving the same problem of providing an isolated environments to run many applications on one server.
Looking through the lens of how the technology is implemented, the level of isolation from the host system is the main aspect to evaluate:
Processes have little default isolation at the operating system (OS) level, mainly they only have isolated memory space and user privileges.
A container is a process (or a groups of processes), but with more isolation from the OS than your run-of-the-mill process. BUT with less isolation than a VM, which comes with the tradeoff of less security.
Virtual Machines have full isolation at the OS level, meaning they create a complete new operating system on top of the host's hardware. The full isolation comes at the tradeoff of more resource usage to run a VM.
Looking through the lens of what problem the technology is solving, how the end user/end system interacts with the technology is good to evaluate:
Process: CPU needs a construct to store state about running programs, that is what a process is.
Containers: Create isolated environments to run applications.
VMs: Provides a way to run different operating systems on the same host machine and in turn run many applications in fully isolated environments.
So it turns out a container is similar to a process, similar to a VM, but also not similar to a process and a VM, it depends on what you are looking at.
UNIX and Linux System Administration Handbook (5th Edition).
Wes Higbee's course: Containers and Images: The Big Picture .
The Linux man pages: namespaces, cgroups, and capabilities.
Linux Programming Interface book.
Nigel Poulton's course: The Big Picture and Docker Deep Dive.
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Yes and it's not an April Fool post. It's October, for god's sake.
This morning, David Musgrave announced his departure from Microsoft officially to all of us and reasons behind this move. Sad to see Microsoft's recent strategies that includes (but not limited to) removing Dynamics GP certifications, laying off 14% of total workforce, etc.
Good News: he has relaunched Winthrop Development Consultants, which was earlier Winthrop Dexterity Consultants. He is staying with Dynamics GP community. We will continue to see his blog posts on GP development on his new blog address: Winthrop Development Consultants Blog.
David, in my humble opinion, it's good this way. And it is most certainly a huge and irreparable loss to Microsoft. Welcome back to the world outside Microsoft.
If there is one thing that cannot be changed by anyone or anything: you will always be my foremost inspiration.
Wish you all the best…!


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Southern Kentucky Reentry Council
Helping the Justice Involved Population
Fundraiser at Freddy's
Come join us for a burger and support our council.
2940 Scottsville Road
Quarterly Partnership Meetings
We have open member partnership information meetings to keep everyone up to date on what the Council is doing and hearing what is going on with our partners in their communities.
These meetings will be held via ZOOM, to allow more people to attend. Ask a member of the council for the link, or send us a message if you need the link.
These meetings are open to the public and bring a friend.
Our Monthly Board meeting location :
The Warren County Regional Jail
C/O The Southern Kentucky Reentry Council
11:00 am – 12:33 pm, December 14, 2022 – SKYRC Annual Luncheon - Rafferty's Restaurant
10:00 am – 11:00 am, January 11, 2023 – SKYRC Board Meeting- Hybrid (Zoom Meeting)
11:00 am – 12:00 pm, January 26, 2023 – SKYRC - Partnership Meeting (Barrier Transportation)
10:00 am – 11:00 am, February 8, 2023 – SKYRC Board Meeting- Hybrid (Zoom Meeting)
10:00 am – 11:00 am, March 8, 2023 – SKYRC Board Meeting- Hybrid (Zoom Meeting)
10:00 am – 11:00 am, April 12, 2023 – SKYRC Board Meeting- Hybrid (Zoom Meeting)