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Home / News / Green Bay Packers get heat for grant to Planned Parenthood
Green Bay Packers get heat for grant to Planned Parenthood
The Green Bay Packers are wrapping up a successful football season and heading toward the playoffs. Off the field, however, the team also is being criticized for donating to Planned Parenthood.
The Green Bay Packers Foundation recently released the names of its annual grant fund recipients earlier this month, which included the abortion provider.
"The Packers foundation made a record-setting $2.05 million in donations to organizations, most of which are non-controversial charities that help with 'the need areas of animal welfare, civic and community, environmental, health and wellness including drug/alcohol and domestic violence causes.'"
READ: Planned Parenthood withdraws from X after Trump policy
In announcing the grants, the foundation stated, "This year's grant cycle focused on organizations that will direct the funds toward the need areas of animal welfare, civic and community, environmental, health and wellness including drug/alcohol and domestic violence causes. In 2020, the focus areas will be elderly, homelessness, human services and hunger causes."
The foundation, which was started in 1986 by Judge Robert J. Parins, stated its mission was to "support charities possessing one or more of the following goals: perpetuates a community environment that promotes families and the competitive value of athletics; contributes to player and fan welfare; ensures the safety and education of children; and/or prevents cruelty to animals."
Pro-Life Wisconsin said the donation to Planned Parenthood of Wisconsin "directly contradicts this mission," adding, "If the foundation truly wanted to promote families and ensure the safety of children, they would not be financially investing in an organization that violently destroys children's lives each and every day. Any perceived benefit Planned Parenthood provides to society is wiped out every time they kill a baby, which in their case is 4,639 times a year in Wisconsin alone. In just one day, they wipe out the approximate equivalent of an entire football team."
–Alan Goforth | Metro Voice
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Previous: New book is about the 'Characters of Christmas'
Next: MSNBC laments huge number of Trump's conservative judges
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Access+Ability Nelson-Atkins 4525 Oak Street, Kansas City, MO
19OctAll Day09FebAccess+Ability(All Day) Nelson-Atkins, 4525 Oak Street, Kansas City, MO
October 19 (Saturday) - February 9 (Sunday)
Nelson-Atkins
4525 Oak Street, Kansas City, MO
Access+Ability features over 70 user-centered and inclusive designs developed in the last decade—from low-tech products that assist with daily routines to sensors that stabilize tremors associated with Parkinson's disease. Fueled
Access+Ability features over 70 user-centered and inclusive designs developed in the last decade—from low-tech products that assist with daily routines to sensors that stabilize tremors associated with Parkinson's disease.
Fueled by demand, as well as advances in research and technology, a proliferation of functional, life-enhancing products is creating unprecedented access. Visitors will find innovations increasing the potential for all people to access the world.
Queen Nefertari: Eternal Egypt Nelson-Atkins 4525 Oak Street, Kansas City, MO
15NovAll Day29MarQueen Nefertari: Eternal Egypt(All Day) Nelson-Atkins, 4525 Oak Street, Kansas City, MO
November 15 (Friday) - March 29 (Sunday)
Queen Nefertari, the beloved Great Royal Wife of the Pharaoh Ramesses II, will be celebrated in the exhibition Queen Nefertari: Eternal Egypt, on view at The Nelson-Atkins Museum of Art
Queen Nefertari, the beloved Great Royal Wife of the Pharaoh Ramesses II, will be celebrated in the exhibition Queen Nefertari: Eternal Egypt, on view at The Nelson-Atkins Museum of Art from November 15, 2019 to March 29, 2020. Drawn from the Museo Egizio in Turin, Italy, the exhibition will bring together 230 works of art that present the richness of life in ancient Egypt from more than 3,000 years ago, focusing on the role of women – goddesses, queens, and artisans.
The White Rose: We Defied Hitler Coterie Theatre 2450 Grand Blvd. in Kansas City, MO.
21JanAll Day09FebThe White Rose: We Defied Hitler(All Day) Coterie Theatre, 2450 Grand Blvd. in Kansas City, MO.
January 21 (Tuesday) - February 9 (Sunday)
2450 Grand Blvd. in Kansas City, MO.
Based on real events, a challenging new work that examines the role of ordinary people in extraordinary times. This gripping and intriguing play tells the true story of Sophie Scholl,
Based on real events, a challenging new work that examines the role of ordinary people in extraordinary times. This gripping and intriguing play tells the true story of Sophie Scholl, a German college student who led an act of public resistance to the Nazis during the Second World War. Produced in partnership with Midwest Center for Holocaust Education. Families with 12 +. Various performances. 816.474.6552
Through Soviet Jewish Eyes: Photography, War, and the Holocaust Regnier Hall KU Edwards Campus 12610 Quivira Road Overland Park, KS 66213
30Jan7:00 pm8:30 pmThrough Soviet Jewish Eyes: Photography, War, and the Holocaust 7:00 pm - 8:30 pm Regnier Hall KU Edwards Campus, 12610 Quivira Road Overland Park, KS 66213
Regnier Hall KU Edwards Campus
12610 Quivira Road Overland Park, KS 66213
In Honor of International Holocaust Remembrance Day 1942, 5 Jewish photographers working for the Soviet press became the first liberators
In Honor of International Holocaust Remembrance Day
1942, 5 Jewish photographers working for the Soviet press became the first liberators to photograph the Holocaust. What pictures did they take as journalists for the 'other ally'? Why were Jewish photographers documenting the war and the Holocaust in the first place? Together, we will uncover the lost history of the first liberator photographers of World War II.
Dr. Shneer is the Louis P. Singer Endowed Chair in Jewish History, Chair of the Department of Religious Studies, and Professor of History, Religious Studies and Jewish Studies at the University of Colorado Boulder.
Complimentary reservations are available by calling 913-327-8196 or emailing rsvp@mchekc.org. This program is presented in partnership with KU Jewish Studies, and supported by donations to MCHE's 25th Anniversary Fund the Future Campaign.
Through Soviet Jewish Eyes: Photography, War, and the Holocaust. David Shneer – International Holocaust Remembrance Day
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This New Cafe In Mumbai Serves You Coffee With Your Face On It!
Two things millennials can absolutely agree on is our love for coffees and selfies - filtered or otherwise.
While coffee keeps us going all day long, may it be through a Monday morning presentation or endless gossip sessions with our girl gang at the nearest cafe, selfies commemorate milestones and give us memories to cherish for life.
It doesn't matter if you're a 20-something social media manager at a snazzy startup company, or a 16-year old teen aimlessly scrolling through your Instagram feed - you have been, and will continue to be, a part of the generation that loves to take selfies. At birthday parties, at weddings, in cinema halls, at work, in school, in your bathroom, in cars, planes, and trains, and nearly every other location you could think of, you've either taken one or have featured in one that's taken by someone else.
What if we told you that you could combine your love for caffeine and selfies into one drink that's truly one of a kind? Sounds appetising, doesn't it?
Say hello to #Selfiecinno - a one of its kind restaurant in Mumbai, that offers what no other restaurant in the country has on the menu, the option of having your own portrait on the coffee.
The restaurant, based in Kala Ghoda, has 50 different items laid out on the menu, including Bubble Waffles, Churros, Milkshakes, Thickshakes, and Freakshakes. But the concept of having a selfie designed on your coffee is what stands out. For those of you who don't fancy your portrait on your drink, you can also get your very own customised message designed on it instead.
"This option of having your portrait, or personalised message, on your coffee, is the result of our successful acquiring of the technology, which we had been trying to get for a very long time but the execution and implementation were big challenges", says Jesal Desai, Owner & CEO of #Selfiecinno.
He confirmed that this is a historical moment as this technology has been used for the first time in India. "Only two countries in the world possess this technology so far," he further added.
Well, what are you waiting for? Head to #Selfiecinno and indulge! We're pretty sure your Instagram feed will thank you for it!


Aga Khan Trust for Culture | Ismaili.NET - Heritage F.I.E.L.D.
The famous Queen Noor Jahan, wife of Mughal Emperor Jahangir, was suffering from an untreatable disease and all the local herbal doctors (Hakeem) and physicians had failed to cure her. That was the time when one of the courtiers told the emperor about a Hakeem of Chiniot Ilm Ud Ansari, and thus he was called to Lahore to cure the Queen's disease which was distressing the emperor. So the Hakeem made his entry into the Royal Kingdom of the Mughals. Hakeem Ilm Ud Din Ansari figured out the cause of disease and cured it by making the Queen walk on burning sand.
Cairo, 2 May 2015 – Restoration of the 14th century Amir Aqsunqur "Blue Mosque" in Al-Darb al-Ahmar has been completed by the Aga Khan Trust for Culture (AKTC) as part of the larger Al-Darb al-Ahmar Urban Regeneration Programme.
The Minister of Antiquities, Mamdouh El Damaty, and the Governor of Cairo, Galal Said, joined His Highness the Aga Khan in marking the occasion at the Mosque.


Clean and dry your chest before putting on the device.
Avoid wearing sunscreen under the device.
Wear the device below your sternum bone.
The device should be snug but comfortable.
You can try wearing the device lower on your chest.
Check if all four electrodes touch your skin.
Check if Aidlab's diode is flickering, and if it is not, turn the application off and on again.
If the diode is flickering, turn Aidlab off and on again.
Check if Aidlab's electrodes touch your skin.
Check electrodes of a chest strap.
Check Aidlab's connection with a chest strap.
Check position of the chest strap.


text:
<title>pipe</title>

pipe

OS/161 Reference Manual

Name

pipe - create pipe object

Library

Standard C Library (libc, -lc)

Synopsis

<tt>#include <unistd.h></tt>

<tt>int</tt>

<tt>pipe(int *</tt>fds<tt>);</tt>

Description

The <tt>pipe</tt> call creates an anonymous pipe object in the system,
and binds it to two file handles in the current process, one for the
read end and one for the write end. (Pipes are unidirectional.)

Data written on the write end may be read from the read end. Once all
references to the write end are closed, and all remaining data is
read, further reads return EOF. If all references to the read end are
closed before the write end is closed, further writes generate EPIPE.
The pipe object itself is destroyed when all references to both ends
are closed.

fds is a pointer to space for two integers. A file handle for
the read end of the pipe is stored in fds[0], and a file
handle for the write end is stored in fds[1].

<tt>pipe</tt> is most often used in conjunction with dup2 and fork to send the
standard output of one process to the standard input of another.

In POSIX, pipe I/O of data blocks smaller than a standard constant
PIPE_BUF is guaranteed to be atomic. If you implement pipes, you need
not necessarily implement POSIX semantics, but you should decide what
sort of atomicity guarantees you wish to make and specify them
carefully.

Return Values

On success, pipe returns 0. On error, -1 is returned, and
errno is set according to the error
encountered.

Errors

The following error codes should be returned under the conditions
given. Other error codes may be returned for other cases not
mentioned here.

    EMFILE
				The process's file table was full, or a
				process-specific limit on open files
				was reached.

ENFILE		The system file table is full, if such a
				thing exists, or a system-wide limit
				on open files was reached.

EFAULT		fds was an invalid
				pointer.

redpajama_set_name: RedPajamaGithub


Magnetic properties of the magnet itself is also generated by the electricity?
Magnet is caused by electrons outside the nucleus. This is also called molecular currents, and is the magnet. However Atomic electrons are many, and their magnetic may cancel each other out, so only when the orbital electron number and distribution resulted in a net magnetic only when certain conditions are met. Copper, aluminum and other metals is to not meet this condition that is not magnetic.
In conductors, all the electrons are moving in the same direction, so magnetic superimposed enhancements. So in copper wires, also produce magnetic.
Magnet students have a requirement, is the changing magnetic field produces an electric field.


I'm really worried about my friend Keith. He has been a Football manager at the same club for Donkey's years and on Monday night his career took a turn for the worse.
Editors Note >> The "My Friend Keith" is a parody series and should not be taken seriously. It does not represent real persons or events.


The plastic bag has become the environment's Public Enemy Number ONE.
You know what I'm talking about, those bags you get from the grocery store or the department store. They're everywhere. You probably have a special place for them in your house - the pantry1 or under the sink2. Or maybe you just throw them in the trash bin?
Well that attitude is what's made the plastic bag our environment's biggest enemy. We don't give a second thought to what we do with these bags because they are so common. So we throw them in the garbage or sometimes on the side of the road. Who cares, right?
As a result of that kind of thinking, these bags are everywhere.
They clutter landfills3. They flap from trees. They float in the breeze4. They clog5 roadside drains6. They drift on the high seas. They fill sea turtle bellies7.
Vincent Cobb, who runs http://Reusablebags.com, analyzed some data released by the United States Environmental Protection Agency in 2001 on U.S. plastic bag, sack, and wrap8 consumption. He found that somewhere between 500 billion and a trillion plastic bags are consumed worldwide each year. Of those, millions end up in the litter stream outside of landfills. Once they are in the environment, it takes months to hundreds of years for plastic bags to break down. As they decompose, tiny toxic bits seep9 into soils, lakes, rivers, and the oceans.
The main problem may not necessarily lie with the consumer, but with the store owner who hands out the plastic bags. On average, the economic advantage of plastic bags over paper bags has become too significant for store owners to ignore. It costs approximately one American cent for a standard plastic grocery sack, whereas a paper bag costs four cents for the store owner. Not only that, plastic bags are also cheaper to produce. They have captured at least 80 percent of the grocery and convenience store market since they were introduced a quarter century ago. When you look at a plastic bag as a product, it is an unbelievable success story.
But a lot of times there's a flipside10 to success. Plastic bag litter has become such an environmental nuisance11 and eyesore12 that Ireland, Taiwan, South Africa, Australia, and Bangladesh heavily tax the totes13 or ban their use outright14. Several other regions, including England and some U.S. cities, are considering similar actions.
So what's the alternative? Simple, reuse those plastic bags. Or find a bag or carton that you can use over and over again, something sturdy15 like cloth or any bio-degradable16 material. In Ireland everyone carries around a reusable bag when they go to the store. The plastic bags that once blighted17 the verdant18 Irish countryside are now merely an occasional eyesore. And this practice is catching on. Cities across the world are pushing this practice more and more.
But still the fact remains that we overuse them; and more importantly, take a moment and think about how little we actually need them.
It's easy to make a difference pretty quickly. First, reduce. Ask the clerks at the stores you visit to keep their bags unless you really need one. Think about how often you walk out of a store with a book, a CD, or a carton of milk. Do you really need a bag? Bring cloth bags or a knapsack19 with you for your bigger trips.
For those plastic bags that do sneak20 their way into your home, hang on to them. Use them as garbage bags. Why pay for garbage bags when you've got a closet full of plastic bags already?
Most importantly, be conscious of the effect of a plastic bag culture. Next time you're asked whether you want paper or plastic, pick a third option. Just about anything else is greener.


The Learning and Support Team (LaST) is a whole school planning and support system. It addresses the learning support needs of students through the co-ordination, development, implementation, monitoring and evaluation of educational programs. The main function of our LaST team is to ensure that the needs of all students in the school are being met. The LaST team meet to discuss new referrals and review how progress is being made by students requiring support. Before students are referred to the LaST team, the class teacher applies certain processes in the classroom to ensure behavioural, social and academic expectations are being met. The LaST team discusses any referral and determines appropriate support. This is reviewed regularly by all parties involved ensuring students' needs are continually met.
Other specialist personnel – eg: the school-employed speech pathologist, school counsellor, parents and caregivers can be invited to attend meetings as necessary.


text:
Boston Pizza:
Boston Pizza Royalties Income Fund Increases Monthly Cash Distributions to Unitholders by 6.2%
By: Boston Pizza | 0 Shares 53 Reads
Announces 2015 Annual and Fourth Quarter Results
Distributable cash per unit increase of 13.3% for the fourth quarter of 2015 and 11.0% for the year
VANCOUVER, BRITISH COLUMBIA--(Marketwired - Feb. 10, 2016) - Boston Pizza Royalties Income Fund (TSX:BPF.UN) and Boston Pizza International Inc. -
Record fourth quarter and annual System-Wide Gross Sales1 of $272.0 million and $1.06 billion, respectively.
Franchise Sales2 from royalty pool restaurants of $205.4 million for the Period and $814.0 million for the Year, representing increases of 4.0% and 4.1%, respectively, versus the same periods one year ago.
Distributable Cash3 per Unit increased 13.3% for the Period and 11.0% for the Year.
Payout Ratio4 of 92.8% for the Period and 94.0% for the Year.
Same Store Sales Growth of 2.2% for the Period and 1.8% for the Year.
Boston Pizza opened six net new full service restaurants and completed 54 restaurant renovations in 2015.
Fund's cash balance at the end of the Period was $3.2 million.
On May 6, 2015, the Fund completed an acquisition of additional interest in Franchise Sales of Boston Pizza restaurants in Canada, which subsequently resulted in a 6.2% increase to monthly distributions to unitholders to 10.83 cents from 10.20 cents beginning with the April 2015 distribution.
Today, the Fund's trustees declared the January 2016 distribution to unitholders of 11.5 cents per Unit, an additional increase of 6.2% compared to the December 2015 distribution of 10.83 cents, marking the 18th time the monthly rate has been increased since the inception of the Fund.
Boston Pizza Royalties Income Fund (the "Fund") and Boston Pizza International Inc. ("BPI") reported financial results today for the fourth quarter period from October 1, 2015 to December 31, 2015 (the "Period") and for the fiscal year from January 1, 2015 to December 31, 2015 (the "Year"). A copy of this press release, the annual consolidated financial statements and related Management's Discussion and Analysis ("MD&A") of the Fund and BPI are available at www.sedar.com and www.bpincomefund.com. The Fund will host a conference call to discuss the results on February 10, 2016 at 8:30 am Pacific Time (11:30 am Eastern Time). The call can be accessed by dialling 1-800-319-4610 or 604-638-5340. A replay will be available until March 10, 2016 by dialling 1-855-669-9658 or 604-674-8052 and entering the pin code: 00256 followed by the # sign.
On February 9, 2016 the trustees of the Fund approved a cash distribution to unitholders of 11.5 cents per Unit for January 2016. This is an increase of 0.67 cents per Unit or 6.2% from the previous monthly rate of 10.83 cents per Unit and marks the 18th time that distributions have been increased since the inception of the Fund in 2002. On an annualized basis, it is an increase to $1.38 per Unit from $1.30 per Unit. The distribution will be payable to unitholders of record at the close of business on February 21, 2016 and will be paid on February 29, 2016. The Fund periodically reviews distribution levels based on its policy of stable and sustainable distribution flow to unitholders. Including this distribution, the Fund will have paid out 163 consecutive monthly distributions totalling $222.3 million or $16.62 per Unit since the Fund's initial public offering in 2002.
"The trustees are very pleased to announce another 6.2% increase to monthly distributions paid to unitholders," said Bill Brown, Chairman of Boston Pizza Royalties Income Fund. "This follows the 6.2% distribution increase that was effective in April 2015 following the Fund's acquisition of additional interest in franchise sales from BPI. It is also significant that the new monthly distribution level of 11.5 cents is equal to the amount that was being paid by the Fund prior to becoming taxable under federal SIFT legislation starting on January 1, 2011."
Same store sales growth ("SSSG"), a key driver of distribution growth for unitholders of the Fund, was 2.2% for the Period and 1.8% for the Year compared with 5.3% and 1.7%, respectively, for the same periods in 2014. Franchise Sales, the basis upon which royalties and Distribution Income5 are paid to the Fund, exclude revenue from the sale of liquor, beer, wine and approved national promotions and discounts. On a Franchise Sales basis, SSSG was 1.8% for the Period and 1.7% for the Year compared with 5.3% and 1.4%, respectively, for the same periods in 2014. The positive SSSG for the Period and for the Year was principally due to higher take-out and delivery sales resulting from continued promotion of Boston Pizza's online ordering system, menu re-pricing and higher chicken wing sales from the successful "Wings Two-Four" campaign, partially offset by the impact of weaker general economic conditions in regions directly connected to the Canadian oil and gas industry. Franchise Sales of restaurants in the Fund's royalty pool were $205.4 million for the Period and $814.0 million for the Year compared with $197.5 million and $781.9 million, respectively, for the same periods in 2014. The increases in Franchise Sales for the Period and for the Year were primarily attributable to additional Franchise Sales from eight net new store openings during 2014 that were added to the Fund's royalty pool on January 1, 2015 and positive SSSG.
"We have achieved record system-wide gross sales of over $1.06 billion for the year, up 4.7% from last year, which shows the strength of the Boston Pizza brand despite the impact of weaker economic conditions in regions connected to the oil and gas industry. Our results in 2015 were driven by positive same store sales growth, the opening of 12 new Boston Pizza restaurants and continued investment in the brand as evidenced by 54 renovations completed during the Year," said Mark Pacinda, President and CEO of BPI. "We have five new Boston Pizza locations under construction already in 2016 with plans to open more later in the year, which will further stregthen our position as Canada's #1 casual dining brand."
The Fund's net and comprehensive income was $8.7 million for the Period compared with net and comprehensive income of $2.6 million for the fourth quarter of 2014. The $6.1 million increase in net and comprehensive income for the Period was primarily due to a net $3.8 million change in fair value adjustments, the addition of $2.7 million in Distribution Income, an increase in royalty income of $0.3 milion, partially offset by an increase in interest on debt and Class B Unit and Class C Unit liabilities of $0.5 million, and an increase in income taxes of $0.3 million. For a detailed discussion on the Fund's net and comprehensive income, please see the "Operating Results - Net and Comprehensive Income / Basic and Diluted Earnings" section in the Fund's MD&A for the Period and Year. The Fund's net income under International Financial Reporting Standards ("IFRS") contains non-cash items, such as the fair value adjustments on financial instruments, that do not affect the Fund's business operations or its ability to pay distributions to unitholders. In the Fund's view, net income is not the only or most meaningful measurement of the Fund's ability to pay distributions. Consequently, the Fund reports the non-IFRS metrics of Distributable Cash and Payout Ratio to provide investors with more meaningful information regarding the amount of cash that the Fund has generated to pay distributions. Readers are cautioned that Distributable Cash and Payout Ratio are non-IFRS financial measures that do not have standardized meanings prescribed by IFRS and therefore may not be comparable to similar measures presented by other issuers. For a reconciliation between cash flow from operating activities (the most directly comparable IFRS measure) and Distributable Cash see the "Financial Summary" section of this press release for the Period. For a detailed discussion on the Fund's Distributable Cash and Payout Ratio, please see the "Operating Results - Distributable Cash / Payout Ratio" section in the Fund's MD&A for the Period and Year.
The Fund's Distributable Cash was $7.2 million or $0.350 per unit of the Fund ("Unit") for the Period compared with $4.8 million or $0.309 per Unit for the same period in 2014. This represents an increase to Distributable Cash and Distributable Cash per Unit of 49.9% and 13.3%, respectively. These increases are primarily attributed to the Fund completing an indirect investment in Boston Pizza Canada Limited Partnership ("BP Canada LP") on May 6, 2015 to effectively increase the Fund's interest in Franchise Sales of Boston Pizza restaurants in the royalty pool by 1.5%, from 4.0% to 5.5%, less the pro rata portion payable to BPI in respect of its retained interest in the Fund (the "Transaction"), receiving Distribution Income of $2.7 million and positive SSSG of 2.2% during the Period. For more details regarding the Transaction, please refer to the "Operating Results - Transaction" section of the Fund's MD&A for the Period and the Year. The Fund's Distributable Cash was $25.6 million or $1.364 per Unit for the Year compared with $19.1 million or $1.229 per Unit in 2014. The increase in Distributable Cash of $6.5 million or 34.0% is primarily attributable to the Fund completing the Transaction and receiving Distribution Income, partially offset by an initial working capital change6 of $0.9 million. The percentage increase in Distributable Cash for the Period and for the Year was larger than the percentage increase in Distributable Cash per Unit for the Period and for the Year due to the combined effect of the Fund receiving Distribution Income, the Fund issuing 5,047,613 Units on May 6, 2015, and the initial working capital change resulting from the completion of the Transaction.
The Fund's Payout Ratio was 92.8% for the Period and 94.0% for the Year compared with 99.2% and 99.7% in the same periods, respectively, one year ago. The Fund's Payout Ratio for the Period and for the Year decreased compared with the same periods one year ago due to the increases in Distributable Cash, as discussed above, being greater than the increase in distributions paid. The increases in distributions paid during the Period and Year were due to the Fund increasing the monthly distribution from 10.20 cents to 10.83 cents effective with the April 2015 distribution that was paid on May 29, 2015 and the Fund issuing 5,047,613 Units on May 6, 2015 in connection with the Transaction. The Fund strives to provide unitholders with regular monthly distributions, and as a result, the Fund will generally experience seasonal fluctuations in its Payout Ratio. The Fund's Payout Ratio is likely to be higher in the first and fourth quarters each year compared with the second and third quarters each year since Boston Pizza restaurants generally experience higher Franchise Sales during the summer months when restaurants open their patios and benefit from increased tourist traffic. Higher Franchise Sales generally results in increases in Distributable Cash. A key feature of the Fund is that it is a "top line" structure, in which BPI and BP Canada LP pay the Fund an amount based on Franchise Sales from restaurants in the Fund's royalty pool. Accordingly, Fund unitholders are not directly exposed to changes in the operating costs or profitability of BPI, BP Canada LP or individual Boston Pizza restaurants. Given this structure, and that the Fund has no current mandate to retain capital for other purposes, it is expected that the Fund will maintain a Payout Ratio close to 100% over time as the trustees of the Fund continue to distribute all available cash in order to maximize returns to unitholders.
The tables below set out selected information from the Fund's annual consolidated financial statements together with other data and should be read in conjunction with the annual consolidated financial statements and MD&A of the Fund for the years ended December 31, 2015 and 2014.
For the years ended December 31 2015 2014 2013
(in thousands of dollars - except restaurants, SSSG, Payout Ratio and per Unit items)
System-wide Gross Sales 1,059,549 1,011,966 974,837
Number of restaurants in Royalty Pool 366 358 348
Franchise Sales reported by restaurants in the Royalty Pool 814,001 781,915 755,420
Royalty income 32,560 31,277 30,217
Distribution Income 8,173 - -
Interest income 1,844 1,811 1,811
Total revenue 42,577 33,088 32,028
Administrative expenses (1,226 ) (1,022 ) (1,050 )
Interest expense on debt (2,084 ) (1,301 ) (1,054 )
Interest expense on Class B Unit and Class C Unit liabilities (5,492 ) (5,023 ) (5,525 )
Profit before fair value adjustments and income taxes 33,775 25,742 24,399
Fair value adjustment on investment in BP Canada LP (14,869 ) - -
Fair value adjustment on Class B Unit liability 8,546 (2,115 ) (3,424 )
Fair value adjustment on interest rate swaps (613 ) (401 ) 227
Current and deferred income tax expense (7,685 ) (6,773 ) (6,389 )
Net and comprehensive income 19,154 16,453 14,813
Basic earnings per Unit 1.02 1.06 0.97
Diluted earnings per Unit 0.59 1.06 0.97
Distributable Cash / Distributions / Payout Ratio
Cash flows from operating activities 33,151 25,557 24,908
Class C Unit distributions to BPI (1,800 ) (1,800 ) (1,800 )
BPI Class B Unit entitlement (3,802 ) (3,266 ) (3,725 )
Interest paid on long-term debt (1,961 ) (1,355 ) (1,002 )
SIFT Tax on Units (24 ) (64 ) 49
Distributable Cash 25,564 19,072 18,430
Distributions paid 24,037 19,012 18,562
Payout Ratio 94.0% 99.7% 100.7%
Distributable Cash per Unit 1.364 1.229 1.208
Distributions paid per Unit 1.274 1.224 1.216
Same store sales growth 1.8% 1.7% 1.5%
Number of restaurants opened 12 14 12
Number of restaurants closed 6 6 2
As at December 31 2015 2014 2013
Total assets 413,174 278,821 268,945
Total liabilities 157,151 123,153 119,726
"System-Wide Gross Sales" means the gross revenue: (i) of the corporate Boston Pizza restaurants in Canada owned by BPI; and (ii) reported to BPI or BP Canada LP, as applicable, by franchised Boston Pizza restaurants in Canada, without audit or other form of independent assurance, and in the case of both (i) and (ii), including revenue from the sale of liquor, beer, wine and revenue from BPI or BP Canada LP, as applicable, approved national promotions and discounts and excluding applicable sales and similar taxes.
Franchise sales is the basis on which the royalty and Distribution Income are payable; it means the revenues of Boston Pizza restaurants in respect of which the royalty and Distribution Income are payable ("Franchise Sales"). The term "revenue" refers to the gross revenue: (i) of the corporate Boston Pizza restaurants in Canada owned by BPI; and (ii) reported to BPI or BP Canada LP, applicable, by franchised Boston Pizza restaurants in Canada, without audit or other form of independent assurance, and in the case of both (i) and (ii), after deducting revenue from the sale of liquor, beer, wine and revenue from BPI or BP Canada LP approved national promotions and discounts and excluding applicable sales and similar taxes. Nevertheless, BPI or BP Canada LP periodically conducts audits of the Franchise Sales reported to it by its franchisees, and the Franchise Sales reported herein include results from sales audits of earlier periods.
Distributable Cash is a non-IFRS financial measure that does not have a standardized meaning prescribed by IFRS and therefore may not be comparable to similar measures presented by other issuers. This non-IFRS financial measure provides useful information to investors regarding the amount of cash the Fund has generated for distribution on the Units. Investors are cautioned that this should not be construed as an alternative net income measure of profitability. The preceding table provides a reconciliation from this non-IFRS financial measure to cash flows from operating activities, which is the most directly comparable IFRS measure. For additional information regarding this financial metric, see the heading "Description of Non-IFRS and Additional IFRS Measures" in the Fund's MD&A for the Period and Year.
Payout Ratio is calculated by dividing the distributions paid by the Fund during a period by the Distributable Cash generated in that period. Payout Ratio is a non-IFRS financial measure that does not have a standardized meaning prescribed by IFRS and therefore may not be comparable to similar measures presented by other issuers. This non-IFRS financial measure provides investors with useful information regarding the extent to which the Fund distributes cash on the Units. Investors are cautioned that this should not be construed as an alternative net income measure of profitability. As the Payout Ratio is calculated from a formula which includes Distributable Cash, which is a non-IFRS measure, a reconciliation of Payout Ratio to an IFRS measure is not possible. The Fund has modified how it calculates Payout Ratio commencing with the second quarter of 2015. As a result, Payout Ratios set forth in this press release are not necessarily directly comparable with Payout Ratios set forth in prior press releases or MD&A of the Fund. For additional information regarding this financial metric, see the heading "Description of Non-IFRS and Additional IFRS Measures" in the Fund's MD&A for the Period and Year.
"Distribution Income" is income received by the Fund from the investment in BP Canada LP it completed on May 6, 2015. See the "General - Purpose of Fund / Sources of Revenue" section of the Fund's MD&A for the Period and Year for more details.
The initial working capital change resulted from a combination of: (i) the commencement of the Fund being entitled to receive Distribution Income from BP Canada LP as a result of the completion of the Transaction on May 6, 2015; and (ii) the Distribution Income generated in respect of a month only being payable by BP Canada LP to Boston Pizza Holdings Limited Partnership in the immediately subsequent month.
Profit before fair value adjustments and income taxes is an additional IFRS measure. For additional information regarding these financial metrics, see the heading "Description of Non-IFRS and Additional IFRS Measures" in the Fund's MD&A for the Period and Year.
Other capitalized terms used in these tables are defined in the Fund's MD&A for the Period and Year.
SUMMARY OF QUARTERLY RESULTS
Q4 2015 Q3 2015 Q2 2015 Q1 2015
System-Wide Gross Sales 272,017 275,009 263,852 248,671
Number of restaurants in Royalty Pool 366 366 366 366
Franchise Sales reported by restaurants in the Royalty Pool 205,365 212,367 202,860 193,409
Royalty income 8,215 8,494 8,115 7,736
Distribution Income 2,708 2,799 2,666 -
Interest income 452 452 488 452
Total revenue 11,375 11,745 11,269 8,188
Administrative expenses (298 ) (395 ) (283 ) (250 )
Interest expense on debt (596 ) (590 ) (527 ) (371 )
Interest expense on Class B Unit and Class C Unit liabilities (1,862 ) (1,339 ) (1,358 ) (933 )
Profit before fair value adjustments and income taxes 8,619 9,421 9,101 6,634
Fair value adjustment on investment in BP Canada LP 3,584 (18,453 ) - -
Fair value adjustment on Class B Unit liability (1,634 ) 8,356 2,878 (1,054 )
Fair value adjustment on interest rate swaps 47 (287 ) 172 (545 )
Current and deferred income tax expense (1,954 ) (1,908 ) (2,307 ) (1,516 )
Net and comprehensive income (loss) 8,662 (2,871 ) 9,844 3,519
Basic earnings (loss) per Unit 0.42 (0.14 ) 0.53 0.23
Diluted earnings (loss) per Unit 0.42 (0.45 ) 0.39 0.23
Cash flows from operating activities 9,259 9,472 8,351 6,069
Class C Unit distributions to BPI (450 ) (450 ) (450 ) (450 )
BPI Class B Unit entitlement (1,011 ) (947 ) (895 ) (949 )
Interest paid on long-term debt (617 ) (543 ) (474 ) (327 )
SIFT Tax on Units (23 ) 9 (94 ) 84
Distributable Cash 7,158 7,541 6,438 4,427
Distributions paid 6,642 6,655 6,014 4,726
Payout Ratio 92.8% 88.3% 93.4% 106.8%
Distributable Cash per Unit 0.350 0.368 0.347 0.287
Distributions paid per Unit 0.325 0.325 0.319 0.306
Same store sales growth 2.2% 2.7% 0.1% 2.1%
Number of restaurants opened 5 3 2 2
Number of restaurants closed 2 2 0 2
SUMMARY OF QUARTERLY RESULTS (continued)
Total revenue 8,356 8,506 8,318 7,908
Fair value adjustment on Class B Unit liability (1,672 ) 19 (2,392 ) 1,930
Fair value adjustment on interest rate swaps (101 ) 7 (37 ) (270 )
Net and comprehensive income 2,630 5,002 2,444 6,377
Basic earnings per Unit 0.17 0.32 0.16 0.42
Diluted earnings per Unit 0.17 0.28 0.16 0.25
BPI Class B Unit entitlement (779 ) (833 ) (741 ) (913 )
SIFT Tax on Units 10 (60 ) (41 ) 27
Same store sales growth 5.3% 3.1% (0.1% ) (1.7% )
Boston Pizza is well positioned for future growth and should continue to strengthen its position as the number one casual dining brand in Canada by continuing to achieve positive SSSG and opening new Boston Pizza locations across Canada.
The two principal factors that affect SSSG are changes in customer traffic and changes in average guest cheque. BPI's and BP Canada LP's strategies to drive higher guest traffic include attracting a wide variety of guests into the restaurant, sports bar and take-out/delivery parts of each location, offering a compelling value proposition to guests and leveraging a larger marketing budget versus the previous year along with a revised calendar of national and local store promotions. Increased average cheque levels are expected to be achieved through a combination of culinary innovation and annual menu re-pricing. In addition, the franchise agreement governing each Boston Pizza Restaurant requires a complete store renovation every seven years. Restaurants typically close for two to three weeks to complete the renovation and experience an incremental sales increase in the year following the re-opening.
Boston Pizza remains well positioned for future expansion as evidenced by the six net new Boston Pizza Restaurants that opened in 2015. There are currently five new locations under construction with more planned for later in 2016. BPI's management believes that Boston Pizza will continue to serve more guests in more locations than any other casual dining brand in Canada by pursuing further restaurant development opportunities across the country.
Certain information in this press release constitutes "forward-looking information" that involves known and unknown risks, uncertainties, future expectations and other factors which may cause the actual results, performance or achievements of the Fund, Boston Pizza Holdings Trust, Boston Pizza Royalties Limited Partnership, Boston Pizza Holdings Limited Partnership, BP Canada LP, Boston Pizza Holdings GP Inc., Boston Pizza GP Inc., BPI, Boston Pizza restaurants, or industry results, to be materially different from any future results, performance or achievements expressed or implied by such forward-looking information. All statements, other than statements of historical facts, included in this press release that address activities, events or developments that the Fund or management of BPI expects or anticipates will or may occur in the future, including such things as, seasonal fluctuations in the Payout Ratio, the Payout Ratio is likely to be higher in the first and fourth quarters, higher Franchise Sales generally result in increases in Distributable Cash, a Payout Ratio close to 100% will be maintained, trustees of the Fund will continue to distribute all available cash in order to maximize returns to unitholders, Boston Pizza being well positioned for future growth, the strengthening of Boston Pizza's position as the number one casual dining brand in Canada, the achievement of positive SSSG, opening of new restaurants, increases in average guest cheques levels, incremental sales increasing after store renovations, plans to pursue restaurant development opportunities and other such matters are forward-looking information. When used in this press release, forward-looking information may include words such as "anticipate", "estimate", "may", "will", "expect", "believe", "plan", "should", "continue" and other similar terminology. The material factors and assumptions used to develop the forward-looking information contained in this press release include the following: future results being similar to historical results, expectation related to future general economic conditions, business plans, receipt of franchise fees and other amounts, franchisees access to financing, pace of commercial real estate development, protection of intellectual property rights of Boston Pizza Royalties Limited Partnership and absence of changes of laws. Risks, uncertainties and other factors that may cause actual results, performance or achievements to be materially different from any future results, performance or achievement expressed or implied by the forward-looking information contained herein, relate to (among others) competition, demographic trends, consumer preferences and discretionary spending patterns, business and economic conditions, legislation and regulation, Distributable Cash and reliance on operating revenues, accounting policies and practices, the results of operations and financial condition of BPI, BP Canada LP and the Fund, as well as those factors discussed under the heading "Risks and Uncertainties" in the most recent Annual Information Form of the Fund. This information reflects current expectations regarding future events and operating performance and speaks only as of the date of this press release. Except as required by law, the Fund and BPI assume no obligation to update previously disclosed forward-looking information. For a complete list of the risks associated with forward-looking information and our business, please refer to the "Risks and Uncertainties" and "Note Regarding Forward-Looking Information" sections included in the Fund's MD&A for the Period and Year available at www.sedar.comand www.bpincomefund.com.
The trustees of the Fund approved the contents of this press release.
SOURCE Boston Pizza
Jordan Holm
Boston Pizza Royalties Income Fund
Senior Vice President of Investor Relations
investorrelations@bostonpizza.com
Boston Pizza International Inc. is Canada's No. 1 casual dining brand with more than 270 restaurants in Canada and 2006 annual sales in excess of $647 million.
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Nestlé Toll House Café by Chip is a premier dessert café offering an unrivaled experience of indulgent creations, distinct flavor profiles and the...
Pho Hoa Noodle Soup
Established more than 35 years ago, Pho Hoa Noodle Soup offers a simple and proven business model. In addition to three decades of experience and...
Checkers Drive-In Restaurants
Checkers Drive-In restaurant franchises are small but efficient making our restaurants easy to operate and typically reduced overhead costs.
Quaker Steak & Lube®
Founded in 1974 in Sharon, PA, the award-winning casual dining restaurant chain has expanded to more than 40 locations throughout the United States.
Low investment, fastest growing with over 1,200 franchises in 11 years, #1 in franchisee satisfaction for the last seven years...enough said!

redpajama_set_name: RedPajamaCommonCrawl


This website is dedicated to all the stories heard that I brought back from my recent trip at La Havana, Cuba. Through this platform, I am hoping to offer a glimpse into the lives of Cubans.
The website is not complete yet and all the content will be online soon.
All images displayed on this website cannot be used without permission.


text:
Q: Multi-tenant PHP SaaS - Separate DB's for each client, or group them? You'll have to bear with me here for possibly getting some of the terminology slightly wrong as I wasn't even aware that this fell into the whole 'multi-tenant' 'software as a service' category, but here it does.
I've developed a membership system (in PHP) for a client. We're now looking at offering it as a completely hosted solution for our other clients, providing a subdomain (or even their own domain).
The options I seem to have on the table, as far as data storage goes are:
Option 1 - Store everything in 1 big database, and have a 'client_id' field on the tables that need it (there would be around 30 tables that it would apply to), and have a 'clients' table storing their main settings, details, etc and the domain to map to them. This then just sets a globally accessible variable containing their individual client id - I'd obviously have to modify every single query to check for the client_id column.
Option 2 - Have a master table with the 'shared reference' tables, and the 'clients' table. Then have 'blocks' of other databases, which each contain, say 10 clients. The client would get their own database tables, prefixed with their client ID. This adds a little bit of security to protect against seeing other client data if something went really wrong.
Option 3 - Exactly the same as option 2, except you have 1 database for each and every client, completely isolating them from other clients, and theoretically providing a bit more protection that if 1 client's tables were hacked or otherwise damaged, it wouldn't affect anyone else. The biggest downside is that when deploying a new client, an entire database, user and password need setting up, etc. Could this possibly also cause a fair amount of overhead, or would it be pretty much the same as if you had everyone in one database?
A few points as well - some of these clients will have 5000+ 'customers' along with all the details for those customers - this is why option 1 may be a bit of an issue - if I've got 100  clients, that could equal over half a million rows in 1 table.
Am I correct in thinking Option 3 would be the best way to go in a situation where security of customer data (and payment information) is key. From recommendations I've had, a few people have said to go with option 1 because 'its easier' however I really don't see it that way. I see it as a potential bottleneck down the line, as surely I can move clients around much easier if they have their own database.
(FYI The system is PHP based with MySQL)

A: I agree with Ozzy - I did this for an online database product.  We had one master database that basically had a glorified user table.  Each customer had their own database.  What was great about this is that I could move one customers database from server A to server B easily [mysql] and could do so with command line tools in a pinch.  Also doing maintenance on large tables, dropping/adding indexes can really screw up your application, especially if say, adding an index locks the table [mysql].  It affects everyone.  With, presumably, smaller databases you are more immune to this and have more options when you need to roll out schema level changes.  I just like the flexibility.

A: Option 3 is the most scalable. While at first it may seem more complicated, it can be completely automated and will save you headaches on the future. You can also scale more efficiently by having client databases on multiple servers for increased performance.

A: When many years ago I designed a platform for building SaaS applications in PHP, I opted for the third option: multi tenant code and single tenant databases.
In my experience, that is the most scalable option, but it also needs a set of scripts to propagate changes when updating code, DB schemes, enabling applications to a tenant, etc.
So a lot of my effort went in building a component based, extensible engine to fully automate all those tasks and minimize system administration stuff. I strongly advise to build such an architecture if you want to adopt the third option.

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Serendipity features a wide variety of popular activities such as Gals' Breakfast, Poker Night, Lend-a-Book, Theater Outings, Spicy Dinner group and Women Aging Gracefully (WAG). We also take trips to museums and other places of interest in the Greater Denver area.
A calendar of events is sent out monthly via email, and is also listed in the monthly ENN Newsletter. Contact the leader if you would like your name added to the email list, and get started having FUN!


text:
Q: The defined variable calculation formula is abnormal and cannot be output normally I wrote a small python digital encryption program
His steps are:

*

*enter a four-digit number

*(Each digit+7)*0.1, replace every digit

*Exchange the number of the first digit with the number of the third digit

*Exchange the second digit number with the fourth digit number

*Output the encrypted four-digit number

My code:
nus=int(input("Input a group of four digits as:"))
qa=(int(nus[0])+7)*0.1
se=(int(nus[2])+7)*0.1
er=(int(nus[1])+7)*0.1
uc=(int(nus[3])+7)*0.1
w1=qa=se=er=uc
print("The output encrypted number is:",str(w1))

But I can't execute it smoothly, an error occurs after execution
Normal execution result:
input
Enter a set of four digits as: 1234
Output
The output encrypted number is: 0189

Error message
qa=(int(nus[0])+7)*0.1
TypeError:'int' object is not subscriptable

A: As nus is an int you can"t take the i-th element of, keep it a string. And w1=qa=se=er=uc is surely not what you want, that gives the value of uc to the 4 other variables.

With the steps you mentionned
nb = input("Give a 4-digit value: ")
values = [(int(i) + 7) * 0.1 for i in nb]   # do (x+7) * 0.1
values[0], values[2] = values[2], values[0] # switch first and third
values[1], values[3] = values[3], values[1] # switch second and fourth

But for '1234' that ends up with [1.0, 1.1, 0.8, 0.9]

To get 0189 I'd say the operation would (x+7) % 10 to keep the last digit only
nb = '1234'
values = [str((int(i) + 7) % 10) for i in nb]
values = values[2], values[3], values[0], values[1] # one-liner switch
result = "".join(values)
print(result)  # 0189


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Hi! Welcome to "Cold Wind" the official TAFL approved fanlisting for Hezekiel Lei Ripli, a character from the sweet series Meru Puri (Marchen Prince), created and illustrated by the great Hino Matsuri!
Lei is a very strange character and we can't understand his thoughts. Simply, he's totally devoted to the queen and he operates only for her, even if this means to go against Aram, the person that he serves.
He's very complicated... but I think that his strong and cold personality is the most impressive side of his character, he isn't good or evil, just himself, that always follows his own sense of justice.
Please, choose a link from the right to fully access the site and if you're fan of Lei, feel free to join his fandom!
all rights reserved. This is a fan-site and I don't intend to violate them.
Layout and contents are @Dorothy. Do not reproduce without permission.


text:
Rebecca Marino era la detentrice del titolo, ma quest'anno non ha partecipato.

Il singolare del torneo di tennis Women's Pro Tennis Classic 2011, facente parte della categoria ITF Women's Circuit, ha avuto come vincitrice Varvara Lepchenko che ha battuto in finale Romina Oprandi 6–4, 6–1.

Teste di serie

  Varvara Lepchenko (campionessa)
  Romina Oprandi (finale)
  Jamie Hampton (semifinali)
  Regina Kulikova (ritiro)

 Sharon Fichman (primo turno)
 Ajla Tomljanović (semifinali)
 Alexa Glatch (secondo turno)
 Chichi Scholl (primo turno)

Tabellone

Finali

Parte alta

Parte bassa

Note

Women's Pro Tennis Classic 2011

redpajama_set_name: RedPajamaWikipedia


text:
Belize - Belize News - Channel5Belize.com - Great Belize Productions - Belize Breaking News
Home » Miscellaneous, People & Places, Politics » Did Gaspar Vega Know William Mason?
Did Gaspar Vega Know William Mason?
There's one more minister who today admitted that he had trekked up Intelco Hill to visit with William Mason. In Orange Walk Town today, we drilled the former Deputy Prime Minister, Gaspar Vega about reports that he too was chummy with Mason. While Vega confirmed he had been to Mason's house, he denied introducing Mennonite farmer Lloyd Friessen to Mason. The connection has been made because Mason was dabbling in agriculture and Vega is at the head of that ministry. According to Vega, the Ministry of Agriculture has never signed or entered into any agreement with Mason for business, not corn, piggery or even the importation of coconut.
Gaspar Vega, Former DPM
"I don't know where they came up with that; that I introduced Mister Mason to the Mennonite business person. I don't…I am not even aware that anyone in the ministry took part in it. I spoke to my C.E.O. and he said that the only thing that he knows is that Mason had visited the ministry once, but not even him took part in introducing Mason to the Mennonite community."
"What about Manuel Trujillo sir?"
Gaspar Vega
"I didn't ask him. To be sincere, when they said the minister, I figured it's me and the closest to me is the C.E.O. and that's how far I went. I don't know if Manuel Trujillo had any dealings; it is the first time that I even get anyone to mention such things."
"Because we had reliable reports that it was him who introduced Mason to you and as a matter of fact, there is a document which shows that Mason and Trujillo were at a same venue in Guyana back in 2013."
"Have no knowledge about that; have no knowledge of that. And Mister Trujillo did not introduce Mason to me."
"Have you met Mister Mason personally?"
"I have, I have."
"In what context?"
"Just on a social context at his house."
"Was that the first and only time you visited him?"
"I visited him twice."
"When would this have been more or less?"
"I don't really remember. To tell you the truth, it was brief and it's some time and that was it."
"How did he get license to piggery and even to bring in corn?"
"I don't know if he even brought in any corn, sincerely."
"Because how would he have been able to supply the corn, three hundred thousand dollars worth of corn to Mister Friesen?"
"I don't know about these things. I don't want to speculate; I really don't know. I had asked my C.E.O. to look into this and he himself doesn't know of anything. things like that….let me tell you, C.E.O. would have to know and he would have to know even before me and he is not aware of it."
Viewers please note: This Internet newscast is a verbatim transcript of our evening television newscast. Where speakers use Kriol, we attempt to faithfully reproduce the quotes using a standard spelling system.
News Stories for: 07/29/2016
Will Barrow Meet with William Mason?
Will John Saldivar Face Political Repercussions?
PM Says No Evidence on Saldivar Yet
Barrow Says He Will Act if Evidence Surfaces
Prime Minister Admits to Corruption in Government
Is Police Investigation Being Conducted Properly?
Mark Flowers Gets Bail in Supreme Court
PM Claims Flowers' Fall From Grace is Regrettable
So Will Flowers Get Meeting With Barrow?
B.T.L. Settlement Back in Court
PM Barrow Explains Letter from Central Bank
Barrow Says There's No Reason to Panic
Vega Says He Did Not Receive Money from Mason
Vega Cagey When Asked about Saldivar's Relationship with Mason
Blackmail Attempt in Calla Creek Village
Cane Farmers Protest at B.S.I. Again
CWU and CitCo Sign Collective Bargaining Agreement
Mayor Bradley Says Council Needs to Adopt New Standards
Belizean Musicians Participate in Regional Workshop
The Biggest Summer Camp Concludes in Orange Walk
Growing the Future Summer Camp Concludes
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Home / News / What to Expect at Cox Plate 2016
What to Expect at Cox Plate 2016
By Mac Ocampo
Brace yourselves as one of Australia's greatest horseracing events happens this week – The Cox Plate.
The Cox Plate's course has a reputation of being a remarkable race track. It's a challenge to the world's greatest thoroughbred horses. Loops and bends will test the stability and acceleration of thoroughbreds coupled with the appropriate behaviour to cope with a claustrophobic condition.
This year's Cox Plate will be definitely one for the books. The racetrack's facade will undergo a couple of changes to compete with Australia's impressive horseracing event courses.
Cox Plate's Racetrack Gets a Major Facelift
Major changes will be implemented after this year's Cox Plate. The racecourse will experience a facelift. The grandstand and winning post will be relocated 90 degrees to the left from their present spot which will create a home straight almost furlong longer.
The Cox Plate racetrack will re-open in 2022 which means the 2021 Cox Plate will be held in a different venue and course. The $150 million redevelopment budget will create a visual delight for Cox Plate fans. It is expected to draw new horseracing fans to its newly renovated race course.
Let's Take a Look at Cox Plate's Stars
Sam Clipperton and Joao Moreira are currently stuck in Hong Kong due to a typhoon. The jockey agents will not be able to ride Vadamos in the Cox Plate and English in the Manikato Stakes. The Hong Kong Jockey Club have told Clipperton and Moreira to prepare themselves to ride at Sha Tin over the weekend.
Mark Zahra prepares to mount English and also expected to ride on Vadamos. It will depend on Damien Oliver's appeal hearing since he is trying to repeal a 20-meeting suspension for reckless riding and imprudence.


It is possible to send your own data to Databoom server using HTTP requests. In order that the parameters are interpreted correctly, you must use a particular format. Follows the procedure for Node.js.
If you want to update a signal that is already in Databoom, name must correspond to the token. If the signal is not in Databoom, it is inserted using name as token. The value must be unique within the device.
signals can contain more signals, using their tokens as keys, and every signal can contain more values in the history array.
You can see your personal key in your profile.
Once the procedure has been completed, Databoom starts to record data sent with HTTP. To examine your data and have a correct representation, follow the instructions in Edit/validation of a signal.


Not strictly a new app, Google has now unveiled a new service designed to help locate lost Android devices of any kind, with the added bonus of being able to make the device ring even if it's silienced and even erase it from afar. But, is this service really useful ?
Naturally, we gave it a try. As of now, the service failed to locate our smartphone, though it was working normally at the time.
We tried to make it ring, and it worked, though it took several tries for the smartphone to make one ring. We didn't try silencing the smartphone or turning it off and see what will happen.
And we very definitely did not try erasing our device. We do not have that many smartphones to spare, though we see no reason if the ring works why erasing the device from the service wouldn't work, on the condition we enabled factory reset on the device in advance.
So, is it useful? That depends. For finding lost silenced smartphones (a well known problem), it sure is useful. But, when your smartphone's lost. there are better apps on Google Play, apps that know to picture the thief and send you other information, more helpful in retrieving your lost smartphone.


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Sheida Soleimani: 'Does someone really want to buy an image of an executed woman and hang it in their home?'
Surrounded by her neon memorials to women killed in Iran, Soleimani discusses the state-sanctioned misogyny and human rights abuses there, and how she is trying to make people in the west aware of what is going on
by ROSANNA MCLAUGHLIN
At first glance, Iranian-American artist Sheida Soleimani's artworks look like pop art for the digital age. But among her psychedelic photo-collages, and stitched into her soft sculptures, are images of the victims of human rights abuses in Iran.
Soleimani, who was born in Indiana in 1990, came to widespread attention for National Anthem (2015), a series of photographic works that uses the contrast between grave subject matter and garish style to startling effect. In Vitriolic Acid: An Eye for an Eye (2015), an image, broken up and repeated, of the acid-burned face of a woman punished for wearing her headscarf incorrectly is interspersed with stick-on googly eyes, and bunches of grapes that match the colour of her red-raw skin. Western audiences have grown immune to the sight of violence in the Middle East, and, in response, Soleimani has developed an unorthodox tactic. "I want to draw people in," she tells me, before the opening of her exhibition To Oblivion at London gallery Edel Assanti. "And then, when they realise what the content is, they are forced to spend time with it."
In 2015, works from National Anthem were included in After the Moment: Reflections on Robert Mapplethorpe, at the Contemporary Arts Center (CAC) in Cincinnati, Ohio. The exhibition marked the 25th anniversary of Mapplethorpe's 1990 survey show The Perfect Moment, which famously resulted in the CAC being charged with obscenity for displaying homoerotic content. Soleimani is no stranger to the potential dangers of bigotry and populist backlash. After making National Anthem, she received death threats from those loyal to the Iranian government.
To Oblivion is Soleimani's first solo exhibition in the UK. We meet in the gallery, and, surrounded by her neon memorials to the dead, discuss exile, the aesthetics of seduction, and the state-sanctioned misogyny of Iran's sharia courts.
Rosanna Mclaughlin: Each work in this show is named after a woman who has been executed in Iran. For the benefit of anyone who is unaware, can you describe the political context and your relationship to it?
Sheida Soleimani: My parents are both political refugees from Iran. They escaped from the revolution at different times – my dad left in 1983 and my mum in 1986. My dad was a political activist, distributing anti-governmental material, and, because of this, the government was basically trying to kill him. He went into hiding for three years, and eventually escaped over the border on horseback. Subsequently, even though my mother wasn't political at all, she was imprisoned, violated and tortured, as punishment for being with my father. She eventually got out of prison and escaped the country.
RM: When did this history begin to impact on the work that you make?
SS: I was born in the United States, and grew up with my parents telling me these stories very, very early on. My mum often talked about the lack of human rights in Iran, and her experience of what happened to her there. When I got to art school, their stories started motivating what I was producing.
The first series I made that focused on human rights violations was called National Anthem (2015). I sourced images of victims online, and created small, tabletop tableaux, which I then photographed. Because my mother went through what she did, after I finished National Anthem, I started to think about a series that focused specifically on women. In Iran, human rights abuses happen mostly to women, although homosexuality, adultery and not being religious are also grounds for some type of torture to be inflicted. Instead of telling a story just about my mother, I wanted to talk about all the women in the country who are undocumented and who don't get their stories told, because the government tries to make them disappear, by not putting out news or information about their executions.
RM: The women who feature in your work are often referred to as "disappeared women", as if they have become their own demographic. As a description of a person who has been executed, it is remarkably passive.
SS: "Disappeared women", or "undocumented women", is the easy way to put it. These women have all been convicted by sharia law, mostly for drug possession or adultery, but none of their trials is fair. There is a single sharia judge, a religious judge, who makes all the decisions. The women aren't allowed to have lawyers, the process isn't opened up to the media, and often the women have become the target of blame as a way to cover up the crime of a man. One of my first communications was with the mother of a woman whose daughter was executed for killing a man who was trying to rape her. As she lives in Iran I don't want to name her, but that should give you some idea of how biased the system is.
RM: How did you the source the images used in To Oblivion, given how little publicity the trials are given? You have said before that you have used the dark web.
SS: I spoke to my friends in Iran, and they told me that, because the government completely regulates the internet, a lot of people there have dark-web servers as a way to get information to outside sources. I have a friend in the US who set up a server for me. I started to communicate with people through my family members or friends who knew what was going on, as well as through Amnesty International and various lawyers.
Some of the images I use in my work are sent by the victim's family members. I have also used images I found on Google, but this only happens occasionally, when a trial has been covered by Amnesty International or other human rights groups. Amnesty covers maybe nine such cases each year, but after speaking with human rights lawyers in Iran, I know that, every year, at least 100 women are executed.
RM: At first glance, you could be forgiven for thinking the works in To Oblivion are contemporary pop art, a type of psychedelic collage. The contrast between the origins of the images and the visual aesthetic is extremely stark.
SS: I think a lot about seduction, and how we learn about what's happening in the world around us. Growing up in the west, the only time I ever heard about the east was during the Green Revolution [following the disputed 2009 presidential election victory of President Mahmoud Ahmadinejad], when a woman was shot on the street and the mobile-phone footage of the killing was broadcast over the internet. It's almost pornographic at this point how we view events in the Middle East on the news, how we have become addicted to ruin and disaster, how we have become enamoured with the violence of it. So I started to ask myself: "How do you get someone to pay attention to violence, without showing violence? Is there a way to turn this on its head?" I began looking at the language of product photography and food photography, and of visual seduction in art in general, and then applying those techniques to how I organise my compositions. I want to draw people in. And then, when they realise what the content is, they are forced to spend time with it.
RM: How do you produce your compositions? Are they made as physical scenes and then photographed, or do you also use digital editing programmes such as Photoshop?
SS: They are all fully constructed in my studio like tableaux, and then photographed. The source images begin as two-dimensional images on screen, which then become three dimensional. Following this, I use the camera to flatten the sculptural plane again. I think of photography in this context as another iteration of an aggressive act. What does it mean to take a flat body, give it dimension, and then flatten it again?
RM: There is also a rub between 2D and 3D in the way you present the works in To Oblivion. The photographs are backed with colourful plastic, and displayed on individual, neon-orange shelves, rather than hung on the wall or framed.
SS: The colours in this show are very specific. The orange of the Plexiglas is the same as the colour worn by the Basij, the volunteer militia of Iran. In Iran, as well as the police, you also have the Basij, a name that literally translates to "the revolutionary guard". The Basij act as the tentacles of the government. They are paramilitaries stationed in neighbourhoods to basically spy on people, and let the government know if anyone is doing anything wrong. Often, the women who are executed have been taken in by the Basij.
RM: Your work has a visual affinity with post-internet art, a genre of art-making that typically expresses anxiety about living in a totally networked world, in which a subject is constantly visually available. To Oblivion shows how that anxiety belongs to a giant western filter bubble, by highlighting the opposite scenario: what happens when a person becomes invisible, when they are subject to physical and digital erasure.
SS: Often the only existing trace left of these women is web-based, and it is usually 72 pixels per inch. So when I blow the images up, you can really see the pixelation, which is a nod to their origin.
Have you seen the Thomas Hirschhorn video Touching Reality (2012)? It shows this very manicured, white, feminine hand scrolling through images of war on an iPad, and then it stops and zooms in on the bloodied faces of people who have been massacred. It is about monotony, but I think it also relates to that critique of how we use the internet, how we have become accustomed to glazing over images, thinking: "Oh, how terrible."
RM: Do you find Hirschhorn's mode of critique effective?
SS: It is tricky for me, because I think the intent is there. Hirschhorn is critiquing the fact that we are so enamoured with looking at images of horror that we don't actually think about them. But then the very thing he is critiquing is also happening within that piece. It is critiquing a type of behaviour, which I appreciate, but it's also reanimating that same behaviour. At least it is moving in the right direction. It is better than "zombie formalism", painting with no content – that's what kills me.
RM: What is your own relationship like with Iran?
SS: I'm exiled. They revoked my passport pretty recently. I was technically considered a dual citizen up until I started making this work, and then I started getting lots of death threats and letters, especially from paramilitary guards, who would say things like: "Why are you doing this? You're spreading false information about the country, you're lying, this isn't true."
RM: Do you know how your work came to the attention of paramilitary groups in Iran?
SS: There was an article published in a Los Angeles-based Iranian newspaper, which ended up also getting published on a popular, left-leaning website in Iran, and that's when Iranian people starting seeing my work. If you have a dark-web server, you can also find my work on US websites.
When I started making the previous series of work, National Anthem, some articles were published about it, and I started getting lots of friend requests on Facebook. I got really excited, because I thought loads of Iranian people were interested in what I was doing, and so, naively, I accepted all of them. Then people started messaging me with threats –people who were pro-government or somehow affiliated with the Iranian government –saying things like: "If you come here, were going to track you, we're going to kill you." So I don't think I'll be going back anytime soon, unless the regime changes, and, unfortunately, I don't think that is going to happen for quite some time.
RM: How have the families of the executed women responded when they see the final outcome of your work? Are they able to see them as a type of memorial, or do they struggle with the visual register?
SS: Through discussion, they see the work as a memorial. They are often confused at first, but when I describe my intent they usually understand. I haven't had anyone oppose it. Family members are usually trying to get news out as much as possible because these are stories that western news agencies just don't cover. I remember seeing Iran in the news for the first time when I was young. The Green Revolution was covered by CNN for two days, and then Michael Jackson died, and the celebrity death completely overshadowed the world event, which is so often how it happens.
RM: The soft sculptures in this exhibition – which also bear the heavily pixellated images of women who have subsequently been executed – are based on Bobo dolls, a type of toy that returns to a standing position when knocked down. The toys are perhaps best known for their use in psychologist Albert Bandura's Bobo doll experiments of the early 1960s, in which children were exposed to adults behaving either violently or passively towards the dolls.
SS: Right, and then afterwards the children go into a room with a Bobo doll in it, and those who have seen the adults acting aggressively with the doll also interact with it in an aggressive way. Of course it's a no-brainer that children are sponges. They are going to pick up on the behaviour that they see, and Bandura's experiment is proof of that. But in Iran, executions are often public, and children and families are encouraged to come and watch them. It is a means of instilling fear in people, so that they do not to commit the same crimes. But because these executions are public, it also normalises that behaviour. Children grow up seeing violence towards female bodies being promoted: they grow up thinking that it is OK.
RM: The wall-based works in To Oblivion contain a range of other imagery, which act as visual keys to understanding certain elements of the women's stories. Can you tell me about the stones in Maryam (2016)?
SS: Maryam Akbarii was stoned to death, so the pile of stones in that work references her death and the spectatorship that comes into stoning. There is actually a guide for how to stone someone correctly, which is issued by the republic for citizens to read. It contains diagrams of different sizes of rocks, explaining why you shouldn't use a rock that is too big, because it means that the victim will die too fast, and why you shouldn't use one that is too small, because it won't hurt enough or cause enough injury.
RM: Given the gravity of the subject matter, do you have specific expectations of what you want viewers to take from To Oblivion, and how you want them to act on seeing the show?
SS: I don't really think about my work as educational, but about bringing awareness to the fact that this is happening somewhere, and it is real. I think of it more like reconditioning. What are we in the west conditioned to be interested in? What events do we want to learn or read about?
RM: Has the art world provided a useful platform for the issues you want to raise?
SS: In the United States, the hardest thing for me is finding people who are interested in the art world who are willing to talk about politics. Often work is so aestheticised, and people just want to sell, and it is hard to think about how my work functions commercially. Does someone really want to buy an image of an executed woman and hang it in their home? Museums have been great, because they are much more willing to take risks – they don't have to deal in the same way with the potential for commercial failure.
I think it is easy for people to talk about the work academically, in the sense that there is so much history that it points at and picks up on, so it generates content in that regard. Perhaps this also has something to do with the fact that there aren't that many Iranian artists who are as outwardly political as me, because they are afraid, and also because a lot of them still want to go back to Iran. I know I burned my bridges. Too bad, so sad, at this point. I just have to come to terms with it.
• Sheida Soleimani: To Oblivion is at the Edel Assanti Gallery, London, until 18 February.
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