Winnipeg, MB – Charle Rosario tossed seven shutout innings against the same Chicago Dogs teamed that tagged him for six earned runs just five days ago, and the Winnipeg Goldeyes defeated the Dogs 5-2 Friday night at Shaw Park.
Rosario found himself in early trouble in the top of the first as three separate Dogs reached base in the frame. Shawon Dunston Jr. led the game off with a walk but was then caught stealing for the first out. After an Edwin Arroyo fly out to center, Treysen Vavra singled and Craig Maddox reached via an error by Winnipeg second baseman Matt McCann. Chicago executed a double steal with Jonathan Moroney at the plate to put two runners in scoring position, but Moroney grounded out to third to end the threat.
Winnipeg would lift the lid in the bottom of the second thanks to a two-out rally. With Josh Mazzola batting, a sharply hit ground ball bobbled into and out of the glove of Chicago third baseman Matt Dean, allowing Mazzola to reach first on what would ultimately be scored an infield single. One batter later, Mazzola came in to score on an RBI double by Goldeyes third baseman Jordan Edgerton.
The game would remain quiet until a three-run bottom of the fifth from Winnipeg. McCann led the frame off with a walk, shortstop Andrew Sohn followed with a single, and then two batters later, first baseman Reynaldo Rodriguez walked as well to load the bases. Chicago starter Michael Wagner would then walk Jordan Ebert to force in a run, and the levee would officially break when the following batter, Winnipeg catcher Kevin Garcia, plated two runs with a single.
Wagner's final line registered four and one-third innings, seven hits, four earned runs, three walks, and four strike outs. He took the loss, his second of the year.
Still trailing 4-0, Chicago would mount one final rally in the top of the eighth as they loaded the bases on two walks and an error. With one out, Craig Maddox came to the plate but struck out swinging against Goldeye reliever Cameron McVey. With two outs and the bases still full, the ensuing batter, Jonathan Moroney would plate two runs with a two-strike double down the left field line to cut the deficit to 4-2. With the tying runs in scoring position, Dalton Blaser lined out sharply to center to end the threat.
Mazzola tacked on an insurance run for Winnipeg with a solo home run in the bottom of the eighth, his third of the season.
Victor Cappelan worked a one-two-three ninth inning for his American Association leading ninth save of the year.
Just five days after throwing 121 pitches in a loss to Chicago, Rosario rebounded to stifle the Dogs over seven shutout innings on Friday. The Winnipeg right-hander surrendered four hits, while walking two and striking out three. He threw 113 pitches.
The two teams will resume their three-game weekend series Saturday night at Shaw Park in Winnipeg with first pitch scheduled for 6:00 p.m. Left-hander Kylin Turnbull will make the start for the Dogs, while fellow southpaw Kevin McGovern takes the ball for Winnipeg.
The game will be broadcast at www.thechicagodogs.com/broadcasts/ with the Crowne Plaza Pregame Show beginning at 5:40 p.m.


text:
Q: ValueError: too many values to unpack-converting pkl file to unpack I am running the code to train multi class and im getting the error too many values to unpack using the yelp dataset python DNN for sentiment analysis.
(reviews_words_index, labels) = pickle.load(open("review_sents_1859888.pkl", 'rb'))

but i get en error
ValueError: too many values to unpack.

A: Read anything on tuple-unpacking, e.g. this.
So in your case, do:
my_data = pickle.load(open("review_sents_1859888.pkl", 'rb'))
print(len(my_data))
# e.g. 4

Then you can unpack this with the right number of variables on the left:
a, b, c, d = pickle.load(open("review_sents_1859888.pkl", 'rb'))

So it basically seems that this object is not exactly setup like you expect it to be!

redpajama_set_name: RedPajamaStackExchange


Powerapp is a privately held company, founded in 2010 with headquarters in Copenhagen, Denmark.
Most of us at Powerapp have worked for many years in the data centre and hosting industry. We believe that good software must be easy to use and designed to solve very specific problems.
Powerapp is designed for the billing and reporting of colocation customers energy usage, which requires high data quality. With a strong focus on simplicity we reduce the chances of misconfigurations and make Powerapp easy to use for the whole team rather than just a few trained specialists.
Jesper has worked in the data centre industry for more than 15 years.
During his career, Jesper has gained a thorough knowledge of operating business-critical infrastructure and the importance of proper monitoring and reporting.


text:
Q: How to detect when watchOS application becomes active? I'm using watchOS 7.0 and SwiftUI. My view listens to NSExtensionHostDidBecomeActive notification:
.onReceive(NotificationCenter.default.publisher(for: .NSExtensionHostDidBecomeActive)) { _ in
    NSLog("Foreground")
    viewModel.loadData()
}

However, it is not called.

A: I solved this issue by using WKExtensionDelegate and my own notifications.
@main
struct ExtensionApp: App {
    @WKExtensionDelegateAdaptor(ExtensionDelegate.self) var appDelegate

    @SceneBuilder var body: some Scene {
        WindowGroup {
            NavigationView {
                MainView()
            }
        }
    }
}

import WatchKit

final class ExtensionDelegate: NSObject, ObservableObject, WKExtensionDelegate {
    func applicationDidFinishLaunching() {
        NSLog("App launched")
    }

    func applicationDidBecomeActive() {
        NSLog("App activated")
        NotificationCenter.default.post(name: .appActivated, object: nil)
    }

    func applicationDidEnterBackground() {
        NSLog("App deactivated")
        NotificationCenter.default.post(name: .appDeactivated, object: nil)
    }
}

import Foundation

extension Notification.Name {
    static let appActivated = Notification.Name("app.activated")
    static let appDeactivated = Notification.Name("app.deactivated")
}

then I was able to listen to these events in my SwiftUI view:
.onReceive(NotificationCenter.default.publisher(for: .appActivated)) { _ in
    viewModel.appActivated()
}
.onReceive(NotificationCenter.default.publisher(for: .appDeactivated)) { _ in
    viewModel.appDeactivated()
}


text:
Berlinale Talents
Screening Facilities
Film Entry
VR Screenings
Lola at Berlinale
Match & Meet
> Berlinale Africa Hub
> DocSalon
> Drama Series Days
> EFM Horizon
> EFM Producers Hub
> EFM Industry Debates
> Diversity & Inclusion
Berlinale Talents Market Hub
Map & Venues
Getting There & Around
Stands & Offices
CoPro Market
European Film Market & Co-Production Market
Press Releases (German)
Berlinale 2020: Chile will be "Country in Focus" at the EFM
During the 70th Berlin International Film Festival in 2020, Chile will be "Country in Focus" at the European Film Market (EFM). EFM's "Country in Focus" programme was launched in 2017 and aims to present in depth the film industry and filmmakers of a country and offer them a special platform...
Dieter Kosslick Bids Farewell After a Successful Festival
The 69th Berlin International Film Festival has come to a successful conclusion. With 335.000 tickets sold and its wide-ranging programme, the Berlinale was again a smash with audiences and culminated magnificently in the Award Ceremony at the Berlinale Palast on February 16...
Solid Support for Promising Film Projects: Three Awards and 1,500 Meetings at the Berlinale Co-Production Market
At the Berlinale Co-Production Market (February 9 to 13), three awards featuring cash prizes have been given to selected feature film projects...
Berlinale Camera 2019: Honouring Sandra Schulberg, Wieland Speck, Agnès Varda and Herrmann Zschoche
Since 1986, the Berlinale Camera has been awarded to individuals and institutions that have a connection with the festival and have made an extraordinary contribution to the world of filmmaking. It is a way of showing gratitude towards those who have become friends and supporters of the Berlinale...
Diversity at Berlinale 2019
For years now, companies and cultural institutions around the globe have been tackling issues of inclusion and equal rights. Most recently, with the #MeToo movement and new concepts like "inclusion riders"...
The African Film Industry of the Future at "Berlinale Africa Hub"/ "DocSalon" & "EFM Producers Hub" Feature Topics of Diversity and Inclusion
For the third year in a row, the "Berlinale Africa Hub", an initiative of the European Film Market (EFM), is providing an international forum for communication and networking for African filmmakers and creatives, as well as for filmmakers who are active on the continent, in particular in its sub-Saharan regions...
"Books at Berlinale":
Twelve International Literary Works in Search of Film Producers
On February 11, in the scope of "Books at Berlinale", a co-operation with the Frankfurter Buchmesse, the Berlinale Co-Production Market will present twelve new and notable literary works that lend themselves perfectly to adaptation for the screen...
The Film Industry of the Future: "EFM Horizon" Examines Industry Innovations in Content, Structure and Technology
With "EFM Horizon", for the third year running, the European Film Market (EFM) is offering its participants a platform to engage with innovations and new developments in the world of media and entertainment which promise to impact and shape the future of the film industry.
Berlinale Series 2019: Innovative Formats and Long-Awaited Highlights in the Programme's Fifth Year
The fifth year of the Berlinale Series programme will see seven drama series from Denmark, Germany, United Kingdom, France, Israel, Austria and Sweden celebrating their premieres at the Zoo Palast...
"Co-Pro Series" 2019: Ten New International Series Projects Look to Team Up With International Partners
On February 12 and 13, the Berlinale Co-Production Market is inviting producers, programming directors, distributors and other series financiers to the fifth annual edition of the exclusive pitch event "Co-Pro Series", which is taking place in the scope of "Drama Series Days" 2019 (February 11-13) at Berlin's Zoo Palast cinema...
Berlinale Co-Production Market: Bringing Together Partners for 37 New Feature Film Projects
From February 9 to 13, 2019, the 16th edition of Berlinale Co-Production Market invites 600 international producers and financiers to come together to explore new partnerships.
An Established Forum for Innovation and Transformation: European Film Market (EFM) Already Fully Booked for 2019 Edition
The European Film Market (EFM) of the 69th edition of the Berlin International Film Festival is scheduled to take place from February 7 to 15, 2019...
Berlinale 2019: Series at the Zoo Palast - The Collaboration Continues
After successfully bringing together the Berlinale Series programme and the EFM industry event "Drama Series Days" at the Zoo Palast in 2018, preparations are now underway for 2019...
Berlinale Co-Production Market 2019: Submit Feature Film Projects and Series Projects Now and Find International Partners
Until October 10, experienced producers from around the world may submit new feature-length film projects in need of co-producers and financiers to the 16th Berlinale Co-Production Market (February 9 - 13, 2019).
Results in 2018: Series More Successful Than Ever at the Berlinale
In its fourth year at the Berlin International Film Festival, the programme Berlinale Series enjoyed its most successful edition to date, with over 3,000 tickets sold, and sold-out cinemas at Zoo Palast, the Berlinale Series venue...
Berlinale 2019 — Norway will be the EFM "Country in Focus"
Norway will be the "Country in Focus" at the 2019 European Film Market (EFM) of the 69th Berlin International Film Festival. The EFM "Country in Focus" programme was established in 2017 to provide a platform for a comprehensive look at the film industry and filmmaking in a particular country...
A Successful Festival for Audiences and the Industry
The 68th Berlin International Film Festival culminated festively with the Award Ceremony on February 24, 2018. For the Berlinale Publikumstag, a day of screenings for the public, a large number of films from the different sections were shown again at Berlinale venues on February 25, 2018...
Powerful Support for Narrative Film Projects — Three Prizes and 1,300 Meetings at the Berlinale Co-Production Market
Three monetary prizes were awarded to selected narrative film projects at the Berlinale Co-Production Market (February 17 – 21)...
Diversity at Berlinale
Ever since its foundation in 1951, the exploration of the multivoicedness and diversity of society has been a defining element of the Berlin International Film Festival's identity. Art and culture always engage themselves in both contemporary aesthetic and social issues - a phenomenon reflected in the film programmes of the different sections and in the initiatives of the Berlinale each year.
Berlinale Camera 2018: Awards for Beki Probst, Katriel Schory and Jiří Menzel
Since the award's inception in 1986, the Berlin International Film Festival has been honouring individuals and institutions from the world of film that the festival feels particularly connected to with the Berlinale Camera, as a token of gratitude for their contributions to cinema...
Projects and Ideas for the African Market: Once Again, the African Film Industry Introduces Itself at the "Berlinale Africa Hub"
After its successful premiere last year, the EFM initiative "Berlinale Africa Hub" will be continued. From February 16 - 21, it will again provide African filmmakers and creatives with a communications and networking forum to discuss changes in the African industry that have come about thanks to innovations and technology, and to network within the international film industry...
"Books at Berlinale" — Twelve International Novels With Screen Potential
On February 19, at "Books at Berlinale", producers can once again discover twelve new, unusual literary works that could be turned into films...
"EFM Horizon" Extended to Five Days / Events on Blockchain, Diversity, Virtual Reality, Artificial Intelligence - the Future in Focus at the European Film Market
The future of film business and pioneering developments in the media and entertainment worlds are the focus of "EFM Horizon", successfully launched at last year's European Film Market (EFM)...
"CoPro Series" Pitches 2018 – Eight New Drama Series Projects Look for International Partners
On February 21, for the fourth time, the Berlinale Co-Production Market will invite producers, commissioning editors, distributors, and other drama series financiers to the Zoo Palast for the exclusive pitch event "CoPro Series", mounted as part of the "Drama Series Days" 2018 (February 19 – 21).
International Partner Matching for 36 Film Projects at the Berlinale Co-Production Market
For the 15th time, the Berlinale Co-Production Market (February 17 – 21, 2018) will give ca. 550 producers and financers an opportunity to form new partnerships. The current selection comprises 36 new feature film projects that are looking for co-producers. In addition, five high-profile production companies will be introduced in the exclusive "Company Matching" programme...
The European Film Market celebrates 30 year anniversary:
Platform for innovation and change / 2018 market already fully booked
30 years ago, the European Film Market (EFM) celebrated its premiere as an international trade market for films at the 38th Berlin International Film Festival. Today, the EFM is one of the most important film markets worldwide...
Improvements at the 2018 European Film Market:
EFM expands the programme in 2018
"DocSalon" is the new meeting point for the documentary film trade
The European Film Market (EFM), hosting more than 9,000 participants annually and serving as the focal point of the film trade during the Berlinale, is improving its attractions for producers...
All serial formats at the Berlinale to be presented at Zoo Palast in 2018
The Berlinale Special Series programme, highly successful since its introduction three years ago, will run under the new name Berlinale Series and move to the new venue Zoo Palast for the 2018 festival...
Berlinale Co-Production Market: Submit Feature Film and Series Projects Now and Find International Partners
Until October 11, experienced producers from around the world may submit new feature-length film projects in need of co-producers to the 15th Berlinale Co-Production Market (February 18 – 21, 2018). The project budget should be between one and 20 million euros, and at least 30% of the financing or local production support should already be in place...
Focus on Canada at EFM 2018
In 2018, Canada will be the next "Country in Focus" at the European Film Market (EFM) of the Berlin International Film Festival. The EFM's "Country in Focus" programme, launched in 2017, was created to give the film industry and filmmakers of a country the opportunity to introduce themselves in greater depth and highlight certain aspects.
Berlinale 2017 Comes to a Splendid Close
The 67th Berlin International Film Festival culminated with the presentation of the awards on Saturday, February 18...
"EFM Horizon presented by Audi": Virtual Reality, Computer Games, Startups, New Technologies and Innovations at the European Film Market
The film industry of the future, with the newest technological developments, trends that provide a glimpse of things to come and evolving business models, is the focus of a total of five innovative events united under the newly created label "EFM Horizon" and made possible with the support of Audi. The platform, which encompasses the formats "Propellor | Speednic", "EFM Startups", "VR NOW Con Business Mixer", "Game <3 Cinema" and "The Next Level of Cinema", simultaneously aims to offer EFM trade visitors opportunities for networking with members of adjacent sectors of the audio-visual industry, such as tech, virtual reality and games.
"Books at Berlinale": Twelve New International Novels Ripe for Screen Adaptation
On February 14, film producers attending "Books at Berlinale" will have the chance to discover twelve new literary works that lend themselves perfectly for adaptation to the screen. The selected novels will be presented at a pitching session in the framework of the Berlinale Co-Production Market. At a get-together following the session, the invited producers will be able to join in conversation with respected, internationally active literary agents and representatives of publishing houses who hold the film rights to the works in question. There they can establish and cultivate contacts in the international book world or perhaps even begin to negotiate right away to option the film rights to one or more of the selected books.
"EFM Industry Debates" 2017: Promises and Reality of Digital Distribution, Challenges and Opportunities in the Arab Film Industry and Innovations in Film Sales and Marketing
In the tenth year of their existence, the "EFM Industry Debates" (February 10 to 12) will once again bring together high-calibre international experts to discuss current topics of interest, trends and perspectives for the rapidly changing film industry. The first panel discussion addresses the question to what extent digital distribution can be advantageous, in particular for independent film producers. The second debate focuses on the film industry in the Arab world and its challenges and potential. Finally, the significance and necessity of innovations in the field of film sales and marketing will be treated within the scope of the third debate.
"Drama Series Days" 2017: New Venue, Expanded Programme / Series Events for Berlinale Market Attendees at Legendary Zoo Palast
The "Drama Series Days", a joint initiative for series content co-organised by the industry platforms European Film Market, Berlinale Co-Production Market and Berlinale Talents, are set to celebrate their third annual edition this year. Building on the great success of the previous years, a third day has been added to the programme for 2017, which runs from February 13 to the 15.
Berlinale Co-Production Market: 36 Attractive Feature Film Projects Searching for International Partners
At the 14th edition of the Berlinale Co-Production Market (February 12 to 15, 2017) a selection of 36 promising feature-film projects from 29 countries will come together with a wide range of potential co-production and funding partners from around the world. In addition, the market will be presenting several respected production companies in the scope of their exclusive "Company Matching Programme".
In the Starting Blocks – The 2017 European Film Market is Already Fully Booked, Despite Considerable Expansion.
The European Film Market (EFM) at the Berlin International Film Festival is considered one of the most important trade platforms for film rights and audiovisual content.
As the first industry gathering of the year, the EFM will open its doors on February 9, 2017, setting the trends for the upcoming year in film. The entire exhibition spaces, in the Martin-Gropius-Bau and the Marriott Hotel, are already fully reserved. More than 9,000 exhibitors, license traders, producers, buyers and investors are expected over the nine market days from February 9 to 17, 2017.
"EFM Horizon presented by Audi":
New Platform for Innovation at EFM
Under the new umbrella "EFM Horizon presented by Audi", the European Film Market (EFM) will be offering a variety of initiatives in 2017 focusing on the film industry of the future, made possible with the support of Audi.
"EFM Horizon" provides opportunities for discovering the newest relevant technological developments and forward-looking trends and for taking advantage of networks in sectors bordering on those of the audio-visual industry.
The "Berlinale Africa Hub" – a new EFM platform for innovation and technology in the African film industry
Thanks to the support of the German Federal Foreign Office, for the first time the 2017 Berlinale will provide a platform for innovative projects and ideas from the African film industry. The "Berlinale Africa Hub" is an initiative of the European Film Market (EFM) in cooperation with the World Cinema Fund (and the special programme it created in 2016, WCF Africa, which promotes films from Sub-Saharan Africa with the support of the German Federal Foreign Office), with Berlinale Talents (and its sister programme Talents Durban, which supports talented African filmmakers throughout the year), and with the Berlinale Co-Production Market.
Berlinale Co-Production Market: New Opportunities for International Feature-Length Fiction Film Projects
Until October 12, experienced producers from around the world may submit feature-length fiction film projects to the Berlinale Co-Production Market 2017. With budgets between one and 20 million euros, the projects should be suitable for international co-production, and have 30% of their financing or at least local production support already in place.
Focus on Mexico at EFM 2017
In 2017, Mexico will be the very first "Country in Focus" at the European Film Market (EFM) of the Berlin International Film Festival.
The EFM's new "Country in Focus" programme is conceived to give the film industry and filmmakers of a country the opportunity to introduce themselves in greater depth and highlight certain aspects.
Wrap-up of another Dazzling Berlin International Film Festival Full of Exciting Events
The Berlinale and the European Film Market can look back at a successful edition of the festival.
My Account – Your Personalised Service
We are constantly working to create new and more efficient ways to connect at the Market. This is why we've designed the "My Account" business tools and essential services around you, to help make the most of your time at the EFM.
By using "Keep me logged in" you agree to the use of cookies. For detailed information, please read our Data Protection information carefully.
Forgot PW / Create Account
Prepare EFM
Exhibition Space Rental
EFM Registration
EFM Advertising
CoPro Participation
EFM Information Tools
About EFM
© Internationale Filmfestspiele Berlin

redpajama_set_name: RedPajamaCommonCrawl


text:
By Cecilff2,
April 14, 2011 in Community
Hum4n After All
At least the fucking sync buttons are on the outside of the console and gamepad.
Wreck It Ralph?!
BOWSER!!! Robotnik! M. Bison!! Wanna see so bad! Hopefully more characters will be in the movie. Heroes.
ocre 199 posts
Brandon Strader 287 posts
Mirby 247 posts
Crowbar Man 295 posts
Thalzon
Pikachu Libre is kind of a lame addition when we have several pokemon that personify wrestling that aren't getting used (Hawlucha and Hariyama come to mind), but I'd welcome another fun fighter for th
The Derrit
those factors seem to be user-base (most GTA enthusiasts will already have an PS3 or XBox)
the only smart thing you've said
it's not 'right to an opinion' that makes your "opinion" dumb it's the way you state it as fact and then vehemently defend it afterwards by using the word 'opinion' a bunch of times like i'm violating your first amendment rights.
also note: the idea of a 'kiddy name' for something is stupid as shit, wii u is fine, it's a name, a proper noun, it has no meaning.
also note: there were rarely if ever significant load times on the wii in any game of decent value
also note: nintendo has stated multiple times recently they are moving towards download-based structure. the hard drive will be big enough
also note: child gamers don't watch e3 and in most cases neither do their parents. nintendo presenting to children at e3 is like presenting a documentary on corruption in the middle of a grade school arts and crafts festival; its the wrong audience.
also note: hard drive size has nothing to do with whether or not games will be made in hd.
also note: children are most decidedly *not* the only people playing nintendo consoles and that's super dumb of you to say
also note: the last zelda game to not have critical acclaim was... oh wait that's right there wasn't one
i would tell you to lurk more but you joined in 2002 so... yeah good luck with that
This is some that always impressed me. Nintendo managed to make a massive game world like Metroid Prime Trilogy, Twilight princess, Mario Galaxy etc and they never had load times; even if they did it never lasted more than 5 seconds. the load times on other consoles sometimes...yeesh! And don't even get me started on the Vita's load times! (I thought it ran on cartridges!?)
@Brushfire
Really?? You found those pics of Pikmin 3 to be ugly? I guess I just don't have as highly trained an eye as you do...to me they look fine, good even. I didn't notice any significant aliasing issues, the textures are pretty good, and its lush environment and saturated colors really make the world appealing.
dfcentre
What I've been doing is asking questions and posing views. Quit whining and just 'call me out' if I make a mistake.
a) Erm, companies/parents spend time coming up with decent names because its important, you are hoping people will say the name and not feel like a tool when they do. Wii was already a stretch and now WiiU? Sound like something weird that is done with a partner in the shower, but there's no point debating the name. Wii took off so prolly WiiU will fly too. Most poeple in conversation will probably just say "the Wii", or "the Nintendo" which is what I say. But its not going to help give a serious image to the console just like Wii never had a serious image.
Good for the Wii but do you know how much time it takes to load from discs all the texture maps for real HD content? Believe it or not IT'S HIGHER.
c) and e) So you say. If the DL based structure parallels the Wiis then there will be concerns with hard-drive space. If you've ever played a decent game on the PS3 will good texture work you'll know that having ample hard-drive space is important, its pointless to debate against this. But until we don't know the specs, lets hope Nintendo concede and put a decent sized hard-drive in this time.
d) Kids who are really into videogames get magazines and check out websites to see what's new and see reviews etc. Hell I did, kids aren't stupid, some of them are most likely more in-touch than we are, lol. Magazines and news sites hype E3 like crazy. Don't know where this point came from to be honest.
f) Y'know what I find pretty dumb to say... "Maybe you should go have a break for 15 minutes then come back and play" or whatever I've heard that Nintendo say in the recent games. I would find it pretty lame if I bought a game that would constantly prompt me to stop playing, lol. Sorry, but that does make me question the demographic or at least the intelligence of the target audience for that game.
g) I didn't say anything bad about past Zelda games, albeit I didn't buy Skyward Swords but that's just a personal preference thing based on what I heard and read about it. Don't know where this came from. My concerns were for the future Zelda games. If they're gonna be a casual affair chances are I will have the exact same casual apathy right back at it.
You are right in that it would be ideal to keep more in touch with what's going on more on these forums and in the videogame industry. I used to be a 3D artist for a company that had investor issues, so I have some insight into the industry and how difficult it can be to break into. Having said that Nintendo are veterans at this. They are capable of great things, but ever since Wii Music unveiling I've been apathetic toward them generally and I follow the industry through the PS3 mostly. I still want to be WOWED by Nintendo which is why I reanimate myself for E3, lol. For ol' times sake. Perhaps if I keep an eye on them maybe they will grab my attention and get a WOW, but till then if the PS3 can deliver, that's it. Resident Evil 6 looks fantastic I almost had tears. Rayman looks great but yeah I just need true WOW from Nintendo to commit to their next console. Maybe Retro will have that but to be really confident I would like to see it in the BigN themselves. So yeah its most likely not a midnight launch rush for me. Mark my words though, I'll be back here the minute Nintendo make me 'eat my words'. Here's hoping...
Edited June 9, 2012 by dfcentre
Platinum Games's WiiU offering gets ignored. So sad...
http://www.gamrreview.com/preview/89060/project-p-100-is-the-superhero-pikmin-game-we-deserve/
Looks like a lot of fun.
i'm going to bullet point my stuff like you so i can sound smart too
a) nobody cares about your opinion of the name it's a name and nobody will care about the name 'wii u' within negative 3 months ago
well then it's a good thing the wii u is going to be more powerful than the wii... nice point you know what they say about assumption
c) and e) they're doing full game downloads with the 3ds and unless you bought like 12 games from wiiware there was plenty of space sooo actually you're wrong. it's completely reasonable that you have to pay more for significantly higher space. instead of building in that huge hard drive and making people pay for it upfront, having them pay for it when you *actually* need it is completely reasonable and makes complete sense.
f) that's cool i'm glad you think so. press a and stop bitching, nice moot point to base an opinion on
We want Zelda to be a big, epic, fantastical, inspired adventure. Could the gamers who have valued the blockbuster Zelda games of the past be in for a massive disappointment? Maybe Nintendo really can't deliver blockbusters of a standard we expect today. Maybe Nintendo knows now that only young kids are playing their console
g) yes we're TOTALLY in for a disappointment because Shigeru Miyamoto doesn't speak proper English. and past zelda games are a clear indication of diminishing standards..?
i'm not attacking you because i i'm mad you have doubts about the wii u or even that i dislike your opinion it's that you're so stupid as to say things like "oh there's a screen telling me to take a break nintendo is dead" and a half-sentence snippet from a man who doesn't speak english telling you that "the legend of zelda is going to be nothing more than an iphone app"
Edited June 10, 2012 by The Derrit
GTAHater836
There aren't enough games I'm personally interested in under Sony's and Microsoft's jurisdiction to justify me buying any of the Playstation or XBOX series of consoles. Oniisan doesn't see me as interested in Sony and Microsoft, and I trust his judgment. However, for me that means with the 8th generation of games, it's WII U or nothing, but I'm leaning towards nothing. I trust there'll be a lot more to come than Pikmin 3 and New Super Mario Bros U in the years to come, but for whatever reason Nintendo just didn't talk about very far beyond launch day. But why should I buy any console at launch? When was the last time a console was worth buying at launch since the Super Nintendo? And with rising prices, will there ever be a console worth buying at launch again?
It seems Nintendo tried to do the exact opposite of what they did with the 3DS, as in, present a ton of launch software that will be available at or soon after launch, rather than what software will come down the line. If you recall, some of the biggest games they announced for the 3DS were games like Mario Kart, Paper Mario and Kid Icarus, all games that came out long after release (or not yet even). And we all remember the drought of games after the 3DS launch.
They have said they're trying to learn from their mistakes, so rather than tantalize us with the promise of a new Zelda, Metroid or F-Zero that will come in a few years like they did with the 3DS, they're trying to assure us of a strong launch line-up consisting of games like AC3, Batman, Aliens, NSMBU, Pikmin 3, ZombiU, NintendoLand, Rayman Legends, Lego City, Mass Effect 3, Darksiders 2, Scribblenauts and Tekken.
Actually, when you group them all together like that, that's a pretty good launch line-up. Sure half of them are ports, but they'll be enhanced ports, and system launches often have ports of older games. Besides, it's better to get a good assortment of "hardcore" games ready for launch, even if they're older, rather than wait several months for any decent "hardcore" game because devs are still trying to figure out the new controller.
Derrit, the Wii might have a been a success financially but any hardcore gamer will admit the games in general on the console over the past years have been... "less than" what Nintendo can do. That's fine but at least then give us something now for a product launch lol. Without sounding like a prick my friends know that I have a pretty good eye for a good game and the series of indicators I'm being shown by Nintendo are slightly concerning, I'm NOT SAYING DOOM AND GLOOM. I'm just saying they are losing touch with hardcore gamers. Judging buy the indicators we've seen now, can you blame me for reaching this conclusion. Nintendo are slipping into shallow-ware territory. Great for the kids and printing money. Boring for others. Project100 is looking innovative but that's it from them. Beyond some sexy depth-of-field effects Nintendo haven't delivered in the way of wow factor.
a) Yeah fine. Its just a name. Whatever. Leveraging the success of the Wii might pay off.
b,c,e) I'm not making assumptions here its the standard thing you just gotta have a decent hard-drive if you want to store lot of useful stuff, like textures in the HD age. No point debating. Why make everyone pay extra for an add-on they will need when a big game comes out. Just put a decent hard-drive in and voila. Confidence from the developers that the WiiU can deliver the same fidelity and detail as other consoles would be a good thing to have from the get go. Actually confidence that it can do BETTER than the others would be preferable if Nintendo really want to reel in some big titles.
d) You're welcome.
f) I did, thanks. Its an indicator.
g) Just another indicator to me, I'm glad you enjoy Nintendo's direction. I'm not saying they'll go bust, just can't wait for this casual, iterative, Mii-infused, focus to blow over.
Overflow, yeah Big-N doesn't really have much to show themselves at this stage. All I can say is they've had years to prepare for this, perhaps they are waiting for a time closer to the launch to really WOW us. If they release in late November which is the general holiday thing, then we can expect more info around September, I hope between now and then they can produce a stronger pitch to me as an actual gamer.
Derrit, the Wii might have a been a success financially but any hardcore gamer will admit the games in general on the console over the past years have been... "less than" what Nintendo can do.
I don't admit this, and I consider myself a pretty 'hardcore' gamer, as much as I hate that term (After all, I own over 25 systems and upwards of 400 games). I personally found their offering of First party games on Wii to be top notch. DKCR, Mario Galaxy 1 and 2, Metroid Prime 3, Zelda Skyward Sword, Punch-out, etc.
Is dfcentre the Jack Keiser of this thread? It's starting to look like it.
I did buy a new popcorn popper, so maybe this would be a good time to break it in.
On-topic: why no news about letting us use our 3DSs on the Wii U? They hyped the connectivity of GBA and GameCube, and later, the DS and Wii. Yes, not many games used it, but it was still something they showcased in years past.
I would think with the 3DS' better memory and processing power over the DS, we could use it for all kinds of stuff. You could even download apps onto it that take care of most of the content for a Wii U-3DS game, so you don't have to constantly download data to the 3DS all the time. Need maps and character data for a game? Just get a app/game that holds all that and keep it on your 3DS.
jnWake
Having 4 screens would be kind of awkward, so I guess they won't develop too much of a connection between the WiiU and the 3DS.
However, Smash Bros is coming to both WiiU and 3DS, so you never know.
That's right, Iwata promised us that the 3DS version of Smash Bros with work with the Wii U one, but that's a long way off. But within that promise, there is a glimmer of other connectivity probabilities!
I've seen an idea thrown around online where Nintendo enables you to download an app on the 3DS that contains 'data save' markers from Wii U games you own, and when you take the 3DS with you into the wild, you get StreetPasses for those games too. When you get back home, you sync it up with your Wii U, and you get StreetPass data on the Wii U. I think it'd be awesome if this were to pan out.
Calpis
As cool as the idea would be, I can't stand StreetPass stuff. I only hate it because I take my 3DS with me to work every day. I take the train in to work every day. I work downtown in an almost-metro city. My StreetPass data is laughable. I get maybe one each month. It's taking forever to finish those damn 3DS Puzzle Swap puzzles, especially due to the fact that I walk nearly 3000 steps a day, but get capped out at 10 coins a day. </unrelatedRant>
I can't agree more with Overflow on this one. There were lots of really great games on the Wii that I still enjoy playing, and have a couple on my backlog as well.
Dexie
I don't think it's been mentioned in the thread yet, but I think you guys are forgetting one important question we should be asking about the system.
Can the Wii U do holograms?
No, of course not.
The Wii U has no sex organs. It is an inanimate object. Even if it was somehow alive and had sexual desires, it lacks the necessary "hardware" to do anything about it.
Now, it could, one supposes, derive some sort of sexual pleasure and gratification from it's designed functions, but that would seem to be more psychological than physiological. That also leads to all kinds of issues about a thinking device that has sexual urges and can not fully fulfill them. This is also a whole other mess of issues about sentience and the rights and ethics about using machines that feel, and not something that really aligns to this matter.
There's also the problem with trying to engage in any kind of sexual activity with a photonic image. If it's the typical holographic technology we have now, it would be a projection onto a special plate of glass or a tube. The Wii U could make physical contact with the glass, but the image itself would be untouchable.
Even if you used a true hologram, one that is projected into empty space and is a fully rendered 3D image, the Wii U would still be unable to make physical contact with the image, and thus unable to achieve any kind of sexual contact.
So no, the Wii U can not "do" a hologram.
Derrit, the Wii might have a been a success financially but any hardcore gamer will admit the games in general on the console over the past years have been... "less than" what Nintendo can do... I'm NOT SAYING DOOM AND GLOOM. I'm just saying they are losing touch with hardcore gamers.
if you had just said this from the beginning i wouldn't have pegged you as stupid or a dick that's all you had to say. adding all the flowery language and stupid shit like "a break every 15 minutes? how childish nintendo must suck now" is what made you sound like an idiot
your above statement is true. i have no problem with it.
I suppose I like to back up what I say with some things I've noticed. Actually because they've appears in multiple games I see them as benchmarks more than details. Not being as careful with my words as I should. Having always been a more detail-driven guy than most, some people hate that but I guess can't please everyone.
Mario dons a new costume and has a few new ways to float and that is flagship title material? I do hope they are holding back on something big for launch because really every Nintendo home-console has launched with more than that (for its time). Pikmin 3 might be great but attention-grabbing factor I do question, perhaps unfairly I don't know. Back when Luigi's Mansion was being revealed for GC people marveled at the new, satisfying gameplay, the physics, the attention to detail and even to some extent the unique story and Luigi's comical animation, it was a worthy launch title, in the same way that the Wii was just so attention-grabbing! This motion control device could (arguably) enhance EVERY ASPECT of gaming (in hindsight a naive thought but imagination is a powerful thing). The SNES and N64 need no explanation of launch awesomeness. Then there's WiiU, not really sure what to make of it even after a good few years of being in development. That's really it for me. I'll be back to 'eat my words' if I'm wrong come Autumn (my Spring). Here's hoping.
Most of the people I talked to (at the time) when the Gamecube came out didn't like Luigi's Mansion at all, regardless of how much I liked the game, I had only that and Rogue Leader for a while on GC. And the N64 survived it's first 3-4 months on Mario 64, Pilotwings, and Killer Instinct Gold. Sure, they're good games, but 4 months nowadays and people would be predicting failure for the system. My main problem is that I've only really seen 2 games that interest me for the Wii U, and I'm worried that they're focusing too much on casual again. It's hard to gauge the system when all they showed were launch-window games.
Wii U to have 'improved' friend code system that will make us happy, achievements system up to developers to implement Interesting.
Also, according to Nintendo Gamer magazine, Call of Duty Black Ops 2 will be released on Wii U.
Brandon Strader
Friend codes at all makes me sad. Give us usernames.
Achievement system forced on developers instead of being part of the console = also sad panda
Good thing achievements really aren't so important. Especially for shovelware.
Public service announcement! Great new Wii titles to add to your library in preparation for Wii U (which is fully backward compatible with all Wii software and peripherals)
New titles have been added to the Nintendo Selects category of games and now feature reduced prices:
- Pikmin 2 New Play Control (actually a new release of the classic GameCube Pikmin 2 game with added Wii pointer control) - $19.99
This one is one of my favorite games of all time. I highly recommend! It's just oozing with charm.
- Kirby's Epic Yarn - $19.99
- Super Smash Bros Brawl - $29.99
- Donkey Kong Country Returns - $29.99
More $19.99 Nintendo Selects titles.
Run. Do not walk.
Edited June 12, 2012 by ocre
But I own all those already....
And majority of people will be getting it on 360. Doesn't matter.
ocre, you forgot Sin and Punishment 2, which is by far one of the best games on the entire system.
And one of like, the only games in the entire Wii library where the motion control is not just an afterthought or pain-in-the-ass.
Seriously, the game is some of the most fun you'll have on the Wii.


text:
Oregon man arrested for death of 'Mickey Mouse Club' founding member who disappeared in 2018
By Jami Ganz
Dennis Day is seen as a Mousketeer and late in his life. (Obtained by New York Daily News)
An Oregon man has been charged with killing an original Mouseketeer.
Daniel James Burda, 36, was arrested Friday in connection with the death of 76-year-old Dennis Day. Burda, a registered sex offender, is charged with manslaughter, criminally negligent homicide, abuse of a corpse, criminal mistreatment, aggravated identity theft, and fraudulent use of a credit card, according to online records from Jackson County Jail.
Day, a founding member of Disney's "The Mickey Mouse Club" at age 10, was reported missing in July 2018 by his husband, Henry "Ernie" Caswell, who suffers from short-term memory loss.
Day's body, identified last month, was found by police in April at the couple's home in Phoenix, Ore.
Burda had lived with the couple, according to neighbors, though OregonLive reports he used to be their handyman and only stayed at the house occasionally.
He has previously been convicted of sodomy, robbery and assault, the outlet reports.
As a Mouseketeer, Day would tap dance and play the banjo for the young audience of the beloved "Mickey Mouse Club."
Day and Caswell, a former priest, relocated to southern Oregon in the 1980s and married in 2013.


text:
Metroid Dread Is Coming to Switch This Year
Help Samus defeat new enemies on an alien planet.
In a video presentation Tuesday, Nintendo revealed Metroid Dread, a new 2D installment in the extremely popular Metroid franchise.
Metroid Dread is the direct sequel to Metroid Fusion, which was released on Game Boy Advance way back in 2002. In a press release, Nintendo said Metroid Dread "concludes the five-part saga focusing on the strange, interconnected fates of bounty hunter Samus and the Metroids, which kicked off with the original Metroid game for NES."
In Metroid Dread, Samus will travel to the planet ZDR, which is filled with aliens, as well as robotic enemies called E.M.M.I. Players will need to help Samus explore ZDR and collect upgrades to make her stronger. As players unlock new abilities for Samus, they'll be able to return to areas they've already visited to explore different paths that previously weren't accessible.
Metroid Dread will be released on Nintendo Switch on October 8 for $59.99. You can now pre-order the digital version of the game on the Nintendo eShop. The game is rated T for Teen by the ESRB.
The Metroid Dread: Special Edition will also launch on October 8. It will include the game, a steelbook, a 190-page artbook, and five cards that feature the box art from the five games in this Metroid story.
Finally, a two-pack of Metroid Dread-themed amiibo figures will be released on October 8. The two-pack will include a new Samus amiibo that's wearing Samus' outfit from Metroid Dread and one of the E.M.M.I. robots.
Source: Nintendo
Is your family excited to play Metroid Dread? Let us know on Twitter at @superparenthq.
Brandy Berthelson has been writing about video games and technology since 2006, with her work appearing on sites including AOL Games, Digital Spy, and Adweek's Social Pro Daily. When she's not gaming, Brandy enjoys crafting, baking, and traveling with her husband.
metroid dread amiibo
Pokemon Go Adds Scatterbug, Spewpa, and Vivillon
Harvest Moon: The Winds of Anthos Is Coming in 2023
Mario Strikers: Battle League Adds Bowser Jr., Birdo, and More
Pokemon Go Winter Holiday Part 1: Mega Glalie, Shiny Bergmite, and More


text:
We harbour a collective of veteran information & cyber security professionals, who strive to do security better.
WE ARE THE FUTURE OF SECURITY.
Our mission: Provide cutting edge cyber security services and solutions, while harbouring a community of information security experts who want to do security better.
We address information and cyber security risk differently and believe the status quo of technology heavy and outsourced solutions have not provided the promised protections and have contributed to security breaches, lost revenue and reputational damage in many cases. Mirai takes a different approach to managing cyber risk by understanding our client's business and challenges and developing bespoke solutions which strike the proper balance between technology, people and process. The end results are pragmatic solutions and measurable risk reductions.
The DNA of the company was forged out of Vancouver's information security community by members who wanted to do security better. The founders of Mirai realized the potential of the community they were a part of and how developing of a security centric collective with a great culture would naturally attract likeminded security professional to work as one. Mirai continues to support the information security community through sponsorship, mentorship and recruitment.
ALEX DOW
Over the past decade and a half, Alex has helped organizations assess, implement and optimize security solutions to prevent, detect and manage cybersecurity threats. He brings over a decade of experience from three mission critical Security Operation Centres (SOC), including the Vancouver 2010 Olympics SOC. Alex leverages his frontline experience and business-driven risk management approach to provide pragmatic solutions to clients with measurable risk reductions.
Alex is a strong believer in standardization, measurement and automation. His methodology focuses on assessing client's security capabilities against industry leading control frameworks, identifying risks and implementing technologies and processes to improve situational awareness, operational efficiencies and incident response capabilities.
Alex has also focused on building and fostering the local information security community through the Mainland Advanced Research Society (MARS), a not-for-profit organization focused on building the community, research and mentorship through knowledge forums and networking events throughout the year. He is the president of MARS and executive producer of the society's premier two-day security conference BSides Vancouver; a high-caliber gathering for information security professionals, hackers, coders and the greater tech community.
IVO GEORGIEV
Ivo Georgiev is an information security veteran with over 25 years of experience in both management and technical roles. As a trusted client advisor, Ivo is an expert in aligning security programs to enterprise strategy and business objectives and designing security architecture for business operations. Through his extensive experience in highly regulated industries, Ivo expertly helps clients comply with various security and privacy standards and regulations, such as PCI DSS, NERC CIP, HIPAA, the Sarbanes-Oxley Act, FOIPPA, PIPA, PIPEDA, and EU GDPR.
Working as a security architect, compliance auditor and management consultant in the energy, telecom, financial, health, retail, transportation, government and e-commerce sectors, Ivo has acquired in-depth knowledge of complex business and technical corporate processes. He has brought his expertise to high-visibility projects with organizations such as Accenture, BC Hydro, numerous health authorities, and the City of Vancouver. Additionally, Ivo has worked on secure integration and operation of smart meters, data networks and Advanced Metering Infrastructure (AMI) management systems.
Ivo holds the internationally recognized CISSP security designation awarded by (ISC)2, as well as CISA (Information Systems Auditing), CISM (Security Management) and CRISC (Risk and Information Systems Control) designations awarded by the Information Systems Audit and Control Association (ISACA). He is also a graduate of the University of Ljubljana, Slovenia with a Bachelor of Science degree in Computer Science.
SANDY BUCHANAN
Sandy is a Certified Information Systems Auditor (CISA) providing critical insight into the security governance and risk management practices of organizations by aligning their core business processes to security management frameworks such as ISO 27001/2. His expertise also includes securing critical safety systems and providing privacy assurance for electronic identity verification systems.
ROGER TREVISAN
Roger is a CISSP certified security professional with 12+ years of experience in application and infrastructure security, secure development life-cycle, penetration testing, security governance and risk management. During his career, Roger has helped high-profile companies in the financial, healthcare and telecommunications industries to identify and reduce critical security risks associated with their IT operations.
info (at) miraisecurity.com
follow us on twitter @Mirai_Sec


text:
Ash vs. Evil Dead star Ray Santiago built a career by defying racist stereotypes
When Ray Santiago was a teenager, an acting coach gave him one of those out-of-the-blue, kinda-sorta compliments that doesn't so much warm the heart as freeze the brain.
"He said, 'You could play Ben Stiller's half-Latino son, if there was a movie for that,'" Santiago recalls, laughing. "And, I was like, 'Wait, what?!'"
What was likely a stray observation — Santiago, like Stiller, does have some prominent eyebrows — soon became the most unlikely and laser-specific prophecy of all time. A year or so later, Santiago found himself in Los Angeles, cast as Ben Stiller's illegitimate, half-Latino son in Meet the Fockers.
Click Here To Read More - Source: www.syfy.com


Chan, Chi Hong Simon, Hong Kong Polytechnic University (Hong Kong), 2008, Ph.D.
Osterwise, Christopher Thomas Paul, Missouri University of Science and Technology, 2013, Ph.D.
Chen, Hanling, University of Kentucky, 2015, Ph.D.
Roever, Carsten, University of Hawai'i at Manoa, 2001, Ph.D.
Chang, Chia-Ming, University of Illinois at Urbana-Champaign, 2011, Ph.D.
Aucoin, Jennifer Mangrum, Sam Houston State University, 2013, Ph.D.
Taguchi, Naoko, Northern Arizona University, 2003, Ph.D.
Helgeson, Matthew E., University of Delaware, 2009, Ph.D.
Contee-Borders, Angela Karmalita, Regent University, 2002, Ph.D.
Coryn, Chris L. S., Western Michigan University, 2007, Ph.D.
Powers, Russell William Walter, The Pennsylvania State University, 2015, Ph.D.
Li, Bin, Southern Methodist University, 2014, Ph.D.
Wright, Michael Paul, University of Pennsylvania, 2009, Ed.D.
Pearson, Stephanie Kelley, University of California, Berkeley, 2015, Ph.D.
Kantaria, Rakesh, Maharaja Sayajirao University of Baroda (India), 2012, Ph.D.
Nam, Siho, The Pennsylvania State University, 2005, Ph.D.
Baligh, Randa Omar Kazem, Yale University, 1997, Ph.D.
Ren, Chao, The Chinese University of Hong Kong (Hong Kong), 2010, Ph.D.
Loeper, C. Paul, The University of Wisconsin - Madison, 2013, Ph.D.
Morrison, Will Zachary, Boston University, 2015, Ph.D.
Berger, Zachary P., Syracuse University, 2014, Ph.D.
Janzen, Mark D., The University of Memphis, 2013, Ph.D.
Mockel, Lindsey Joan, Portland State University, 2013, M.S.T.
'Making Public Life Work': Can Public Journalism Be Used as a Tool to Further Development in South Africa?
Vongdouangchanh, Amphavanh Bea, Carleton University (Canada), 2011, M.J.
Angione, Frank, University of Windsor (Canada), 2015, M.A.Sc.
Radic, Nebojsa, University of Windsor (Canada), 2008, M.A.Sc.
Bye, Mary-Ann, University of London, University College London (United Kingdom), 2005, M.Sc.
Douville, Hugo, Universite de Sherbrooke (Canada), 2004, M.Sc.
Lyn, Andre Tyrone, Carleton University (Canada), 1997, M.M.S.
Washburn, Robert, York University (Canada), 2009, M.A.
La Kose, Laura, West Virginia University, 2004, M.A.
Universal design in education: The missing link?
Reimer, Ken, University of Manitoba (Canada), 2010, M.Ed.
Aves, Mohammed, King Fahd University of Petroleum and Minerals (Saudi Arabia), 2011, M.S.
Kuckartz, Rick, The University of Regina (Canada), 2003, M.S.W.
Das, Ritwik, State University of New York at Stony Brook, 2014, M.S.
Lennox, Marjorie Gertude, The University of Texas at Arlington, 1989, M.S.S.W.
Anwar, M. Arefin, Concordia University (Canada), 2007, M.A.Sc.
Soltani, Ahdeyh, California State University, Long Beach, 2015, M.S.W.
Al Hosani, Naeema Mohamed, University of Kansas, 2005, M.A.
Kallman, Davi Israel, The University of Texas at El Paso, 2012, M.A.
Wulf, Tanya B., Purdue University, 2010, M.S.M.E.
Lewis, Jennifer Joi, University of Montana, 2004, M.A.
Remke, Danasue Amber, Oklahoma State University, 2011, M.S.


VAULT Unlike most of the gymnastic events employing apparatuses, the vault is common to both men's and women's competition, with little difference between the two categories. A gymnast sprints down a runway before leaping onto a spring board and directs his or her body hands-first towards the vault. The gymnast then rotates his or her body so as to land in a standing position on the far side of the vault.
FLOOR EXERCISE The floor event occurs on a carpeted area. A series of tumbling passes is performed to demonstrate flexibility, strength, balance, and power. Gymnast also shows strength skills, including circles, scales, and press handstands.
UNEVEN BARS On the uneven bars the gymnast navigates two horizontal bars set at different pre-set heights yet alterable widths. Gymnasts perform swinging, circling, transitional, and release moves — as well as moves that pass through the handstand. The most common way to mount these bars is by jumping towards the lower bar first.
BALANCE BEAM The gymnast performs a choreographed routine consisting of leaps, acrobatic skills, turns and dance elements on a padded spring beam. The beam is only 10cm wide and requires spectacular balance, flexibility and strength.
POMMEL HORSE A typical pommel horse exercise involves both single leg and double leg work. Single leg skills are generally found in the form of scissors. Double leg work however, is the main staple of this event. The gymnast swings both legs in a circular motion and performs such skills on all parts of the apparatus. Routines end when the gymnast performs a dismount, either by swinging his body over the horse, or landing after a handstand.
RINGS The rings are arguably the most physically demanding event. The rings are suspended on wire cable and adjusted in height so the gymnast has room to hang freely and swing. He must perform a routine demonstrating balance, strength, power, and dynamic motion while preventing the rings themselves from swinging. Static strength moves are also performed during routines. .
PARALLEL BARS Men perform on two bars slightly further than a shoulder's width apart and usually 1.75m high while executing a series of swings, balances, and releases that require great strength and coordination.
HIGH BAR A steel bar raised 2.5 m above the landing area is all the gymnast has to hold onto as he performs giants (revolutions around the bar), release skills, twists, and changes of direction. By using the momentum from giants and then releasing at the proper point, enough height can be achieved for spectacular dismounts, such as a triple back somersaults.
We have classes for all levels - Beginner through Elite, Age 4 years to Adults.
ARTISTIC GYMNASTICS is an OLYMPIC SPORT where acrobatic feats and tricks are performed in short routines on various apparatus.
A popular spectator sport due to the incredible strength, flexibility, coordination and balance required to perform, Artistic Gymnastics has recently been voted the Number 1 Olympic Sport.
ARTISTIC GYMNASTICS increases both mental and physical strength and provides huge cross-over benefits in other sports. Many professional athletes are now including Artistic Gymnastics in their training programs.
MARBELLA GYMNASTICS CLUB provides Gymnastics Coaching for all. Following the British Gymnastics Education program, each class is structured to include Mobility, Warm-Up, Stretching, Apparatus Work and Cool Down. Class sizes are kept small to ensure each Gymnast reaches their maximum potential, whilst achieving personal goals. All Gymnasts have the opportunity to take park in Grades, Exams, Competitions and Displays.
Our Coaches have extensive qualifications from the UK, Spain and USA in Gymnastics, Trampolining, Calisthenics, Speed, Agility & Quickness and Strength & Conditioning. All coaches have Child Protection and are NSPCC Qualified, First Aiders and hold DBS Checks (formally CRB Checks) both in the UK and Spain.


text:
Home Sports Men Roger Federer Net Worth 2020
Roger Federer Net Worth 2020
Kane Dane
What Is Roger Federer's Net Worth?
Roger Federer Net Worth: Roger Federer is a world-class Tennis player from the Swiss origin, who stands at number 4 in the ATP singles rankings and hаѕ а tоtаl оf 19 Grаnd Ѕlаm titles tо hіѕ nаmе.
Today, Roger Federer's net worth is estimated to be close to $450 million dollars.
Roger Federer Net Worth /
Credit: TPN / Getty Images
Roger Federer Net Worth:
Net Worth: $450 Million
Full Name: Roger Federer
Date of Birth: 8 August 1981
Age, How Old: 37 Years Old
Nationality: Swiss, South African
Place of Birth: Basel, Switzerland
How Tall, Height: 6ft 1in (1.85 m)
Profession(s): Tennis player
As indicated by Forbes, Federer came back to world No. 1 positioning quickly in 2018, turning into the most established player to achieve the ATP top positioning.
Federer has won $116 million in prize cash in his profession, but the total is predominated by his off-court profit from appearances and endorsement deals.
Also, the year 2017 was the most beneficial year of Federer's playing vocation. He earned more than $13 million, by means of Tennis Connected, which is the seventh-most elevated prize cash for a solitary season in ATP history.
In 2017, he added pasta food company 'Barilla' to his agreement that could be worth as much as $40 million. Federer has since shown up in a few commercial ads.
Federer gains a revealed $70 million per year, likewise earning a detailed $71.5 million from 2016 to 2017. He earned $65 million that year of which originated from advertisement supports.
Also, the tennis star earned a weighty $77.2 million inside and out mid-year 2018. Not very decrepit by any means.
To date, Federer has earned more than $5 million amid the 2018 ATP season. Most of that absolute was the consequence of winning the Australian Open, which paid him generally $3 million.
Roger Federer's net worth will ultimately grow as of late he left Nike for Uniqlo, and its straightforward deal with Uniqlo is worth $300 million for more than 10 years, whether Federer will be playing or not.
Until this point, Federer has earned roughly $600 million in brand endorsement alone, Federer's net worth numbers are expected to top $1 billion inside the following decade.
Who Is Roger Federer?
Roger Federer was ranked number #1 in the world for most of his playing career, he is one of the most successful Tennis players in the world and also the richest.
Roger Federer Net Worth has steadily increased as much as his performance from the time he started playing professional tennis in 1998.
The Swiss international discovered his talent for tennis at a very early age when he used to play with his sister and parents.
By the age of 8 he had enrolled in the Basel Junior tennis program and 2 years after that he meets Australian professional Peter Carter who had a big influence on his career.
Federer was ranked number one in the world junior rankings.
In 1999, Federer made his first impact on the international scene managing to reach the semi-finals of a tournament in Vienna, this shot up his earnings to $225,000.
The following year, he made it even bigger, represented Switzerland in the Olympics, but he did not win any medal, he, however, boosted his earnings to $624,000.
A year after representing his country in the Olympics, Roger made his mark on the international scene winning his first ATP singles title.
With the title came more money, he was now being paid $865,000, he also won his first ATP doubles the same season and made his mark by ranking 13th in the world.
Winning such titles and having a recognizable position in the ATP rankings meant that he was now worth much more and he started earning in the millions.
In 2002 he would bag a salary of $1.995 Million and two years after that he would set a record becoming the number one player in the world in 2004. He trended the No. 1 position for 237 weeks straight up to 2008.
By 2007, his earnings were up to $10 million dollars when his career was at its best.
Within the span of nine years, Federer has won the Wimbledon title seven times, the US Open five times, the Australian Open four times and the French Open once.
According to estimates, Federer earned $71.5 million dollars in a single year with endorsements contributing to the bulk of it.
When it comes to endorsements, Federer is unmatched as an athlete. Endorsements are what make the most of his earnings.
With a very long dominance on the court, a number of companies have been lining up to get a piece of him to promote their products.
Federer had 10 sponsors with long contracts. Nike which was his biggest sponsorship with a 10-year contract which is the longest contract in history.
He earned a paid annual fee of $10 million dollars by Nike alone. As of March 1, 2018, Federer deal with Nike has come to an end. He had a personal brand in conjunction with Nike which gave him more money flowing into his account.
Federer is presently a Uniqlo brand diplomat, and it will just cost the organization $30 million every year for the following decade.
He had another long term deal signed in 2012 with 'Moet & Chandon' that will give him $6 million dollars every year until 2017. Some of the other companies that he endorses include; Rolex, Mercedes Benz, Wilson, Gillette, Jura, Lindt Chocolates.
Forbes explains the allure a top tennis player has for most companies. It points out that tennis appeals to a demographic of people who have a high disposable income and has a global reach.
So companies that would want to promote ostentatious products like watches, cars and the like will definitely pay to have a tennis star endorse their products and one with dominance like Federer is of particular appeal.
Roger Federer has contributed to his own net worth and that of fellow professionals by using his good negotiation skills.
In 2008, as the president of the ATP tour council, Federer engaged the board in negotiations for a higher appearance fee and prize money at the Grand Slam events.
These negotiations were very successful with announcements of increases and an expected $50 million dollar increase in prize money by 2017.
With a net worth of over $300 million dollars, it comes as no surprise that the tennis star lives in a glass mansion by the beach in Switzerland valued at £6.5 million.
When he was in the UK for Wimbledon, he made news by renting 2 houses to avoid disturbance, he rented one house for his wife and kids and another for himself and the team.
Both houses cost £30,000. But considering what he would be making, that is nothing to him. Roger also has a collection of Luxury cars one of which is part of an endorsement deal with Mercedes. He generally lives a life of luxury.
From 2003 until 2012, Federer was congratulated by the 'Fans' Favorite Award' from the ATPWorldTour.com. His associates and contenders have voted him for the 'Stefan Edberg Sportsmanship Award' for a record of 8 times, from 2004 until 2009, and 2011 until 2012.
Federer is the glad beneficiary of the 'Laureus World Sportsman' of the Year grant for a record of 4 times, from 2005 to 2008. In 2006, he was consulted with the 'Arthur Ashe Humanitarian of the Year Award.'
Personal Life.
Roger Federer was destined to Swiss dad "Robert Federer" and South African mother "Lynette Federer" at Basel, Switzerland. His mom came from a Dutch and French family ancestry.
He happily wedded with the tennis player, Mirka Vavrinec (now Mirka Federer), a previous individual from the Women's Tennis Association. The two had initially met amid the Sydney Olympics in 2000.
The couple was honored with indistinguishable twin babies, Myla Rose & Charlene Riva on July 23, 2009.
Roger Federer is famously alluded to as Fed Express or FedEx. Individuals even call him Swiss Maestro or just Maestro for his extraordinary abilities at the amusement.
The 22-year-old 'Roger Federer Foundation' which he began has raised more than $40 million and prompted the education for about 1 million youngsters in poverty.
The projects are centered around southern Africa and his local Switzerland.
Recently, Federer played doubles match with the billionaire Bill Gates to raised over $2.5 million to support Federer's philanthropic establishment, titled 'Match for Africa 5: Silicon Valley'
Read Other Interesting Net Worth Stories.
Criss Angel Net Worth 2020
Brandy Norwood Net Worth 2020
Eric Clapton Net Worth 2020
Quotes from Roger Federer.
"I'm a very positive thinker, and I think that is what helps me the most in difficult moments."
— Roger Federer
"When I think of the Olympics I only think of good things. I think of what a great event it is and what it has done for me and my career, and changed my personal life, too."
"My dad said if you become a tennis professional just make sure you get into the top hundred, because you have to make a little bit of money. You make a living so you can pay your coaching and, you know, your travels."
"For me, it's important that a fan can buy something that is related to me. Like in soccer, you buy a shirt and it's got somebody's name on the back. That's kind of a cool thing."
Federer's Tennis Magic
Net Worth of Roger Federer
Roger Federer Net Worth
Previous articleKim Kardashian Net Worth 2020
Next articleAlicia Keys Net Worth 2020


Greatest LeMons Candidate of All Time Bought By Speedycop!
The LeMons Forum readers discovered it first, then the story got picked up by my erstwhile colleagues at Jalopnik. 24 bids and $4,494 later, the eight-wheeled, twin-Wankeled sports car is LeMons-bound!
Even though a LeMons team that swaps an MR2 chassis under a Lancia Scorpion doesn't need a theme, I think the members of Team Police Brutality ought to go with their foaming-at-mouth lunacy and wear straitjackets to the Rod Blagojevich Never-Say-Die 500 24 Hours of LeMons.


Most people have nights where they cannot fall asleep no matter how much they want to or try to relax. But those are usually few and far between, unless you suffer from insomnia. Then you might need pharmaceutical help like Ambien.
Ambien (brand name of zolpidem) is a sleeping pill in a class of drugs called "sedative-hypnotics." It has the same medical effectiveness as drugs like Xanax without the same habit-forming properties. Even though Ambien was designed and marketed as a less addictive alternative, it is still an addictive substance.
People who are prescribed Ambien might find that they need to take more of the drug in order to get the desired drowsy effect. This signals a dependence on the drug and can lead to abuse of it as they try to get the same effects as the first time they tried it.
If you stop taking Ambien abruptly, or "cold turkey," you will likely experience withdrawal symptoms, especially after using the drug for a prolonged period of time.
The first step in our Ambien addiction treatment program is a medical detox with a licensed doctor to keep patients as safe and comfortable as possible. After the medical detox is complete, we move on to the next steps in the rehab process.
How do I know if I'm addicted to Ambien?
Ambien is a sleeping pill used to treat acute insomnia. It produces a substantial sedative effect and slows brain activity. Many people don't realize they have a problem until they stop taking the drug. They recognize it when they can't sleep without it after as little as two weeks.
You build a tolerance to the drug and need larger doses to fall asleep. Then your dependence on the drug is stronger, and it'll be harder to stop taking it without help.
Harris House's treatment approach is based on assessing the client as a whole, complete person in a non-judgmental way. Our treatment combines medication management, mental health therapy to stabilize depression and anxiety, along with 12 step support groups as a holistic approach to treatment. It's designed to work together to provide a stable foundation for the patient.
Admitting and being involved in substance abuse therapy is an already difficult process. We want to ensure all our clients are seen as holistic individuals worthy of time and care and help them receive the best treatment possible so they can enter recovery and leave their Ambien addiction behind them.


text:
Previous: Painting Tranquility in The New Criterion (1)
Next: When The Art Is Of You: Stephen DiRado
Among the Cultural Authoritarians
Post #1769 • February 8, 2016, 1:45 PM
I came, yellow pad in hand, to yesterday's Kimono Wednesday panel at the MFA Boston with the intention of writing about it. I decided this morning that this story is barely of local import, much less national. Greg Cook has already covered the proceedings and this post relies upon it for most of the quotes below. Exceptions I heard with my own ears. Important or no, the following is worth saying.
Timothy Nagaoka, one of the counter-protesters, asked panelist and protester Xtina Wang under what conditions trying on a kimono at the museum would be acceptable. She deflected the question with dishonest talk that she wasn't trying to tell the museum what to do. This is impossible to square with the list of demands of Decolonize Our Museums, of which Wang is a founder and organizer. As I wrote last September:
Wang said that anyone can wear a kimono with full participation in the culture from it comes from, not in the sort of consumable, disposable way that the MFA supposedly presented it in. But note what was insufficient in her mind to establish full participation: Japanese sponsorship of the event, manufacture of the kimono by Japanese artisans, a history of happy Japanese participants in museums across Japan in the equivalent of Kimono Wednesdays, a slew of Japanese and Japanese-Americans in Boston who wanted to see this event go forward unmolested, and an institutional history going back more than a century of world-class scholarship on the related subjects. If that's not enough, then nothing ever will be. That's by design. The supposed moral problem is a secular ghetto of the neighborhood of Original Sin.
Elena Tajima Creef put it this way: There's nothing inherently racist about putting on a kimono and playing, but it's part of a long racist history.
Later, new MFA director Matthew Teitelbaum talked about an exhibition he had organized at the AGO of the work of Kara Walker. It was informed by his reaching out to Rinaldo Walcott of York University, who had been critical of the AGO. His point, rather obviously, was that it was possible to come to a productive consensus around some of these difficult issues. Xtina Wang, her voice dripping with disdain, accused Teitelbaum of trotting out the example as a kind of personal justification and told him, among other things, don't come back and tell me all the good things you've done for me.
The goal of DOM and related efforts is not to end prejudice. It is to remain in a permanent state of antagonism around issues of identity. Wang essentially admitted this when she said that it was an American thing to want to come up with a final solution to these problems. She thought about that phrasing for a moment, and added that it had kind of an eerie tenor to it, but went on to say that she was more concerned about the ongoing struggle against ingrained racism. I'm paraphrasing here, because I was busy trying to pick my jaw up off the floor after that invocation. That there was no collective gasp at this choice of words reminds us that progressivism has grown rife with anti-Semitism, which I pondered as Wang and her many fans in the audience directed more and more hostility at Teitelbaum.
That the real goal of what we might as well call identity extremism is a perma-crisis around race and gender was proven further when Teitelbaum pushed back, gently, against the white supremacist label being applied to the museum. That earned him a lecture from noted novelist and MIT professor Junot Díaz, who was in the audience with a group of students. He elaborated on an assertion that Wang made in brief that while white supremacist has a folkloric connotation of white guys with white hoods, it in fact has become commonly accepted that it refers to systemic and cultural problems beyond any individual. You could get rid of every white person in the world and still have white supremacy, he said. For all the self-congratulation expressed around the panel's and audience's willingness to be uncomfortable with these issues, things didn't really get touchy until Teitelbaum had the temerity to express doubts about the basis of the discussion.
That's too bad, because DOM is a product of anti-rationalist progressivism, the kind of thing that rationalist liberals have taken to calling illiberalism and the regressive left. As they note, anti-rationalist progressivism is a parasite upon rationalist efforts to bring greater justice into the world. We ought to put an end to the violence and harm that falls upon people because of their identities. But that the emotional comfort of historically oppressed peoples in the museum is a good does not mean that it is the only good. There is, for one, freedom of conscience. There is the sanctity of private experience. There are qualities of shared humanity that do not reduce to identity. There is the appreciation of artistic worth. How we can have all these things is the conversation that was too uncomfortable for this panel to have, and we did not have it.
There's an idea floating around progressivism that if we can force all consideration of human activity through the channel of identity politics, we can thereby end prejudice. (N.B. DOM's demand of the MFA that the history of art, particularly, the story of its first acquisition, be properly —properly, mind you!— acknowledged and framed as a way to begin reframing the history of the art in the context of, for instance, justification of violence against othered bodies on the streets. ) I think of this notion as Better Living Through Extreme Race Consciousness. It seems self-evident that this cannot work, and that Teitelbaum has the right idea by reaching out to people on the other side of the issues to produce concrete projects informed by a synthesis of perspectives.
Instead DOM and their ilk are prone to proclamations that recall the purges of unwanted political sentiment from culture that went on under 20th-century fascism in Europe. I realize that the folkloric connotation of fascism is swastikas and armbands and death camps. But it is becoming commonly accepted that the term describes a totalitarian tendency to police thought and force culture to take up the glorification of particular political ideals. So when I call Xtina Wang a fascist, I'm not interested in whether or to what degree she hates Jews or Americans or whoever else. There's nothing inherently fascist about demanding proper ideology at the museum, but she's taking part in a history of ingrained and systemic autocracy.
See what I did there?


text:
TF1, Mediaset, ProSieben partner on MCN investments
12th January 2017 @ 12:54
France's TF1 Group and Italy's Mediaset have bought into ProSiebenSat.1's Studio71, with the German media group taking a stake in TF1's Finder Studios, as Europe's multichannel network market consolidates.
In what's being described as a strategic digital media alliance, TF1 and Mediaset will take stakes of 6.1% and 5.5% respectively in Germany- and US-based MCN Studio71.
This values Studio71 at €400 million (US$426.1 million), and leaves ProSiebenSat.1 with a 70% ownership stake.
The transaction includes Munich-based ProSiebenSat.1 taking a minority stake in TF1's premium MCN business, Finder Studios, subject to approval from German and Austrian competition authorities.
Furthermore, ProSiebenSat1. and Mediaset have created a joint venture to roll out the Studio71 business model – which comprises marketing, monetisation, distribution and production of webvideo content – in the Italian market.
This means Studio71, which claims around 500 million video views a month in German-speaking territories and six billion worldwide, will push into new European markets following debuts in Germany, the US, Canada, the UK and Austria.
Studio71 was founded in 2013 in Germany, and now has eight offices and nearly 200 employees. As a result of the new deals, new offices will launch in Paris and Milan.
The US arm, previously Collective Digital Studio, has been trading under the Studio71 banner since January 2016.
The wider group was known as Collective Studio71 after a transformational merger between Collective and ProSiebenSat.1's MCN business in July 2015, however, the Studio71 moniker was made the operatingbusiness name in January 2016.
"The partnership with TF1 Group and Mediaset gives us access to key European markets where the online video market is just now really picking up momentum and promising significant potential," said Christof Wahl, member of the executive board, digital and COO at ProSiebenSat.1 Group.
"With the united marketing power of our media companies, we have an attractive ecosystem with which we can generate additional income and continue Studio71's digital success story."
Olivier Abecassis, VP, innovation and digital at TF1, said the partnership was "absolutely in line with the strategy being driven by TF1's CEO Gilles Pélisson, and with the Group's new ambitions in digital".
"By taking a stake in Studio71, the TF1 Group is positioning itself in the global digital ecosystem alongside two of Europe's leading media groups, and by becoming the operator of Studio71 France, we are bolstering our presence in multi-platform premium online video, and our status as a key partner for emerging web creatives".
For Mediaset, the ProSiebenSat.1 model will help drive revenues, according its chief digital officer, Pierpaolo Cervi. "We join a digital global partner like Studio71, with a deep broadcaster DNA, in order to build a leading player in the Italian market for the editorial management and monetisation of digital talents, to maximise the distribution of Mediaset TV contents on internet and to boost synergies between TV and web," he said.
TF1 and Mediaset are already members of the 'European Media Alliance', which is a network of European broadcasters committed to creating common synergies and investment opportunities in the digital space, which ProSiebenSat.1 founded in 2014.
Tags: digital media alliance, Europe, France, Germany, MCN, Mediaset, ProSiebenSat.1, Studio71, TF1
Eleven restructures management following MyCujoo acquisition
ITV reports festive growth
Telefónica sells Telxius tower business to American Tower in €7.7 billion sale
More than a quarter of Americans plan to cut out cable in 2021
DTVE Digital Symposium 2020 | Reap the benefits from a shared OTT platform: Zapi's success story in Spain


@Siliconeer #Siliconeer #India #Startup #BookRelease #BangaloreStartups #BalaMuraliKrishna #StartupIndia – Overall, it might be reasonable to believe Bangalore is losing ground within the country and in global rankings as well. For those familiar with the city, it might be easy to guess why – the city's growing infrastructure woes. But let's keep it a guess for now. Siliconeer presents excerpts from a new book by Bala Murali Krishna.
Bangalore is India's original startup city, and has been its biggest for many years now. But just how big is it?
The city, located in southern India atop the Deccan Plateau, is home to five startups that have been at some point in time valued at $1 billion or more. These so-called unicorns include Flipkart, Ola Cabs, Mu Sigma, InMobi and Quikr. This much is known, but the rest of the data are less clear.
According to the IT industry group Nasscom and Zinnov Consulting, Bangalore has 1,300+ startups. But AngelList India lists over 5,300 startups, and the Karnataka government counts over 2,000 registered with its Startup Cell.
In funding, most estimates suggest Bangalore startups account for a third of India's total. In 2016, that came to about $1.3 billion, out of a total $4 billion for the country's startups.
However, Bangalore might be in decline. In 2016, funding was down 35% from the previous year, steeper than the global 24% fall. It might also be losing market share to rival Indian cities. The combined National Capital Region – consisting of New Delhi and the neighboring cities of Gurugram in the state of Haryana, and Noida in the state of Uttar Pradesh – had an estimated 1,175+ startups in 2016. Data from YourStory.com, a media startup that covers startups, suggest the NCR has already inched ahead of Bangalore in funding; and data from the angel investing platform LetsVenture indicates the NCR has overtaken Bangalore in total seed investment.
Overall, it might be reasonable to believe Bangalore is losing ground within the country and in global rankings as well. For those familiar with the city, it might be easy to guess why – the city's growing infrastructure woes. But let's keep it a guess for now.
Still, Bangalore never appears among the world's top 10 startup hubs in the most popular global rankings. In 2016, it was ranked 20th in the Startup Genome/Compass rankings, down five places from the previous year, and did not figure in Spark Labs' Top 10 rankings. The Global Entrepreneurship Development Institute, or GEDI, which ranks countries and not cities, placed India at 69th, up from 98th in 2015. So Bangalore couldn't have ranked too high.
Even though it is a favored exercise in India, it is too early to compare Bangalore with a far more mature startup hub like the Silicon Valley. In 2016, for example, Silicon Valley startups attracted $25 billion in venture capital, despite a 26% decline from the previous year. Bangalore startups attracted a mere 5.2% of that amount.
Bangalore doesn't compare favorably even with London ($3.1 billion) in funding, or with the likes of Berlin and Stockholm on other benchmarks. A more meaningful comparison is with Asian cities such as Beijing, Shanghai, Seoul, Singapore and Tel Aviv, the highest-ranked Asian city.
Beijing and Shanghai are in the top 10 in Startup Genome rankings, while Singapore is at 12th. The Israeli city of Tel Aviv, currently ranked 6th, routinely figures in global top 10 rankings, and offers a particularly good comparison with Bangalore. Notwithstanding its desert landscape and decades-long conflicts, the tiny nation has taken giant strides in startups, notably in security software, and easily beats Bangalore.
Israel is a nation of 8.6 million, roughly the size of Bangalore's population. But Tel Aviv, the real startup hub, has fewer than half a million residents, and is about one-tenth the size of Bangalore. Yet in 2016, Israel pulled in $1.6 billion in venture capital, compared to Bangalore's $1.3 billion. The "startup nation," as it is sometimes called, also had three startups in the top 100 on Startupranking.com, which ranks the world's startups based on "impact." Bangalore had none. Myntra, an online fashion seller acquired by Flipkart, was the highest ranked, coming in at 116.
On the positive side, Bangalore might well be on its way to overtaking Silicon Valley in head count of IT engineers. The consulting firm McKinsey expects Bangalore to become the world's single largest IT cluster in 2020, employing two million IT professionals, overtaking the world's most famous technology hub.
Reflecting a global trend, startup activity has hit a slowdown, bringing varied challenges. Many startups have fallen in the last year, and several have laid off staff. Veteran Indian American investor Kanwal Rekhi, quite the headline-grabber, has called it a forest fire, but only time will tell if it's that bad.
Many startups are learning hard survival lessons. Bangalore's biggest startups face grim challenges, among them the unicorns Flipkart and Ola Cabs, as investors run out of money and patience, and seek at least a path to profits.
Flipkart, an ecommerce pioneer in the country, assumed it would be the Amazon of India. Then Amazon itself showed up, and the game changed. The global ecommerce leader is giving Flipkart a run for its money. It has been less than three years since Jeffrey Bezos rode a truck in Bangalore, wearing a sherwani, and signed off on an initial $2 billion investment. Amazon has caught up with Flipkart in many departments. It even overtook the Indian company briefly in gross merchandize value in some months of 2016. Given the quick success here, and the lack of it in China, Amazon has focused even more intensely on India, its largest market outside the United States, and has ordered another $3 billion investment for its operations here.
Amazon's rise has set off alarms at Flipkart. The Indian startup has faced intense competition and a price war, and consequently lost market share. In the circumstances, Flipkart's valuation has been driven lower by as much as a third, from a high of $15 billion. Many investors – Fidelity, Morgan Stanley and T. Rowe Price, to name a few – have written down the value of their stakes in Flipkart because Amazon's entry has tempered Flipkart's projected growth and market share, besides directly impacting revenues and surely delaying its profitability.
In the crisis situation, Flipkart's largest and earliest investor, Tiger Global Management, has taken control of the company, sidelining its founders. It first replaced Sachin Bansal with the other founder, Binny Bansal. But with little to show for the change, Tiger inducted its own nominee, Kalyan Krishnamurthy, in 2017. It has been a big moment of truth not only for the Bansals, but also for the entire startup community, which is coming to terms with the fact that founders don't enjoy a permanent right to run their startups.
Flipkart's founders have been criticized for squandering investor money by handing out liberal stock options and fat salaries to top executives, while doing little to fight off Amazon or refine its business model and place the company on a path to profitability. Also in question is Flipkart's readiness to dance with anybody in its bid to battle Amazon, examples being a rumored partnership with Wal-Mart or its proposed acquisition of failing rival Snapdeal.
The other big fish facing a similar predicament is Ola Cabs. The Indian version of Uber has raised $1.6 billion ($1.9 billion when money raised by Taxi for Sure is included) with unflattering operational results. Last available figures show that in the fiscal year 2014-15, Ola posted a loss of nearly $2 for every dollar earned. When the cab aggregator is not battling Uber, it is battling regulators and taxi drivers seeking better pay. After a big outcry over pay, a new third front – a cabbie-owned cooperative – is being formed in Karnataka that will rival both Ola and Uber.
Like Flipkart's investors, Ola's backers have steadily written down its valuation. Its latest valuation, derived from a funding round in February 2017, suggests the cab aggregator might be worth $3.5 billion, down 30% from a peak of nearly $5 billion.


text:
Industry Tap latest news powered by EngNet. Is this email not displaying correctly? View it in your browser.
Shockwave: The World's Fastest Jet-Powered Truck
Hitting a speed of more than 375 mph, this truck is capable of outrunning a high-speed bullet train. Known as 'Shockwave,' it holds the Guinness World Record for the fastest jet-powered truck. Powered by three jet engines, the Shockwave is basically a modified 4-ton Peterbilt Semi that is capable of generating 36,000 horsepower. It can […]
Chinese Construction Company, Winsun, Just 3D-Printed a 5-Story Apartment & 3-Story Mansion
Get The Extreme Micro-Drone 2.0 With Camera… Plus Free Global Shipping!
Miami Science Museum Completes Unusual "Martini Glass" Aquarium Concrete Pour
Introducing Company Newsletters By IndustryTap. See Cases Studies »
Austria's New Twisting Skyscraper, The Hochhaus Tower, Sidesteps Zoning Regulations With Unique Architecture
The new, twisting skyscraper above will soon be home to many Austrian residents as construction is expected to start by 2016. Located near the Gasometers in the Simmering district of Vienna, the 30-story, 360-foot Hochhaus Tower is the work of Netherlands-based architecture firm MVDRV, known for unique architecture and testing the laws of physics. The […]
3.2 Gigapixel Large Synoptic Survey Telescope (LSST) Generates 6000 Terabytes of Image Data Per Year
Top 100 United States Technology Contractors, 2014
GM Invests $300 Million in Robots to Expedite the Process of Building Cadillacs
Advertise here | Submit an Article
IndustryTap.com | news@industrytap.com


text:
Lumen Dating App Review
October 15th, 2019 admin reviews
Most of the dating apps found today mostly target young people, usually under the age of 40. Apps like Tinder, Bumble, Badoo, and Grindr fill in the demand by young people who seek to find someone to date, gay or straight. But there is recognition of making a dating app site for those 50 and over, and with 7 million people born from the baby boomer era, there are many who are single. Anew app was launched to cater to that crowd called Lumen. The first app for 50+ age people, it is a place where many in the age range connect with other singles without any false promises. Lumen is from the same investors behind Bumble, making it the first dating app of its kind.
The app is convenient and easy to use for those who don't like to haggle around and always moving around. There are two ways the Lumen app lets users create an account, by linking their Facebook account or give by phone number. Through a Facebook account, the app automatically syncs basic information including name, sex, and birthdate. If you go by phone number, the details have to put in manually. Then, users need to upload at least two photos for identification. To verify the photos, uploaded a selfie so the pictures can match face. The registration process is easy, but the security could be a nuisance, although it is part of the safety plan.
Everyone can use the app's messaging features, but those who only have standard level are limited to having five connections a day. Lumen's first message users sent, what the app calls the "icebreaker," users must send a message with at least 50 characters on it. Only people with profile pictures can send messages to assure all members that the conversation they are with someone is verified by the app. Also, users must respond to any messages received within 72 hours, or the message will disappear from the inbox to prevent any overflow of unwanted messages.
A concern any user for any app has is the safety and security of their data. With Lumen, they verify photos of every member to ensure that they are different and have a detailed bio instead of any fake accounts used to phish for info. Lumen's app is also designed to create conversations that give the right, meaningful quality between members on what they like to do with others who live in the area. It is easy to go through the number of members who want friends or possible dates. On top of it all is that Lumen is free to download and use it via Android and Apple.
With almost 75 percent of people aged 50 to 60 owning a smartphone and an estimated 80 million single men and women over the age of 50 around the world, dating apps for seniors is something in demand. It's been an area neglected by early dating apps and now Lumen is here to fix that and gives the 50+ community a place to meet others for good companionship.
Tags lumen lumen app lumen dating
How to Attract a Man Over 50? »
« Dating Tips for Catholic Singles Over 50
SeniorMatch.com - the first and largest senior dating site for senior singles in the world, thousands of local and worldwide verified members.!
Top 10 Senior Dating Sites
#1 Senior Match
#2 Seniors Meet Seniors
#3 Millionaire Match
#5 eHarmony
#6 Elite Singles
#7 Age Match
#8 50 Plus Club
#9 OurTime
#10 Lumen
Does eHarmony Work for Seniors?
How Tinder Helps Those Over the Age of 50
Dating Tips for Catholic Singles Over 50
How to Attract a Man Over 50?
senior dating advice
Share Your Advice
© Copyright - Dating Site for Seniors - All Rights Reserved