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Free Restaurant Schedule Template: Its Many Uses In Restaurant Operations

By Jerome Chiaro

If you feel constrained by the limits of your budget, then alternative options, such as a free restaurant schedule template for employee shifts, daily cleaning, and reservations, can lessen the burden of spending on additional office supplies and hiring new people just to create the schedules for you.

A free restaurant schedule template may seem unreliable or inauthentic, but they are a cheap way of avoiding needless spending. If you are a struggling restaurateur, then your may appreciate using such restaurant templates to create your employee shift schedules, daily cleaning schedules, and table reservation schedules.

Known for their irregular work schedules, restaurants continually change employee shifts to meet the needs of a demanding public. Within a day, lunch and dinner are the busiest hours, and during these times, a restaurant has the most number of employees waiting tables, handling the cash register, and staffing the kitchen. A good employee shift schedule decreases the stress of managing restaurant staff and increases productivity of your employees.

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The use of a free restaurant schedule template for shift planning, however, presumes a paper schedule, which many experienced restaurant managers deem time consuming. A restaurant template is only valuable to restaurant managers and owners who may lack extra funds to pay for a subscription to an online service, such as HotSchedules, ShiftPlanning or TimeForge.

Both online and traditional methods consider the following factors when scheduling work shifts: employee abilities and skills, anticipated sales, individual work habits, food preparation, employee availability, individual work requests, certifications required for handling alcohol, and overall labor costs. The manager needs the request book and availability sheets to match each employee to a specific shift schedule.

No matter what option budding restaurateurs take, employee scheduling is a very important aspect of restaurant management because it controls labor costs and reduces employee turnover. It also streamlines workflow systematically; thus, reducing operating costs and increasing employee productivity.

Aside from employee scheduling, a free restaurant schedule template also finds itself an invaluable tool in setting up daily or weekly cleaning schedules in a bustling restaurant business. Cleaning and maintenance procedures often require specific steps because of the machines and the chemicals used. For example, cleaning a fully equipped restaurant kitchen with large ovens, dishwashers and a variety of kitchen utensils follows safety procedures to guard against employee accidents and damage to the equipment.

In another area of restaurant operations, such as table reservations and event bookings, the use of a free restaurant schedule template could prove useful, especially during peak seasons when the volume of customers increase and more special occasions happen than in any other month.

Similar to employee scheduling, the restaurant manager would need the request book for reservations and bookings, the food costs, the labor costs, and the employee availability sheets to fit them together to a manageable schedule. Of course, a restaurant manager is not expected to work on scheduling alone. A team of two or three assistants adds more organizational consistency and decreases scheduling errors because more than one person handles the information.

About the Author: Jerome Chiaro is a Restaurant Owner & Consultant out of Orange County, CA. Did you know that 95% of restaurant owners and managers spend over 55 hours per week slaving away at their restaurant! He can help you WORK LESS and PROFIT MORE… Claim your copy of his Free Restaurant Forms Toolkit. Success doesn’t happen alone! Join a mastermind of restaurant owners and a wealth of resources, at his Free Restaurant Forms Blog.


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Romanian government to sell 10 percent of its shares in Romgaz

Monday, April 18, 2005

The Romanian Minster for Economy and Commerce, Codru? Sere?, announced on Friday that his ministry intends to sell 10% of its shares in the state-owned natural gas distributor, Romgaz, this year. The Ministry is still deciding whether to transfer the stock to financial investors or whether to list it on the Bucharest Stock Exchange.

Romgaz is one of the largest state-owned companies in Romania falling under the ownership of the Ministry of Economy and Commerce. In 2005, the company is expected to have an estimated turnover of 648 million euro.

Romgaz is the latest Romanian energy company where plans have been announced for privatisation. Last year, the privatisation of natural gas distributors Distrigaz Sud and Distrigaz Nord was proposed, and is expected to be fully completed by the end of this month. Last year, Romanian oil giant Petrom was privatised, in the country’s largest ever privatisation, and this year the Electrica Group of electricity distributors was sold off to various financial investors.

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China overtakes Germany as world’s biggest exporter

Sunday, January 10, 2010

Chinese officials have said that their country’s exports surged last December to edge out Germany as the world’s biggest exporter.

The official Xinhua news agency reported today that figures from the General Administration for Customs showed that exports jumped 17.7% in December from a year earlier. Over the whole of 2009 total Chinese exports reached US$1.2 trillion, above Germany’s forecast $1.17 trillion.

Huang Guohua, a statistics official with the customs administration, said the December exports rebound was an important turning point for China’s export sector. He commented that the jump was an indication that exporters have emerged from their downslide.

“We can say that China’s export enterprises have completely emerged from their all-time low in exports,” he said.

However, although China overtook Germany in exports, China’s total foreign trade — both exports and imports — fell 13.9% last year.

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RuPaul speaks about society and the state of drag as performance art

Saturday, October 6, 2007

Few artists ever penetrate the subconscious level of American culture the way RuPaul Andre Charles did with the 1993 album Supermodel of the World. It was groundbreaking not only because in the midst of the Grunge phenomenon did Charles have a dance hit on MTV, but because he did it as RuPaul, formerly known as Starbooty, a supermodel drag queen with a message: love everyone. A duet with Elton John, an endorsement deal with MAC cosmetics, an eponymous talk show on VH-1 and roles in film propelled RuPaul into the new millennium.

In July, RuPaul’s movie Starrbooty began playing at film festivals and it is set to be released on DVD October 31st. Wikinews reporter David Shankbone recently spoke with RuPaul by telephone in Los Angeles, where she is to appear on stage for DIVAS Simply Singing!, a benefit for HIV-AIDS.

DS: How are you doing?

RP: Everything is great. I just settled into my new hotel room in downtown Los Angeles. I have never stayed downtown, so I wanted to try it out. L.A. is one of those traditional big cities where nobody goes downtown, but they are trying to change that.

DS: How do you like Los Angeles?

RP: I love L.A. I’m from San Diego, and I lived here for six years. It took me four years to fall in love with it and then those last two years I had fallen head over heels in love with it. Where are you from?

DS: Me? I’m from all over. I have lived in 17 cities, six states and three countries.

RP: Where were you when you were 15?

DS: Georgia, in a small town at the bottom of Fulton County called Palmetto.

RP: When I was in Georgia I went to South Fulton Technical School. The last high school I ever went to was…actually, I don’t remember the name of it.

DS: Do you miss Atlanta?

RP: I miss the Atlanta that I lived in. That Atlanta is long gone. It’s like a childhood friend who underwent head to toe plastic surgery and who I don’t recognize anymore. It’s not that I don’t like it; I do like it. It’s just not the Atlanta that I grew up with. It looks different because it went through that boomtown phase and so it has been transient. What made Georgia Georgia to me is gone. The last time I stayed in a hotel there my room was overlooking a construction site, and I realized the building that was torn down was a building that I had seen get built. And it had been torn down to build a new building. It was something you don’t expect to see in your lifetime.

DS: What did that signify to you?

RP: What it showed me is that the mentality in Atlanta is that much of their history means nothing. For so many years they did a good job preserving. Don’t get me wrong, I’m not a preservationist. It’s just an interesting observation.

DS: In 2004 when you released your third album, Red Hot, it received a good deal of play in the clubs and on dance radio, but very little press coverage. On your blog you discussed how you felt betrayed by the entertainment industry and, in particular, the gay press. What happened?

RP: Well, betrayed might be the wrong word. ‘Betrayed’ alludes to an idea that there was some kind of a promise made to me, and there never was. More so, I was disappointed. I don’t feel like it was a betrayal. Nobody promises anything in show business and you understand that from day one.
But, I don’t know what happened. It seemed I couldn’t get press on my album unless I was willing to play into the role that the mainstream press has assigned to gay people, which is as servants of straight ideals.

DS: Do you mean as court jesters?

RP: Not court jesters, because that also plays into that mentality. We as humans find it easy to categorize people so that we know how to feel comfortable with them; so that we don’t feel threatened. If someone falls outside of that categorization, we feel threatened and we search our psyche to put them into a category that we feel comfortable with. The mainstream media and the gay press find it hard to accept me as…just…

DS: Everything you are?

RP: Everything that I am.

DS: It seems like years ago, and my recollection might be fuzzy, but it seems like I read a mainstream media piece that talked about how you wanted to break out of the RuPaul ‘character’ and be seen as more than just RuPaul.

RP: Well, RuPaul is my real name and that’s who I am and who I have always been. There’s the product RuPaul that I have sold in business. Does the product feel like it’s been put into a box? Could you be more clear? It’s a hard question to answer.

DS: That you wanted to be seen as more than just RuPaul the drag queen, but also for the man and versatile artist that you are.

RP: That’s not on target. What other people think of me is not my business. What I do is what I do. How people see me doesn’t change what I decide to do. I don’t choose projects so people don’t see me as one thing or another. I choose projects that excite me. I think the problem is that people refuse to understand what drag is outside of their own belief system. A friend of mine recently did the Oprah show about transgendered youth. It was obvious that we, as a culture, have a hard time trying to understand the difference between a drag queen, transsexual, and a transgender, yet we find it very easy to know the difference between the American baseball league and the National baseball league, when they are both so similar. We’ll learn the difference to that. One of my hobbies is to research and go underneath ideas to discover why certain ones stay in place while others do not. Like Adam and Eve, which is a flimsy fairytale story, yet it is something that people believe; what, exactly, keeps it in place?

DS: What keeps people from knowing the difference between what is real and important, and what is not?

RP: Our belief systems. If you are a Christian then your belief system doesn’t allow for transgender or any of those things, and you then are going to have a vested interest in not understanding that. Why? Because if one peg in your belief system doesn’t work or doesn’t fit, the whole thing will crumble. So some people won’t understand the difference between a transvestite and transsexual. They will not understand that no matter how hard you force them to because it will mean deconstructing their whole belief system. If they understand Adam and Eve is a parable or fairytale, they then have to rethink their entire belief system.
As to me being seen as whatever, I was more likely commenting on the phenomenon of our culture. I am creative, and I am all of those things you mention, and doing one thing out there and people seeing it, it doesn’t matter if people know all that about me or not.

DS: Recently I interviewed Natasha Khan of the band Bat for Lashes, and she is considered by many to be one of the real up-and-coming artists in music today. Her band was up for the Mercury Prize in England. When I asked her where she drew inspiration from, she mentioned what really got her recently was the 1960’s and 70’s psychedelic drag queen performance art, such as seen in Jack Smith and the Destruction of Atlantis, The Cockettes and Paris Is Burning. What do you think when you hear an artist in her twenties looking to that era of drag performance art for inspiration?

RP: The first thing I think of when I hear that is that young kids are always looking for the ‘rock and roll’ answer to give. It’s very clever to give that answer. She’s asked that a lot: “Where do you get your inspiration?” And what she gave you is the best sound bite she could; it’s a really a good sound bite. I don’t know about Jack Smith and the Destruction of Atlantis, but I know about The Cockettes and Paris Is Burning. What I think about when I hear that is there are all these art school kids and when they get an understanding of how the press works, and how your sound bite will affect the interview, they go for the best.

DS: You think her answer was contrived?

RP: I think all answers are really contrived. Everything is contrived; the whole world is an illusion. Coming up and seeing kids dressed in Goth or hip hop clothes, when you go beneath all that, you have to ask: what is that really? You understand they are affected, pretentious. There’s nothing wrong with that, but it’s how we see things. I love Paris Is Burning.

DS: Has the Iraq War affected you at all?

RP: Absolutely. It’s not good, I don’t like it, and it makes me want to enjoy this moment a lot more and be very appreciative. Like when I’m on a hike in a canyon and it smells good and there aren’t bombs dropping.

DS: Do you think there is a lot of apathy in the culture?

RP: There’s apathy, and there’s a lot of anti-depressants and that probably lends a big contribution to the apathy. We have iPods and GPS systems and all these things to distract us.

DS: Do you ever work the current political culture into your art?

RP: No, I don’t. Every time I bat my eyelashes it’s a political statement. The drag I come from has always been a critique of our society, so the act is defiant in and of itself in a patriarchal society such as ours. It’s an act of treason.

DS: What do you think of young performance artists working in drag today?

RP: I don’t know of any. I don’t know of any. Because the gay culture is obsessed with everything straight and femininity has been under attack for so many years, there aren’t any up and coming drag artists. Gay culture isn’t paying attention to it, and straight people don’t either. There aren’t any drag clubs to go to in New York. I see more drag clubs in Los Angeles than in New York, which is so odd because L.A. has never been about club culture.

DS: Michael Musto told me something that was opposite of what you said. He said he felt that the younger gays, the ones who are up-and-coming, are over the body fascism and more willing to embrace their feminine sides.

RP: I think they are redefining what femininity is, but I still think there is a lot of negativity associated with true femininity. Do boys wear eyeliner and dress in skinny jeans now? Yes, they do. But it’s still a heavily patriarchal culture and you never see two men in Star magazine, or the Queer Eye guys at a premiere, the way you see Ellen and her girlfriend—where they are all, ‘Oh, look how cute’—without a negative connotation to it. There is a definite prejudice towards men who use femininity as part of their palette; their emotional palette, their physical palette. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse. That’s why you wouldn’t get someone covering the RuPaul album, or why they say people aren’t tuning into the Katie Couric show. Sure, they can say ‘Oh, RuPaul’s album sucks’ and ‘Katie Couric is awful’; but that’s not really true. It’s about what our culture finds important, and what’s important are things that support patriarchal power. The only feminine thing supported in this struggle is Pamela Anderson and Jessica Simpson, things that support our patriarchal culture.
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The National Horse Of Mexico El Caballo Azteca

By Crystal A. Eikanger

A new breed of horse, known as the Azteca, is in demand in Mexico. It is the first breed to be developed in Mexico and was designed from the beginning to suit all that is required of a Mexican horse. The majority of horses in Mexico are descendants of Spanish horses, and the since the Spanish horse has always been preferred in Mexico, the Andalusian was the foundation for the new breed.

Several horsemen living in Mexico in the late 1960’s decided to re-create a horse that no longer existed. It was to be reminiscent of the horses originally brought to the New World by the Spanish Conquistadors; symbolic of Mexico; and, it was to have cow sense for working the cattle ranches of the charro (cowboy); and it was to be an accomplished performer in typical Mexican events such as fiestas, parades, and as a mount for the Rejonero in the bullfighting ring.

After several years of experimentation and research, a new breed of horse was created in Mexico in 1972 called the Azteca from Andalusians crossed with Quarter Horses and Criollo mares.

The worldwide Registry for Azteca horses is maintained by Asociacion Mexicana de Criadores de Caballos de Raza Azteca (AMCCRA or The Azteca Horse Association of Mexico). This is the only organization approved by the developers of the breed and by the Government of Mexico to register Azteca horses and to legally use the name “Azteca”. There are about 2000 Azteca horses currently living in North and South America, and Spain which have been approved by the International Azteca Horse Association. The AMCCRA and the Government of Mexico are continuing these efforts to refine the Azteca and to define the main contributions of each of the three founding breeds to the phenotype. It has acquired so much recognition that it has earned the title of the National Horse of Mexico.

The Mexican version is the original, but there is an American type that deviates from the Mexican in several ways, some of them subtle, some of them major. The main difference is that in the American Azteca, both Quarter Horse and Paint horses that can prove no more then 1/4 TB can be used for breeding the American Azteca. All American Quarter Horse Association (AQHA) and American Paint Horse Association (APHA) markings and colors are acceptable. The Mexican variety does not allow Paint, Appaloosa or albino. Additionally, the American Azteca allows only Andalusian and Quarter Horse crosses, while the original Mexican variety allows Criollo.

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The American Azteca Horse responds well to the different disciplines that require suspended and elevated gaits and to those that require a skillful working cow horse or western horse. The horse inherits its beauty, temperament, spirit and agility from their Andalusian genes. The Andalusian side also allows them to be incredibly athletic and smooth to ride with a naturally collected movement. The Azteca gets its strength and speed from the Quarter Horse side and has an outstanding ability to learn; is extremely easy to train; and once it learns something, it never forgets.

The American Azteca ranges from 14.2 to 16.0 hands but the original Mexican Azteca should be 14.1 to 15.2 hands (mares) and 14.2 to 15.3 hands (stallions). This height was established in consideration of the Aztec’s intended use in Charier. The head is medium sized with a straight, slightly convex or slightly concave profile with a broad forehead, expressive eyes and medium-sized ears. The neck is well muscled and slightly arched with a medium crest. A long flowing mane and a well set medium to low tail are often seen. The coat is silky and only solid colors are permissible by the Mexican registry.

It is important to note that two Azteca associations in the United States allow Paints into their registries, but the Mexican registry does not. These U.S. associations are not affiliated with Mexico’s Azteca breed association and have chosen to establish their own standards and breed development guidelines.

Azteca Horse Registry of America (AHRA) has registered over 450 American Azteca Horses since 1989. They feel that crossing the American Quarter Horse and the American Paint Horse back into its original Spanish gene pool by breeding it to the American Andalusian/Iberian/PRE/PSL correctly depicts the beginning of the Quarter Horse breed in early Southwest America.

The American Azteca Horse International Association (AAHIA) was formed in 2000 for registering and promoting American Azteca horses. The AAHIA takes into consideration the needs and marketing demands of American tastes, rather than the Mexican needs, or their market. The AAHIA feels that for the Azteca to be successful in the United States, the American people want a different type of horse than the type that is desired in Mexico. The American Azteca Horses will be modeled closely after the original Mexican standards, but with a little more diversity to fit the American market. So, since a horse cannot legally be called an Azteca unless it is inspected and approved by the Mexican association, they are calling their breed the American Azteca Horse, so as not to imply that these horses are Mexican bred or registered.

The American Azteca is a combination of 2 registered breeds: Andalusian (all lines of Spanish, Lusitano, and Spanish/Lusitano) and registered Quarter Horse or Paint. They do not recognize any other breeds. As of January 1, 2004, all American Azteca Horses being registered must have DNA analysis performed to confirm the parentage of both sides.

If a horse is also registered with the International Andalusian and Lusitano Horse Association (ALHA), the AAHIA will not accept the AQHA or APHA pedigree that is on the horse’s IALHA papers. However, they do accept the Andalusian side of the pedigree. For the AQHA or APHA side of the pedigree, they need either a copy of the original AQHA or APHA registration papers; or a copy of the pedigree officially prepared by the AQHA or APHA only. A minimum of 4 generations is also required. Additionally, you cannot register a horse with the AAHIA unless you are a full member of the AAHIA at the time of the registration.

Because of the Quarter Horse background a genetic condition known as Hyperkalemic Periodic Paralysis (HYPP) is possible, therefore any horse found to have the bloodlines of a horse called “Impressive #0767246” in their heritage, must have their horse tested for HYPP. Only horses with the result of N/N will be accepted for registration. HYPP is inherited as a dominant trait and is characterized by intermittent episodes of uncontrolled muscle tremors (shaking, trembling or twitching) or profound muscle weakness, and in severe cases, may lead to collapse and/or death.

With all these things going for it, the Azteca breed, whether Mexican or American, has a valuable place in the equine world.

About the Author: Crystal is a writer for

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Lobby groups oppose plans for EU copyright extension

Tuesday, February 26, 2008

The European Commission currently has proposals on the table to extend performers’ copyright terms. Described by Professor Martin Kretschmer as the “Beatles Extension Act”, the proposed measure would extend copyright from 50 to 95 years after recording. A vast number of classical tracks are at stake; the copyright on recordings from the fifties and early sixties is nearing its expiration date, after which it would normally enter the public domain or become ‘public property’. E.U. Commissioner for the Internal Market and Services Charlie McCreevy is proposing this extension, and if the other relevant Directorate Generales (Information Society, Consumers, Culture, Trade, Competition, etc.) agree with the proposal, it will be sent to the European Parliament.

Wikinews contacted Erik Josefsson, European Affairs Coordinator for the Electronic Frontier Foundation (E.F.F.), who invited us to Brussels, the heart of E.U. policy making, to discuss this new proposal and its implications. Expecting an office interview, we arrived to discover that the event was a party and meetup conveniently coinciding with FOSDEM 2008 (the Free and Open source Software Developers’ European Meeting). The meetup was in a sprawling city centre apartment festooned with E.F.F. flags and looked to be a party that would go on into the early hours of the morning with copious food and drink on tap. As more people showed up for the event it turned out that it was a truly international crowd, with guests from all over Europe.

Eddan Katz, the new International Affairs Director of the E.F.F., had come over from the U.S. to connect to the European E.F.F. network, and he gladly took part in our interview. Eddan Katz explained that the Electronic Frontier Foundation is “A non-profit organisation working to protect civil liberties and freedoms online. The E.F.F. has fought for information privacy rights online, in relation to both the government and companies who, with insufficient transparency, collect, aggregate and make abuse of information about individuals.” Another major focus of their advocacy is intellectual property, said Eddan: “The E.F.F. represents what would be the public interest, those parts of society that don’t have a concentration of power, that the private interests do have in terms of lobbying.”

Becky Hogge, Executive Director of the U.K.’s Open Rights Group (O.R.G.), joined our discussion as well. “The goals of the Open Rights Group are very simple: we speak up whenever we see civil, consumer or human rights being affected by the poor implementation or the poor regulation of new technologies,” Becky summarised. “In that sense, people call us -I mean the E.F.F. has been around, in internet years, since the beginning of time- but the Open Rights Group is often called the British E.F.F.

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Former South African apartheid regime’s police minister repents

Monday, September 4, 2006

Adriaan Vlok, the former South African apartheid regime’s police minister, went to Reverend and director-general Frank Chikane’s church in Soweto on Sunday, the 3rd of September to repent. This follows his recent apology on the 3rd of August, 2006, which was described by some as “a miracle” that has had global impact.

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Qualities Of Good Orland Park Dentists

Qualities of Good Orland Park Dentists



Orland Park dentists are known for being accommodating, knowledgeable, skilled, genuinely concerned about their patients oral health, and reasonable when it comes to seeking compensation. With such qualities, patients enjoy caring for their teeth, gums, cheeks, and tongue. Consider how the qualities of good Orland Park dentists might help you in choosing your dentist.

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Aside from being caring and comforting, good Orland Park dentists are also empathic and effective communicators. They feel for their patients concerns and strive to provide honest and straightforward answers. They explain their patients conditions in a plain and concise manner, and clarify whatever inquiries their patients may have.

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Orland Park dentists

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Economic policy makers conclude Washington meetings

Monday, April 14, 2008

This weekend, April 12–13, the joint Development Committee of the World Bank Group and the International Monetary Fund (IMF) held its annual Spring Meeting in Washington, D.C.

The Group of Seven (G7), which is comprised of the economic policy makers from the United States, United Kingdom, France, Germany, Italy, Canada, and Japan, held its annual meeting on Friday, April 11. This meeting, which rotates locations, was also held in Washington, D.C.

The Development Committee meeting ended on Sunday, with a call from the economic leaders for assistance to the countries which been adversely affected by rising food prices. Economic growth has slowed to its lowest rate in five years, while the rising costs of food and energy have not slowed.

Robert Zoellick, the president of the World Bank, said, “We have to put our money where our mouth is. Now. So that we can put food into hungry mouths. It’s as stark as that.” He called for US$500 million in emergency funds for the United Nations’s World Food Programme by May 1, 2008.

“All that has been done [in the past decade] can be undone very rapidly by the crisis coming from the increase in food prices,” said Dominique Strauss-Kahn, the managing director of the IMF.

“Children will be suffering from malnutrition, with consequences for all their lives,” he said. He cited the growing use of land for biofuels as contributing to rising food costs. In the end growing violence and civil unrest could be a result.

Strauss-Kahn further warned that eventually it could become “not only a humanitarian question,” but could also affect developed nations by leading to trade imbalances.

Specifically cited as a current example, was Haiti, where just this weekend, violence escalated resulting in the death of a United Nations peacekeeper and the ousting of Prime Minister Jacques-Édouard Alexis.

United States Secretary of the Treasury Henry Paulson cautioned that affected countries “need to resist the temptation of price controls and consumption subsidies that are generally not effective and efficient methods of protecting vulnerable groups.”

We have to put our money where our mouth is. Now. So that we can put food into hungry mouths. It’s as stark as that.

Price controls and subsidies “tend to create fiscal burdens and economic distortions while often providing aid to higher-income consumers or commercial interests other than the intended beneficiaries,” Paulson said.

In their Friday statement, the G7 said “there have been at times sharp fluctuations in major currencies, and we are concerned about their possible implications for economic and financial stability.” This marked the first time since the February 2004 meeting in Boca Raton, Florida, that the wording on foreign exchange has been altered.

The G7 presented a plan to strengthen regulation of capital markets. They urged financial firms to “fully” disclose their at-risk investments and improve capital reserves. While the G7 did not outline new monetary or fiscal policies, it did promise action “as appropriate.” The timetable for the plan is 100 days.

While action is unlikely in the short run, they are probably already considering a pre-emptive move in foreign exchange markets to slow the dollar’s decline.

The head of G7 Market Economics at Tullett Prebon, Lena Komileva, observed, “The implicit message is that the G7 is moving closer towards concerted action in the event that persistent volatility in the foreign exchange market presents new risk of systemic failure in the financial industry.”

“While action is unlikely in the short run, they are probably already considering a pre-emptive move in foreign exchange markets to slow the dollar’s decline,” added Komileva.

Economists at Goldman Sachs told their clients, “After a period where the possibility of G7 policy intervention seemed very remote, providing no counterweight to the dollar depreciation forces, we are moving towards a regime where G7 intervention is a more real possibility.”

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U.S. outlaws online gambling

Saturday, October 14, 2006

Over the weekend, millions of Americans faced the new ban of online gambling.

The legislation was attached by Rep. Bill Frist to the Port Security bill.

Many of the public companies that offer online gambling have been quick to react and give their outlooks on the legislature. Party Gaming and 888 among others have said that they will shut down all U.S. operations if President Bush signs the bill into law. This sent online gambling stocks tumbling with Party Gaming leading the way with a 55% decrease in market value.

The people involved are awaiting to see what happens over the next few weeks.

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