Stuff.co.nz 29 April 2013Prime Minister John Key says parents will have to wait until at least 2015 before the Government considers extending paid parental leave, because it cannot afford to do it now. A One News-Colmar Brunton poll released yesterday showed 62 per cent of voters back a law sponsored by Labour MP Sue Moroney that would extend taxpayer-funded paid parental leave from 14 weeks to 26 weeks. The law change also appears to have enough support in Parliament to pass, but the Government has signalled it will use its veto power, which it can if a law would have a significant impact on the Budget. Today Key said bill would be blocked because of cost, which the Government estimates at $150 million a year, but said the leave would likely be extended eventually. “I think paid parental leave will increase one day, it’s just not today, because we just don’t have the money,” he said. “No one’s arguing it’s unreasonable but it’s all about affordability.” If the Government was to extend paid parental leave it would mean abandoning its target of reaching a fiscal surplus by 2014-15, or cutting spending elsewhere, Key told TVNZ’s Breakfast. “When we’re back in surplus and we’ve got choices, then I’m not at all ruling out paid parental leave … in terms of expanding it, it’s definitely something we’d like to do, but it’s about the timing of that issue.” Supporters of the bill dispute the Government’s estimates of the cost of the law change. http://www.stuff.co.nz/national/politics/8606915/Parental-leave-extension-bill-too-costly
ORVC Weekly Report Summary (April 25 – 30)Players of the Week.Baseball: Kollin Hayes-Switzerland County.Softball: Baylie Hunter-Rising Sun and Kelsei Konkle-Switzerland County.Boys Golf: Aron Walker-Rising Sun.Girls Track: Laken Farrell-South Ripley and Alijah Craig-Milan.Boys Track: Zach Martini-Rising Sun and Luke Welch-South Ripley.ORVC Report (April 25-30)Courtesy of ORVC Recorder Travis Calvert.
RelatedPosts CAF Beach Soccer: Supersand Eagles bow to Senegal Players and officials of the Beach Soccer National Team, Supersand Eagles, will jet out of the country on Friday to Paraguay for this year’s FIFA Beach Soccer World Cup finals.The two-time African champions picked a ticket for the 10th edition of the global finals after finishing second behind Senegal at the Beach Soccer Africa Cup of Nations staged in Egypt in December last year.This year’s FIFA Beach Soccer World Cup will hold November 21 to December 1 in Asuncion, capital of Paraguay.Match venue is the Los Pynandi World Cup Stadium, named after the Paraguayan national beach soccer team and located at the headquarters of the Paraguayan Olympic Committee in Greater Asuncion.“We are travelling early to Asuncion in order to participate in an eight-nation pre-competition tournament that will take place in Asuncion, 12th – 16th November. After the tournament, the team will continue intensive training ahead of our first match against Portugal on 22nd November,” Team Administrator, Sunday Okayi, revealed.The pre-competition tournament will involve Oman, Tahiti, Paraguay, Nigeria, Belarus, United Arab Emirates, Senegal and one other team to be confirmed.Nigeria, winners of the African title in 2007 and 2009, and quarter-finalists at the World Cup in 2007 and 2011, have a mountain to surmount in Group B against Brazil (ranked world number one), Portugal (ranked world number two) and Oman (ranked number 14 in the world). Nigeria is ranked 21st in the world.Host nation Paraguay will tackle Japan in the tournament opening game on November 21.After their first game against Portugal on November 22, the Supersand Eagles take to the beach against Oman on November 24 and then against Brazil two days later.Head Coach Audu Adamu ‘Ejo’ has listed veterans Abu Azeez and Victor Tale in his final squad of 12, with Emmanuel Ohwoferia, Emeka Ogbonna, Godspower Igudia, Dami Paul and Taiwo Adams also in.Godwin Tale (Victor’s younger brother), Egan-Osi Ekujimi, Babatunde Badmus, Godwin Iorbee and Hameed Kareem are the other names on the list.2019 FIFA BEACH SOCCER WORLD CUP GROUPSGroup A: Paraguay, Japan, Switzerland, USAGroup B: Uruguay, Mexico, Italy, TahitiGroup C: Belarus, United Arab Emirates, Senegal, RussiaGroup D: Brazil, Oman, Portugal, Nigeria. Tags: Supersand Ealges
“They were all from different organizations; they are sons and granddaughters and grandsons who are looking for the missing people from the war in Guatemala and still fighting for the rights of the people who lost their families,” Matheu said. Guatemalan director Jayro Bustamante first amazed critics in 2015 with his debut film “Ixcanul” (Volcano), which was selected as the Guatemalan entry for the Best Foreign Language Film at the 88th Academy Awards. His portrayal of a young Indigenous woman — a subject hardly touched upon in cinema — marks his longtime commitment to representing marginalized groups in Guatemala. “La Llorona” was deeply personal for not only Bustamante and Matheu but for the extras, who played as the protesters, as well. Inspired by the elegant portrayal of Dracula, Bustamante reframed La Llorona as a Mayan woman who underwent unimaginable horrors under Guatemala’s ethnic cleansing. With this unique spin on La Llorona, the movie thus stands in stark opposition to the U.S. film “The Curse of La Llorona,” which not only relied on cheap jump scares and the naiveté of its characters but also whitewashed the legend. “Guatemala is a very complicated country if you want to talk about human rights or social rights or independent rights,” Bustamante said. “We don’t have any more dictators, but we continue to have that dictatorial system because we never really cut that, and there are a lot of people defending that [system].” What’s particularly impressive about the film is how Bustamante reimagines a figure deeply rooted in Latinx folklore by placing it within the context of the massacres of Indigenous tribes in Guatemala. Bustamante noted how the original folk tale is rather misogynistic. Determined to impart the film’s messages to a wider audience, Bustamante and Matheu thus decided to make it a horror film because they knew the genre pulled the biggest box office grosses in Guatemala. Gorgeously shot and written, “La Llorona” stands out among other horror films because of its elegance. Many horror films, especially ones made in the United States, rely on cheap thrills like jump scares and gore rather than an emotionally impactful storyline. “La Llorona,” on the other hand, is a slow rumination on how a family attempts to deny the blatant atrocities their patriarch has committed as well as their complicity in the oppression that Indigenous peoples face. Matheu said one of the most emotional scenes for the extras to shoot was one in which the protesters clamor around Enrique, demanding justice for their people. The extras felt that Diaz embodied the real dictator Efraín Ríos Montt, whom the character of Enrique was based on. Continuing this tradition is Bustamante’s third feature “La Llorona,” a horror drama that highlights the struggle of Indigenous peoples in Guatemala. On Wednesday, he and producer Gustavo Matheu led an online screening and live Q&A at the School of Cinematic Arts. “As Latin Americans, we have something very natural with magical realism because it’s part of our culture, and La Llorona is also part of our culture,” Matheu said. “And then when they see the movie, they will find out there’s some message behind it; that it’s more deep and more dark and more horrifying than the horror [of the film] itself.” “La Llorona,” which premiered on Shudder Aug. 6, centers around Enrique Monteverde (Julio Diaz), a retired general responsible for the genocide of thousands of native lxil Mayan people during the early 1980s. As angry and grief-stricken protesters congregate outside of his home, Monteverde’s wife Carmen (Margarita Kenéfic), daughter Natalia (Sabrina De La Hoz) and granddaughter Sara (Ayla-Elea Hurtado) struggle between their familial devotion and their burgeoning realization of the crimes he’s committed. Their only other companion is their loyal housekeeper Valeriana (María Telón) until a mysterious Indigenous maid, Alma (María Mercedes Coroy), arrives. School of Cinematic Arts hosts virtual screening of “La Llorona” followed by a Q&A with the filmmakers. (Vincent Leo | Daily Trojan) “I never understood why La Llorona is so important … it’s a very misogynistic legend, because it’s always a woman crying because some man quit her, and because that man quit her, she’s able to kill her kids,” Bustamante said. “We decided to change that and take La Llorona and transform it.” “They didn’t have the opportunity to tell the dictator a lot of things, but in that moment when they were playing the [characters] and they were screaming at him … there was something going on inside them that was very strong,” Matheu said. “People that didn’t have the opportunity to have [closure] were having at that moment.” What’s powerful about this film is how the audience comes to realize that the real horror of this film is not the titular “La Llorona” but rather the centuries of oppression and pain the Indigenous tribes have endured in Guatemala. The past never remains in the past but instead lingers constantly, Bustamante argues, until we find the courage to fully confront our bloody histories.