13 March 2013South Africa’s olive industry has enjoyed a recent growth spurt and has the potential to expand even further following a 50% slowdown in Spanish production, says Pam Golding Properties manager in the Karoo region, Wayne Rubidge.“In fact, olive farming is one of the fastest growing activities in South Africa’s agricultural sector,” Rubidge said in a statement.Demand from foreign markets is causing an upward swing in production due to low European production and the quality of South African olive oil;import tariffs are also expected to boost local olive oil production.“About 68% of South Africa’s olive consumption comes from mostly inferior European products, and with the general world shortage, the olive index is up by a massive 50%,” he said.The country generally has small olive oil consumption patterns, despite its long tradition of olive growing. According to Rubidge, the country’s first olives were produced by Jan van Riebeeck at Boschheuwel in 1661, with the first commercial olives seen about 200 years later.“In contrast to traditional olive oil consuming countries, where per capita consumption of olive oil ranges between 12 to 36 litres, the average South African consumes a mere 80 millilitres – 0.08 litres – per annum,” he said.“This highlights the tremendous opportunity for growth and expansion in this country.”The primary olive producing areas in South Africa are in the Karoo region of the Western Cape, which boasts favourable conditions and climate for olive growing with winter rainfall and a dry summer.The interests of the country’s olive growers, olive oil producers, table olive producers and olive tree nurseries are represented by the South African Olive Industry Association.“The total South African consumption is approximately 65-million, of which local production is currently less than 32%,” Rubidge said.“Local production is solely extra virgin at present [and] local production of table olives is estimated at 3 000 tonnes per annum while 2 000 tonnes are imported annually – 40%.“Considering these statistics, there is no doubt that this farming sector offers significant potential for growth,” he said.SAinfo reporter
Piaggio India today launched the new Aprilia SR 150 Race, Aprilia SR150 Facelift, Limited edition Carbon SR 150, Vespa facelift and innovative connectivity for Vespa and Aprilia range.The new Aprilia SR 150 Race is inspired from flagship superbike RS-GP, specially designed for MotoGP. Its gets the RS-GP theme, the scooter sports a white base with red and green body graphics along with red 14-inch alloys, adjustable suspension, 220mm disk brake, golden caliper, digital console, and tall windscreen, with specially designed race theme helmet and factory fitted mobile connectivity feature.The SR 150 Race is powered by a 150cc, 3 valve engine, map sensor technology and is also equipped with an enhanced CVT gearbox. The new Aprilia SR 150 Race facelift is available at all Vespa and Aprilia showrooms at an ex-showroom price of Rs 80,211 (ex-showroom Pune).The iconic Vespa with its Italian appeal has added three new colors in its facelift – Matt Rosso Dragon, Matt Yellow and Azzuro Provenza with machine cut alloy periphery wheels. The Vespa also gets embedded with the factory fitted connectivity feature. The new Vespa inspired range of merchandise reflects the vibrancy and the true Italian style. Vespa facelift will be available at an ex-showroom price of Rs 91,140 for VXL 150cc & Rs 97,276 for SXL 150cc (ex-showroom Pune).In line with Piaggio India’s strategy to reinvent mobility for the future generation, it has introduced a mobile connectivity that allows customers to connect with their Vespa & Aprilia scooter’s and control its features. This user-friendly feature can be accessed via mobile with features such as accurate GPS information, emergency contact details and also will be able to locate nearby service centers. It is also equipped with a panic alert feature, wherein riders can reach out to the registered number configured with the current location and seek help in case of an emergency. Riders can find, navigate and follow their bikes using smart connectivity. Through its Find Me feature, a user can identify and locate their scooter in ignition off mode in a busy parking area.advertisementThrough smart connectivity, riders can access the vehicle status, locate petrol pumps and connect with customer care executives. This smart app can be installed on iOS & Android phones.The Aprilia SR 150 facelift gets four new colors matt black, blue, glossy red and white, and is also accompanied by an adjustable suspension. The new limited-edition Aprilia Carbon SR 150, inspired by carbon components in high-performance Aprilia track bikes represents the theme through Carbon design and aesthetics. It comes in all black theme, complemented with carbon graphics and new adjustable suspension. The SR 150 facelift and Carbon 150 have a 14-inch large wheel, 220 mm disk brake, new digital cluster, USB option, connectivity feature in Carbon and an option to fit connectivity feature in SR 150 facelift.Aprilia SR 150 Carbon and SR 150 Facelift are available at all Vespa & Aprilia showrooms at an ex-showroom price of Rs 73,500 (ex-showroom Pune) for Aprilia SR 150 Carbon & Rs 70,031 (ex-showroom Pune) for SR 150 Facelift.Additionally, the sophisticated all-black limited-edition Vespa Notte with its powerful 125 CC engine is available to the Vespa enthusiasts for Rs 68,829 (ex-showroom Pune).Additionally, Piaggio India has launched the 5X Fun Offer’ for the first time on its Vespa and Aprilia range of two-wheelers from September to October. Under the 5X Fun Offer’, customers can enjoy free five years mandatory insurance, five years free warranty which includes two years of standard warranty and three years of extended warranty. Additionally, the customers can avail free service for the first year, and two years of On Road Assist’ clubbed with PayTM benefits worth Rs 5000 or lucrative payment methods like zero cost EMI or low down-payment of Rs 3,999.
Crystal Palace launch bid for Everton striker Niasseby Paul Vegas10 months agoSend to a friendShare the loveCrystal Palace have launched a bid for Everton striker Oumar Niasse.The Sun says Palace have made a £6.5million bid for Niasse.Eagles boss Roy Hodgson has turned to the 28-year-old Senegalese international after a loan deal for Liverpool’s Dominic Solanke fell through.Hodgson is desperate for another striker to boost his team’s fight for Premier League survival.And he believes Niasse can supply the goal power he needs while record signing Christian Benteke continues to recover from knee surgery.Everton boss Marco Silva will not stand in the way of a player who has not started a single Premier League game this season or scored since last May. TagsTransfersAbout the authorPaul VegasShare the loveHave your say
TagsTransfersAbout the authorPaul VegasShare the loveHave your say Berbatov wants to see Solskjaer given Man Utd job fulltimeby Paul Vegas10 months agoSend to a friendShare the loveFormer Manchester United striker Dimitar Berbatov wants to see Ole Gunnar Solskjaer given the job fulltime.Solskjaer, in charge until the end of the season following the sacking of Jose Mourinho, has won his first five games since taking on the role.“If United keep going like this – and there’s no reason why they will stop performing – the job will surely be his,” said Berbatov to the Mirror.“He’s doing a great job. By the end of the season, as long as they keep playing like this, they should give him the job whether or not they finish in the top four.“If they don’t, I’m sure that another Premier League team will give him the job. He’s making his name once again in the top-flight and it’s great for him.“When a club legend becomes your manager, he automatically gets the attention of the players, purely because he had been there and done that.“When you are in the position of Ole, having scored so many goals and won so many trophies, he gets the attention.“He doesn’t need to yell or scream to prove anything, he just gets it.“From that point on, he needs to show them that they need to trust him, that he knows what he’s doing and, judging by the results and the way they play, it’s obviously working.”
D’Oliveira and Virgo both immigrated to Toronto in the ’70s (D’Oliveira from Guyana and Virgo from Jamaica), and they met in 1991 at the CFC’s inaugural Summer Lab. With support and resources from the CFC, they began working together on the award-winning short film “Save My Lost Nigga Soul” (1993) and then on Rude, which debuted at Cannes and helped put their newly-created production company on the map.The context of those early years of collaboration was a period in history (from the ’80s to the early ’90s) that Virgo describes as “a black film renaissance.” Hollywood was making movie stars out of black comedians like Richard Pryor and Eddie Murphy, the Sankofa Film and Video Collective was spearheading a black film movement across the pond in the U.K. and in 1986 Spike Lee opened the doors for black filmmakers with his feature film debut She’s Gotta Have it. It was an exciting time of possibility, and Virgo and D’Oliveira leveraged that moment to make bold artistic statements and craft a space for themselves in the Canadian film and television industry.These days Virgo serves as executive producer of the OWN series Greenleaf in addition to directing episodes of the show, and Conquering Lion is working on an adaptation of Laurence Hill’s latest novel The Illegal with the CBC.I spoke with Virgo and D’Oliveira last week by telephone and our interview quickly evolved into a rich conversation that covered an astounding array of topics. The two men gave hilarious anecdotes about their first meeting, told me about what it feels like to become pioneers and reflected on why they still hesitate with connecting to a Canadian identity.What were your first impressions of each other and why did you begin collaborating?Clement Virgo: I’m trying to recall the first time I saw Damon. I remember the hair.Damon D’Oliveira: (laughs)CV: It was very late ’80s, early ’90s kind of long, almost wannabe new wave, very feathered and long. But soon after that, I saw someone that was very focused and dedicated and ambitious. I recognized the same kind of ambitions I had. We became fast friends.DO: And I think I proved to him there was a brain under that head of hair. My impression of Clement was he was a fashion plate (laughs). Amanda Parris writes a weekly column for CBC Arts and is the host of Exhibitionists on CBC Television and Marvin’s Room on CBC Radio. In her spare time, she writes plays, watches too many movies and defends Beyonce against all haters. In her past lives she wrote arts based curriculum, attended numerous acting auditions, and dreamed of being interviewed by Oprah. Rude, the first ever feature film written and directed by a black Canadian, was released in 1995. A boldly experimental and stylistic movie, it explores the stories of three individuals who search for redemption over an Easter weekend, while a mysterious radio host sets the tone by waxing poetic on her philosophies of life.I watched Rude in university, and quickly realized that it was the first time I had ever seen a Canadian film that centred on the lives and experiences of black people. Not only that, those experiences informed its cinematic aesthetic. In class we read some of the numerous essays and articles that had been written in response to Rude, and that’s what first sparked my curiosity about the creative minds behind this landmark film: director/writer/producer Clement Virgo and producer Damon D’Oliveira. Twitter The Rude team at Cannes in 1995. (Courtesy of CFC)CV: Well, no. At the time you have to remember it was the beginning of a black film renaissance which kind of started a few years earlier with Spike Lee, and soon after that there were these films that came out of England by these black British filmmakers. It felt like we were kind of a wave of black diasporic films that were being made. We felt like we were part of a movement and we just happened to be one of the first in Canada. But I never saw it as we were making history. I looked at it as participating in a kind of movement.Damon, I know your background is in acting. Did you know that you would also decide to get into producing? How did that happen?DO: Acting can be a bit boring where you’re sitting around waiting for a phone to ring. For me it was always important to make my own work. And of course at that time, there were shit roles for people that looked like me. Nobody was writing culturally specific work at that time. So that’s always been my agenda with the stuff that I choose — to represent characters, stories, ideas that are true to my experience as a migrant to this country in the ’70s.I was watching an old interview with you, Clement, where you were talking about being at Cannes for the first time and you were going through the program and you saw your name and the name of the film and it said “From Canada.” And you stared at it for a long time and said, “Oh. I guess I’m Canadian.” (everyone laughs) Why was this a realization and did it change things for you?CV: The immigrant experience never leaves you. It’s very formative. It affects who you think you are nationally — even now. Every time I cross the border I think, “Are they gonna let me in?” It’s always in the back of my mind that I’m not gonna be let back into the country. It’s kind of irrational in some ways. But maybe not. It’s that sense of belonging. This idea around national identity is always something that I’ve struggled with.DO: The moment for me was when we took The Book of Negroes to Parliament Hill to show all the representatives in the House our work. For me that was like, “Wow. I guess I am Canadian now.” There was something almost metaphysical about that day. LEAVE A REPLY Cancel replyLog in to leave a comment About the Author Director Clement Virgo on the set of The Book of Negroes. Why have you both stayed in Canada? I know there’s work that you do in the U.S., but why do you both always return?CV: In terms of film and television, we can’t really think of Canada as a single market or the industry as a single place. We live in an integrated and global world. I live in Canada and I love living in Canada — I love living in Toronto. I feel at home there. But in terms of my career, I see my career as rooted around the world.. Actors Aunjanue Ellis (left) and Cuba Gooding Jr. appear in a scene from The Book of Negroes. (Joe Alblas/Conquering Lion Pictures/Out of Africa Pictures/CBC)For that to still be a question for two individuals who have helped to build this film industry in important and imperative ways is very fascinating.DO: Yeah, it’s weird. When you leave a country around 12, your memories are still there. I still have dreams of Guyana. But I suppose my identity as a Canadian is growing stronger as we make more work. CV: Yeah, I went to fashion school — I wanted to be a designer and I worked in fashion for about four years. Tom Ford has the exact career that I wanted. I’m thinking maybe as an older filmmaker now I should go back and experiment a little bit with fashion design. I feel like I’m going back to the things that I used to love.DO: I think in your filmmaking there’s a similar journey. Our short film “Save My Lost Nigga Soul” and Rude were really stylistic films that were made with a lot of emphasis on the style and the look of it. And then Clement started getting a little more puritan and sort of stripping away.CV: Yeah, my natural inclination is to be a bit theatrical but somewhere along the line I got it into my head that it shouldn’t be so self-conscious. I remember when we did our first film Rude there was a person that saw that film and dismissed it outright as being pure style. And a month later we were invited to Cannes.DO: Well actually what happened is — we invited a lot of Canadian distributors, a room of white faces, and the entire room dismissed the film on first viewing. And it was the same film that went in front of a Cannes jury and got in. So I feel like with our work we’re always pushing doors open.When you were making Rude, did you realize that what you were doing was pioneering? Advertisement Advertisement On Wednesday, both men and their company Conquering Lion Pictures were awarded in L.A. by the Canadian Film Centre (CFC) with the CFC Award for Creative Excellence. The honour celebrates their body of work in film and television, which includes the critically acclaimed mini-series The Book of Negroes(2015), as well as the films Poor Boy’s Game (2007) and Lie with Me (2005).. Facebook Login/Register With: Advertisement Amanda Parris
TORONTO – Many Canadians are watching their mailboxes and inboxes for a personal income tax refund, now that the filing deadline has passed. But instead of a welcome influx of cash, receive a dreaded notice that their file is under review or audit.When the Canada Revenue Agency starts looking your way can be anxiety-inducing, but it doesn’t need to be, tax experts say.The best thing to do is respond and co-operate, said Jason Safar, a partner in the tax services practice of PwC.“The worst thing you can do is play the ostrich, put your head in the sand and pretend that nothing is going on,” he said.The federal government in recent years has ramped up its efforts to crack down on tax evasion, particularly by big international companies and wealthy individuals using offshore tax havens. In the 2016 Federal Budget, Ottawa earmarked $444.4 million over five years to help the CRA track down tax cheats, with the aim of raking in an additional $2.6 billion in tax over that period.There has been an increase in audit activity, in all facets, but less so for personal income taxes, said Safar. And the vast majority of Canadians will never face a personal tax audit, he added. However, more Canadians will face the less serious option called a review.“For the ‘lucky’ 0.1 per cent that does, it’s probably that there is something that is very unusual about their filings or history of filings that causes Canada Revenue Agency to want to take a closer look,” Safar said.A review, however, happens fairly often, said H&R Block senior tax professional Valorie Elgar.A CRA review is simply a request for additional information, rather than an audit which involves deeper scrutiny of your tax file.Your income tax file may be selected for review randomly, or for reasons such a discrepancy between the figures you cited and those of a third-party, such as your employer. An unusual change in your activities, such as an increase in medical expenses or child care costs, may also trigger a closer look from the tax collector.Often, once the taxpayer submits the required information to clear up confusion, that’s the end of the process, said Elgar.“Send in the documentation that they request, and then that’s usually it,” she said. “But some people do get worried.”If you do not co-operate, the CRA will likely make adjustments based on the information they have. This could lead to unwanted outcomes, such as a large tax bill plus interest charges, she said.There are several types of review, such as a pre-assessment review program that takes place before a notice of assessment is issued. A processing review happens after the notice of assessment is issued, usually between August and December.Your information could also be reviewed in a matching program after the tax assessment is issued that compares the information in your tax return to a third party, such as a financial institution.Just in case you ever find yourself in the CRA’s crosshairs, it’s important to preempt any headaches by keeping all relevant receipts used to file your tax return on hand for at least six years, said Elgar.Some documents may need to be kept on file even longer, said Safar. For example, documents in connection with a property owned by the taxpayer will need to be kept until the property is sold, in order to quantify the capital gains.If you do find yourself under audit or review by the CRA, it is important to read the letter carefully and make sure to understand what they are asking for, he added. After submitting the requested information, the CRA will commonly send the taxpayer a letter outlining their concerns and reassessment details, and the recipient has 30 days to respond before the new tax assessment is processed, said Safar.If you disagree with their conclusions at this point, let them know before that reassessment is processed, he added.If the dispute is not resolved, there is still recourse. After the reassessment comes you have the option to file a notice of objection, which will go to an appeals officer who is different from the original auditor, said Safar.If you plead your case and it falls on deaf ears, you can take the government to the Tax Court of Canada, he added. The issue can be further escalated to the Federal Court of Appeal, and if need be, you can seek leave to take your battle to the Supreme Court.“You have lots of opportunities to plead your case,” he said.However, that can take a long time and a lot of money. Depending on how much you owe the government, you will have to make a call on whether the effort and expense for this battle is worth it, Safar added.“It depends how much you’re arguing about, and how much of a person of principle you are if the amount is not significant enough to justify the cost.”
FORT ST. JOHN, B.C. – Organizers of the Crystal Cup and Sid Davis Youth Memorial have provided a weather update for tonight’s opening night, February 22.With the weather predicted to get colder, they are encouraging everyone to bundle up, and bundle up good.Along with the colder temperatures, it has brought an amount of snow that has piled up throughout the day. Organizers say they will be going forward with tonight’s games and are currently clearing the drift off the rinks.They also say that some shovelling may be required right up until 6:00 p.m., adding that all teams will be required to help shovel.“There still may be some snow on the rinks so please prepare to shovel a bit those playing in the first games at 6:00 p.m. It is also in the rules and regulations that all teams grab a shovel and clear the rinks for the next team at the end of their games.”For further updates, be sure to follow the Crystal Cup Facebook page.
BEIRUT: Syrian state media on Saturday cited a hospital in government-held Hama as saying 21 people suffered choking symptoms from poison gas after rebels shelled a village. A war monitor, the Britain-based Syrian Observatory for Human Rights, also said 21 people were hospitalised with choking symptoms, but it was not known if this was from chemicals or smoke and dust raised by the shelling. State news agency SANA cited the head of the Saqilbia National Hospital as saying the attack took place in the village of al-Rasif and it published images and footage of people lying in hospital beds wearing oxygen masks. Also Read – Saudi Crown Prince ‘snubbed’ Pak PM, recalled jet from USThe area is near the frontline between the Syrian government and the last major rebel enclave in the northwest where army bombardment has escalated in recent weeks despite a Russian-Turkish deal to stop fighting. On Friday and Saturday, airstrikes on rebel-held areas in the northwest killed 15 people including four children and injured 25 others the Observatory said. The Organisation for the Prohibition of Chemical Weapons (OPCW), a global watchdog, has documented systematic use of nerve agent sarin and chlorine during Syria’s eight-year conflict. From 2015-17, a joint U.N.-OPCW team was appointed to find blame in gas attacks and said Syrian government troops had used both chemicals several times. It also found that Islamic State had used sulfur mustard gas. The OPCW is looking into an alleged gas attack in November in government-held Aleppo that made up to 100 people ill, and which Damascus and its ally Russia blamed on insurgents.
Most reporters flocked to players like sophomore foward Jared Sullinger and senior guard William Buford during the men’s basketball team’s media day Thursday, Oct. 13. But some players were left alone, with only the occasional reporter stepping forward to ask questions. The man behind the Jordan Sibert name tag was one of the loners until finally, one reporter came up. “Hey Jordan,” the reporter said. “You mind if I ask you a few questions?” The man smiled. “Um, I’m actually J.D.,” he said. The name tag was wrong and the man who was sitting behind it was actually sophomore forward J.D. Weatherspoon, not sophomore guard Jordan Sibert. Weatherspoon hasn’t been the most recognizable face on the OSU basketball team. He joined the team last year, but was declared academically ineligible for Winter Quarter and missed much of the season. It was an experience Weatherspoon said was difficult to deal with, but his teammates never abandoned him. “They showed me so much love and they were always there to support me so that really helped,” he said. Weatherspoon was reinstated for Spring Quarter and was able to travel to OSU’s 62-60 loss to Kentucky in the Sweet 16 of the Men’s NCAA tournament. He’s been a full-time member of the team ever since. “It feels good being back with the team,” Weatherspoon said. “Just a minor setback for a major comeback. That’s my mindset.” This year, Weatherspoon hopes his “major comeback” will find him a spot in OSU’s rotation. Although he lost almost a year of game experience, Weatherspoon is confident he can fit in with the chemistry of the team. He’s been playing with some of his teammates since grade school. “(Sullinger and I have) been playing with each other since we were in fifth grade,” Weatherspoon said. “And then me, (sophomore guard Aaron Craft) and Jordan Sibert played AAU together with Sully, so, I mean, the chemistry was still there.” Former OSU guard David Lighty, who is now playing professional basketball in Italy, has been talking to Weatherspoon on a regular basis about the role he can play for OSU this season. Weatherspoon tries to model his game after Lighty and said he thinks he can help replace Lighty on the defensive end of the floor. “I’ve been talking to (Lighty) a lot,” Weatherspoon said. “He’s been a big brother to me as soon as I came here. We are both athletic. We play the same position, built similar. So it really helped out a lot.” Coach Thad Matta has noticed a change in Weatherspoon. He said Weatherspoon has come a long way in the past year and could definitely play a role for the team. “I think J.D. has learned maturity,” Matta said. “He’s got a very good work ethic about him. His maturity level has improved. He’s a very, very good athlete and from that perspective, he’s understanding what his role is going to be on this team. “What he needs to do is defend and rebound for us.” Who knows, maybe if Weatherspoon fills his role, they’ll give him his own name tag for media day in 2012.
How would you like to earn more than $100,000 for sitting on the bench? That’s the position Cleveland Browns’ rookie quarterback Brandon Weeden found himself in for the team’s final preseason game. Coach Pat Shurmur decided that the rookie starting quarterback was too valuable to risk him getting injured before the regular season starts. Huh? I had to rewind the show I was watching to make sure I had heard that correctly. Even after watching it again, I still didn’t believe it. While it’s not unheard of for NFL players to sit out the final preseason game, especially quarterbacks, sitting a rookie quarterback who has yet to throw a single touchdown pass in his career is beyond ridiculous. Tom Brady and Peyton Manning did not play in their teams’ final exhibition games either, but they are both future Hall of Famers with years of NFL experience and Super Bowl rings. Weeden hasn’t even attempted 50 passes in the NFL preseason. So a rookie with no touchdown passes, a completion percentage below 50 percent, and less than two full preseason games under his belt is too valuable to risk getting injured? Are you kidding me? It’s not as if Weeden will have a long career to learn how to be an NFL quarterback. Being drafted at age 28, he will have six fewer years than the average signal caller to master his craft. He’s already missed one-third of a career. He simply doesn’t have the time to waste sitting on the bench. So if Weeden is already starting behind the curve, why pass up an opportunity to help him catch up? Weeden doesn’t have a huge contract to worry about. He wasn’t the team’s top pick in the draft. He wasn’t even the first quarterback taken, or the second, or even the third. He was the fourth quarterback taken in the 2012 NFL draft. He is also the only quarterback taken in the first round who hasn’t thrown a touchdown pass in the preseason. Sitting a rookie quarterback who hasn’t proven himself yet isn’t protecting an asset, it’s robbing him of an opportunity to gain valuable experience before the games actually count. Weeden has a four-year contract worth $8.1 million. Spread over 80 regular and preseason games that is an average of $101,250 per game. That’s an expensive benchwarmer.