SANTA ANITA SET TO GUARANTEE $2 MILLION SINGLE TICKET PICK SIX JACKPOT ON SATURDAY; POPULAR 20 CENT WAGER TO HAVE HUGE JACKPOT GUARANTEE FOR EIGHT RACING DAYS PRIOR TO MANDATORY PAYOUT FEB. 2SANTA ANITA ALSO ANNOUNCES A RETURN TO TURF RACING ON SATURDAYARCADIA, Calif. (Jan. 18, 2019)–In an unprecedented move, Santa Anita Park announced yesterday that it would be guaranteeing a 20 cent Single Ticket Rainbow Pick Six Jackpot for eight consecutive racing days, beginning tomorrow, Jan. 19, up until a mandatory Jackpot payout (pending CHRB approval) on Feb. 2.Fans are advised that the $2 million Jackpot guarantees will be in effect until Feb. 2, providing there is no Single Ticket winner in the interim.With 10-race cards being offered through the Martin Luther King Day Holiday on Monday, first post time on Saturday, Sunday and Monday will be at 12 noon.Although there has been no turf racing since Sunday due to heavy rains earlier in the week, Santa Anita announced today that a total of four races (1,5,8 & 10) will be run as originally scheduled on turf tomorrow.The Jackpot guarantee aside, there is a “live money” pool of $918,801 in Saturday’s Rainbow Six, which will begin with race five, which has an assigned post time of 2:02 p.m. PT.For additional racing information and specifics on Santa Anita’s 20 cent Single Ticket Rainbow Pick Six, please visit santaanita.com or call (626) 574-RACE.
The future of Jamaica race driving looks bright after some magnificent performances from the younger generation of drivers at the Jamaica Karting Association, Karting Karnival at the Palisadoes International Raceway yesterday. Duncan Stanley, of the Junior Rotax class, was the top performer, winning his four races to top that category with maximum 50 points. He finished ahead of Mark Moodie with 36 points and Stanley said he expected a great performance. “Yes, I did expect it. You have find ways to pass people and once you catch them you can pass them,” he said. The young driver noted he did it before in a different class and it felt good being able to repeat at a higher category. DRIVING SKILLS “I’ve done it at another category but not in this (Rotax Junior) category. It feels really good and it says much about my driving skills. But it was awesome as I pushed through and got the win,” he stated. The most exciting race was in the Minimax Rotax between Ryan Lue and Ryan Chisholm. The pair had two wins each and ended tied on 45 points, but Lue got the edge after topping the qualifying, for which he earned 0.5 points, which made the difference. However, it was Chisholm’s bold move to overtake Lue and win the final race that brought the house down. Nevertheless, Lue was please with his display. “It was hard race, it was close but I knew if I qualified on pole (first) I would get an extra point. “In the last race I though I had it, I was going to pen him back but he took a dangerous risk and I could have hit him so I just let him through,,” he explained. Chisholm, who also lost to Lue last year, was satisfied but thought he could have done better. “I have this trainer in American who showed me how to pass right there and how to keep my line. I have been doing it for some time,” he added. Meanwhile, David Summerbell Jr took the Super Rotax class with 48 points, with Thomas Hall second with 32 points, and the senior Rotax title to 15 year old Justin Sirgany with 47 points. The Rotax Micromax prize went to Ajani Haber (48), while the Comer 50 champion was Phillip McCreath with 42 points.
Jonathan Walters got the Republic of Ireland out of jail as Austria threatened to dent their World Cup qualification hopes.Walters’ 85th-minute equaliser to earn a 1-1 draw ensures the Republic will head into September’s Group D double-header against Georgia and Serbia still four points clear of the Austrians, who left Dublin wondering just how they had taken only a point.They might even have boarded the plane empty-handed had Shane Duffy’s late header not been ruled out for a foul, but that would simply have been daylight robbery of a side who had deservedly led through Martin Hinteregger’s strike.The Austrians had been exercised by Ireland assistant manager Roy Keane’s exhortation to his players to “go to war” at the Aviva Stadium, but the home side’s initial efforts barely amounted to a skirmish until they eventually threw caution to the wind.Even Robbie Brady and Jeff Hendrick, the stars of the nation’s Euro 2016 finals campaign, were largely becalmed as a chance to take a huge stride towards Russia very nearly went begging, and they will have to be much better in their remaining four games if they are to make it to Russia.Manager Martin O’Neill sprang a surprise when he handed a third cap and a competitive debut to Burnley defender Kevin Long, who could hardly have dreamt that would be his reward for missing out on being best man at his brother’s wedding last weekend to join up with the squad.But the champagne he missed out on on that occasion remained on ice as Ireland turned in as poor an opening 45 minutes as they have done for some time, as their distaste for being regarded as favourites proved well-founded.An Austria side shorn of many of their big names by injury, illness and suspension took the game by the scruff of the neck, just as O’Neill had urged his own players to do in the run-up.Having employed Walters as a lone striker and asked James McClean, Hendrick and Brady to support him, the manager was forced into a re-think with just 36 minutes played after seeing his team labour to create anything of note and resort instead to launching hopeful long balls in Walters’ direction.By that point, they were already trailing with full-back Hinteregger having blasted the visitors into a 31st-minute lead after defender Sebastian Prodl dummied David Alaba’s out-swinging corner.It was no more than they deserved from a half during which Alaba and Hinteregger down one wing and Valentino Lazaro and Stefan Lainer down the other had got forward at will to put Ireland under pressure.Both full-back Cyrus Christie and Brady, who endured one of his least effective halves of football for his country, were booked as they attempted to stem the tide, and there was a far from warm welcome awaiting in the dressing room at the break.Ireland needed an early response and resumed in encouraging fashion when defender Duffy headed just wide, although they might have fallen further behind when Alaba skied a shot after exchanging passes with Florian Kainz, and Zlatko Junuzovic was denied by Duffy’s last-ditch block.Harry Arter dragged a 55th-minute shot wide when he might have done better, and that prompted O’Neill to make his move, sending on striker Daryl Murphy for left-back Stephen Ward and asking Brady to drop into the back four.But the drama only arrived in the closing stages with the Republic going for broke.Long saw his 80th-minute header hacked off the line by Lainer, but the home side were not to be denied and they levelled five minutes later when Walters smashed a dipping volley across goalkeeper Heinz Lindner and into the bottom corner.Ireland though they had won it seconds later when Duffy bundled the ball home from close range after substitute Florian Grillitsch desperately hacked the ball towards his own goal, but Spanish referee David Borbalan had spotted a foul on Lainer on the line and chalked it off. 1 The draw means Martin O’Neill’s side maintain their four-point lead over the Austrians
31 August 2016Sharing experiences that relate to your audience is one of the key thingsseveral of South Africa’s most popular female vloggers have learned on theirjourney towards internet fame and increasing followers online.In celebrating Women’s Month, we talk to a few of them.Pap CultureFriends Thembe Mahlaba, Bongeka Masango and Nwabisa Mda live and work inCape Town. Masango and Mahlaba are originally from Durban and Mda hails fromJohannesburg. The three young women say they had similar interests and decidedto discuss issues relating to them via YouTube.The name of their collective was born when Mahlaba mistakenly said “papculture” instead of “popular culture” when they were talking about possible themesand names. They laughed about it, paused and realised the name fitted. “Of coursewe know that pap, the mealie meal, is something synonymous with South Africans,”they explain.These young women have covered topics such as blessers, township tourismand Project Find a Bae.Watch Pap Culture’s taxi experiences in Cape Town:Masango told the online magazine 10and5 that they were surprised by how well they had been received by their audience. “We are surprised at how excited people are to watch our content and also how engaging people are.”Mahlaba added: “The thing we always say is: ‘Guys we had this conversationamongst ourselves, obviously we are extending it to you. Without coming out corny,we want to be your friends.’”The women of Pap Culture say their favourite female vloggers include beautyand lifestyle vlogger Cynthia Gwebu, comedian Anne Hirsch, television presenterand comedian Farieda Metsileng, and the web series Foxy Five, the story of five women and sisterhood.Watch Pap Culture host television personality Khanyi Mbau on their show:Anne HirschAnne Hirsch was one of the guests featured on Pap Culture’s Ride Along vlog.On her (s)talk series, The Anne Hirsch Show local celebrities are invited to visit Hirsch.Apart from the opportunity to hug these celebrities, Hirsch gets them to takepart in an activity. For instance, radio DJ Anele Mdoda was asked to go through herphone contacts to call the most famous person on there.After numerous calls to local celebrities, Olympic medallist and well-knownswimmer Cameron van der Burgh answered his phone.Watch Mdoda and Hirsch discuss local celebrities – and then try to phonethem:Hirch and her team started the show in 2013. “It’s not really ‘vlogging’, as Ithink that’s more like a video diary, although I suppose The Anne HirschShow is a diary of my celebrity stalking in a way.“It’s been such an amazing ride with my team so far. We’ve done some crazythings and we’re looking forward to taking the show further.”She is happy they have the freedom to do what they like with it. “Sometimesthis counts against us of course, but there’s something wonderful about makingcontent, putting it out there and then people actually watching it,” she says.“And of course [I enjoy] smelling celebrities, lots of smelling of celebrities.”Hirsch says she learned that you could put anything online. “People will kind oflike it as long as you make a fool of yourself.”Her favourite female vloggers are the team of Pap Culture.Watch Hirsch with comedian Marc Lottering on her show:Nadia JafthaNadia Jaftha started off as a fashion vlogger. She told radio station Cape Talk that she was showing more videos of her interacting with her family, especially her mother, though. “When I started doing funny videos, more people started messaging and following me. Thisis because I became more relatable.”Watch Jaftha and her mother doing their make-up without using amirror:She started pranking her mother – first by acting as if she was smoking in frontof her mother,who threw margarine at her. Jaftha’s audience thought this washilarious. “My mother has always been against me smoking. When I smoked in frontof her, she was ready to literally kill me,” Jaftha laughed.“She got even more upset when she found out she wasn’t in on it.”She was the only one – the whole of Jaftha’s household knew about the prankbeforehand. Her audience loved seeing her mother upset, she says.Watch Jaftha and her mother going to the gym:Suzelle DIYSuzelle DIY recently celebrated their 100 000th subscriber by teaching viewers “How to make a piñata”. Suzelle became an internet sensation through her do it yourself videos on YouTube. On her shows, she motivates her viewers to be creative, “because anybody can [do it yourself]” as she says.Watch Suzelle show youhow to make a piñata for a party:In another video, Suzelle shows her viewers “How to dolly your trolley”. Shetells them to be eco-friendly – for example by taking their own basket to thesupermarket for their groceries. “You don’t have to use any packets, because thebasket can go straight into your car,” she says.Another popular video is Suzelle showing her audience how to make a braaipie. She has even had Tim Noakes on her show to help show viewers how to makepizza out of cauliflower.Her greatest tool was not something you would find in a tool box because itwas her creativity, she told Media Club South Africa. “Sometimes when you don’thave the tool, you need to get creative,” she explained.Suzelle has also recently helped a friend and freelance game park ranger, RynoErasmus, launch his YouTube show, Ryno in the Bush.Watch Suzelle show you how to make a cinderblock bench:Would you like to use this article in your publication or on your website?See Using SouthAfrica.info material
Tags:#Amazon#Big Data#Data Services Serverless Backups: Viable Data Protection for … brian proffitt Related Posts Cloud Hosting for WordPress: Why Everyone is Mo… How Intelligent Data Addresses the Chasm in Cloud Top Reasons to Go With Managed WordPress Hosting Amazon continues to play the role of disrupter in the data marketplace, announcing a new data warehousing service that could blow the doors off existing data warehousing vendors in terms of price. The question is, will lower prices be enough to change the game?The announcement of the new Amazon Redshift service at yesterday’s Amazon Web Service re:Invent conference was one of those “known unknowns” former Secretary of Defense Donald Rumsfeld used to go on about. We knew AWS would want to lead big with something in it’s first-ever live conference being held in Las Vegas this week; we just didn’t know what it would be. Now that the cat’s out of the bag, many analysts seem pretty excited about the prospect. But Redshift also has some red flags.Redshift 101Let’s take a look and see what’s under the Redshift hood.Amazon.com CTO Werner Vogels lauds Amazon Redshift as “a fast and powerful, fully managed, petabyte-scale data warehouse service in the cloud.”Kinda buzzwordy, but the key terms in that statement are “petabyte-scale” – which means this service is going to be easy to grow into if your data needs ever get that insanely high – and “service in the cloud” – a statement that means this is a hosted service on AWS’s public cloud infrastructure – with all of the risks and rewards that come with that situation.Vogels gets a little more specific later in his blog:“Redshift has a massively parallel processing (MPP) architecture, which enables it to distribute and parallelize queries across multiple low cost nodes. The nodes themselves are designed specifically for data warehousing workloads. They contain large amounts of locally attached storage on multiple spindles and are connected by a minimally oversubscribed 10 Gigabit Ethernet network. This configuration maximizes the amount of throughput between your storage and your CPUs while also ensuring that data transfer between nodes remains extremely fast.”The MPP architecture is very important, because it gives some insights into Redshift’s origins. Redshift is a columnar-based relational database that seems to based on the open source PostgreSQL database – a hot commodity in the open source world that’s been making inroads against the venerable MySQL database partly because PostgreSQL handles parallelism so well.All the bits Vogel mentions about the oversubscribed network connections are critical, too, because if his claims are right, this means that Redshift will be fast. The architecture of this new service is also important, because it means that unlike Hadoop, where data just sits cheaply waiting to be batch processed, data stored in Redshift can be worked on fast – fast enough for even transactional work.Latency will be one of only a few areas any competing vendor will be able to go after – because the competition certainly can’t touch AWS on price.Redshift’s Pricing ShiftOne of the big parts of the Redshift announcement message yesterday was very much about price: just buying on-demand data capacity costs $3,723 per terabyte (TB) annually, which sounds like a lot except when you know how much traditional on-site data warehousing solution can run. In his re:Invent keynote yesterday, senior vice president of AWS Andy Jassy claimed such solutions can run $19,000 to $25,000/TB a year. So right off the bat, if Redshift is indeed offering comparable service, customers will save 80-85% off their data warehousing bill.But wait, there’s more. If customers reserve three years of service, the price drops to a jaw-dropping $999/TB annual fee. That’s a 95-96% reduction in potential costs for data storage.In this case, disruptive may not have been hyperbole. It may have been an understatement.Redshift’s Potential IssuesOn paper, this sounds pretty good, but there are some potential issues that should be raised. For one, this is a public cloud service, which means your data will be out past your corporate firewall and in some ways sitting outside of your control. If one of Amazon’s data centers has a hiccup, you could be out of luck.The public status also means you’d better have bandwidth costs, security and infrastructure figured out, because somehow your company is going to have to get its data out and back to that cloud in a timely and safe mannerOne wildcard with this new Redshift service is how easily it will be to build apps or convert existing apps to work with it. Amazon’s APIs are open, but only to the point that you can point your software to them. Once you invest in Amazon’s APIs, it will be more painful to pull out to another cloud-based service should you decide to down the road.If you have been keeping your data and applications local, shifting to Redshift could also mean shifting your applications to some other part of the AWS ecosystem as well, just to keep the latency times and bandwidth costs reasonable. In some ways, Redshift may be the AWS equivalent of putting the milk in the back of the grocery store.If it is at all reasonable in its service, though, Redshift’s pricing will definitely put pressure on the data warehousing vendors to lower their prices to compete – good news for anyone looking at data warehousing.Image courtesy of Shutterstock.
PB: Early in your career, you worked as a score reader with the Los Angeles Philharmonic, engaging with the likes of John Williams, Joshua Bell, and Christoph Eschenbach. Can you explain for our audience what the role of a score reader entails?MH: It’s a rare thing. I was new to L.A., working on a TV show at the time, and I was itching to do something different. The opportunity came up through a friend who worked for the L.A. Phil to be a score reader — you attend the rehearsals with the orchestra and conductor and you actually mark the score with cues, then you work with the video crew. You know how you watch a live performance on TV and they cut to the tuba player right before his solo? That’s some nerd like me, sitting with the camera crew and letting them know where the cues are coming up in the piece, so they know where to focus the camera.It was a really fun gig, and I was able to hang around huge talents and watch them work very intimately. Working alongside John Williams was definitely a highlight. I did that for a few summers, and every time, it was immensely rewarding. I had the best seat in the house for some truly amazing performances, back then. Now, when I go to Disney Hall or The Hollywood Bowl, I have to pay top dollar like everyone else!Cover image via Long Shot (Paramount).Looking for more industry interviews? Check these out.Industry Interview: CW Costume Designer Catherine AshtonIndustry Interview: “Whiplash” Production Designer Melanie JonesInterview: “My Dinner with Herve” Composer David NorlandThe Universal Language of Music: Interview with Composer Jacob YoffeeIndustry Insights: Behind the Scenes with Editor Nena Erb Miles Hankins offers insight into composing for film and television — as well as collaborating with musicians around the world.Composer Miles Hankins‘s career has spanned many feature and TV projects. We sat down with this prolific musical scribe to talk Rogen, reality, and real sports.PremiumBeat: Long Shot is getting great reviews as a funny piece that also explores deeper issues. How did you approach the score, and what kind of discussions did you have with the principal players about the tone and tenor of the film?Miles Hankins: In every great rom-com, there is a touching personal story. As the composers, Marco Beltrami and I have watched the film a lot. Getting to see it at SXSW and in NY was awesome — I have never seen a response so positive. People seem to love it. We always had a good feeling that people would like the film. Our main concern was that the score didn’t get in the way of the comedy — it’s hard to make music funny. The great film composer, Elmer Bernstein, said something to the effect of: “The trick is to score it sincerely and that will make it funnier.” We didn’t want to over-score or manipulate the viewers’ emotions, but rather stay out of the way of the story. We used a lot of different styles from indie folk guitar with hand percussion, and then more traditional orchestrations. We also leaned on a sense of grand sweeping patriotism (in places) since it is a political drama, and then there are some epic action scenes, so there were many things we looked to accomplish in the score.Being Serena via IMDBPB: You’ve done documentary projects for HBO: The Many Lives of Nick Buoniconti and Being Serena. These seem very different from your other work. How did you come to these projects?MH: I’m not a big sports guy, per se, but both of these projects were so special. Serena Williams is a personal hero of mine — I played tennis growing up. When I was approached, I wondered if I even knew how to set about a sports documentary musically. But the showrunners said, “That’s why we want you, because you come from the world of film.” This project wasn’t about tennis but about her becoming a mother. It was a very intimate look at a woman that we know as a fierce competitor and seeing another side to her. I brought in a vocalist and also explored different musical styles — from R&B to electronic music to string quartet. I was so happy to learn the project was nominated for a Sports Emmy for Outstanding Music Composition.The other film was about the NFL legend Nick Buoniconti. He was a character I was aware of. I went to University of Miami in undergrad and he had played for the Dolphins and was an iconic figure there. I found out his story . . . he’s going through CTE, a neurological disorder related to his playing days. So, he became this unlikely spokesperson for the condition, with a heart-wrenching personal story. I think it appealed to me because I was coming off A Quiet Place, which was so dark and intense — I just wanted something beautiful and lyrical to work on. We recorded the music in Europe, and I worked remotely from Los Angeles.A Quiet Place. Photo by Jonny Cournoyer. © 2018 Paramount Pictures. All rights reserved.PB: Is that unusual?MH: With today’s technology and the magic of the internet, it’s actually quite easy to operate a remote session abroad. We always love to use our peerless local AFM musicians here in LA, but that’s a decision the production companies, networks, and studios make for us. When we can’t stay in town, we’re fortunate to have access to a wide variety of gifted musicians abroad as well. And it’s always exciting to hear different perspectives on the music, from around the world.Long Shot premiere.PB: You created additional music for A Quiet Place, The Snowman, and The Shallows working with Composer Marco Beltrami. Obviously, collaborating on three projects, you have a good working relationship. Can you tell us about that process?MH: A Quiet Place was a challenging project for numerous reasons. Almost no dialogue, so the catch was to find the music in the film where we supported the material, but was the least intrusive. We often struggled to find the right balance. I remember the moment when it clicked. We had tried a million things. We had hired a huge orchestra to experiment with all kinds of aleatoric gestures; we were throwing as much paint on the canvas as possible to see what would work; and finally, at the end of all this experimentation, we broke through to something and finally began to hear it. And it felt right.I met Marco through Buck Sanders — I think on Fantastic Four — I jumped in on that one, and it was a really high-pressure scenario, and we found we worked well together.There isn’t really a set process. We usually watch the film (or what there is to view at that point) and discuss how best to play it. The director will give us their idea of instruments and orchestrations. Marco will go to work writing and we will experiment with ideas, as well. We often work separately and then come together. We’ll share thoughts, share files, and we’ll collaborate until we find what we are looking for. We’ll kick cues back and forth. Each project is different. All this time in Hollywood, you’d think it gets easier but it doesn’t — it’s like a unique puzzle — each film has a different sound, and once you find it, it’s a beautiful thing. Although it’s always challenging, it’s very satisfying when it clicks.Long Shot (via Paramount).PB: You’ve had a love of film and music since you were a kid. In fact, at 12, you were given a sound generator to create digital music and a canon video camera.MH: When the camcorder thing happened in the ’80s, my parents got one. And one afternoon, my sister and I took out the camera and decided to shoot something. That became what we would do — we would come up with scripts and get our friends over and put them in crazy outfits. But even before discovering the camera, movies were always a part of my life. My parents were huge film people — they loved the classics, and every Sunday night we would watch them. It always struck me (while watching them) how amazing the scores were, even before I was studying theory and harmony — I was hearing all this lush, sophisticated music from those classic films, which had such feeling and personality. I feel like that influence made it into Long Shot. There is a scene at a black tie dinner in Buenos Aires. We usually played the theme on acoustic guitar, but I rewrote it for that scene to sound Gershwin-esque — lush with a different harmony to call back to those classic films.Miles Hankins.
As expected, Chinese company Meizu launched its Redmi Note 3 rival, M3 Note in India on Wednesday. The M3 Note which is an affordable budget phone albeit with some interesting specs has been priced at Rs 9,999.The M3 Note will be exclusively available to buy from Amazon India starting from May 31.Meizu’s M3 Note comes with a 5.5-inch FullHD screen with a 1080×1920 pixel resolution. It is powered by a 1.8GHz octa-core MediaTek Helio P10 processor coupled with Mali T860MP2 GPU and 3GB of RAM. It comes with 32GB of internal memory which is further expandable by up to 128GB via hybrid microSD card slot.The dualSIM phone runs Android 5.1 Lollipop-based Flyme OS and supports 4G LTE connectivity.The M3 Note sports a 16-megapixel rear camera with f/2.2 aperture, phase detection autofocus and dual-LED (dual tone) flash. There’s also a 5-megapixel front-facing camera with f/2.0 aperture.The M3 Note boasts of an all metal body that resembles the company’s flagship phone MX5. This also means that it oddly resembles the iPhone. It comes with a physical home button on the front which doubles as a fingerprint sensor aka MTouch. The phone is backed by a 4,100mAh battery and will be available in the colours Grey, White and Gold.Its biggest competition will be the Xiaomi’s Redmi Note 3, a phone that also boasts of a full metal unibody and fingerprint scanner. That said, the Redmi Note 3 has a slightly upper hand in the hardware department, particularly the processor and camera.Also read: Xiaomi Redmi Note 3 review: Mr dependable like Rahul Dravidadvertisement
carpetCannes, May 18 (PTI) French actress Marion Cotillard ditched the gown and instead appeared in a casual denim look as she walked the red carpet at 2017 Cannes Film Festival.Cotillard paired a plain white maxi dress with a simple gold neck chain and ruffled jeans from the fall 2017 collection of Y/Project by Belgian designer Glenn Martens.She finished her look with a pair of strappy stilettos.The 41-year-old actress, who in past years has rocked attires by Alexander McQueen and Maison Martin Margiela, sported the surprisingly dressed-down look during a photo call for her upcoming film “Ismaels Ghosts”.She posted a picture of her wearing the creation and was clicked by award-winning photographer Eliott Bliss. PTI RDS JCH
Cette année, le comité a examiné divers indicateurs, tels que les conditions économiques, la crise financière actuelle, les données de Statistique Canada, les tendances en matière de main-d’œuvre, la valeur changeante du salaire minimum et d’autres facteurs, avant de recommander de conserver le calendrier d’augmentations déjà proposé. Les augmentations permettront d’atteindre le seuil de faible revenu d’ici 2010. Le comité continuera de se réunir chaque année afin de surveiller les indicateurs économiques et d’examiner d’autres enjeux. Les versions française et anglaise du rapport sont disponibles à l’adresse www.gov.ns.ca/lwd/employmentrights/MinimumWageReview-fr.asp. On encourage le public à commenter le rapport d’ici au 22 janvier, en envoyant une lettre par télécopieur au 902-424-0648, en envoyant un courriel à firstname.lastname@example.org, en téléphonant au 1-888-315-0110, ou en envoyant une lettre par la poste à la Division des normes du travail, 5151, chemin Terminal, 7e étage, C.P. 697, Halifax (Nouvelle-Écosse) B3J 2T8. 6,5 pour cent pour porter le taux horaire à 8,10 $ le 1er mai 2008 6,2 pour cent pour porter le taux horaire à 8,60 $ le 1er avril 2009 Le Comité d’examen du salaire minimum de la Nouvelle-Écosse continue à explorer de nouvelles options, mais il recommande pour le moment à la province d’aller de l’avant avec les augmentations déjà prévues. En 2008, le comité a préparé un calendrier d’augmentations sur trois ans qui porterait le salaire minimum à 9,20 $ l’heure le 1er avril 2010 et à 9,65 $ l’heure le 1er octobre. « Après une étude approfondie du climat économique actuel, le comité nous recommande de maintenir le cap et d’aller de l’avant avec les augmentations prévues du salaire minimum, de dire la ministre du Travail et du Développement de la main-d’œuvre, Marilyn More. Nous invitons tous les Néo-Écossais qui souhaitent faire connaître leur opinion à ce sujet à communiquer avec nous. » Les augmentations déjà recommandées et mises en œuvre sont les suivantes :
New Delhi: The Delhi Commission for Protection of Child Rights (DCPCR) has written to Directorate General of Health Services (Delhi Government) related to starting a pilot project on a child-friendly room in one of the city hospitals.The letter was written by DCPCR official Rita Singh. “Being a monitoring agency in the field of child rights, a large number of cases of children in distress are being reported in DCPCR from different parts of the city. In some cases, difficulties being faced by such children rescued from different situations have been brought to the notice of the Commission,” reads the letter. Also Read – Cylinder blast kills mother and daughter in Karawal NagarIt further reads,” A sizable number of grievances of children are related to treatment being meted out to them in the environment in the hospital where they are taken to the examination daily in attending to them by the hospital authorities is very common.” The commission would, therefore, suggest that for providing child-friendly environment to such children, a room dedicated to the children by designed where the rescued children and the team escorting to them to the hospital can stay. Such an arrangement would go a long way in ensuring the safety and security of the rescued children besides providing them with an environment in the hospital where he/she can feel comfortable, reads the letter. Also Read – Two persons arrested for killing manager of Muthoot Finance”On the pilot basis, the scheme of designing a designated room for rescued children and the team escorting them can be started in Rohini based hospital,” added the letter. Rita Singh stated that they have chosen the area where crime against children is regularly reported. Earlier DCPCR said that it studied the situation of crimes against children in Delhi and identified over 25 areas. A comprehensive study was conducted by the child rights body from 2015 to 2017 and found that Ranhola, Narela, Samaypur Badli, Shahbad Dairy, Jaitpur, Neb Sarai, Khajuri Khas, Sagarpur, Jahangirpuri, Bhalswa Dairy, and Mehrauli were among the 20 areas prone to missing children cases. Whereas areas like Aman Vihar, Nihal Vihar, Mangolpuri, Begumpur, Kalyanpuri, Narela, Anand Parbat, New Ashok Nagar, Malviya Nagar and Ghazipur are among the 20 places where child abuse cases are high.