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Comcast Reports 1st Quarter 2012 Results
Comcast Reports 1st Quarter 2012 Results 72.8 KB
Consolidated Revenue Increased 23%, Operating Cash Flow Increased 15% and Operating Income Increased 24%
Earnings per Share Increased 32% to $0.45
Free Cash Flow Increased 37% to $3.0 Billion, Including $2.2 Billion from Cable and $851 Million from NBCUniversal
Quarterly Dividends and Share Repurchases Totaled $1.1 Billion
PHILADELPHIA--(BUSINESS WIRE)-- Comcast Corporation (NASDAQ: CMCSA, CMCSK) today reported results for the quarter ended March 31, 2012.
Brian L. Roberts, Chairman and Chief Executive Officer of Comcast Corporation, said, "We are off to a great start in 2012, with strong revenue and cash flow growth and record quarterly free cash flow. Cable's results show real momentum in High-Speed Internet and Business Services, and continuing improvements in Video results and Voice services. As we continue to drive innovation and bring the XFINITY brand to life, we're delivering more and better products and transforming the customer experience.
We are also pleased with the performance of NBCUniversal, which posted strong revenue growth, led by the Super Bowl and successful film releases, along with reliable growth in our Theme Parks and Cable Networks, and steady progress in Broadcast. NBCUniversal and Cable Communications are also working well together to launch new programs and offer innovative products. We are looking forward to events like the Olympics that will bring together all of our company's unique abilities to deliver compelling stories and new digital experiences across every screen, in and out of the home."
Consolidated Financial Results
Consolidated financial results include NBCUniversal as of January 28, 2011 and 100% of Universal Orlando as of July 1, 2011.
($ in millions) 1st Quarter
Revenue $12,128 $14,878 22.7 %
Operating Cash Flow (OCF)1 $4,066 $4,688 15.3 %
Operating Income $2,224 $2,758 24.0 %
Earnings per Share2 $0.34 $0.45 32.4 %
Free Cash Flow3 $2,221 $3,039 36.8 %
*Includes 2 months of NBCUniversal results.
For additional detail on segment revenue and expenses, customer metrics, capital expenditures, and free cash flow, please refer to the trending schedules on Comcast's Investor Relations website at www.cmcsa.com or www.cmcsk.com.
Revenue increased 22.7% in the first quarter of 2012 to $14.9 billion, while Operating Cash Flowincreased 15.3% to $4.7 billion and Operating Income increased 24.0% to $2.8 billion.
Earnings per Share (EPS) for the first quarter of 2012 was $0.45, a 32.4% increase from the $0.34 reported in the first quarter of 2011. Excluding NBCUniversal transaction and related costs of $0.02 per share in the first quarter of 2011, EPS increased 25.0% in the first quarter of 2012 (see Table 4).
Free Cash Flow(excluding any impact from the Economic Stimulus packages) increased 36.8% to $3.0 billion in the first quarter of 2012 compared to $2.2 billion in the first quarter of 2011, reflecting growth in consolidated operating cash flow and improvements in working capital, partially offset by higher capital and intangible asset expenditures.
Operating Cash Flow $4,066 $4,688 15.3%
Capital Expenditures (1,106) (1,174) 6.1%
Cash Paid for Capitalized Software and Other Intangible Assets (123) (184) 49.6%
Cash Interest Expense (657) (614) (6.5%)
Cash Taxes (74) (118) 59.5%
Changes in Operating Assets and Liabilities 7 346 NM
Noncash Share-Based Compensation 84 89 6.0%
Proceeds from Investments and Distributions to Noncontrolling Interests 22 17 (22.7%)
Nonoperating Items 2 (11) NM
Free Cash Flow (Incl. Economic Stimulus Packages) $2,221 $3,039 36.8%
Economic Stimulus Packages - - -
Free Cash Flow $2,221 $3,039 36.8%
* Includes 2 months of NBCUniversal results.
Note: The definition of Free Cash Flow excludes any impact from the 2008-2012 Economic Stimulus packages. These amounts have been excluded from Free Cash Flow to provide an appropriate comparison. NM=comparison not meaningful.
Dividends and Share Repurchases. During the first quarter of 2012, Comcast paid dividends totaling $304 million and repurchased 25.9 million of its common shares for $750 million. As of March 31, 2012, Comcast had approximately $5.8 billion available under its share repurchase authorization.
Pro Forma Financial Results
Pro forma results are presented as if the NBCUniversal transaction, which closed on January 28, 2011, and the Universal Orlando transaction, which closed on July 1, 2011, were effective on January 1, 2010. These results are based on historical results of operations, adjusted for the effects of acquisition accounting and eliminating the costs and expenses directly related to the transaction, and are not necessarily indicative of what the results would have been had Comcast operated NBCUniversal and Universal Orlando since January 1, 2010 (see Table 5 for reconciliations of pro forma financial information).
Consolidated Pro Forma Results
Revenue $13,580 $14,878 9.6%
Operating Cash Flow (OCF) $4,276 $4,688 9.6%
OCF (excluding NBCUniversal transaction-related costs) $4,368 $4,688 7.3%
Consolidated Pro Forma Revenue increased 9.6% in the first quarter of 2012 to $14.9 billion compared to $13.6 billion in the first quarter of 2011. Consolidated Pro Forma Operating Cash Flow increased 9.6% to $4.7 billion compared to $4.3 billion in last year's first quarter. Included in consolidated pro forma operating cash flow for the first quarter of 2011 are transaction-related costs totaling $92 million. Excluding these costs, consolidated pro forma operating cash flow increased 7.3% (see Table 6).
Cable Communications
Cable Communications Revenue
Video $4,891 $4,969 1.6%
High-Speed Internet 2,106 2,323 10.3%
Voice 860 878 2.0%
Business Services 394 541 37.0%
Advertising 455 476 4.8%
Other 378 412 8.9%
Cable Communications Revenue $9,084 $9,599 5.7%
Cable Communications OCF $3,749 $3,955 5.5%
OCF Margin 41.3% 41.2%
Cable Communications Capital Expenditures $1,053 $1,056 0.3%
Percent of Cable Communications Revenue
Revenue. For the first quarter of 2012, Cable revenue increased 5.7% to $9.6 billion compared to $9.1 billion in the first quarter of 2011. This increase was driven by a 10.3% increase in High-Speed Internet revenue, a 37.0% increase in Business Services revenue and a 1.6% increase in Video revenue. Monthly average total revenue per Video customer increased 7.8% to $143.40, reflecting a growing number of residential customers taking multiple products, rate adjustments and a higher contribution from business services.
Operating Cash Flow. For the first quarter of 2012, Cable operating cash flow increased 5.5% to $4.0 billion compared to $3.7 billion in the first quarter of 2011, reflecting higher revenue offset primarily by increases in programming, sales and marketing and other expenses to support new business areas. This quarter's operating cash flow margin was 41.2% compared to 41.3% in the first quarter of 2011.
Capital Expenditures. For the first quarter of 2012, Cable capital expenditures were flat to the prior year at $1.1 billion and represented 11.0% of Cable revenue in the first quarter of 2012 compared to 11.6% in last year's first quarter.
Customers. In the first quarter, combined Video, High-Speed Internet and Voice customers increased by 565,000, driven by High-Speed Internet customer net additions, up 5% over the prior year. As of March 31, 2012, Video, High-Speed Internet and Voice customers totaled 50.4 million, an increase of 2.8% over last year's first quarter.
Net Adds
Video Customers 22,751 22,294 (37)
High-Speed Internet Customers 17,403 18,582 439
Voice Customers 8,870 9,506 164
Combined Video, HSI and Voice Customers 49,024 50,382 565
Pro forma NBCUniversal results are presented as if the NBCUniversal transaction, which closed on January 28, 2011, and the Universal Orlando transaction, which closed on July 1, 2011, were effective on January 1, 2010.
Revenue for NBCUniversal increased 18.0% to $5.5 billion in the first quarter of 2012, reflecting strong revenue growth in every segment, including Super Bowl revenue of $259 million in the Broadcast Television segment. Excluding the Super Bowl in the first quarter of 2012, revenue increased 12.4%. Operating Cash Flowincreased 34.3% to $813 million compared to last year's first quarter. Excluding transaction-related costs totaling $92 million in the first quarter of 2011, operating cash flow increased 16.6% (see Table 6).
($ in millions) (pro forma) 1st Quarter
NBCUniversal Revenue
Cable Networks $2,020 $2,138 5.8%
Broadcast Television 1,352 1,851 36.9%
Filmed Entertainment 975 1,192 22.3%
Theme Parks 390 412 5.7%
Headquarters, Other and Eliminations (98) (121) (23.4%)
NBCUniversal Revenue $4,639 $5,472 18.0%
NBCUniversal OCF
Cable Networks $817 $805 (1.4%)
Broadcast Television 20 (10) NM
Filmed Entertainment (146) 6 NM
Theme Parks 134 157 17.1%
Headquarters, Other and Eliminations (220) (145) 33.6%
NBCUniversal OCF $605 $813 34.3%
For the first quarter of 2012, revenue from the Cable Networks segment increased 5.8% to $2.1 billion compared to $2.0 billion in the first quarter of 2011, primarily driven by a 5.9% increase in advertising revenue, a 3.8% increase in distribution revenue and a 20.5% increase in other revenue. Operating cash flow decreased 1.4% to $805 million compared to $817 million in the first quarter of 2011, reflecting higher programming and production costs, primarily due to a shift in the number of NBA games to the first quarter of 2012.
Broadcast Television
For the first quarter of 2012, revenue from the Broadcast Television segment increased 36.9% to $1.9 billion compared to $1.4 billion in the first quarter of 2011 and included $259 million of revenue generated by the Super Bowl. Excluding the impact of the Super Bowl in the first quarter of 2012, revenue increased 17.7%, reflecting higher primetime ratings and higher revenue from a content licensing agreement. In the first quarter of 2012, the Broadcast Television segment generated an operating cash flow loss of $10 million compared to operating cash flow of $20 million in the first quarter of 2011, reflecting higher programming and marketing costs to support the mid-season primetime schedule (see Table 6).
For the first quarter of 2012, revenue from the Filmed Entertainment segment increased 22.3% to $1.2 billion compared to $975 million in the first quarter of 2011, primarily reflecting higher theatrical revenue driven by the release of Dr. Suess' The Lorax and Safe House, and increased home entertainment revenue due to a higher volume of new titles, including Hop and Tower Heist. In the first quarter of 2012, the Filmed Entertainment segment generated operating cash flow of $6 million compared to an operating cash flow loss of $146 million in the first quarter of 2011, primarily reflecting higher theatrical revenue and the corresponding increase in the amortization of film costs.
Theme Parks results are presented as if the Universal Orlando transaction, which closed on July 1, 2011, was effective on January 1, 2010. As a result, Theme Parks segment revenue and operating cash flow includes the results of Universal Orlando, Universal Hollywood and international licensing fees.
For the first quarter of 2012, revenue from the Theme Parks segment increased 5.7% to $412 million compared to $390 million in the first quarter of 2011, driven by higher per capita spending at the Orlando and Hollywood parks. First quarter operating cash flow increased 17.1% to $157 million compared to $134 million in the same period last year.
Headquarters, Other and Eliminations
NBCUniversal Headquarters, Other and Eliminations include overhead and eliminations between the NBCUniversal businesses. Included in these expenses are non-recurring transaction-related costs during the first quarter of 2011 that totaled $92 million.
Corporate, Other and Eliminations
Pro forma Corporate, Other and Eliminations include corporate operations, Comcast-Spectacor and eliminations between Comcast's businesses. For the quarter ended March 31, 2012, Corporate, Other and Eliminations revenue was ($193) million compared to ($143) million in 2011, reflecting reduced revenue due to the sale of the Philadelphia 76ers in 2011. The operating cash flow loss was $80 million compared to a loss of $78 million in the first quarter of 2011.
1 We define Operating Cash Flow as operating income (loss) before depreciation and amortization, excluding impairment charges related to fixed and intangible assets and gains or losses on the sale of assets, if any.
2 Earnings per share amounts are presented on a diluted basis.
3 We define Free Cash Flow as Net Cash Provided by Operating Activities (as stated in our Consolidated Statement of Cash Flows) reduced by capital expenditures, cash paid for intangible assets and cash distributions to noncontrolling interests; and adjusted for any payments and receipts related to certain nonoperating items, net of estimated tax benefits. We do not present Free Cash Flow on a pro forma basis.
All percentages are calculated on whole numbers. Differences may exist due to rounding.
Comcast Corporation will host a conference call with the financial community today, May 2, 2012 at 8:30 a.m. Eastern Time (ET). The conference call and related materials will be broadcast live and posted on its Investor Relations website at www.cmcsa.com or www.cmcsk.com. Those parties interested in participating via telephone should dial (800) 263-8495 with the conference ID number 64891388. A replay of the call will be available starting at 12:30 p.m. ET on May 2, 2012, on the Investor Relations website or by telephone. To access the telephone replay, which will be available until Wednesday, May 9, 2012 at midnight ET, please dial (855) 859-2056 and enter the conference ID number 64891388. To automatically receive Comcast financial news by email, please visit www.cmcsa.com or www.cmcsk.com and subscribe to email alerts.
Caution Concerning Forward-Looking Statements
This press release contains forward-looking statements. Readers are cautioned that such forward-looking statements involve risks and uncertainties that could cause actual events or our actual results to differ materially from those expressed in any such forward-looking statements. Readers are directed to Comcast's periodic and other reports filed with the Securities and Exchange Commission (SEC) for a description of such risks and uncertainties. We undertake no obligation to update any forward-looking statements.
In this discussion, we sometimes refer to financial measures that are not presented according to generally accepted accounting principles in the U.S. (GAAP). Certain of these measures are considered "non-GAAP financial measures" under the SEC regulations; those rules require the supplemental explanations and reconciliations that are in Comcast's Form 8-K (Quarterly Earnings Release) furnished to the SEC.
About Comcast Corporation
Comcast Corporation (Nasdaq: CMCSA, CMCSK) (www.comcast.com) is one of the world's leading media, entertainment and communications companies. Comcast is principally involved in the operation of cable systems through Comcast Cable Communications and in the development, production and distribution of entertainment, news, sports and other content for global audiences through NBCUniversal. Comcast Cable Communications is one of the nation's largest video, high-speed Internet and phone providers to residential and business customers. Comcast is the majority owner and manager of NBCUniversal, which owns and operates entertainment and news cable networks, the NBC and Telemundo broadcast networks, local television station groups, television production operations, a major motion picture company and theme parks.
Condensed Consolidated Statement of Income (Unaudited)
(in millions, except per share data) March 31,
Revenue $12,128 $14,878
Operating costs and expenses 8,062 10,190
Operating cash flow 4,066 4,688
Depreciation expense 1,486 1,529
Amortization expense 356 401
Operating income 2,224 2,758
Interest expense (605 ) (640 )
Investment income (loss), net 89 92
Equity in net income (losses) of investees, net (37 ) 3
Other income (expense), net (36 ) (16 )
(589 ) (561 )
Income before income taxes 1,635 2,197
Income tax expense (596 ) (750 )
Net income 1,039 1,447
Net (income) loss attributable to noncontrolling interests (96 ) (223 )
Net income attributable to Comcast Corporation $943 $1,224
Diluted earnings per common share attributable to Comcast Corporation shareholders $ 0.34 $ 0.45
Dividends declared per common share attributable to Comcast Corporation shareholders $0.1125 $0.1625
Diluted weighted-average number of common shares 2,805 2,744
Note: Consolidated financial results include NBCUniversal as of January 28, 2011 and 100% of Universal Orlando as of July 1, 2011.
Condensed Consolidated Balance Sheet (Unaudited)
(in millions) December 31, March 31,
Cash and cash equivalents $1,620 $2,207
Receivables, net 4,351 4,379
Programming rights 987 1,011
Other current assets 1,615 1,758
Total current assets 8,573 9,355
Film and television costs 5,227 5,112
Investments 9,854 10,149
Property and equipment, net 27,559 26,962
Franchise rights 59,376 59,364
Other intangible assets, net 18,165 18,001
Other noncurrent assets, net 2,190 2,203
Accounts payable and accrued expenses related to trade creditors $5,705 $5,763
Accrued participations and residuals 1,255 1,394
Accrued expenses and other current liabilities 4,914 5,770
Current portion of long-term debt 1,367 2,705
Long-term debt, less current portion 37,942 35,080
Deferred income taxes 29,932 29,812
Other noncurrent liabilities 13,034 13,446
Redeemable noncontrolling interests 16,014 16,158
Comcast Corporation shareholders' equity 47,274 47,476
Noncontrolling interests 381 345
Total Equity 47,655 47,821
Consolidated Statement of Cash Flows (Unaudited)
(in millions) Three Months Ended
Net income $1,039 $1,447
Amortization of film and television costs 1,184 2,153
Share-based compensation 84 89
Noncash interest expense (income), net 40 48
Equity in net (income) losses of investees, net 37 (3 )
Cash received from investees 98 73
Net (gain) loss on investment activity and other (85 ) (74 )
Deferred income taxes 130 (59 )
Changes in operating assets and liabilities, net of effects of acquisitions and divestitures:
Change in receivables, net 725 (30 )
Change in film and television costs (1,466 ) (2,061 )
Change in accounts payable and accrued expenses related to trade creditors (131 ) 169
Change in other operating assets and liabilities (29 ) 711
Net cash provided by operating activities 3,468 4,393
Capital expenditures (1,106 ) (1,174 )
Cash paid for intangible assets (123 ) (184 )
Acquisitions, net of cash acquired (5,658 ) -
Proceeds from sales of businesses and investments 18 35
Purchases of investments (16 ) (62 )
Other (2 ) 36
Net cash provided by (used in) investing activities (6,887 ) (1,349 )
Proceeds from (repayments of) short-term borrowings, net 1,677 (407 )
Repurchases and repayments of debt (1,759 ) (1,125 )
Repurchases and retirements of common stock (525 ) (750 )
Dividends paid (261 ) (304 )
Issuances of common stock 129 150
Distributions to noncontrolling interests (46 ) (58 )
Other 42 37
Net cash provided by (used in) financing activities (743 ) (2,457 )
Increase (decrease) in cash and cash equivalents (4,162 ) 587
Cash and cash equivalents, beginning of period 5,984 1,620
Cash and cash equivalents, end of period $1,822 $2,207
Alternate Presentation of Net Cash Provided by Operating Activities and Free Cash Flow (Unaudited)
(in millions) 2011 2012
Operating income $2,224 $2,758
Operating income before depreciation and amortization 4,066 4,688
Noncash share-based compensation expense 84 89
Changes in operating assets and liabilities 7 346
Cash basis operating income 4,157 5,123
Payments of interest (657 ) (614 )
Payments of income taxes (74 ) (118 )
Proceeds from interest, dividends and other nonoperating items 42 2
Net Cash Provided by Operating Activities $3,468 $4,393
Cash paid for capitalized software and other intangible assets (123 ) (184 )
Distributions to other noncontrolling interests (46 ) (58 )
Nonoperating items 28 62
Free Cash Flow (including Economic stimulus packages) $2,221 $3,039
Economic stimulus packages - -
Total Free Cash Flow $2,221 $3,039
Reconciliation of EPS Excluding Costs of the NBCUniversal Transaction (Unaudited)
(in millions, except per share data)
EPS (1)
Net income attributable to Comcast Corporation $943 $0.34 $1,224 $0.45
Growth % 29.7 % 32.4 %
Comcast Costs Related to the NBCUniversal Transaction, net of tax (2) 51 0.02 - -
NBCUniversal Transaction-Related Costs, net of tax(3) 14 0.00 - -
Net income attributable to Comcast Corporation
(excluding Costs of the NBCUniversal Transaction) $1,008 $0.36 $1,224 $0.45
(1) Based on diluted weighted-average number of common shares for the respective periods as presented in Table 1.
(2) 2011 Net income attributable to Comcast Corporation includes $63 million of operating costs and expenses and $16 million of other expense ($80 million in total, $51 million net of tax) related to the NBCUniversal transaction.
(3) 2011 Net income attributable to Comcast Corporation includes $44 million in transaction-related costs, $14 million net of tax and noncontrolling interest.
Note: Consolidated financial results include NBCUniversal as of January 28, 2011 and 100% of Universal Orlando as of July 1, 2011. Minor differences may exist due to rounding.
Reconciliation of GAAP to Pro Forma(1) Financial Information (Unaudited)
Corporate, Other and
Pro Forma
Other and
NBCU
Adjustments(1)
Three Months Ended March 31, 2011
Revenue $9,084 $3,143 ($99 ) $12,128 $1,496 $4,639 ($44 ) ($143 ) $1,452 $13,580
Operating Costs and Expenses 5,335 2,685 42 8,062 1,349 4,034 (107 ) (65 ) 1,242 9,304
Operating Cash Flow $3,749 $458 ($141 ) $4,066 $147 $605 $63 ($78 ) $210 $4,276
Revenue $9,599 $5,472 ($193 ) $14,878 - $5,472 - ($193 ) - $14,878
Operating Costs and Expenses 5,644 4,659 (113 ) 10,190 - 4,659 - (113 ) - 10,190
Operating Cash Flow $3,955 $813 ($80 ) $4,688 - $813 - ($80 ) - $4,688
Pro Forma information is presented as if the NBCUniversal transaction and the acquisition of the remaining 50% interest of Universal Orlando occurred January 1, 2010. Pro forma data does not include adjustments for costs related to integration activities, cost savings or synergies that have been or may be achieved by the combined businesses. Pro forma amounts are not necessarily indicative of what our results would have been had we operated the NBCUniversal contributed businesses or Universal Orlando since January 1, 2010, nor of our future results.
Reconciliation of Consolidated Pro Forma Operating Cash Flow Excluding NBCUniversal Transaction-Related Costs (Unaudited)
(in millions) 2011 2012 Growth %
Operating Cash Flow $4,276 $4,688 9.6 %
NBCUniversal Transaction-Related Costs(1) 92 -
Operating Cash Flow excluding NBCUniversal Transaction-Related Costs $4,368 $4,688 7.3 %
Reconciliation of Consolidated Pro Forma NBCUniversal Revenue Excluding Super Bowl (Unaudited)
Revenue $4,639 $5,472 18.0 %
Super Bowl - (259 )
Revenue excluding Super Bowl $4,639 $5,213 12.4 %
Reconciliation of Consolidated Pro Forma NBCUniversal Operating Cash Flow Excluding NBCUniversal Transaction-Related Costs (Unaudited)
Operating Cash Flow $605 $813 34.3 %
Operating Cash Flow excluding NBCUniversal Transaction-Related Costs $697 $813 16.6 %
Reconciliation of Pro Forma Broadcast Television Revenue Excluding Super Bowl (Unaudited)
(1) NBCUniversal transaction-related costs are associated with severance and other related compensation charges, $44 million of which was incurred after the close of the transaction.
Note: Minor differences may exist due to rounding.
Investor Contacts:
Marlene S. Dooner, 215-286-7392
Jane B. Kearns, 215-286-4794
Press Contacts:
D'Arcy Rudnay, 215-286-8582
John Demming, 215-286-8011
Source: Comcast Corporation
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StatCan Research Beat: Who are the working women in the top 1%?
Catalogue number: Catalogue number: 89-20-0004
Issue number: 2019001
StatCan Research Beat – Who are the working women in the top 1%? - Transcript
(The Statistics Canada symbol and Canada wordmark appear on screen with the title: "StatCan Research Beat – Who are the working women in the top 1%?")
(Background music plays while title card with the text "StatCan Research Beat" appears on screen.)
(Text on screen below presenter: "Elizabeth Richards, Senior Research Economist.")
Working women are now more educated than working men, yet they continue to be outnumbered at the top of the income distribution. In 2015, women represented one in five workers in the top 1%. Research shows that the lack of women in top income groups explains about half of the gender pay gap in Canada.
Who are the women reaching top income groups? And
How do they differ from men in the same income bracket?
In this edition of StatCan's Research Beat, we'll go over some key findings from a recent study – a first gender-based analysis of workers in the top 1% in Canada. Essentially, based on 2016 Census data, there were some key differences between working women and men with a total income of about $270,000 or more.
Let's start with occupation. Major occupations for top income groups include business leaders, senior managers, physicians and lawyers. But, were women and men just as likely to be senior managers or physicians?
Women in the top 1% were almost twice as likely as their male counterparts to work in health, mainly as physicians. One in five women in the top 1% worked in health, compared to one in nine men.
Women in the top 1% were about three times less likely than their male counterparts to work in natural and applied sciences, representing one in thirty women, compared to about one in ten men.
Even though women in the top 1% were more likely than their male counterparts to work in business, they were less likely to work in management, especially at senior levels. Given that women were also less represented among top income groups, they represented one in seven managers in the top 1%.
Their families also looked different. Working women in the top 1% were less likely than their male counterparts to have a married spouse or a common-law partner. They were also somewhat less likely to have children and when they did, they had fewer children.
These family dynamics influenced the number of hours worked. Core-aged women in the top 1% with one or two children worked about 42 hours, 5 hours less than their male counterparts. However, core-aged women and men in the top 1% without children worked similar hours.
Even though women in the top 1% were more educated than their male counterparts, they had lower incomes. Income gaps were wider in senior management and business occupations, while they were narrower in health, where salaries are typically more influenced by government policies.
So what does this mean?
Well, women have taken a different path than men in reaching top income groups. And even at the top of the income distribution, women were making less money.
By understanding the characteristics of women in the top 1%, we can better understand the barriers in breaking those glass ceilings. Stay tuned for more information on this topic through new analytical products.
(Text on screen below presenter: "www.statcan.gc.ca")
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redpajama_set_name: RedPajamaCommonCrawl


It's made of die-cast aluminium with an angle adjustment facility which can be latched in various positions. The table insert is equipped with a scale for reading the workpiece width from working position. While workpiece supports on both sides and a clamping device ensures exact operation, a cutting depth permits even challenging jobs to be performed with ease.
The carbide-tipped saw blade offers a cutting capacity of over 200m in particleboard and is easily changed thanks to a spindle lock. A sawdust bag keeps the workplace clean and a transport brace ensures easy and safe transportation.
The Einhell E-Stand is a universal base frame for crosscut saws. Stability is indispensable when you need to handle large workpieces or high loads. This is why the legs on this static sawing accessory from Einhell comes with X-shaped bracing. Even on high loads, stability is assured. The height-adjustable base can be adjusted to a comfortable height. Robust sliding blocks are fitted to the integrated aluminium assembly rail.


Food is essential for a good life and plays a critical part in overall human health and development. The better the quality of food available to the population, the better each individual's overall health will be, and this will have a direct impact on mental and physical performance (http://www.sciencedirect.com/science/article/pii/S2213453012000055).
An innovative restaurant can be the beginning of a taste and flavors renaissance as new foods are discovered and the recipes and foods are cross-marketed. It is an effective strategy that has worked around the world. The restaurant's brand, in turn, becomes a valuable commodity that can be used to promote a range of products. For example, Brazil's D.O.M. Restaurante has successfully used its strong reputation to help promote a range of food products drawn from the Amazon rainforest. There is money to be made in this and it can be a major boost to the incomes of food producers, especially small-scale farmers.
As is being found across South America, a rediscovered love of local cuisines and indigenous culinary culture can also lead to profits and a growing global awareness of the continent's varied foods and recipes.
Innovators are playing with traditional cooking and locally available foods to come up with a modern Latin American cuisine that is getting people very excited.
The latest country to benefit from this is Peru. The first Michelin star awarded to a Peruvian restaurant in Europe went to a restaurant in London, UK. The Michelin (http://travel.michelin.co.uk/michelin-guides-105-c.asp) star is awarded to a restaurant based on the quality of its food and its overall atmosphere and service.
The London restaurant Lima (limalondon.com) is part of the global rise in awareness of Latin American food. It was launched by Venezuelan brothers Gabriel and Jose Luis Gonzalez in partnership with Peruvian chef Virgilio Martinez. Their signature dishes include sea bream ceviche (a lime-preserved raw fish dish) and suckling pig done in the "Andes" style.
Martinez is also a chef consultant for the Central Restaurante (http://centralrestaurante.com.pe/es/) in Lima, Peru. It was named one of The World's 50 Best Restaurants by S. Pellegrino (theworlds50best.com).
Gabriel Gonzalez moved to London from Paris two years ago, and is surprised at how quickly he and his colleagues have made an impact.
"It was definitely not expected. … It's just incredible, it definitely sets a precedent for Peruvian food and gives it a stamp of credibility and a lot of promise, it's just amazing," he told the London Evening Standard.
It comes after the first expansion of the awards to Asia with Asia's 50 Best Restaurants, held in Singapore in February 2013.
The ceremony in Peru is being seen as another vote of confidence in Peru's innovative restaurant scene. Other acknowledgements of the country's culinary success include winning in 2012 the World's Best Culinary Destination by the World Travel Awards. The Organization of American States (OAS) also declared Peru's cuisine part of America's World Heritage (oas.org).
The number of South American restaurants on the The World's 50 Best Restaurants list increased to six in 2013, two more than in 2012. This year's winners include the innovative Brazilian restaurant D.O.M in Sao Paulo, and Astrid y Gaston (http://astridygaston.com/en/) in Lima.
D.O.M. Restaurante's (http://domrestaurante.com.br/pt-br/home.html) chef Alex Atala is a passionate champion of Brazil's traditional ingredients and dishes. He trawls the Amazon rainforest for new taste sensations and then deploys them in his inventive dishes in the restaurant. D.O.M. was named the best restaurant in South America for four years in a row by The World's 50 Best Restaurants.
At Astrid y Gaston in Lima, an innovative take on menus shows how the restaurant stands out from the rest. The restaurant uses storytelling techniques to build up interest in its various menus. One example is the Winter 2013 Tasting Menu with its title El Viaje, meaning trip or journey. "It is a story told through a long sequence of courses divided into five acts, a mise en scène where we attempt to take the life experiences of a restaurant beyond its traditional gastronomic limits," the restaurant says on its website.
Astrid y Gaston is a partnership between a German and a Peruvian who set out to challenge the dominance of French haute cuisine and started the restaurant in 1994.
Another cuisine pioneer is Pujol (pujol.com.mx) in Mexico City, Mexico. It serves Mexican cuisine focused on local ingredients blending ancient and modern culinary techniques. The food is original and exciting: for starters, there is baby corn and chicatana ant, aguachile with chia seeds and avocado, suckling lamb taco, and for desert, fermented plantain, macadamia nuts, plantain vinegar and chamomile flower petals.
The potential is enormous for marrying these restaurant innovators with the many small-scale farmers and food producers to boost awareness of their products and increase incomes across South and Central America.


text:
FROM ubuntu:20.04

ARG DEBIAN_FRONTEND=noninteractive

RUN apt-get update -yqq && apt-get install -yqq software-properties-common > /dev/null
RUN LC_ALL=C.UTF-8 add-apt-repository ppa:ondrej/php
RUN apt-get update -yqq > /dev/null && \
    apt-get install -yqq nginx git unzip \
    php8.1-cli php8.1-fpm php8.1-mysql  > /dev/null
RUN apt-get install -yqq php8.1-mbstring php8.1-xml php8.1-dev > /dev/null

COPY --from=composer:latest /usr/bin/composer /usr/local/bin/composer

COPY deploy/conf/* /etc/php/8.1/fpm/

ADD ./ /laravel
WORKDIR /laravel

RUN if [ $(nproc) = 2 ]; then sed -i "s|pm.max_children = 1024|pm.max_children = 512|g" /etc/php/8.1/fpm/php-fpm.conf ; fi;

RUN mkdir -p /laravel/bootstrap/cache /laravel/storage/logs /laravel/storage/framework/sessions /laravel/storage/framework/views /laravel/storage/framework/cache
RUN chmod -R 777 /laravel

RUN composer install --optimize-autoloader --classmap-authoritative --no-dev --quiet
RUN php artisan optimize

EXPOSE 8080

# Uncomment next line for Laravel console error logging to be viewable in docker logs
# RUN echo "catch_workers_output = yes" >> /etc/php/8.1/fpm/php-fpm.conf

RUN mkdir -p /run/php
CMD /usr/sbin/php-fpm8.1 --fpm-config /etc/php/8.1/fpm/php-fpm.conf && nginx -c /laravel/deploy/nginx.conf

redpajama_set_name: RedPajamaGithub


Abu Dhabi University (ADU), an internationally recognized academic institution for quality education and applied research, hosted its first bridge design competition for high school students in Al Ain entitled 'Bridge Building for Future Engineers'. Organized by the College of Engineering at ADU, the event took place at its Al Ain campus, and encouraged school students to present their own concepts for innovative truss bridge designs.
Students were required to build a truss bridge made of wooden sticks and glue and the competition drew submissions from 27 schools who showcased their unique design concepts over the course of the event.
The bridge designs were submitted as physical models built to scale. All models were weighed and tested under axial loading to determine effectiveness of design, with the top three also being evaluated based on the ratio between the maximum axial load at the point of failure and the weight of the bridge. The first winner's model weighed 274.69g and held 25.54 kg, with the second and third weighing 571.1g and 349.6g , and carrying 35.23kg and 19.84 kg respectively. The winning teams were awarded and presented with certificates from ADU to commend their outstanding design ideas and acknowledge their participation in the competition.
The submissions were judged by a panel of experts including Dr. Abdelkareem Alzo'ubi, Dr. Aly Nazmy, the Dean of the College of Engineering, and Dr. Mohammed Fteiha.
Earlier in the month, school teams were invited to visit the Abu Dhabi University Al Ain campus to learn about the competition's requirements and collect the necessary tool kits to tackle the design brief. The ADU spirit of comradery was ever apparent, as Civil Engineering students from the College of Engineering volunteered to help guide students in developing a successful model.
The Abu Dhabi University College of Engineering is accredited by the world-renowned Engineering Accreditation Commission (EAC).
In 2019, Abu Dhabi University will move to a new campus in Al Ain with a capacity of more than 2,500 students. Spanning an area of 28,000 square meters, the first phase of the brand-new campus will include 70 classrooms and laboratories,137 faculty and administration offices, and state-of-the-art facilities including a gym, clinic, food court, library, and prayer room on every floor.


One of Bristol's best known restaurants has been awarded a TripAdvisor® Certificate of Excellence, putting it in the top 5% of establishments reviewed across the world.
The Second Floor at Harvey Nichols has been handed the prestigious honour for its consistently high ratings and quality online reviews. To achieve the TripAdvisor® excellence award, businesses need to maintain an average rating of four or higher out of a possible five – the Second Floor gained an impressive average of 4.5.
It's the latest accolade for Head Chef Louise McCrimmon and her team, as the Second Floor Restaurant at the Cabot Circus store has recently received a second AA Rosette as well as an AA Notable Wine List Award.
Founded just over ten years ago, TripAdvisor® has become a favourite of travellers looking for honest reports on restaurants, hotels and attractions. Today it is the world's largest travel website and boasts more than 50 million unique users and 60 million reviews.


Stylist Design Living 3d Room Curtains is free HD wallpaper. This wallpaper was upload at January 28, 2019 upload by admin in Home Ideas.
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Jamie Foxx Living Room Turn Up After Cowboys W ... Jersey Dance Party!
Jamie Foxx was FEEEEEEEEEELLLLIIINNNN' himself after the Cowboys beat the Saints ... 'cause dude broke out ALL his Dallas jerseys and had a dance party in his living room!!
The 'Boys scored a massive win over New Orleans on Thursday night in a game nobody predicted them to win ... and Foxx turned up like they just earned the Lombardi Trophy.
Jamie -- rockin' an Emmitt Smith throwback -- threw down some epic dance moves to "We Dem Boyz" ... and then started the trash talk.
"I told y'all! Don't ever go against us! We them boys! I told y'all, them Saints was going to be turning into Aints today! I told ya!"
Jamie then took aim at ESPN personality and noted Cowboys hater Stephen A. Smith, saying, "First of all, you have to understand that the Cowboys are America's Team, and now you understand why!"
Jamie's got every right to be happy ... the win was pretty dope -- but nobody tell him Dallas is just one game away from being out of the current playoff picture.
Seriously -- nobody kill his chill!!!!


text:
Q: Query was empty Nodejs Sequlize I'm trying to update data in a nodejs application. I tested it with postman.
My developing steps was was:

*

*Getting data with id: 10 from DB (MySQL) to update >> Unhandled rejection SequelizeDatabaseError: Query was empty

*I recognised, I use wrong id, so I changed to a correct one:50 >> Some other error

*Okay, I fix this some other error related to my inaccurate work, and use good id: 50 >> Unhandled rejection SequelizeDatabaseError: Unhandled rejection SequelizeDatabaseError: Query was empty

*Strange behavior, because this id was good earlier... (in the 3. step) Okay, I just change the id to an other correct one: 51 >> Some other error

*Okay, I fix the other error, try the update again with the new-new id: 51 >> Unhandled rejection SequelizeDatabaseError: Query was empty

It seems to me, I can get the valid data just one time, after I can not reach it...
Full stacktrace:
Unhandled rejection SequelizeDatabaseError: Query was empty
    at Query.formatError (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\sequelize\lib\dialects\mysql\query.js:223:16)
    at Query.connection.query [as onResult] (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\sequelize\lib\dialects\mysql\query.js:55:23)
    at Query.Command.execute (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\mysql2\lib\commands\command.js:30:12)
    at Connection.handlePacket (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\mysql2\lib\connection.js:515:28)
    at PacketParser.onPacket (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\mysql2\lib\connection.js:94:16)
    at PacketParser.executeStart (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\mysql2\lib\packet_parser.js:77:14)
    at Socket.<anonymous> (C:\Users\bla_bla_bla\Documents\work\_nodejs\parentfolder\application\application\node_modules\mysql2\lib\connection.js:102:29)
    at emitOne (events.js:96:13)
    at Socket.emit (events.js:188:7)
    at readableAddChunk (_stream_readable.js:176:18)
    at Socket.Readable.push (_stream_readable.js:134:10)
    at TCP.onread (net.js:547:20

Ideas?
Note
My problem is not related to model-DB syncronisation. These are syncronised, because I have a case - the first calling - when I can update the object! But if I test that id twice, third etc... I getting this error. So, if these are nor synconised, then I could not update the obejct in the first time neither
UPDATE
After debbing a day, I just recognised, the second and the third time the sequlize making empty SQL query. Below the code snippets:
The good SQL update:
Executing (default): UPDATE `cardModules` SET `field1`='xxxxxxxx',`field2`='xxxxxxxxxx',`field3`='MEDIUM',`field4`=false,`field5`=false WHERE `id` = 43

The bad SQL update:
Executing (default):

The question is: why does Sequlize this?

A: To shed more light on how/why this can happen: Generally, Sequelize will track changes to your model and then when you call model.save(), it will only attempt to update SQL columns that have changed.
let person = async Employee.findOne();
person.name = "Jerry Jones";
person.save();  //All good here, and only the name column will be updated

If no properties have changed, it won't even try to make the SQL call
let person = async Employee.findOne();
person.save();  //No errors, but no SQL call will be made

However, any properties set to an 'undefined' value (which is different than null!) will still cause the model to be marked as dirty/changed, but will be ignored when the SQL call is constructed. Thus, if you only change one property and set it to undefined, Sequelize will still attempt to make the call, but the query will be empty.
let userUpdates = {age: 99, title: "Developer"};
let person = async Employee.findOne();
person.name = userUpdates.name;  //name is undefined, but property will still be considered changed.
person.save();                   //Query will be empty!!

A: Number of hours I just recognised the problem. If the sequlize don't find any difference in the DB values and the updateable values, then will generate an empty SQL string and want to execute this. So becaues of this the same sequlize throws this Query was empty message.
So if there is no changes but you want to update, you will get this error.
I handle this problem to check the error message like:
            if(err.message == 'Query was empty'){
                console.log('There is no changes in the update, lets continue the progress...');
                next();
            }

redpajama_set_name: RedPajamaStackExchange


text:
In the 13th century artists in Pisa and Lucca played an important part in the initial stage of Tuscan paintings and foreshadowed early Florentine artists. Crucifixes and icons, although still Byzantine in style, became more 'Western' in treatment. The work of Giunta Pisano in Pisa and the Berlinghieri family in Lucca illustrates this transitional phase. In Florence Cimabue was the most important artist before Giotto. He was trained in the Byzantine tradition in the workshops of the baptistery.
The true founder of the Florentine school was Giotto. His ability to render three-dimensional form and space, the simplicity of his compositions and his effective portrayal of human emotions make his works the first modern paintings. His impact on Florentine painters was enormous, resulting in a sort of Giottesque academicism. Artists influenced by him were: Taddeo and Agnolo Gaddi, Bernardo Daddi, Maso di Banco, Giottino and Nardo di Cione. Giotto's influence is also noticeable in the work of Andrea Orcagna, Andrea da Firenze, and Spinello Aretino.
In the first quarter of the 15th century Florentine painting experienced the influence of the International Gothic through the Sienese Lorenzo Monaco and Masolino da Panicale who worked in the Brancacci Chapel. In opposition was the austere and heroic style of Masaccio, friend and disciple of Brunelleschi and Donatello. Masaccio's older contemporaries included Uccello and Fra Angelico. Paolo Uccello was famous for his study of perspective, used for non-naturalistic ends. Fra Angelico, a Dominican monk at Fiesolo and S. Marco, Florence, evolved a simple, direct style used for didactic purposes. His qualities of serenity and beauty of colour are shared by Domenico Veneziano and Alesso Baldovinetti. Donatello's influence is strong in the works of Andrea del Castagno. In Fra Filippo Lippi the early influence of Masaccio is superseded by Donatello and Flemish painting. Decorative charm coupled with Flemish portrait realism is intensified in Benozzo Gozzoli and Domenico Ghirlandaio.
The scientific, realistic works of Verrocchio and the Pollaiolo brothers, goldsmiths and sculptors as well as painters, reflect one aspect of Florentine painting in the late 15th century. The other, the Neo-Platonism of Lorenzo de' Medici and his humanist circle is personified in the mythological creations of Sandro Botticelli. His dependence on outline as a means of emotional expression is intensified in his late works, perhaps influenced by Savonarola. Lorenzo di Credi, Filippino Lippi (son of Filippo Lippi) and Piero di Cosimo mark the transition to the Cinquecento.
The principal centres of painting at the time of the classical Renaissance were: Florence, Rome and Venice with its dependants. Florence first saw the genius of the three great masters who gave to the painting of the 16th century its noblest expression: Leonardo da Vinci, Raphael and Michelangelo.
Leonardo da Vinci, one of the greatest of the 'universali uomini' produced by the Renaissance, diffused intellectual powers over such a range of interests that he finished hardly any major enterprise; thousands of notes and and drawings but few completed paintings. 1469-1478 he was pupil and assistant of Verrocchio, Florence; at Milan in 1483-1499 in the service of Lodovico il Moro; 1500-1505 in Florence. 1507-1513 in Milan he was the painter and engineer to Louis XII; 1513-1515 stay in Rome. In 1516 he left for France where he died. His manuscript notebooks and drawings were bequeathed to his pupil Melzi.
Raphael was the pupil of Perugino in Perugia, 1500-1504. In 1504-1508 he was in Florence and executed here some of his masterpieces, now in the Uffizi and Pitti galleries. In 1508 he was in Rome where he painted in the Vatican the frescoes in the Stanze.
Michelangelo was a a pupil of Ghirlandaio in Florence. He executed here the Holy Family tondo and the cartoon for the Battle in Cascina, however, his masterpieces in painting are in Rome: the frescoes in the Sistine Chapel and the Paoline Chapel of the Vatican.
The influence of the art of Leonardo, Raphael and Michelangelo is reflected in the work of Fra Bartolomeo, Albertinelli and Andrea del Sarto.
Mannerism, an essentially subjective and emotional style, resulting partly from the Reformation and the invasions of Italy, led to the abandonment of the serenity of the High Renaissance, the flouting of rational perspective and, under the overwhelming influence of Michelangelo, insistence on the primacy of the human figure, often exaggerated or elongated for emotional or decorative effect. Rosso and Pontormo were the outstanding figures of the first generation. The scholar Vasari and his pupils evolved towards academicism.
Roman Mannerism was brought to Florence by Federico and Taddeo Zuccaro (dome of the cathedral); the influence of the Zuccari lingered. Lodovico Cardi, called Cigoli, was influenced by Barocci and Caravaggio. Carlo Dolci is known for his suave Madonnas.
Tuscany produced only second-rate painters in the 18th century.
© Web Gallery of Art, created by Emil Kr�n and Daniel Marx.


Staying in their posts for more than one term of office generally means that good leaders of state institutions produce good results.
Jose Napoleon Duarte has served as Minister of Tourism for El Salvador since June 1, 2009, appointed by President Mauricio Funes, and in 2014 was confirmed into office by the current president. During his mandate El Salvador received the first time more than $1 billion from the tourism sector.
Stories about companies who were once prosperous and now no longer exist can help us avoid making mistakes in our own companies which may lead to their demise.
Lack of leadership and not adapting to change are the main reasons that many companies fail.
Ana Cristina Sandoval in her article in Elfinancierocr.com reviews several companies which have now disappeared from Costa Rica and writes about her interview with Federico Chavarria, consulting partner with Deloitte on the subject.
The lasting success of a company requires that its leaders not only pay attention to the results, but also how those results are achieved.
An article by Dr. John C. Ickis in Elnuevodiario.com.ni looks at the topic, focusing on the essential requirement to build a corporate culture based on "how" things are done in order to achieve good results.
Great business owners become great based on their actions. Intentions are meaningless. Words are important. Results are everything.
Consistently accomplish these five functions and you, your company -- and most importantly your employees -- all reap the benefits. Fail at these five functions and no matter how hard you work, you and your business will eventually fall short. argues Jeff Haden in Money Watch on cbsnews.com.
Being dysfunctional is a prerequisite for corporate executives, dares to state Steve Tobak, a business consultant at Invisor Consulting.
1. The game has rules, but the rules keep changing.
The classic film The Godfather offers valuable lessons for teamwork, making difficult decisions, and how to be successful without neglecting family and friends.
Justin Moore, CEO and founder of Axcient, says senior business executives and the mafia boss Vito Corleone, the central figure in the film The Godfather, have much in common.
The perception of retailers coincides with the decline in business confidence in this sector.
A study by the Costa Rican Chamber of Commerce showed that businesses rated the administration of President Laura Chinchilla as negative, giving an average score of 4.7 on a scale of 1 to 10.
There are many Americans who have lived in Costa Rica for a long time, and regard Tiquicia as their own, and they are very concerned about the direction-or lack thereof-of the country.
An article by John R. Holtz in Insidecostarica.com is a desperate call to action to all American citizens living in Costa Rica, to speak out against the corresponding institutions.
Success is not a destination but a journey without end, which requires a positive attitude, team playing mentality, a mindset for continuous improvement and responsible outlook.
With over 20 years of experience as an executive of IBM, in the ever turbulent business environments of Latin America, the engineer Enrique Baliño says the success is not a destination but a journey without end, and that successful people have to develop four key attitudes: positivity, team playing, continuous improvement and accountability.
The ability to recover from a failure is essential in order to be successful. But what if you have never failed?
Suzanne Lucas, on her blog at Bnet.com, discusses how new generations of graduates are too used to being successful, to finding things easy, which can lead them potentially to collapse when things get out of their comfort zone.
People who only know success simply lack the skills to deal with failure or complicated situations.
We can be better leaders if we understand that unconsciously, as humans we will always seek to increase our status in society.
This need has existed since prehistoric times. According to researcher David Rock, from the time that humans started living together in groups, increasing their status has been as important as getting food.
Modern research has identified a chemical relationship between increases or decreases in status and our neuronal network. When status increases, so do the levels of neurotransmitters associated with pleasure and positive emotions, and stress-related ones are reduced, augmenting our feeling of security and strength.
Organization that operates in Honduras.
The International Banking Institute (IBI) in Panama is aimed at training professionals in banking for Latin America.
Panama seeks to become the education hub for the region's banks, where bankers from across Latin America could come to specialize in administration and management of a bank and expand their knowledge in recent finance programs and other related branches.
The difference between one managerial style and the other is small and subtle, but may explain either success or failure in the company.
An article in Bnet remarks that when a manager uses a strong style, in which he is no pushover, there is the risk of playing someone else's games, instead of its own.


text:
We The Culture CirqMixer: Real Conversations & Connections on Returning Home
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Africans in the Diaspora return to their home countries for various reasons: nostalgia, a sense of responsibility, opportunity, family ties, love, familiarity, curiosity, optimism, reconnecting with one's roots, and so on. What propelled me to return to Africa in 2010 was a mix of a sense of responsibility,…
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Considering a "return" to the African continent? Exploring the possibility of a career transition to the creative or digital economy in Africa? Curious about what opportunities are out there or how to make that move? Join us at CirqMixer DC on August 20 for an evening of honest…
In Careers
Graduate School – 5 Things To Consider Before Applying
Every year, thousands of African students look at graduate school programs outside their country of origin to take what some might consider as the next logical step in their educational career: obtaining a graduate or masters degree. Indeed, it does seem to be a minimum requirement for applying…
Black Lives Matter & Africans – The Case of Amadou Diallo
By ECHEZONAM SMITH I listened to Wyclef's song Diallo as a teenager and thought it was a cool song. I loved the way Wyclef screamed "Diallo Diallo!" and the gunshots sounded so real. However, in all my sing-along moments and until I became cognizant of Black Lives Matter,…
Chimamanda Adichie on Writing, The Thing Around Your Neck
In 2009, Nigerian novelist Chimamanda Adichie treated fans to a reading of her short story collection The Thing Around Your Neck which had just been released at the time. The lecture event organised by the D.C. Young African Professionals Network and the Center for Global Development was more…
Timeless Insights from Nigeria's Chimamanda Ngozi Adichie
In 2009, Nigerian novelist Chimamanda Ngozi Adichie treated fans to a reading of her short story collection The Thing Around Your Neck which had just been released at the time. The lecture event organised by the D.C. Young African Professionals Network and the Center for Global Development was…
The Nana Project: My Quest to Archive Ghana History & Stories
By KIRSTIE KWARTENG For as long as I can remember, I have loved learning about history. It was one of my favorite subjects in school and to this day I love reading and learning about history on any topic. What I hadn't expected was that this love for…
What African Businesses Can Learn About Marketing From Wells Fargo Scandal
By ABDUL-NASSER ALIDU Wells Fargo is in the news, but for the wrong reasons. The company has been fined US$185 million and more than 5,000 employees have been fired for secretly creating more than 2 million customer accounts without the customers knowing it. Indications are that the woes…


Hutch cabinet dining set room product with buffet fascinating. of home decor ideas trends also stunning mirrored dining room set images sideboard buffet table elegant.
Mirrored dining room set sideboard ideas including charming table collection pictures with incredible wall chairs mirror buffet furniture sets.


CHUF's Honorary Patrons are from the world of sport, entertainment and business.
Graham Wylie CBE, Alan Shearer CBE, Ant and Dec OBE.
Graham was one of the original founders of The Sage Group Plc ("Sage") – he programmed the original Sage Accounting software whilst still at Newcastle University studying for a joint honours degree in Computer Science and Statistics.
He founded Sage in 1981 after leaving University with three other colleagues and the business was floated on the London Stock Exchange in 1989. Following flotation Graham became Managing Director of Sage (UK) and a Group Director of The Sage Group Plc which now embarked on international expansion.
Under Graham's leadership, Sage (UK) became a market leader in the accounts and payroll software market with almost 1 in 3 of all VAT registered UK businesses using a Sage product by 2003.
Graham "retired" from Sage in 2003 and at the time The Sage Group Plc employed 6,000 people, had 3,000,000 customers and was a huge financial success with revenues of £560m, profits of £151m and a market capitalisation of £2.5b.
Graham didn't rest on his laurels after retirement but invested in a new IT business called Technology Services Group (TSG), several commercial properties, U.S. based IT companies and purchased Close House in Northumberland.
As a result of the acquisition of nearly 30 IT resellers in the UK, TSG now provides IT services and support to thousands of small and medium sized businesses throughout the UK and has grown to a turnover of nearly £40m and employs over 400 people in 12 offices around the UK.
In 2004 Graham purchased the Close House estate from Newcastle University and has since developed into one of the top 100 golf resorts in the UK & Ireland. The new development was opened in 2011 by the then World No.1 golfer, Lee Westwood, and Lee has remained as Close House's attached Tour Professional and has named both courses after himself such was the quality of the golf courses.
Close House has the only PGA Academy in the North of England and hosted the PGA Seniors championship and the EuroPro tour in 2015.
In 2012, Graham embarked on a brand new venture called Speedflex. This is an exercise machine and concept that can be used by anyone – young or old, fit or unfit, male or female – and helps improve the cardiovascular system and fitness of everyone. The intention is to create Speedflex centres throughout the UK but, in time, also Europe as Graham holds the exclusive licence for all of these territories.
In 2016 Graham set up his own charitable foundation to help, educate and inspire children who live in the North East of England. His first project is to renovate an existing building to provide a music therapy centre in Newcastle.
In his spare time, Graham enjoys horse-racing and owns a large string of thoroughbred racehorses and has had notable success in a short period of time winning prestigious races at Cheltenham, Aintree, Punchestown and Royal Ascot as well as various many other racecourses throughout the UK and Ireland. Some of his most famous racehorses are Inglis Drever, Arcalis, No Refuge, Tidal Bay, Boston Bob, On His Own and Nichols Canyon.
Graham is married with four children and two grandchildren. In 2009 his wife Andrea gave birth to twins but one of them had a serious heart defect. Kiera has had open heart surgery three times in the space of her first two years and Graham is indebted to the Children's Heart Unit at the Freeman hospital for saving his daughter's life. He is now a patron of CHUF, the charity to raise money for the hospital, and has raised several millions of pounds over the recent years to help fund the building of an accommodation facility for parents of children going through surgery as well as updating much of the equipment used by the children's heart unit.
Graham's contribution to the North East region has been acknowledged by the awards of honorary doctorates at both Newcastle and Northumbria University as well as being honoured by the Queen with a CBE.
Graham is a serial entrepreneur with interests in a number of businesses and for further information on some of his business interests please visit any of these websites.
Alan Shearer become a CHUF patron in 2012 and has been a wonderful supporter of the charity over the years.
Alan is lead analyst on the BBC's flagship football programme Match of the Day and on the Premier League's global channel. He has a weekly football column in the Sun newspaper and is an ambassador for Coral.
He became a CBE 2017.
One of England's greatest ever strikers, he is still the Premier League and Newcastle United's record goalscorer. His career started at Southampton where he scored a hat-trick on his debut. He moved to Blackburn Rovers where his goals helped them to win the Premier League title in the 1994-95 season. A world record £15m transfer fee saw him return to the North-East and Newcastle United where he stayed until he retired in 2006. Alan was capped 63 times for England and scored 30 goals. He was named PFA Player of the year twice.
He now has a highly successful media career working for the BBC, Five Live and the Premier League covering the Premier League and FA Cup. He is an ambassador for Speedflex, a high intensity cardio and resistance training concept and alongside his work for CHUF, he has established the Alan Shearer Foundation which launched on 31 May 2012, which funds the Alan Shearer Disability Centre in Newcastle and has raised over £4 million to date.
Anthony McPartlin, OBE and Declan Donnelly, OBE, known collectively as Ant & Dec, are an English comedy TV Presenting, television producing, acting and former music duo from Newcastle upon Tyne, England.
The duo first met as actors on the children's television show Byker Grove, during which and in their subsequent pop career they were respectively known as PJ & Duncan – the names of the characters they played on the show. Since then, they have had a very successful career as television presenters, presenting shows such as SMTV Live, CD:UK, Friends Like These, Pop Idol, Ant & Dec's Saturday Night Takeaway, I'm a celebrity…Get Me Out of Here!, PokerFace, Push the Button, Britain's Got Talent, Red or Black? and Text Santa. The duo have also presented the annual Brit Awards in 2001, 2015 and 2016.
Ant and Dec have kindly supported CHUF since 2012 and have been instrumental in raising hundreds of thousands of pounds over the years to support the work of CHUF.
Ant and Dec have kindly supported CHUF since 2012 and have been instrumental in raising hundreds of thousands of pounds over the years to support the work of CHUF. "As Patrons of The Children's Heart Unit Fund we are always honoured to meet the wonderful children and families who benefit from the Children's Heart Unit Fund. A huge thank you to everyone who has supported and raised funds to date." Ant, ''But that's not the end, there are many more children who still need your support so please help CHUF in any way you can.'' Dec.


text:
O: Oliva Faraday, or, writing a main character who isn't the main character.
by katemcbooksPosted on April 24, 2015
The main character of my novel is…
Well, that's a actually a hard statement to finish.
There are two main characters in my novel. The mild-mannered and soft-spoken proper gentleman, Christopher Buckley, and his employer, Olivia Faraday, who is mercurial, eccentric, manic, and brilliant. But there's only one narrator, Chris, and The Deathsniffer's Assistant spends a lot of time exploring his family life, backstory, and connections, while very little personal time is given to Olivia.
So why is it that I find it hard to say who the main character actually is?
I've always been fascinated by characters like Olivia. Characters with minds too curvy and mazelike to make for very good narrators. She was the jumping off point, the keystone right from the start: a lady detective who was coy, clever, energetic, and ever so slightly askew. The world according to the twisted mind of Olivia Faraday isn't really something a reader can identify much with. Her way of thinking is so alien and offputting that telling the story from her perspective would certainly be compelling, but it would also be repulsive. So what to do about the problem of Miss Faraday?
The fact is that Olivia's assistant just made for a better storyteller. His backstory and personal problems start affecting the plot much, much earlier than Olivia's, and he's a simple, good-hearted, put-upon sort of fellow. Much more approachable to readers. I decided early on that to curb my natural tendancy to inflate my stories, The Deathsniffer's Assistant and its sequels were going to have one and only one narrator. So that left me with only one real option: Christopher Buckley would be the window through which my readers accessed the world of Darrington and its routine wonders.
But where did that leave Olivia?
I worried about it as I wrote, but as it turns out, I didn't need to. Every single person who's read the book has said the same thing — Olivia Faraday makes an impression. Not only that, but Olivia from the perspective of a normal person leaves all of her strangeness and mystery intact. She's very private, and as Chris learns about her bit by bit, so does the reader. Despite the fact that she only appears in two thirds of the book's scenes, Olivia shines through exactly as I'd imagined.
It's not really conventional to have your main character be separate from your narrator, but I think that sometimes it works. Some characters are considerably more interesting when seen from a safe distance. Keeping them at arm's length preserves their mystic nature. The most famous example is, of course, one of my inspirations: Sherlock Holmes. While John Watson is the one telling the story, no one would ever think he was the protagonist. But he's not the only one! Ishmael tells Ahab's story, the quest for the white whale, and Nick Carraway is the means by which the reader gets to know the larger than life Jay Gatsby. So I'm walking in very comfortable shoes! (Though these shoes look a little hard to fill, don't they? Eek!)
I hope everyone who reads my book once it's out there in the world this July appreciates what I've done with Miss Olivia Faraday. I think she's quite a character, and I'm looking forward to all the people who love her — or hate her!
Posted in A to Z Blogging Challenge, My WritingTagged a-z blogging challenge, writing
Prev N: No More Castles, or, why I'll never write medieval fantasy
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text:
Another word for modulation
The act of inflecting or the state of being inflected.
Alteration in pitch or tone of the voice.
An alteration of the form of a word by the addition of an affix, as in English dogs from dog, or by changing the form of a base, as in English spoke from speak, that indicates grammatical features such as number, person, mood, or tense.
Go to "inflection" definitions
The act of intoning or chanting.
An intoned utterance.
A manner of producing or uttering tones, especially with regard to accuracy of pitch.
Go to "intonation" definitions
The combination of qualities of a sound that distinguishes it from other sounds of the same pitch and volume.
Distinctive character:
Go to "timbre" definitions
Her speech lacks variety and modulation; it runs in a sing-song when she is reading aloud; and when she speaks with fair degree of loudness, it hovers about two or three middle tones.
His presence was dignified, his voice capable of indefinite modulation, and his gestures animated and attractive.
Yet Coleridge was perfectly just in his remark; and the metrical anarchy of the "Madelines" and "Adelines" of the 1830 volume showed that Tennyson, with all his delicacy of modulation, had not yet mastered the arts of verse.
In addition to the nuances of pronunciation already alluded to, there is a semi-musical modulation.
Alternative treatments for AR often focus on modulation of the body's immune response, and frequently center around diet and lifestyle adjustments.
Words near modulation in the Thesaurus
modulate
modulated
modulates
modulation fallback
modulational
modulations
modulative


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63. JOSEPH9 DERRICK (WILLIAM8, JACOB7, WILLIAM6, WILLIAM5, EDMUND4, EDMUND3, EDMUND2, RICHARD1) was born 1792 in Blagdon, Som, Eng., and died Unknown.
He married SARAH 'DERRICK' Abt. 1821. She was born Abt. 1792, and died Aft. 1826.
i. JOSEPH10 DERRICK, b. Abt. 1822; d. Unknown.
ii. WILLIAM DERRICK, b. Abt. 1826; d. Unknown.


text:
Regulations and Entry Form
Giornate degli Autori
16th edition - Venice, August 28th - September 7th, 2019
on the occasion of the 76. Mostra Internazionale d'Arte Cinematografica
The sixteenth edition of Giornate degli Autori, promoted by ANAC (The National Association of Filmmakers) and by the authors of Associazione 100autori, will take place in September 2019, during the 76. Mostra Internazionale d'Arte Cinematografica di Venezia.
Article 2. Eligible films
With the exception of special cases, all feature films submitted to the Giornate degli Autori must fulfil the following requirements:
1) only features and documentaries longer than 60 minutes are eligible;
2) films must have been produced after September 30, 2018;
3) if selected, films must be screened in DCP;
4) films already theatrically released in Italy or distributed in home video or broadcasted on television or streamed on the Internet are not eligible;
5) films presented, out of their country of origin, to any International festival or major film event (except in the context of only one film market), are not eligible. Priority will be given to films in absolute world premiere;
6) Italian films must be World Premieres.
PRE-SELECTION
Article 3. Submissions
- Submissions are free of charge.
- Deadline for submissions is Friday, June 21st 2019.
- A filled Entry Form must accompany each submitted film. Please CLICK HERE to open it.
- A link for streaming/download or, in the alternative, 3 copies of DVD or Blu-Ray screeners must be sent.
DVD or Blu-ray submitted to the pre-selection must be delivered to:
Via Santa Croce in Gerusalemme, 107 - 00185 Roma, Italy
The shipped screeners must necessarily contain (on the cover or in an attached document) the following information: title of the film, director's name, country of origin and duration.
- For the pre-selection, subtitles in English or Italian are required.
- On the pro-forma invoice required for shipments originating out of the European Union, please mention: "For cultural purpose only - Not for commercial use".
- Shipments by courier are entirely at sender's charge.
Article 4. DCP for pre-selection
In case of a film submitted to pre-selection in DCP, shipments, insurance and duty fees are all at submitter's charge for both the incoming and return shipments. Address for the delivery of DCP must be agreed with Giornate degli Autori before the shipment.
Article 5. Selection and programming
Films presented to Giornate degli Autori are chosen under the responsibility of the Director, who is appointed by the Association Giornate degli Autori's board. The Director is the sole responsible of the calendar and the programming.
Article 6. Subtitles
6.1 All films selected by Giornate degli Autori must be presented in Venice in the original version with Italian subtitles on the print.
6.2 Producers agree to provide to Giornate degli Autori - within August 5th - the spotting list and a screener of the film, required for the electronic subtitling in English. This subtitling is at Giornate degli Autori charge and it is made exclusively for the Giornate degli Autori film presentation.
Article 7. Prints of selected films
With the exception of special cases, films are screened at Giornate degli Autori in DCP only, in perfect technical conditions. A quality check must be done before the delivery in Venice.
7.1 Shipping expenses
All transport costs to and from the Festival (including transport costs from Venice airport to Venice Lido and custom charges for films sent from outside the European Union), are to be borne by the participants.
7.2 Shipping Insurance
All insurance costs covering the transport of films to and from the Festival are to be borne by those presenting the films.
7.3 Insurance
The organizers will provide an "all risks" insurance coverage for the DCP for the entire period. The insurance value of a film may not exceed the average laboratory cost for a standard DCP. Furthermore, all necessary measures will be taken to safeguard the author's copyright protection.
Article 8. Screeners (DVD / Blu-ray)
All screeners received for the pre-selection are not sent back by Giornate degli Autori. Exceptions can be made upon request of the sender and agreed reshipments can take place only at submitter's charge.
All required measures will be taken to safeguard the author's copyright protection. After July 31st 2019, all screeners will be destroyed by Giornate degli Autori.
Article 9. Selected films
Producers must provide for each selected film the materials required for the press conference, the official catalogue and the websites of Giornate degli Autori and of La Biennale, as well as for press and TV journalists.
In particular the following must be sent not later than July, 17th:
- film trailer or clips;
- a minimum of 5 high resolution stills of the film;
- a minimum of 1 high resolution photo of the director;
- synopsis of the film;
- bio/CV of the director;
- director's note;
- pressbook.
All materials provided will remain available on the Giornate degli Autori web site with no time limitation and on the digital press boxes of Biennale.
Within August 5th, must be provided materials for subtitling (see #6).
We strongly suggest to contact the Press Office of the Mostra (pressmaterial@labiennale.org) regarding the distribution of promotional materials for the journalists with accreditation at the Mostra through their press boxes.
Article 10. Dates, times and locations of the screenings
The program of Giornate degli Autori will be communicated to participants in August 2019. Dates, times and locations of the screenings may be changed by Giornate degli Autori without limitation, upon previous communication to the persons concerned.
A press screening of selected films can be organized prior to the festival. No opposition by the rights owner is possible.
Article 11. Media Partners and Photocall
The directors of the selected films undertake to be interviewed during the festival by all the Media Partners of Giornate degli Autori. In addition, they accept to attend an official photocall comprising both the director and the cast of the film. The planning of these activities will be communicated before the beginning of the festival.
Article 12. Awards
The Official Awards of Giornate degli Autori are:
* the "GdA Director's Award", given by the Official Jury of Giornate degli Autori, headed by a filmmaker and composed by the participants to the program 28 Times Cinema of the European Parliament. The award is accompanied by a cash prize of € 20,000, to be split equally between the filmmaker and the film's international distributor, who agrees to use the sum received to promote the film internationally.
* the "BNL People's Choice Award" for the films of the Official Selection, offered by BNL Gruppo BNP Paribas, Main Sponsor of Giornate degli Autori.
* the "Label Europa Cinemas", only for films produced and co-produced in Europe. The Label was created by a network of high-calibre European exhibitors, with the support of the EU's MEDIA Programme. It consists of a financial contribution towards distribution and promotion of the film as well as a guarantee for the winning film that it will be shown in the cinemas belonging to the network.
* All first feature films presented at Giornate degli Autori are eligible for the "Luigi De Laurentiis" Award (Lion of the Future), organized and promoted by the Mostra.
* All the films participating to the Giornate are also in competition for the parallel awards, with a ceremony due to take place on the last day of the Festival.
Article 13. Additional Screenings
All films selected by Giornate degli Autori can be also screened at "Esterno Notte" event, organized by Comune di Venezia and Circuito Cinema Venezia&Mestre, "Venezia a Roma" (Venice in Rome) and "Panoramiche Milanesi" (Venice in Milan) events, organized by Agis-Anec in cooperation with the Mostra, with no exception. The producer of each film must inform the Italian right owner, if existing, and the International sales agent of this compulsory additional screening. No screening fee is payable for these additional screenings when they represent the 4th and 5th of the five screenings allowed by FIAPF regulations to festivals.
Giornate degli Autori may be invited to hold repetition screenings elsewhere in Italy or abroad, in agreement with the right owners.
Article 14. Promotion
The producer of each film selected at Giornate degli Autori commits to include the logo of Giornate degli Autori in all promotional materials accompanying the commercial release of his film in any country (posters, trailers, theatrical prints, DVD, Blu-ray, streaming video, etc.). Giornate degli Autori logo can be required sending an email to com@giornatedegliautori.com.
Article 15. Responsibilities of the organizers
Giornate degli Autori will use the information provided on the entry forms according to Reg. 2016/679/UE.
Giornate degli Autori declines any responsibility for submissions not received.
The Association Giornate degli Autori has the right to settle any and all cases not mentioned in the present regulations. It has the right to suspend, cancel or postpone the event or to modify the regulations, at any time, according to the requirements of its exploitation. No compensation of any kind can be made to the participants.
Participation to Giornate degli Autori implies the full acceptance of the aforementioned regulations.
These regulations and entry form are only valid for Giornate degli Autori selection.
Selections for other sections of the Mostra are processed by distinct entities:
- Venezia 76, Orizzonti: Mostra Internazionale d'Arte Cinematografica (www.labiennale.org)
- Settimana Internazionale della Critica (www.sicvenezia.it): Sindacato Nazionale Critici Cinematografici Italiani (www.sncci.it)
THE GIORNATE DEGLI AUTORI 2019
INTERNATIONAL COMPETITION REGULATIONS
Art. 1) Giornate degli Autori presents the world premieres of an international selection of feature-length films, one of which, each year, is assigned the GdA Director's Award. The award goes to the film considered to be of greatest significance in terms of its creative power and the originality of its contents and style.
Art. 2) The award consists of an expressly-designed trophy handed to the filmmaker and a cash prize of €20,000, to be split equally between the filmmaker (of the winning film) and the film's international distributor (or, in the absence of which, the majority producer), who agrees to use the sum received to promote the winning film internationally. Said amount will be deposited via wire transfer to the film rights' owners.
Art. 3) The jury that will bestow the award, at its sole discretion, on one film only (no splitting of prizes allowed) is composed of 28 young viewers, one from each European Union country, jointly selected by the European Parliament Commission on Culture and Education and Europa Cinemas (Media Programme). The jurors agree to view all the feature films selected for the competition by the Giornate degli Autori General Delegate, observe the secrecy of all the jury debates, and accept the final verdict, even if it is made by a majority of the voters and not unanimously.
Art. 4) The President of the jury is chosen from among a shortlist of the world's leading filmmakers. He or she oversees the jury's activities and is assisted by another film personality (known as the "tutor"), as well as the office staff for the jury. The jury president's choice for best film receives five votes during the final deliberations.
Art. 5) The Tutor is also selected from a shortlist of international film personalities with special qualifications regarding contemporary filmmaking. He or she assists the members of the jury and coordinates at least 3 of their discussions during the Festival. The Tutor has the right to express his or her own opinions in both the private sessions and the final deliberations open to the public, but may not vote him or herself.
Art. 6) During its preliminary sessions, the jury will devise a shortlist (maximum 3 titles) which will be discussed in the final session. If no film receives two thirds of the votes, the winning title of the 3 pre-selected will be voted by a simple majority (50% of the voters); in this case, the President's vote will count double and will be decisive.
Art. 7) The final session at which the GdA Director's Award will be assigned will be open to the public and members of the press (with no interventions allowed until the verdict is proclaimed). Moreover, the session will be live-streamed in the language used by the jury for its deliberations (English). The discussion, at which the titles in the shortlist will be reviewed, will be limited to 90 minutes and must necessarily conclude with the bestowing of the award on a single film (no splitting of the prize allowed).
Art. 8) The jury president's choice for best film will receive 5 votes during the final deliberations. If no candidate for best film receives two-thirds of the votes, a run-off vote will be held, in which a film can win with a majority (+50% of the votes). Voting by proxy is not allowed.
Art. 9) The jury will be available to discuss the outcome of the voting process immediately after the winner is announced, answering any questions put by the press or the public.
Art. 10) The international distributor of the winning film (or, in the absence of which, the film's majority producer) agrees to provide the GdA Director's Award with maximum visibility in all promotional material concerning the film, and to bring the award to the attention of the national distributors acquiring rights to the film.