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ST. LOUIS (AP) The St. Louis Cardinals have agreed to terms with pitchers Mitchell Boggs and Edward Mujica on one-year contracts, avoiding salary arbitration.
Boggs gets $1,475,000 after earning $506,000 last season. Mujica got a $3.2 million deal after making $1,625,000 a year ago.
Boggs appeared in a career-high 78 games last season and his 2.21 ERA ranked sixth among NL relievers. Mujica had a 1.03 ERA in 29 games after arriving in a trade-deadline deal from Miami, shoring up the St. Louis bullpen and not allowing a run in his first 18 games with the Cardinals.
The club also exchanged arbitration figures Friday with third baseman David Freese and pitchers Jason Motte and Marc Rzepczynski.
Freese, the MVP of the 2011 World Series and NLCS, asked for $3.75 million and was offered $2.4 million. Motte submitted $5.5 million and was offered $4.5 million. Rzepczynski requested $1.3 million while the Cardinals proposed $900,000.

subset: commoncrawl


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Cheat Sheet
Canning & Preserving For Dummies Cheat Sheet
Preserve food by water-bath canning, pressure canning, freezing, or drying — all are time-honored and safe techniques. Canning and preserving are great ways to save foods at their peak freshness and flavor and to stock your pantry with nutritious and delicious fare. These checklists provide quick instructions for each food-preservation method; information on how to adjust recipes for high-altitude processing; advice to ensure canning success; and details on must-have canning and preserving equipment.
Preserve Food by Canning, Freezing, and Drying
This at-a-glance guide shows how to preserve foods by canning, freezing, and drying. People have been preserving food for eons. Newer, safer food preservation techniques and equipment enable you to stock your pantry or freezer with delicious, healthy foods. Pick your preferred method — water-bath canning, pressure canning, freezing, or drying — and follow these basic instructions.
|Water-Bath Canning
|Pressure Canning
|1. Gather supplies and equipment; keep jars hot.
2. Prepare food.
3. Fill your jars, leaving proper headspace and releasing air bubbles. Put on lids and hand-tighten screw bands. .
4. Place jars in water-bath canner.
5. Bring water to boil and allow to boil for amount of time specified in recipe.
6. At end of processing time, remove jars and allow to cool completely.
7. Test seals.
8. Store!
|1. Gather supplies and equipment; keep jars hot.
2. Prepare food.
3. Fill your jars, leaving proper headspace and releasing air bubbles. Put on lids and hand-tighten screw bands.
4. Place jars in pressure canner.
5. Close and lock the canner.
6. Process jars as outlined in the recipe.
7. At end of processing time, allow pressure to return to 0.
8. Remove jars from canner and allow to cool completely.
9. Test seals.
10. Store!
|1. Gather supplies.
2. Prepare food.
3. Arrange food on dehydrator trays.
4. Dry at specified temperature, occasionally turning food and rotating trays.
5. Check for doneness, using guidelines in recipe for what properly dried food looks and feels like.
6. Place in airtight storage container and store in cool, dry place out of direct sunlight.
|1. Gather supplies.
2. Prepare food.
3. Place food in freezer containers, leaving specified headspace (if using rigid containers) or pressing out all excess air (if using freezer storage bags).
4. Slightly chill food or, if it was blanched, allow to come to room temperature.
5. Loosely pack food in freezer.
6. When completely frozen, repack more tightly in freezer.
Adjustments for High-Altitude Canning
Home cooks who live at high altitudes may be used to adjusting recipes; high-altitude adjustments apply to home canning, as well. Canning food safely requires your filled jars to be processed at a specified temperature or pressure level for a specified amount of time. If you live at altitudes higher than 1,000 or 2,000 feet above sea level, adjust your canning recipes for food safety.
Water-bath canning: Generally, recipes are written for water bath canning at altitudes less than 1000 feet. If you live higher than 1,000 feet above sea level, follow these guidelines:
For processing times of less than 20 minutes: Add 1 additional minute for each additional 1000 feet of altitude.
For processing times of more than 20 minutes: Add 2 additional minutes for each 1000 feet of altitude.
Pressure Canning: Pressure canning recipes are generally written for altitudes of less than 2000 feet. If you live higher than 2000 feet above sea level, make this adjustment: Increase pounds of pressure by 1/2 pound for each additional 1,000 feet.
Tips for Successful and Safe Canning
Keep safety in mind whether you're water-bath canning or pressure canning. By canning foods safely, you can prevent kitchen accidents and food spoilage. Increase your chances for successful canning and maximum safety by following these guidelines:
Used recipes made for modern-day canning (about 2000 or newer) and follow them exactly. Don't increase or decrease your ingredients, processing time, or pressure level (for pressure canning).
Don't double recipes. If you want more than one recipe, prepare the recipe more than once.
Use the proper ingredients: only unblemished and not overly ripe fruit or vegetables, and when a recipe calls for salt, use only canning or pickling salt.
Use jars and two-piece lids approved for canning, and never reuse lids.
Always label and date your finished product and use within one year of the date of processing.
Periodically check your jars for any signs of spoilage and, if in doubt about the quality or safety of a preserved product, dispose of it without tasting.
Tools and Equipment for Canning and Preserving
If you plan to can, freeze, or dry your food, you'll need some special tools. The equipment involved with canning or preserving food is designed for efficiency and safety, so be sure you to use them. If you have these pieces already, great! If not, add them to your shopping list:
Tongs: Have tongs ready for lifting hot foods out of boiling or simmering water. Any variety that you prefer will work, but a locking mechanism keeps them out of the way when not in use.
Candy thermometer: Find a good quality thermometer, with a clip for attaching it to the side of a pot. This item is so useful; it is a good idea to have a backup in case one breaks while you are using it.
Jar lifter: This tool is a specialized set of tongs. Its rubberized ends fit securely around any size canning jar, to lift them in and out of your canner.
Canning funnel: Used for canning foods, this wide mouth tool keeps the rims of jars clean. It can also be used to fill ziplock bags neatly.
Canning jars: Canning jars are made from tempered glass to withstand the high heat and pressure of your canner. Both narrow- and wide-mouth jars are available, with wide-mouth being easiest to remove the food from once it is canned.
Water-bath and/or pressure canner. If you're going to can, you must use the appropriate canner. For canning high-acid foods (fruits, jellies, relishes, and pickles), get a water-bath canner. For low-acid foods (vegetables and meats), get a pressure canner.


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A new study was published in 2013 on The Performance of the Creative Industries Sector of Latvia and Preconditions for its Targeted Development.
In 2013, a new programme for creative industry projects was launched with a total budget of 142 857 EUR.
In 2013, the Ministry of Culture co-financed the establishment of the Music Export Foundation of Latvia.
From 2008-2012, the number of creative industry enterprises increased by 35%, although employment in this sector declined.
Latvia/ 4.2 Specific policy issues and recent debates
4.2.3 Cultural/creative industries: policies and programmes
In 2004 – 2005, the Ministry of Culture took a more active position on the development of the culture and creative industries (http://www.km.gov.lv/en/cross_sector/creative.html). In 2005, the Ministry of Culture, in the process of developing the guidelines for cultural policy, recognised that the concept of creative industries is important for Latvia as well as for the work of the Ministry of Culture.
The priority to develop creative industries in Latvia was introduced into the Guidelines for the State Cultural Policy of Latvia for 2006 – 2015, for the first time. The definition of creative industries is set in the study "On Creative Industries of Latvia" (BICEPS, 2007): "Activities based on individual and collective creativity, skills and talents, which by way of generating and utilising intellectual property, are able to increase welfare and create jobs. Creative industries generate, develop, produce, utilize, display, disseminate, and preserve products of economic, cultural and / or recreational value". The CreativeIndustries encompasses the following sectors: Architecture, Design, Cinematography, Performing arts, Visual arts, Music, Publishing, Television, Radio and Interactive Media, Advertising, Computer games and Interactive Software, Cultural Heritage, Cultural Education, Recreation, Entertainment and other cultural activities.
After introducing creative industry issues in the national cultural policy guidelines, the Ministry of Culture encouraged the inclusion of creative industry matters in all key policy planning documents in Latvia, such as the National Development Plan 2007–2013, the National Development Plan 2014-2020, the National Lisbon Programme 2005–2008 and the National Strategic Reference Framework document 2007–2013. The new cultural policy guidelines "Creative Latvia 2014-2020" sets the development of creative and cultural industries as one of four priorities.
On the level of regional cooperation among three Baltic States, collaboration in the field of cultural industries is outlined in several working documents (Programme of Cultural Cooperation between the Ministry of Culture of the Republic of Latvia, the Ministry of Culture of the Republic of Lithuania and the Ministry of Culture of the Republic of Estonia for the years 2012-2014; the Declaration of the Conference of the Culture Ministers of Baltic Sea Countries, 2008).
Studies and trends
There are several significant research papers concerning the culture and creative industries in Latvia: The Economic Contributions of Copyright-based Industries in Latvia (WIPO, Robert G. Picard and Timo E. Toivonen, 2005); Design for Latvia (by Mollerup Designlab A/S, Denmark, 2004); and Creative Industries in Latvia (by the research institute BICEPS of the Economic School of Riga, 2007); Demand and Potential for institutionalising interdisciplinary design, higher education programme in Latvia (Stockholm School of Economics, 2007); Creative Industry Research. Update of Statistics (BICEPS, 2008). The latest study was published in 2013: The Performance of the Creative Industries Sector of Latvia and Preconditions for its Targeted Development (see https://culturelablv.files.wordpress.com/2009/04/report-on-ci-mapping-in-latvia-2012_summary-in-en.pdf). The main conclusions presented in the study are as follows:
- Although the share of creative industries and related industries in the economy of Latvia has not changed significantly over the period from 2008 to 2011, major changes occurred within the creative industries sector itself – a significant increase in the number of enterprises, while there was a significant drop in the number of employees, as well as in the total amount of turnover.
- So far the creative industries are developing more in the capital city Riga; in the rest of the territory of Latvia the development centres of creative industries are not strong enough to promote the sector to the polycentric growth.
- Quality, professionalism and competence, and low prices – these are three competitive advantages most frequently identified among creative industries entrepreneurs.
- IT programmers, IT experts, project managers, designers, marketing experts, architects and wood crafters are those professions for which demand in the next five years could grow in the job market.
- Availability of a skilled and professional workforce is one of the important obstacles for development of the creative industries, which could become more acute in the upcoming five years. This applies particularly to the IT sector experts.
- Software, internet portals, other entertainment and recreational activities and work of artists are those creative industries spheres which show substantial growth in turnover. Consequently, growth takes place mostly in the area of services (especially in IT and internet spheres).
- Architectural services, work of advertising agencies, publishing magazines and periodicals, placing advertisements in the mass media and publishing newspapers are those creative industries spheres that showed the biggest decrease in turnover.
- So far representatives of creative industries have not been active in export markets; most enterprises were focused exclusively on the internal market.
For additional information on the latest developments in the field see the reports "Creative Industries in Estonia, Latvia and Lithuania" in 2010and 2011 (Pdf in English).
For information on audiovisual media in the Baltic States see the study "Business Models and Value Chains in Audiovisual Media". See also the publications "Facts&Figures" about the film industry in the Baltic countries.
Support for culture and creative industries and main actors
The Ministry of Culture cooperates with the Ministry of the Economy, the Ministry of Science and Education and the Ministry of Finance in providing support to the creative industries. The consultative Design Board was established at the Ministry of Culture (2006). In 2011, a Consultative Council of Creative Industries at the Ministry of Culture has been established and renewed its work in 2014.
There are certain indirect measures for support of the culture and creative industries. A reduced VAT rate (of 12%, while the regular VAT rate is 21%) is applied to the press and publishing of books. VAT is not imposed on theatre and circus performances, concerts and events organised by cultural institutions and other cultural events (see chapter 5.1.5).
As to direct incentives, financial support is available from several sources: The Ministry of Culture allocates subsidies mainly for public art institutions (e.g., theatres and orchestras). The Cultural Capital Foundation (see also chapter 2.1) regularly supports the culture industries such as film, media publishing, book publishing, and music recordings in its project competitions and special target programmes. In 2010, it established a branch for design and architecture. In 2013, a new programme for creative industry projects was launched with a total budget of 100 000 LVL (142 857 EUR). In 2013, the Ministry of Culture co-financed the establishment of the Music Export Foundation of Latvia with 3 000 LVL (4 286 EUR).
In 2006, the Latvian Investment and Development Agency started important state support initiatives in the field of industrial design. It grants support to the sectors of design and audiovisual media, and provides assistance in exporting.
The EU Structural Funds are a significant player in supporting the cultural industries. One example of this support is the creative industries business incubator Creative Andrejsala, in Riga from 2009 to 2014 (LVL 1.67 million or about EUR 2.4 million), as well as the notable modernisation support for all higher education establishments in the arts and culture allocated in 2010 (more than LVL 3.5 million or about EUR 5 million) and many other activities.
Creative industry issues are also being dealt with at policy level in cities and towns. One example is Riga City Council and Swedbank, which have jointly organised the grant programme Take off.During the period 2009-2013, the programme supported 100 business ideas, giving total financing of 700 000 EUR. Riga also actively participates in the international Project "Creative Metropoles", while the city of Rezekne opened the restoration and creative industries services and workshops centre in 2012. Creative industry enterprises are also supported in business incubators in Latvian regions.
The Latvian Centre for Contemporary Art, in collaboration with other partners, has launched (2010) an innovative support programme "Brigade" granting administrative and financial support to creative and financially sustainable proposals for the development of local communities.
Creative quarters are being developed, led by private initiatives, with a little state or municipal support; see publication Riga's Creative Quarters. The Ministry of Culture supports the initiatives of the Tobacco Factory.
The authors of the study The Performance of the Creative Industries Sector of Latvia and Preconditions for its Targeted Development (2013) conclude that the availability of financial support has a significant impact on the development of the creative industries – enterprises that have received financial support more frequently express willingness to increase the number of employees, as well as to expand business, and more often introduce new products. Moreover, the reduction of corporate income tax, adjustment of vocational training programmes to the needs of employers and enhanced cooperation with the educational institutions are part of the state support "kit", which entrepreneurs evaluate as the most effective.
Main challenges for SMEs
Cultural industries are still a rather new concept that is not fully conceived either by the public sector or the commercial sector. Therefore, some cultural industry companies (even if not profit oriented) fail to receive public support earmarked for culture, while others do not match up to the criteria required by the Latvian Investment and Development Agency or the EU Structural Funds. Small and medium sized enterprises operating in the cultural industry sector, and cultural NGOs, face problems in applying to the EU Structural Funds for various reasons: legal status, requested minimum funding level is too high, and limited possibilities to get pre-funding and co-funding.
The study The Performance of the Creative Industries Sector of Latvia and Preconditions for its Targeted Development (2013) identify the main obstacles as:
- entrepreneurs rather often identify low demand as a key obstacle for business development;
- the availability of financial resources can be identified as an unequivocally interpreted obstacle of business – an equally large number of entrepreneurs are influenced by the lack of current assets, as well as the restrictive high tax burden. Consequently, at least partly, growth opportunities for the creative industries are limited due to the lack of access by entrepreneurs to financial resources;
- the lack of employees is the third most frequently mentioned obstacle for development of business; and
- commercialisation of ideas are most often indicated by industry experts and entrepreneurs as a problematic aspect for the development of business. While the creative industries sector has plenty of ideas for creative work, there are not enough skills to commercialise them. Partly, the issue should be associated with the education system, where creativity is separated from the market economy, and it is considered a "thing" for sale.
Recent developments
At the end of 2009, the Parliament endorsed a national macro-economic stabilisation plan proposing an increase in VAT from 18% to 21%; in 2011 VAT was increased to 22%, and in 2013 was reduced to 21%. The reduced VAT rate was increased from 5% to 10% in 2009 and from 10% to 12% in 2011. Initially,books, the press, cinema tickets and the tourism industry could benefit from the reduced VAT rate; however from 2011 the reduced VAT applies only to the press, certain categories of books and accommodation services at tourist lodgings.
The Micro-enterprise Tax Law was introduced in 2010 (see chapter 5.1.5).
General developments
In the period from 2008 to 2012, the share of creative industries and related industries in the economy of Latvia was approximately 10% of the total number of enterprises and employees and about 5% of total turnover and exports.
During this period, the number of creative industry enterprises increased by 35%, and related industries by about 7%. A particularly significant increase is observed for 2011 (+17%), which could be largely linked to the introduction of the micro tax.
The total amount of turnover in the creative industries during this period dropped by 18% and in related industries by 16% Exports of creative industries increased by 18%, but the relative indicator of the average export volume per enterprise in the sector dropped by 15%.
During the period from 2008 to 2011 the number of employees in the creative industries dropped by 25% (-12287 employees), and for related industries – 29% (-12394 employees). The fall in the total number of employed in the creative industries was considerably larger than in Latvia as the whole (respectively -25% and 14%). The average number of employees per creative industries enterprise decreased from 9 to 5.
Although the number of creative industries enterprises has increased dramatically, the number of employees over the last four years has greatly diminished and they have narrowed their work (employing less people, working with less turnover). These developments may be partly due to the introduction of the micro tax, which sets the maximum annual turnover of not more than 70 000 LVL and the maximum number of employees – 5 per enterprise. In the next five years this sector is not expected to have a significant increase in the number employed.
Fastest growing sectors of creative industries
During the period from 2008 to 2011 the following trends can be identified:
The most significant increase in turnover: software (+11.1 million LVL or 7%), internet portals (+9.2 million LVL or 67%), other entertainment and recreational activities (+7.6 million LVL or 56%), work of artists (+4.6 million LVL or 30%).
The most significant increase of enterprises: software (+381 entities or 67%), artistic creativity (+244 or 339%), other entertainment and recreation activities (+207 or 73%).
The most significant increase in the number of employees: software (+559 or 10%), internet portals (+234 or 48%).
Significant reduction in turnover: architectural services (-63.0 million. LVL or -63%), work of advertising agencies (-37.4 million LVL or -17%), publishing magazines and periodicals (-16.7 million LVL or -36%), or placing advertisements in mass media (-16.5 million LVL or -37%), publishing newspapers (-15.9 million LVL or -49%).
The main reduction in the number of employed: architectural services (-1873 or -48%), cultural education (-1833 or -40%), work of cultural institutions (-1779 or -35%), other furniture production (-1595 or -27%), work of advertising agencies (-1292 or -27%), publishing magazines and periodicals (-1097 or-40%).
Export capacity
The export volume of the creative industries increased by 18%, while the share of exports as part of total exports in Latvia decreased from 8% to 6%.
Growth of export volume in Latvia as a whole has been 56%, but in creative industries only 18%.
Annual total average turnover of the creative industries is more than 700 million LVL, while the total export volume is only around 70 million LVL (10%).
On average, 88% of the export volume of the creative industries for the past five years (2008-2012) is provided by manufacturing enterprises – their number, turnover and the number of employees in the creative industries as a whole is only 13%-15%.
76% of all creative industry exports is provided by enterprises working in furniture production (61.9 million LVL from total export volume 80.9 million LVL in 2012). The export volume of other spheres does not exceed 5 million LVL a year.
Also, the greatest increase in the volume of exports in the previous five years (2008-2012) was in the furniture manufacturing sector (+14.7 million LVL or +31%); in the rest of the sectors, growth in the volume of exports over the last five years did not exceed 1.5 million LVL.
The survey of entrepreneurs shows that most exports go to neighbouring countries – Estonia (43%) and Lithuania (42%). Relatively often, export destinations are Germany (32%), Russia (29%) and Sweden (24%).
See more in the study "The Performance of the Creative Industries Sector of Latvia and Preconditions for its Targeted Development" (see https://culturelablv.files.wordpress.com/2009/04/report-on-ci-mapping-in-latvia-2012_summary-in-en.pdf).
The state agency Latvian National Centre for Culture is responsible for education in the culture industries. The Ministry of Culture supports cultural education institutions (see chapter 8.3). Other institutions providing education programmes for culture industry professionals are: the Baltic Film and Media School at Tallinn University; (see chapter 3.4.4) design and media programmes in Liepāja University; BA School of Business and Finance in collaboration with the Art Academy of Latvia and the Latvian Academy of Culture is implementing a Master's Studies programme (in English) "Creative Industries Management".
Three higher education institutions – the Stockholm School of Economics in Riga, the Baltic Film and Media School in Tallinn, and Aalto University School of Art and Design (TAIK) in Helsinki have joined forces in developing a creative industries' Master's Degree curriculum to bridge the concepts of creativity and entrepreneurial thinking. The aim of the joint MA programme is to introduce students to creative industries as a sector that offers entrepreneurial opportunities, promotes innovation and technological spillovers and fosters economic growth. The programme is going to be implemented by the Baltic Film and Media School in collaboration with the above mentioned institutions as partners.
See also chapter 8.3.
Chapter published: 17-07-2018


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This spicy vegetarian stir-fry is a great way to use green beans when they're bountiful and inexpensive at the supermarket. You can also try it with other vegetables, such as broccoli or peppers, just make sure to cut them into small pieces so that they cook quickly. Coating the tofu in cornstarch before you cook it gives it a light crust.
Ready In


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MeenGacro necesitaba un nuevo diseño de banner publicitario y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 29 diseños de 7 diseñadores freelance.
Zans Mountain
I am an indie game developer from Germany and i have published my first app on the AppStore two months ago. Sales numbers were rather average and i want to push the sales curve by placing ad banners on iPhone game sites and forums.
The game is a fantasy game, and the fantasy characters of the game are portrayed in a trading-card-like widget. The theme of the game itself is a "raid". The player should have the feeling of breaking into this dungeon, significantly depleting its inhabitants, taking all the gold, and still be considered one of the good guys. If you listen to the soundtrack "the rogue" by daryl banner on audiojungle.com you get the idea. You can also go to apples App Store to get the idea of the game. The name of the game is: Zans Mountain Lite and it is for free.
The main characters of the game are a knight and a wizard and the player can choose with which of them he wants to go into the dungeon to free a princess kidnapped by the evil dragon Zan.
Fans of fantasy and roleplaying games (computer and pen&paper) like HeroQuest, AD&D, Magic The Gathering, Munchkin, the Ultima series, Dragons Lair and others
The banner should somehow show that it is a dungeon game. You can show some fantasy characters on the banner, but make them in a cartoony style, like the characters from Dragons Lair or Munchkin. I will attach pictures of the main characters soon. It should be fun to look at the banners and people have to recognize typical dungeon elements. Maybe some brutality would also do good. I will attach the letter "Zans Mountain" to this briefing. The letter must be shown on all banners.
Sizes needed: 125x125, 300x250 180x150 270x100 200x90
Also it must be made clear, that it is for free (either by Free or Lite) somewhere on the banner.
Here a short description of the main characters:
Roland is a knight of the realms and he is quite proud of it. He is a hands-on knight and he has successfully fought many battles against the foes of the Realms and returned from really dangerous quests. He has never really cared about women and because he is already in his thirties, his father decided to send him on a quest to rescue a beautiful princess and slay a mighty old dragon and some dungeon inhabitants along the way.
Micks is a wizard apprentice at a court of a noble, who has sent one of his knights to rescue a beautiful princess. Since Micks feels, that this Knight is a fool and much too old to marry the princess, he decides to go onto a rescue mission on his own.


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- The Budget process
- Budget (April)
- Mid-year Economic and Fiscal Outlook (November-January)
- Pre-election Economic and Fiscal Outlook (prior to election)
- Parliamentary Budget Office (PBO)
- Portfolio Additional Estimates Statements (PAES)
The Australian Government Budget provides a picture of Australia's forecast financial performance and the government's fiscal policy for the forward years. The Budget includes estimates of government revenue and expenses for the Commonwealth over a specified period.
The Budget process is the decision-making process for allocating public resources to the government's policy priorities. It is through the Budget process that the government gains the Parliament's authority to spend relevant money through the passage of the annual appropriation acts and other legislation that establishes special appropriations. The government then allocates this money to departments of state and other Commonwealth entities. The Commonwealth public sector must effectively manage the finite resources within its control. The Government's ability to deliver on its policy commitments and achieve its objectives relies on effective budgeting.
The Charter of Budget Honesty Act 1998 (The Charter) sets out principles and requirements that guide the government's management of fiscal policy. The Charter requires the government to:
- set out its medium-term fiscal strategy, along with its shorter-term fiscal objectives and targets, which are published in the Budget Papers and in the MYEFO report
- report on estimates for the General Government Sector (GGS) according to an annual reporting cycle, including economic assumptions underlying Budget estimates
- report against specified external reporting standards
- list all proposals for changes to revenue, current and capital expenditure in the forthcoming reporting cycle.
For the purposes of the Budget process, the PGPA Act requires accountable authorities to prepare Budget estimates in accordance with any directions issued by the Finance Secretary (s36).
The Budget Process
The annual Budget process begins in November or December when the Expenditure Review Committee of Cabinet (ERC) considers portfolio minister's new proposals and expected major pressures, and establishes the Budget's priorities. From February to April the ERC develops the Budget against the background of the Government's political, social and economic priorities.
Finance has an obligation to ensure that the Budget estimates related to expenditure or capital that are presented to the government are reliable, and meet the requirements of the Charter.
Finance is responsible for ensuring Budget estimates, processes and documentation are prepared and delivered in an accurate and timely manner. This requirement is one of Finance's deliverables (set out in Finance's Portfolio Budget Statements).
All Commonwealth entities are required to keep their estimates and actuals reporting up-to-date in both their internal records system and Central Budget Management System (CBMS), to ensure that all public reporting is accurate and consistent. Estimates often need to be amended in line with new Budget decisions, changes in whole-of-government parameters (such as the Consumer Price Index or currency exchange rates variations), or changes to the Machinery of Government (MoG).
Portfolio Ministers can bring forward policy proposals for consideration by government during the annual Budget process.
Budget (April)
Annual forecasts are published at the portfolio and entity level (Portfolio Budget Statements) and GGS-level (Budget Papers ). These documents provide estimated GGS aggregates and more detailed estimates for each entity. The PB Statements are prepared by each portfolio entity, while the Budget Papers are prepared by the Treasury and Finance and set out the details of the Budget for the parliament and for the Australian public.
The Budget Papers support the Budget-related decisions of government, providing the fiscal outlook for the Australian economy and highlighting major new initiatives of the government. A high-level summary of information contained in each of the Budget Papers is presented below.
- Budget Paper No. 1 — Budget Strategy and Outlook provides an overview of the economic and fiscal outlook, summarises the Government's fiscal strategy, and outlines key Budget priorities.
- Budget Paper No. 2 — Budget Measures provides comprehensive information on all government decisions that involve changes to its revenue, expense and investing activities since the last MYEFO.
- Budget Paper No. 3 — Federal Financial Relations includes information on revenue provision and payments (GST and specific purpose payments), as well as an overview of fiscal developments in the states and territories.
- Budget Paper No. 4 — Agency Resourcing shows, for each entity, estimated expenses for each special appropriation Act, estimated balances and flows for all special accounts, estimated resourcing by type of appropriation, and estimated average staffing levels in the public sector.
- Intergenerational report provides a basis for considering the Commonwealth's fiscal outlook over the long term (40 years), including identifying emerging issues associated with demographic changes. It is published every three to five years.
Mid-Year Economic and Fiscal Outlook (November)
The Charter requires that the government produce a Budget and Mid-Year Economic and Fiscal Outlook (MYEFO) report by the end of January each year, or within six months after the last Budget has been presented to the parliament, whichever is later. MYEFO provides updated information on the Government's fiscal position and compares estimated expenditure to actual expenditure. Typically, MYEFO is released in November. Since the first MYEFO report in 1997–98, the Treasurer and the Finance Minister have issued the report as a joint statement.
MYEFO estimates include any government decisions made since the previous Budget that affect expenses, revenues and capital estimates. MYEFO also updates the budgetary position, including Budget aggregates, by incorporating any changes to economic parameters.
The purpose of MYEFO is to provide updated information to allow assessment of the Government's fiscal performance against the fiscal strategy set out in Budget Paper No. 1. MYEFO updates key information contained in the most recent Budget and contains a detailed statement of tax expenditures. An appendix to MYEFO report summarises all policy decisions taken since the Budget was brought down, including their estimated financial consequences.
The information in the report takes into account, to the fullest extent possible, all government decisions and all other circumstances that may have a material effect on the fiscal and economic outlook.
Entities can propose new or amended proposals, using the same process as for Budget proposals, however, the expectation is that these should only be proposed if the need is urgent, unavoidable, and cannot be considered by the government as part of the next Budget.
Pre-election Economic and Fiscal Outlook (prior to an election)
Budget estimates are also updated before an election, in a report called the Pre-election Economic and Fiscal Outlook (PEFO) . PEFO makes public any decision of Government since the last economic update was published. The update ensures that the government, the opposition, the parliament and the public know the country's fiscal position before the election.
In contrast to the other financial reports published each year by the government, the PEFO is prepared independently by the Secretaries of the Departments of Finance and the Treasury and is released under their names without consulting with the government. They also publish costings prepared by the Treasury and Finance on election commitments that have been requested by political parties in the lead up to a federal election.
Parliamentary Budget Office (PBO)
The role of the PBO is to inform the Parliament by providing independent and non-partisan analysis of the budget cycle, fiscal policy and the financial implications of proposals.
During the caretaker period for a general election the PBO prepare costings of publicly announced polices on request by authorised members of Parliamentary parties or independent members.
Further information on the Budget process can be found in Part III of the Resource Management and Budget Training.
Last updated: 26 February 2019


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Update: Sept. 10, 2013
Our Trek Fuel 29er Project One test bike has arrived and we could not be more pleased. Project One is Trek's custom bike program where the user can configure a bike with a million different frame, color and component options. The process of selecting a color was daunting for us non-creative types so we solicited the input of our users to come up with some cool designs. We ended up with a about a dozen brilliant designs but we settled on this one cause it is 'money!' And we think it will look really cool in the redwood forest specially in the mist when the errant ray of sunlight hits it. Check here for an overview of the Project One process.
When we did our configuration and by the time your read this, the configurations for Project One were quite expensive with only carbon available and most setups costing over $8000. But Trek has expanded the offering and will be offering Project One in aluminum frames and lower price points. After all, everyone, not just the wealthy would rather have a personalized bike with custom paint and components that are optimized for one's style.
Component highlights for this bike include the SRAM XO 1×11 drivetrain which is the revolutionary single front chainring system by SRAM but in a lower cost platform. This is the best product introduced last year as it functional, light and it doesn't drop the chain. It drops the chain even less than a bike with a front derailleur. This drivetrain is mated to an XT brake system cause Shimano just rules the braking category right now in terms of performance and value.
And finally the latest wheels by Bontrager are in this package. Bontrager has redesigned their wheels from the ground-up to a deliver a package that is lighter, stiffer, more reliable and attractive. More to come on these later.
How did the bike look compared to the visual example on the Project One website? Pretty close we think. The painted bike is shown here https://www.trekbikes.com/us/en/projectone/#bikerack/1181339
Our spec for the test bike is part of a new effort to bring the Project One offering to a lower price point that is more attainable for most folks. Highlights are an aluminum frame with with Shimano XT and SRAM XO components. These new frame and component options will be available on Sep 19, 2013. Our build is as follows:
Crank: X01 32 teeth, 175mm length
Rotors: 180mm in the front, 160mm in the rear
Stem: RXL 70mm, 7 degree rise
Handlebar: Rhythm Elite – 750mm/5mm rise
Saddle: Standard width Evoke RL
Wheels: Rhythm Elite
Tires: XR3 TLR
Seatpost: Reverb Stealth
Shock: Fox Evolution Series
Fork: Fox Performance Series – Black
Brakes: Shimano XT
How is the bike so far?
Three rides in and the bike has been flawless. We love the 50mm stem length and 740mm bars that we spec'ed. The wide saddle fits too perfectly too. The XR3 tires are huge and fast and they will work well year round. But we'd like to put an XR4 in the front for the next couple of months while our bone-dry trails remain powdery.
The SRAM 1×11 drivetrain mated with the Shimano brakes fits and works perfectly. We only wish that we spec'd a right hand dropper post lever so we could put it on the underside on the left hand to take the place of the absent front shifter. And finally, we like that the frame is aluminum to save cost and we put the money in the high-end Bontrager Rhythm Elite wheels that they are now producing. All in all, we loved the process of having fun with colors, getting creative with spec and now just rallying with the bike.
Go to the next page for our ride report of the bike in Sedona, AZ.


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North America is awash in perky, cheerful headlines that announce: "NHL Hockey is Back!"
The type size no doubt varies according to location. In Canada, the front pages are almost not big enough for those four words. The print shrinks as we move toward the equator. By the time we get to the southern United States, the news of the end of the lockout will be on page four next to the local bowling scores.
There is plenty of excitement in Minnesota, of course, where hockey roots run deep and NHL tradition is strong. And that's wonderful. But I have just one thing to say:
Anyone who grabs his or her checkbook and runs right back to an NHL arena – whether it's Xcel Energy Center or Pepsi Center or Air Canada Centre – is an idiot. Not only that, that person deserved the lockout. Because stupid people empower the National Hockey League to treat them like garbage.
Now that the millions and billions of dollars have been divvied up, the NHL will throw open the arena doors and expect everyday people to come back and fund the whole operation. The real bosses, the ones who pay the bills by buying the tickets and the merchandise and by fueling the radio and TV ratings, were not represented in the negotiations. They were just handed the tab.
So, again, anyone who blindly returns to the ticket window is a fool.
Now, I understand there is a lot of pent-up excitement in Minnesota. The Wild, a dormant franchise for the last three years, have upgraded their roster. Craig Leipold signed Zach Parise and Ryan Suter to mega-contracts just before the lockout. You can speculate as to whether Leipold, among the more hawkish owners, figured he'd be able to claw some of that money back later during the labor negotiations. At this point, it doesn't matter.
People are anticipating the newcomers' debut in Wild sweaters. And they have every right. Just as fans in other NHL cities have their own reasons for wanting to see their teams back on the ice.
But before I plunked down money, I'd want to know what the Wild were going to do for me. After being treated like I didn't exist, what's the discount? If I buy a ticket package, how many free ones do I get? What are you going to do for long-time ticket-holders next season?
In other words: What's the reward for loyalty in the face of disloyalty?
There has to be something. An autograph session or a couple of free hot dogs isn't going to cut it. The owners and players are happy with their shares of the dough. Now the people who actually pay the bills get to weigh in.
In the end, the labor agreement ended up pretty much like we all thought it would. They agreed on a 50-50 split of revenue. The owners gave in a little on a few things and the players gave in a little on a few things. This compromise could have been reached before Day One of the lockout.
After lollygagging and failing to seriously negotiate, the word "lockout" started flying months before the collective bargaining agreement expired. Both sides were more intent on rattling their sabers than trying to avoid a work stoppage.
Everyone had to posture and do the dance and strut around. It wasn't until the last minute, when both owners and players were about to lose the chance for any revenue this season, that an agreement was reached. Oh, and by the way, hockey fans across the continent will get to see their favorite teams again. And all the struggling businesses around the empty arenas might get to survive.
Well, here we are. The Wild might be halfway decent. But before you fork over your dough, you ought to ask the Wild what they are going to do for you. For the first time in months, you are no longer an afterthought. Now, the NHL and the Wild need you.
Or you could just run right back to the arena, no questions asked. But if you do, you deserve whatever you get. And what you will get is another lockout in exactly eight years, which is when this new labor agreement can be terminated by either side.
Tom Powers can be reached at firstname.lastname@example.com.


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Before you read any further, this post is a Steve A foray into "bike culture." As noted in that post, I tend toward bike culture stuff when I haven't been riding enough. Commuting is over for 2009.
Bike Transportation Secret
In truth, the ideal transportation bike is quite simple. It's the bike that will make you dream about riding it to work, or to the store, or to go work out at the gym. It's a bike you'll just go out to gaze on before you got to sleep, just to look at it one last time. For some, it's a traditional style touring bike, such as a Pashley. Sometimes their enthusiasm even makes me feel a bit tempted. For others, it's a modern bike, or a mountain bike. For a few, it's a Bakfiets or Xtracycle. For me, it's Frankenbike and Buddy, but Buddy's the serious transport bike I take when I need to do the miles to work daily, in darkness or light, in all weather (even though I'm just a fair weather cyclist at heart).
My Ideal Transportation Bike - First Element
My Ideal Transportation Bike - Second Element
Sloane's book also instilled an appreciation for a second element I want in a serious bike. That second element is relatively light weight. I've never wanted the very lightest. Such bikes make too many compromises for serious point-to-point riding. They don't accommodate fenders. They don't have proper wheel clearance. They won't take racks. Many of them compromise braking - or stability - or durability - or reliability. But the influence still has power. A kickstand is, to quote Sloane, "at least a pound of dead weight." None of my bikes have kickstands. I still have the one that came with my 1971 bike, but it hasn't been on a bike for 36 years. It's why I'm fitting "quick change" fenders to Buddy, a bike that has places to attach fenders permanently.
My Ideal Transportation Bike - Third Element
My Ideal Transportation Bike - Final Factors
My Ideal Transportation Bike - Candidates
When you add it all up, there were basically two bike styles that remained after the criteria were set up; Touring frames and Cyclocross. Both were designed to travel all sorts of terrain. Both considered weight without being obsessed by it. Both had brakes. REAL brakes. Touring bikes all had good places to bolt stuff and they tended more towards the steel I'd grown up with and always appreciated.
Wild Card
As it turned out, I was led towards my current approximation of an ideal, long distance transport bike entirely by accident. One of my coworkers had a Specialized Tricross. What's more, he locked it OUTSIDE in the bike rack I passed by daily when I went out for a walk at lunch. Over time, I noticed the serious brakes, and the rack mounts. None of this impressed me overmuch - I had Frankenbike and I wasn't looking for a new bike anyway. Until I heard vague rumblings of a work move.
I started looking at Tricross. Tricross seem, to me, overpriced for what you get. I wasn't about to pay $1300 for a clunky Tiagra bike. What's more, over time, I've lost enthusiasm for triple front derailleurs for general use. I could get as much out of Frankenbike at 1/10 the price. I didn't see much in the way of used ones. Entirely by chance, I ran across a used, late model Expert in mid January. The Expert not only had a better specification, including SRAM shifting gear, but it avoided the drab look of the lower end Tricrosses. And the upgraded wheels made me drool. They were, simply, elegant. Buddy was it. I rode Buddy to work the first time in February 2009. It's been great.
Even Love Has Warts
- Zertz Inserts - Despite what Buycycling Magazine may tell you, interrupting primary load paths with a hunk of translucent plastic isn't a road to paradise. I'd have to ride an equivalent bike without the zertz to know for sure, but I think Specialized Marketing won out over the engineers in the design. Trust me. I work on carbon stuff for a living. Carbon doesn't like making load go around corners like Specialized has done. If I ever need to replace the seatpost, I'll pick something without Zertz. I don't LIKE those popping noises I occasionally hear over rough roads.
- Rubber Doughnuts - Buddy came with little white plastic doughnuts over the rear brake cable. They would rapidly slide to the back of the cable, with the cable marring the paint. When I switched the cables to a conventional bike arrangement, I went to rubber doughnuts. They work better, but it's still not reliable. One disappeared when I was in bike class.
- Brake Pads - 3400 miles is a bit short for pad life in my book. Kool Stop pads might or might not last longer, but they're sweet in any event. Get the salmon color.
- Frame Stiffness - While Buddy feels rock solid on the road, I occasionally get rear brake rubbing at times that suggest the torsional stiffness of the rear is less than ideal. Buddy also shudders on occasion when travelling over heavy gravel, and then keeps going. It's a "solid shudder" if that makes any sense.
- Balance between cost and "perfect." - That 10 cents per mile is tough to achieve with a bike like Buddy. Buddy's about the most expensive bike with a chance of hitting that target. I think I'll get there.
- Mileage concerns - Buddy is the first bike I've ever owned that I felt any need to conserve mileage on to avoid premature wear. That's due to the cost - even though I bought used. You buy cheap and such things are of no concern.


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For several years, there has been debate over whether Accutane (isotretinoin), a drug prescribed for serious cases of acne, could be causing depression and subsequent suicide in teenagers. Though depression and suicide are serious health problems for teenagers, there has not been consistent evidence that Accutane contributes significantly to either.
Severe Acne, Low Self-Esteem, and Poor Self Image
Acne can have a significant impact on a person's outlook on life. Studies have detected that the following characteristics are common among people with acne:
- Social withdrawal
- Decreased self-esteem
- Reduced self-confidence
- Poor body image
- Embarrassment
- Feelings of depression
- Anger
- Preoccupation
- Frustration
- Higher rate of unemployment
These negative effects are often interrelated and can have a crippling impact on people socially, on the job, or at school. Acne medications and treatment regimens have been widely prescribed to teenagers and adults. Accutane is a medication generally used only after other treatments have not worked. It has medical risks and is particularly dangerous to a fetus if a woman taking this drug becomes pregnant. Doctors typically present these risks to those who are considering taking Accutane as part of the process of informed consent.
Depression in Adolescents
Many teenagers experience depression each year, with some meeting psychiatric criteria for major depressive disorder. Depression is a complex disease associated with multiple risk factors and is a problem in adolescents whether or not they also have acne.
Doctors treating acne (or any other adolescent disorder) need to talk to teenagers about their feelings and self-esteem. In addition to asking about feelings of depression, parents and physicians should look for common signs and symptoms of depression in adolescents. Among these are:
- Persistent sad or irritable mood
- Loss of interest in activities once enjoyed
- General loss of energy
- A change in eating habits and sleeping patterns
- Loss of confidence
- Poor concentration
Is There a Link Between Depression and Accutane?
Despite the manufacturer's warning that Accutane can cause psychiatric symptoms, there is not conclusive evidence of a relationship. Many studies have been done, but some of the studies are unclear and other studies fail to show a link.
Since there is not clear evidence on the issue, it is a good idea to be vigilant. If you are a teen taking Accutane or if you have a teen on the medication, be sure to to immediately report mood changes and symptoms of depression to the doctor. The US Food and Drug Administration (FDA) recommends that if you have any new symptoms of depression, you should stop isotretinoin and let your doctor know of your symptoms right away. These symptoms need to be promptly evaluated for appropriate treatment.
- Reviewer: Michael Woods, MD
- Review Date: 03/2016 -
- Update Date: 03/09/2016 -


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- If you are picking a wedding event.
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São Paulo, Brazil, 28 November 2012 - FuturaGene, a world leader in the enhancement of yield and sustainability of woody crops for plantation forestry, biopower and biofuel markets, is pleased to announce the signing of a Cooperation Framework Agreement with EMBRAPA, (Empresa Brasileira de Pesquisa Agropecuária) the Brazilian Ministry of Agriculture research organisation. Under the agreement, FuturaGene and EMBRAPA will establish collaborative research programs in eucalyptus and other tree species for the enhancement of sustainable development in Brazil and other territories. The first project to be executed under the agreement will incorporate an aluminium-tolerance gene of EMBRAPA into FuturaGene eucalyptus germplasm to enhance yields in areas affected by aluminium toxicity in the soil.
EMBRAPA is one of the largest public sector tropical agriculture R&D organisations, with strong agroforestry capabilities, an annual R&D budget of over US$1 billion and more than 2,300 researchers in 42 centers located around Brazil. The mission of EMBRAPA, to develop technologies for enhancing food security and crop productivity, underlies the synergies that will allow the two organisations to develop new innovations for sustainable agro-forestry and meet the growing agro-ecological challenges related to productivity.
Mauricio Antonio Lopes, EMBRAPA President, commented:
"The partnership we have established with FuturaGene, which begins with the optimization of eucalyptus tolerance to aluminium, enables both companies to maximize their efforts towards sustainable, high yielding crops and the transition to a green economy."
Dr Stanley Hirsch, CEO of FuturaGene, added:
"Agro-forestry is a key weapon in fighting climate change and driving socio-economic development. Yield enhancement through genetic modification is an important factor in sustainable intensification of agro-forestry. Our joint research and development projects with EMBRAPA create a synergy that will allow strengthening of our capacity to improve the genetic diversity and resilience of plantation species and their capacity to restore degraded lands and deal with climate adaptation."
Under the terms of the agreement, signed at EMBRAPA's headquarters in Brazil, the partnership focuses on the development of genetic technologies for use in Brazil but allows FuturaGene to apply the technologies developed under the agreement worldwide, ensuring that innovation from forestry research reaches the areas that most need it.
Notes to Editors
About EMBRAPA – www.embrapa.br
Since its inception, on April 26, 1973, Embrapa has generated and recommended more than nine thousand technologies for Brazilian agriculture, reduced production costs and helped Brazil to improve food security whilst, conserving natural resources and the environment and diminishing external dependence on technologies, basic products and genetic materials.
Networking through 42 Research Centers, 5 Service Centers and 13 Central Divisions, Embrapa is present in all biomes of the country. There are 9,657 employees in Embrapa, of which 2,389 are researchers, 18% with master's degrees,74% with doctoral degrees and 7% as post doctorates. Embrapa coordinates the National Agricultural Research System, which includes the State Organizations of Agricultural Research, universities and research institutes of federal or state level, as well as other public and private organizations, directly or indirectly related to agriculture research.
Embrapa maintains projects in International Cooperation in order to perfect knowledge of technical and scientific activities and also shares knowledge and technology with other countries.
About FuturaGene - www.futuragene.com
FuturaGene, with facilities in Brazil, China and Israel is a leader in plant genetic research and development for the global forestry, biopower and biofuel markets. FuturaGene develops sustainable, ecologically sound technology to meet the ever increasing demands for fiber, fuel and energy crops in the face of declining land and water resources.
FuturaGene's crop development is focused through two main technology platforms: yield and processability enhancement - driving gains in yield during crop growth and greater processability of crop, post-harvest; and yield protection to protect strategic crops from emerging threats caused by changing climate and diminishing resources and to enable marginal land usage.
FuturaGene's key crops are eucalyptus and poplar and its most advanced technologies are for yield improvement in sustainable industrial forestry. FuturaGene has fully integrated capabilities from gene sourcing and discovery, through development and in-house regulatory capability, large scale field trial capacity to market channels and captive off-take. It is uniquely positioned as one of the few biotech companies, outside of the "majors", which has taken a new trait from the lab to late stage regulatory development.
Since July 2010, FuturaGene has been a wholly owned subsidiary of Suzano Pulp and Paper, a leading integrated forestry, pulp, paper and renewable energy company in Brazil. As a wholly owned subsidiary of Suzano, FuturaGene continues its worldwide biotech activities with enhanced resources driving its mission to be a world leader in sustainable plant genetic research and development.
Issued for and on behalf of FuturaGene.
To contact the FuturaGene team at College Hill, email firstname.lastname@example.com
Dr Christelle KerouedanAssociate Partner


text:
About Us
About Rhythm Traders
Rhythm Traders, founded in 1992, is a locally owned full-line drum shop in an 11,000 sq/ft facility, featuring a 5000 sq/ft showroom, an equal 5000 sq/ft of warehouse and repair facilities, plus an additional 1000 sq/ft in lesson studios.
Recently selected as Oregon's only Five-Star Drum Shop, we have the Northwest's most extensive selection of drum sets, cymbals, marching & symphonic percussion, djembes, congas, and world percussion. We offer lessons, repair, rentals, school packages, and have an extensive kids' drum section.
We have Portland's most comprehensive drum lesson program, and a large Community Lesson Room for drumset master classes and group samba, conga, & djembe lessons. Every year we bring some of the world's best drummers for clinics which in the past have included Steve Ferrone, Alex Acuna, Benny Greb, Mamady Keita, Famoudou Konate, Horacio "el Negro" Hernandez, Luis Conte, Donny Osborne, Russ Miller, Stanton Moore, Peter Erskine, Adam Deitch, and many others.
For drum sets and accessories, we're authorized dealers for Crush, Tama, Ludwig, Yamaha, Roland, Gretsch, Pearl, DW, PDP, Mapex, Sonor, and Brady in addition to the used and vintage kits we offer. We have the region's largest cymbal vault, with Zildjian, Meinl, Sabian, Paiste, Cymbal Foundry, Cymbal & Gong, Bosphorus, Wuhan, UFIP, Istanbul, and Amedia cymbals stacked floor to ceiling. We stock a large selection of DW and Gibraltar parts and bulk supplies; Remo, Evans, & Aquarian heads; Vic Firth, Promark, Vater, Regal Tip, Zildjian, & Innovative Percussion sticks and mallets; Roc-n-Soc thrones; and hundreds of CDs, method books, and DVDs for all drummers.
We have the largest and most comprehensive World Percussion showroom in the country with LP, Gon Bops, Contemporanea, Meinl, Mid-East, Tycoon, Toca, Remo, Rhythm Tech, and JCR as well as local craftsmen. We carry our own line of Latin instruments including congas, timbales, bongos, cajons, and bata drums. And we import the highest quality hand-carved djembes, dununs, bells and other African instruments ourselves from the same craftsmen in West Africa who first supplied us with master-quality instruments nearly 20 years ago.
Stop by in person or online, and discover our low prices and huge selection of drums, percussion, cymbals and accessories. Find out what Oregonians have always known; that they can shop locally while still getting the best prices, and superior product knowledge & customer service from fellow drummers. We have FREE on-site parking, and there's NEVER sales tax in Oregon. Sticks, heads, and cymbals are 40% OFF everyday. Come see why we're The Drummer's Toy Store...
Click here to see some of the press we've received over the years3
Rhythm Traders
3904 NE Martin Luther King Jr. Blvd.,
Portland, Oregon 97212
(2 blocks North of Fremont,
at the corner of NE Failing and NE MLK)
Phone: (503) 288-6950
Email: firstname.lastname@example.com
Monday-Saturday: 11am-7pm
Sundays: 12noon-5 pm
Alex Acuna Workshop 2009 at Rhythm Traders


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text: Could it all be wrong? Some scientists say calorie counts are too inaccurate to be trusted. Ed Ou/AP hide caption toggle caption Ed Ou/AP The Salt Calorie Counts: Fatally Flawed, Or Our Best Defense Against Pudge? February 20, 2013 Scientists say the time-honored calorie is too flawed to give people a good measure of what they're eating. But many nutritionists say calories are still the most useful tool for keeping tabs on food intake and maintaining healthy weight.


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The world's largest workforce isn't happy with their jobs.
Low workforce engagement in China is becoming a serious problem that could impede the country's rise to economic superpower. It is, in fact, the most serious threat to the country, argues Gallup CEO Jim Clifton in China Daily.
In a recent Gallup report, only six percent of the workforce in China say that they were engaged at their jobs, and around 26 percent said they were "flat-out miserable" or "actively disengaged."
These workers are so unhappy that "they're busy acting out their unhappiness" instead of contributing to the company's growth.
Clifton writes:
China's societal advancement — or collapse — lies within these elements, as employee engagement boosts productivity, quality, customer engagement, retention, safety, and profitability.
It would be wise for all Chinese executives and managers to consider how they can deliver on these simple yet transformational demands of the workplace. If Chinese leaders were to change their current spectacularly bad nationwide score of 6% engaged workers to 20% engaged workers, the country would be a completely different place — one with a much brighter, more stable future.
Clifton says that one of the biggest reasons why China's workforce is so actively disengaged right now is because of the lack of management skills. The Chinese culture is still dependent on the traditional "command-and-control approach" and people aren't promoted into managerial positions "for their ability to engage and develop employees." Instead, they become someone's superior because they are able to maintain control of their staff.
Eventually, these employees will "check out" and the energy and passion that's needed for an organization to move forward and compete with other influential firms won't exist.
Employees who agree with the following 12 statements are happy, according to Gallup:
1. I know what's expected of me at work.
2. I have the materials and equipment I need to do my work right.
3. At work, I have the opportunity to do what I do best every day.
4. In the last seven days, I received recognition or praise for doing good work.
5. My supervisor, or someone at work, seems to care about me as a person.
6. There is someone at work who encourages my development.
7. At work, my opinions seem to count.
8. The mission and purpose of my company makes me feel my job is important.
9. My associates are committed to doing quality work.
10. I have a best friend at work.
11. In the last six months, someone at work talked to me about my progress.
12. In the last year, I have had opportunities at work to learn and grow.
When over 90 percent of a workforce doesn't agree with these statements, you've got a problem.


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V9 Portal
When I click in newtab it goes to www.v9.com/br/newtab. Notice that it happens just when I click in newtab. I would like to control the way that the newtab works.
Thank you very much
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- User Agent: Mozilla/5.0 (Windows NT 5.1; rv:15.0) Gecko/20100101 Firefox/15.0
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In the address line enter the following and hit enter. about:addons In the resulting page, click on 'Plugins' to the left. I'm guessing there would be some v9 related plugin showing up there. Click on the 'Disable' button to disable that plugin. Restart Firefox and see if the issue is resolved.
Question owner
I'm sorry, there isn't a V9 plugin in the addons page.
Thank you.
Modified by william.rolderick
From control panel -> Programs and Feature and locate there program named new tabs uninstall (I do not recall this 100% correctly but Publisher was ELEC technology) and by uninstalling it removed the annoying new tab feature from new tab :)
It keeps coming back.. v9 in new tab how do i revove it ???
Did you run the uninstaller from programs and features?
no, it was not there!!!! cant find it anywhere!!!
Read and follow the 5 steps under "How do I turn the new tab page off?" in the following article to reset what opens when you click the New Tab button.
You can also try the following Add-on to reset your search engines. The Add-on runs once then removes itself from your Add-ons.
i have Firefox 16, none of the tricks you told, is working! v9 keeps coming back, cant iven find it in : about:config.
hope someone can help.
Modified by tommytho
Helpful Reply
I have managed to remove it by disabling the add-on Proxy Tool. Hope that helps.
Modified by uchiha13
i have not proxy tool installed, then it can't be that... V9 keeps coming back in new tab.!!!
Have you tried any spyware removal tool? E.g. Spybot?
no, where do i find spyware tool ?
now i have scanned with spybot, but when i tab the home button, v9 is coming up again?
this is the site , keep coming back: http://www.v9.com/?utm_source=b&utm_medium=fox&from=fox&uid=198313_1050624_2107302847_3219913727_90AED80F&ts=1351344173
I deleted Firefox, and reinstalled it, then i took mosbackup and restored it to an older backup, an i got rid of the shit V9............
Try this one -> https://support.mozilla.org/en-US/kb/search-web-address-bar
Follow the instructions and change this address http://www.google.com/search?q= to keyword.URL value.
Helpful Reply
+ Go to your control panel + Click uninstall program + Find the application 'new tab uninstaller ' by publisher elec software + Uninstall this little bastard and boom, everything should be fine
got the same problem .. could remove it .. go to add ons - extensions - there you can find v9 and remove it. i didn´t find it in my plug ins since this there is no v9 coming anymore when i open a new tap
I tried everything here but the myv9.com still hijacks my new tab page. I got rid of it taking over the start page, but not the new tabs. On my computer there is no
- elec software
- New tab installer
- Proxy tool
I ran scans from 5 different malware programs with 0 results.
Here's the url that shows up every time I open a new tab:
Any suggestions? I can't afford to redo my whole Firefox right now as I'm in a very intensive moment with my online businesses. Thanks for the help.


text:
Wide disparities in access to latest rheumatoid arthritis drugs across Europe
The cost of one year's treatment of rheumatoid arthritis with new generation drugs is more than the per capita gross domestic product of 26 European countries, reveals research published online in the Annals of the Rheumatic Diseases.
This means that 320 million people - 40% of Europe's population - who could benefit from treatment with disease modifying drugs (DMARDs) would struggle to get access to them, say the researchers.
DMARDs are extremely effective for the treatment of rheumatoid arthritis, and the European League Against Rheumatism (EULAR) recommends the use of synthetic DMARDs immediately after diagnosis to halt progress of the disease. But they are expensive.
The authors therefore surveyed key experts in 49 countries during 2011 about the availability, affordability and acceptability of both synthetic DMARDs, such as methotrexate and leflunomide, and biological DMARDs, such as infliximab and etanercept.
In all, 46 countries took part in the survey, which included those in Eastern Europe, Scandinavia, and Western Europe, as well as Turkey and Uzbekistan.
The responses revealed wide disparities in access to DMARDs. Six countries did not reimburse use of any of the five synthetic DMARDs included in the survey, and 10 countries did not pay for any biological DMARDs.
The cost of one year's treatment with a synthetic DMARD did not exceed any country's per capita GDP). But the cost of one year's treatment with a biological DMARD was higher than the per capita GDP of 26 countries, by as much as 11 times, the findings indicated.
That means that almost 40% of the population of Europe - equivalent to 320 million people - would have severely restricted access to biological DMARDs, say the authors.
Access was especially poor in countries in Central and Eastern Europe and those least well off, economically and socially, the findings showed.
The number of days a person on an average income would need to work to pay fhe full drug price of 30 days' treatment with a biological DMARD ranged from 12 days in Luxembourg to 190 in Romania.
Although it's not possible to draw definitive conclusions on the impact on health of restricted access, higher drugs prices were associated with increased disease activity and poorer physical functioning.
"Assuming needs for treatment with DMARDs are similar across countries, differences in access to medical treatment are unfair and raise alarming issues of inequity," write the authors.
Wealthy Western countries continually debate the budgetary impact of expensive drugs, but unaffordability in low income countries is rarely discussed, they note.
The cheap cost of labour means that these expensive drugs are rarely going to be considered a return on investment, in terms of improved productivity, they add, and drug pricing in Europe should be revised, say the authors.
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