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Most composers of Latin America from the 20th and 21st centuries are not well known in North America. While the music of Carlos Chavez, Alberto Ginastera, Heitor Villa-Lobos, and Astor Piazzolla has penetrated our repertoire in North America, the extensiveness of their output is not emphasized or they are composers about which we know little when compared to those of the United States and of Europe. Other composers of a younger generation are also worth noting such as: Marlos Nobre, Gerardo Gandini, Celso Darrido-Lecca, and Mario Lavista. Through these composers one can find a rich array of music that utilizes the experienced environment of the composer. These two generations of composers also represent at least two general aesthetics in compositional techniques that were influenced by trends occurring in Europe and the United States. Basically, what occurred in European and United States music history had its parallel in Latin America. However, Latin American composers were also influenced by native, folk, and popular musics of their homeland. Some composers were more affected by one or the other, but all in all, in their music there is a unique blend of European styles and techniques with Latin American influences.
Before we go any further, I would like to point out the use of the term "Latin America." Latin America is a varied place with many countries, cultures, traditions, influences, and ideas, contrasting cultures within in countries, varying traditions within cultures, traditions that influence and shape various countries simultaneously or at different times, and so on. The use of the term "Latin America" can be used in a misleading way when used to describe a generality of that area. When the term "Latin America" is used in this paper, it is meant to portray a physical area of the world and the people of it and not a generalized idea that can be applied to all of Latin America. As varied as North America and Europe are, Latin America is too; or it can even be argued that it is more varied.
Nearly all the composers mentioned above studied abroad in Europe or the United States at one point or another and learned the current trends that were occurring in art music of their respective times. Generally, the composers then took these new ideas and utilized them in their own compositions when they returned to their countries. On a superficial level, it can be assumed that these composers were merely copying European and American techniques and ideas, but were they? What use was it to them that they learned these techniques? Did they form any uniquely ideas on their own, such as Boulez and Babbitt with total serialism? What is different about Latin American composers? music than from Europe and the United States? Is it distinctively "Latin" or mere copies of their European and American counterparts? Or are these questions of any relevance at all? These questions are more relevant to some composers than others, but the idea of what is "Latin American" art music is still evident. These questions will be explored below as biographical accounts and thoughts on selected composer?s works will be given.
The Older Generation, Nationalism and Neo-Classicism
It can be said without regret that Villa Lobos, Chavez, Revueltas, Piazzolla, and Ginastera were all great composers. Each composer's music is different from one another but still have similar influences. The idea of nationalist music was en vogue in Europe at the end of the 19th century in Europe with Dvorak, Smetana, Rimsky-Korsakov and others, and later to some extent in the United States in the first half of the 20th century with Copland. The same occurred in Latin America in the first half of the 20th century when counties were looking to identify themselves. Again, this is a generalization as some composers were more "nationalistic" than others. Also with the influence that Copland and Nadia Boulanger had on Latin America composers, "neo-classicism" made its way to Latin America.
Nationalist music and neo-classicism can mean many different things. Either description is neither a style nor an aesthetic but an idea. Some may argue with me, but I say this since there are varying styles within each term. Dvorak's music is different from Smetana's, as it is from Alexander Borodin?s. Stravinsky's neo-classical music is different from Copland's as it is different from Prokofiev. What pervades in their music is the idea of nationalism and neo-classicism. Nationalistic music is art music that is influenced by nationalistic themes and ideas that can range from folk tunes (as in Smetana's case) to political propaganda (as in Shostakovich?s case). Neo-classicism is music that is influenced by the idea of classicism in music, or music from the 17th-19th centuries. Perfection, symmetry, consonant harmonies, hierarchy, the music of Mozart, Pergolesi, and Bach all have influenced the "neo-classical" composers in some way or another. However, the neo-classical music of Stranvinsky is different from that of Copland. It can even be said that Copland was not an intentional neo-classicist, but in the idea of neo-classicism it can be seen, due to the fact that he chose not to write music that was "avant garde" but tonal and tradional?-in an "American" way with his open harmonies. Copland can also be considered a nationalistic composer as well and through that we can see that both these terms can be applied to one composer instead of one idea applied to one composer.
These ideas ring true with the composers of Latin America. Nationalistic and neo-classical movements were ideas rather than styles in the art music of Latin America during the first half of the 20th century. Now we will turn to take a closer look at how these musical movements and ideas affected the aforementioned composers.
Carlos Chavez was a Mexican composer of importance and arguable the most well-known. Born in 1899, he went on to write music for orchestra, chamber ensembles, ballets, chorus, and solo piano (Radice, 2003). His career was multi-faceted as he was not only a composer, but a conductor and lecturer (Behague, 1979). Ch?vez directed the Orquestra Sinfonica de Mexico until 1949 as well as the Instituto Nacional de Bellas Artes until 1953 (Behague, 1979; Radice, 2003). After that phase of his career, he dedicated his time to composition, won the Guggenheim in 1956 and delivered the Eliot Norton Lectures at Harvard from 1958-1959 (Behague, 1979). Those accomplishments are life time awards given to composers and great musicians which signify their importance and relevance to art music.
Two important works written for orchestra were Sinfonia de Antigona and Sinfonia India. Sinfonia de Antigona is said to have been influenced by Stravinsky's neo-classical "style" (Behague, 1979). This was considered to be one of the non-nationalistic pieces which utilize European techniques (246). Other works reflected that characteristic as well. Sinfonia India incorporates Native America (Mexican) stylistic elements (Radice, 2003). Pentatonic scales, modes, quartel harmonies, meter changes, repetitive motifs were used to depict native elements (Radice, 2003). The 1930s-1940s was a time in which Mexican art music saw the rise and fall of nationalism in Mexico with the assimilation of different techniques and styles such as neo-classicism and polytonality (Behague, 1979). These two works mentioned reflect all three of those trends and ideas.
Upon hearing Sinfonia de Antigona one can be struck by the colors Chavez uses from the orchestra. Another thing that is striking about this work is the fact that he hardly writes for a full texture. Only certain sections or groups of instruments play at a time, which give way to its thin texture. For example, the violins usually play without the rest of the strings but with woodwinds and brass. The piece incorporates heavy use of woodwinds in a dark manner by using the lower pitched woodwind instruments. Also, the quality of the chords, give the music its dark character. Through this the texture is still thin but sounds full; the mix of dark colors and thin texture give the piece a unique sound. The writing is mainly vertical, in that chords and harmony play an important role, but there are some melodic occurrences apart from the chordal writing. The harmony prevalent in this piece is of modal nature. The rhythmic drive is slow and intense but still contains drive. By listening to this I do not hear Stravinskian neo-classicism at all. I hear a unique and highly personal composer's music with a clear aesthetic all his own.
Argentinean composer Alberto Ginastera (1916-1983) was a self-proclaimed nationalistic composer. He "came of age" during the peak of musical nationalism in Argentina and gained his reputation as a national composer in 1937 with Danzas Argentinas for piano and his ballet Panambi (Behague, 1979). In 1941, he established himself as the leader of the nationalistic movement in Argentina with another ballet, Estancia in 1941 (Behague, 1979). However, those two ballets were problematic to some in its reception due to its extra-musical content (Radice, 2003). Ginastera defined three periods in his compositional life: objective nationalism, subjective nationalism, and neo-expressionist (Schulz). It is interesting that a composer would define periods of his work, usually periods in a composers work occur naturally and unintentionally as with Beethoven. Nothing is ever said that Beethoven set out to create three distinct periods in his music. Nevertheless, these distinctive periods show Ginastera's variety and capability as a composer.
Panambi and Estancia reflect the objective national period in Ginastera's output. This period (1937-1949) is defined by the inclusion of the gauchesco (Argentinean cowboy) tradition, strong local color, conscious treatment of indigenous themes, a clear tonal idiom with inclusion of some extremely dissonant passages (Behague, 1979). However, Ginastera rarely directly borrowed actual folk materials (Behague, 1979). His second period can be understood from its given term. Subjective nationalism (1948-1958) encompasses nationalism not in a direct way but by implication (Behague, 1979). The "Argentine accent" is what is said to be prevalent in this period as it does not employ folklore material (Behague, 1979). His third period does not contain nationalism in its being, but compositional techniques of the 20th century are used, such as: twelve tone, serialization of other elements in music, micro-tonality, polyrhythms, and atonality in a non-serialist manner (Behague, 1979). His last period, obviously, does not reflect the ideas of neo-classicism and nationalism, but again shows his varied talents and interests as a composer. For that reason, this later period will be looked at in the next section of this paper.
Heitor Villa-Lobos (1887-1959) was a very prolific and significant composer of Brazil. His musical training consisted of instruction on the piano and cello but was also compelled with the music of Brazil (Radice, 2003). After receiving classical training in music, as a young man, Villa-Lobos ventured on his own to explore Brazil and its native musics (Radice, 2003). He also collaborated with musicians in popular music idioms at the beginning of the 20th century, such as the Chor?es (Behague, 1979). Villa-Lobos also met Milhaud and through him, developed a liking of the music of Debussy and the French composers of Le Six (Behague, 1979). With his trip to Europe, Villa-Lobos began to obtain international acclaim, and especially with the promotion of his music by pianist Artur Rubinstein (Behague, 1979).
It is safe to say that Villa-Lobos was no doubt a nationalistic composer. With his varied influences and experiences, it is no wonder that his music has an innate blend of European techniques and nativistic elements. Villa-Lobos was a nationalist of a folkloric sort, in which nationalism was inescapable (Behague, 1979). Through use of native music, Villa-Lobos aimed to evoke a "total vision" of Brazil (Behague, 1979). His approach to the incorporation of folk elements in his music, were intuitive and not scientific (Behague, 1979).
Nonetto for flute, oboe, clarinet, saxophone, bassoon, harp, celesta, battery, and mixed chorus was influenced by urban popular music through its rhythm and woodwind colors (Behague, 1979). Other elements are evident such as use of tone clusters, quartal/quintal harmonies, parallel harmonic movement, and "altered" chords (Behague, 1979). There is a strong rhythmic drive and element to this piece. The uncommon mix of this ensemble creates very unique colors and sounds not usually heard together and the inclusion of a chorus further adds to that claim. His melodic lines are clearly passionate with short-lived motivic and rhythmic patterns. The gestural and melodic ideas "jump around" throughout the music that then goes into another groove or short-lived idea. This creates a very intuitive and improvisatory sense to the music. The music is fresh, alive, and exciting, the listener does not know what to expect next while there is a constant rhythmic pulsating drive.
The other two composers, Silvestre Revueltas (1899-1940) and Astor Piazzolla are also notable composers of their respective countries: Mexico and Argentina. Due to the limited extent of this paper, these composers will briefly be explored. Revueltas career is similar to Chavez's in that he taught, composed, and conducted, but Revueltas studied abroad and became familiar with European and United States currents in music of his time (Radice, 2003). He was able to hear music by Sch?nberg, Stravinsky and Les Six in Europe and met Henry Cowell, Roy Harris, Edgard Varese and Copland in America (Radice, 2003). Revueltas was a nationalist composer of international reputation who made the popular and folk music in Mexico of his time a source of his style (Behague, 1979). When those who know of Piazzolla hear his name, one word can immediately come to mind: tango. Piazzolla studied with Ginastera and Boulanger and composed in a variety of genres (Behague, 1979). As a young composer, he utilized Western European genres, such as sonata form, but later as a more experienced composer, he elevated the tango with striking dissonances, chromaticism, jazz, inclusion of counterpoint, and virtuosic writing (Behague, 1979). Through the progression of the tango brought forth by Piazzolla, he can be considered a nationalistic composer.
The Younger Generation and Avant Garde Influences
The next generation of composers also tended to follow the trends from Europe and the United States. These trends were different all together and went against the established tradition of tonal music and tonal hierarchy in music. The music of Marlos Nobre, Gerardo Gandini, Celso Garrido-Lecca, and Mario Lavista incorporate avant garde techniques of Europe in their music, but create a different result. Nationalism seems less of a concern for them. However, with the adoption of these techniques, one can wonder why they would adopt them and for what reason the acquire them. How are these techniques used in their music? What kind of result occurs and how is it different from composers of Europe and the United States? Were there any original Latin American compositional ideas or a continuation of European ideas?
To understand the trends that occurred in Latin America, one must understand the musical movements that occurred from the 1920s onwards in Europe and the United states. At the end of the romantic era, Wagner and even Mahler started to push tonality to its extreme. There are moments in Wagner's music that can be considered "atonal" as in Tristan und Isolde. Sch?nberg was a revolutionary. His early music was out of the romantic world of Wagner and Mahler, but soon started to abandon tonality and wrote "free atonal" music, utilizing intervallic cells, but actually his pupil Webern was the first to write a piece "without a key." In the late 1910s Sch?nberg started to develop an idea of writing music with all twelve pitches in a set order that came to be known as the twelve-tone method of composition. This took the music world by storm and soon, there was a movement of twelve-tone composition. Webern developed the idea further, intuitively, by serializing other aspects of music such as dynamics and register. This was found by Boulez, which lead him to create the idea of the total serialization of music after World War II, in which all aspects of music would be ordered an planned (rhythm, pitch, register, timbre, dynamics, etc.). Boulez created a following in Europe as the composer Milton Babbitt in the United States developed the same idea. Other trends that followed were the use of electronics, aleatoric writing, improvisation, and chance operations. To put it briefly, aleatoric writing is music in which the composer introduces elements of chance or unpredictability and leaves different aspects of the music, such as pitch, rhythm, dynamics, etc., to the performer or interpreter. Chance operations in music are controlled by such methods of dice throwing to determine events in music. There were two extremes in art music of the 1950s: total organization (total serialism) and total freedom (aleatoric and chance music). Composers of the time experimented with both idioms.
Again, the same can be said for these ideas or techniques of composition as can be said for nationalism and neo-classicism: serialism and aleatoric music are not styles but methods of writing music. Music that is serialist can "sound" "atonal" or imply tonaliy, whereas aleatoric and chance music can sound serialist whereas both can sound "random" and like a "bunch of noise." It depends on how the composer uses these methods that will create a resultant sound. The music of these Latin American composers is no exception.
Marols Nobre (b. 1939) is a Brazilian composer that has utilized the ideas of serialism and electronics in his music. He studied at the Di Tella Institute in Buenos Aires (1963-1964) where his teachers included Ginastera, Koellreutter, and Camargo Guarnieri (Behague, 1979). He soon adapted the twelve-tone technique in his music after having been influenced by Milhaud's dissonant treatment with a nationalistic concern (Behague, 1979). After delving into the twelve-tone technique, he set out to create music that was in a "free serialist" method (Behague, 1979). His music also contained aleatoric elements "with nativisitc overtones," extended techniques, and extremely contrasting dynamics (Behague, 1979).
Two works of note by Nobre are Ukrinmakerinkrin (1964) and In Memoriam (1973), both for orchestra. Ukrinmakrinkrin is described as having an atonal-serial language with some "native ritualistic flavor" and some aleatoric structures (Behague, 1979). In Memoriam contains clusters of sound or "sound blocks," with "complex and brilliant orchestration" and Brazilian percussion instruments (Behague, 1979). From the descriptions above, it can be said that Nobre uses these techniques in his own way and not to copy or imitate other composers who utilize these techniques. The concern seems to be that of writing music he likes to write. However, this is just an assumption from reading about him.
Another piece by Nobre, Mosaico para Orquestra (1970) is an interesting one. It is a single movement work with three contrasting sections (Marlos Nobre). Thick masses of differing sounds abound in the first section, as the second is more lyrical with brief occurrences of short lived quick motivic gestures, and the third section is a "pure divertimento" for orchestra with "tightly composed writing" and "controlled randomness" (Marlos Nobre). Upon hearing it one does find sustained harmonies with mixed timbres of instruments in the beginning with aleatoric "sounding" figures, un-metered patterns that are repeated quietly in the winds. There are bits of motivic fragments in the orchestra lead by the brass with "outbursts" from the whole orchestra. There is a sense of a duality between uncontrolled sounds and directional sounds. The music abruptly changes by new harmonic and textural treatment. Thin texture is pristine where soloistic occurrences are heard as the color of instruments are brought to the fore. The music can be described as slow paced and silvery that then leads to more direction with a bit more regularity and thicker chords (roughly 3 notes). This can be considered the "textural climax" of the second section as the music returns to the quietness that prevailed before, but influenced by the thicker textural idea. Percussion is used to initiate the third section, as sustained brass notes in a quick tempo are heard with frequent and quicker motivic gestures. Aleatoric elements can also be heard in the end with regular occurring broad hits in the percussion. Upon hearing this piece, one can sense a feel of intuition, conviction, and a clear personal aesthetic of the composer that allows his creativity and voice to be heard.
Celso Garrido-Lecca (b. 1926) is a prominent composer from Peru. He received his musical training at the Lima Conservatory with Rodolfo Holzmann and soon after was the composer and musical advisor for the Theater Institute of the University of Chile (Schulz, 1992). He also later headed the National School of Music in Peru and in 1963 and 1968 won the National Prize for Peruvian Culture (Schulz, 1992). His music contains quartal and quintal harmonies, atonality, twelve tone technique, and "locally derived" musical traits such as pentatonicism (Behague, 1979). His musical output is symphonic and chamber as has been performed in Europe and the Americas (Schulz, 1992). Pieces of note are his Suite for Woodwind Quintet (1956), Musica para seis instrumentos y percusion (1956), Sinfonia (1960), and Laudes (1962).
Argentinean composer and pianist Gerardo Gandini (b. 1936) is another composer from Latin America influenced by the European avant garde. Gandini was a student of Ginastera and Caama?o (Behague, 1979). Gandini became one of the major musical figures in Argentina in the 1960s and also co-founded a professional contemporary music organization, Agrupani?n Euphonia (Behague, 1979). His teaching engagements have been with the Di Tella Institute and Buenos Aires Catholic University (Behague, 1979). Gandini is also an active performer of new music in the Americas and Europe (Behague, 1979). The techniques he uses are serialism, atonality, extreme manipulation of dynamics and timbres with rigorous economy and concentration of musical ideas and means (Behague, 1979).
Two pieces are worth noting, Musica Nocturna (1964) for flute, violin, viola, violoncello, and piano and Eusebius, four nocturnes for piano or one nocturne for four pianos. Musica Nocturna is non-thematic, utilizes instrumental effects and contains pointillistic treatment of small intervals (Behague, 1979). There is an idea of static music partnered with fast and elusive sounds (Behague, 1979). Eusebius is basically an homage to Robert Schumann's Davidsbundelertanze, No. 14 (Schuartz). These nocturnes are very short, lasting no more than a couple minutes or so. Upon hearing the first one, one can find a slowly paced sound environment in which each note is carefully sounded, nearly one at a time, sustained by the pedal in the upper register which creates a thin texture. Quartal harmonies open the second nocturne which utilizes different harmonies than the first but still with a thin texture and the idea of "carefully paced" sounds pervade. More melodic ideas encompass the third nocturne but still the thin texture is apparent. Adjectives such as reflective, quiet, careful and beautiful come to mind when describing this nocturne. In the fourth, one can find more movement and more melody with thicker voice and "new age" sounding harmonies-quite different from the others. When all four nocturnes are played simultaneously at the same tempo, the fifth nocturne is realized.
A Mexican of the younger generation of composers is Mario Lavista (b. 1943). His teachers are varied and from different parts of the world. In Mexico at the conservatory he studied with Hafter and Quintanar and in Europe with Jean-Etienne Marie, Henry Posseur, Xenakis and Stockhausen (Behague, 1979). He also has attended Darmstadt where he be Legeti and studied electronic music in Tokyo (Behague, 1979). In the 1960s he was considered a follower of the avant-garde and a "bona fide" experimentalist by incorporating improvisation, chance operations, and elctro-acoustic and visual elements in his compositions (Behague, 1979).
His Divertimento (1968) represent his experimentalist side while a more recent piece, Cuaderno de viaje (1989) sounds a bit more tame. Combined, both versions of the Divertimento include audience participation in which the instrumentation contains a woodwind quintet, five woodblocks, five loud speakers, four amplifiers, three potentiometers, and a mike mixer (Behague, 1979). From reading the instrumentation, one can immediately think "avant garde" but his "avant garde" stature is questioned when one listens to the works on his Cuaderno de Viaje CD released in 1994. On it, a work for solo viola is found, Cuaderno de Viaje. This piece is a "deep search into the viola?s possibilities in the realm of harmonics" (Brennan, 1994). It is a calm, slivery, piece that uses consonant harmonies. It has no incorporation of amplifiers, speakers, microphones or any other extra-musical effects.
Concluding Thoughts
It is hardly ever safe to classify one composer or another as being a part of one compositional school of thought. As with the case with the composers mentioned above, it can be seen that for the most part, their output is varied. Each of these composers delved into different processes of writing and have created different results within their own outputs and when compared to each other. But by using these techniques, are these composers copiers of composers of the Untied States and Europe? By using the ideas and methods, the answer is yes, but in the larger picture, I would say no. Their music reflects a different aesthetic, different ears, and tastes. Beauty and elegance was found in all the composers' music to which I listened. An innate sense of rhythmic drive clearly persists in the music of the older generation as well, which is influenced by non-European elements. These composers used these techniques in their own way and through it, their personal voice spoke. Some of Chavez does sound like Copland, such as Sinfonia India, but Sinfonia de Antigona contains a different character that is distinctively Ch?vez. In Nobre's Mosaico, aleatoric writing is used but does not sound the same as say Stockhausen. While utilizing these European and United States techniques, these composers used according to their personal taste and ear to create distinctively personal music.
It was not found that any of these composers created an original idea apart from European and United States thought. However, the apparent inclusion of indigenous musical influence and a different ear for music than their counterparts creates different sounding art music. It can be assumed that beauty and elegance are more of a concern for these composers than their other western colleagues. That is an overgeneralization of course, but those two adjectives come to mind immediately upon hearing each of these composers' music. The music, in general, also seems more paced; the music is patient and lives and absorbs the sound. This music should be regarded on equal footing with music of Europe and the United States when taught in other parts of the western world. This music has validity, conviction, and a voice of its own different from what our education as classical musicians in the United States brings us. When one thinks of western art music, Latin American art music should also come to mind.
— Gilbert Galindo, March 2004, Northwestern University
Works Cited:
Behague, G. (1979). Music in Latin America, an introduction. Englewood Cliffs, NJ: Prentice-
Hall, Inc.
Brennan, J. (1994). Mario Lavista Cuaderno de Viaje [Audio CD]. Mario Lavista Cuaderno de
Viaje. Leaflet from: NBA, Difusion Cultural UNAM Musica, Cenidim: DDD
Radice, M. (2003). Concert Music of the Twentieth Century, Its Personalities, Institutions, and
Techniques. Upper Saddle River, NJ: Pearson Education, Inc.
Schuartz, H. Haydee Schuartz: New Piano Works from Europe and the Americas [Audio
CD]. Eusebius for piano, four nocturnes for piano or one nocturne for four pianos. Leaflet
from: Mode Records: AGK 5163
Schulz, R. Villa-Lobos, Ginastera, Lavista, Orbon String Quartets [Audio CD]. Ginastera:
String Quartet No. 2, Op. 26. Leaflet from: Elan Digital: CD2234
Marlos Nobre [Audio CD]. Marlos Nobre (b.1939). Leaflet from: Lemon Classics:


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Cal Poly names new assistant dean
Natalie Schaefer has been named Cal Poly's new assistant dean of advancement in the College of Architecture and Environmental Design.
She'll handle duties including fundraising, marketing and communications, special events and alumni relations.
Schaefer joined Cal Poly in 2013 as director of corporate and foundation partnerships. She previously held a job in grants and employee engagement at the PG&E.
And as a fundraiser for more than 15 years, she helped raise millions of dollars for three career-related facilities for Paso Robles public schools, according to a Cal Poly news release.
She also directed two nonprofits, Paso Robles Children's Museum and the local American Red Cross, developing programs and conducting outreach.

subset: commoncrawl


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Millennials can be a fantastic market to sell your products and services too. Not only are they the largest generation since the Baby Boom, but they're also about to enter their prime purchasing years. The term Millennials is usually considered to apply to individuals who reached adulthood around the turn of the 21st century – generally consisting of individuals born between 1980 and the early 2000s.
Millennials of course have different spending behaviours from their parents and grandparents, they tend to be more tech-savvy and research items they want to purchase in more detail than ever before. In addition, they tend to use several different sources of platforms to get their information, rather than using one marketing channel such as a brochure, they'll search social media, watch videos, look for social proof and so on.
It's estimated by the year 2020, Millennials will spend an enormous $1.4 trillion annually – that's around 30% of all retail sales in the United States alone. As you can see for many companies and marketers this audience can be fruitful for generating leads, increasing sales or growing their general brand awareness.
It's important to remember that strategies for marketing to Millennials are changing every day – due to the changes in technology, but with this set of fantastic tips you'll be able to adapt quickly and keep one step ahead of your competition.
User Generated Content – User generated content can be an ideal marketing tactic for many businesses when targeting millennials, allowing your audience to share their experiences of your product and brand can only be a good thing – as it creates a sense of trust and value. As millennials conduct most of their purchasing online, they sometimes just need a little extra push before they take the final step and purchase from you. Typically, you'll find the best user generated content on social media platforms such as Instagram, YouTube and Facebook.
With a visual format and over 300 million users, Instagram is a great way for seizing your customers' personal experiences in a pleasing manner. One of the best ways to benefit from user generated content on Instagram is by reposting your customers' photos. This process is mutually valuable for both you and your customers: Your customers will experience the excitement of seeing their photo on your news feed and get more exposure for their account, while you'll start engaging with your audience on a more personal level and get an arrival of fresh content.
Typically, a good tip is to come up with a branded hashtag that your customers can use to show off their purchases. Make sure your hashtag is something short, snappy, and easy to remember. By giving your audience an outlet for their content, you'll be able to gather product photos in one place and cultivate your very own online community. You can easily use a simple hashtag, such as your company name.
Equally did you know, customer photos can also give your conversion rates a good boost. When product pages feature photos from social media Millennial customers are 6 times more likely to make a purchase.
YouTube is also an extremely popular platform for Millennials. In fact, Millennials are now watching more video content on YouTube and other streaming platforms than they are on television. For most companies, a good way to get YouTube users to create more content around your brand is by capitalising in your product's packaging to inspire customers to make unboxing videos.
Unboxing videos are a piece of user generated content that follows along as customers open up products for the very first time and share their initial impressions. Unboxing videos have become a significant part of the decision-making process for Millennials since 62% of people watching unboxing videos online are doing so while researching a purchase.
Influencer Marketing – As millennials love technology it
may come as no surprise that many of them trust "social media influencers" –
for example, it's been stated that 60% of Millennials have said that they would
try a product suggested by a YouTuber.
Influencer marketing can also relate to blogs and other social media profiles too, many companies are attempting to get their products into the hands of the leading influencers to get better reach and influence on their target audience. Think of industries such as fashion and beauty or computers, games and so on – these now heavily rely on the influencer marketing model to succeed and increase their sales.
The key to influencer marketing is finding an influencer with an audience that is like your target audience. You should always conduct lots of research and refine your pitch before reaching out.
Of course, the standard method in which influencers deliver their content is through the use of video, however social media gives people a lot of other tools to use as well. For example, many are ultising the Lookbook formula, remember a lookbook is a collection of photographs compiled to show off a model, photographer, style, stylist, or clothing line. Usually, bloggers or vloggers will "model" fashionable looks for that month or season. This gives viewers ideas on how to style outfits, or to show what the latest fashions are.
Another promotional method they are using is favourites. "Favourites" videos simply alert their audience to a wide range of products they're currently using. For example, influencers will list off their favourite items from the previous month or season, including many items which are sent to them by brands.
Equally lifestyle content also seems to be increasing in popularity, both for videos and images. Its not uncommon for influencers to "document" their adventures using a certain product. For example, if you're selling bicycles, the influencer will showcase the lifestyle your brand is trying to portray to your customers. This could be using the bike at a local beach, riding up and down mountains and so on. Lifestyle is important because 78% of Millennials would rather purchase an experience than a product.
Live Streaming – Live streaming has exploded over the past couple of years and it remains a popular choice for millennials. Its popularity originally started with the streaming of video games on dedicated websites, however this is now crossed over too many different sectors.
The video game streaming website Twitch boasts 100 million viewers per month of which nearly 2/3's are Millennials. The average user watches 106 minutes of live streaming per day and these types of figures are very similar to primetime television.
Apart from gaming, Facebook was the first social networking with a live streaming feature that was first rolled out to celebrities but is now being made available to everyone else. The popularity of streaming isn't just about the latest events, parties or shows, even everyday things are becoming popular. For example, in January 2016, 20,000 people watched a puddle of mud in Newcastle, England live on the internet.
As you can see there's real power behind live streaming and businesses can easy tap into this growing area of marketing. Businesses now have the chance to give their customers a close look inside their company and build stronger relationships with customers that are genuinely engaged in what they sell.
This can be anything from behind-the-scenes videos, to even showcasing your latest product. Of course, the type of streaming you do, will depend on your industry, so experiment and see what works well with your target audience.
Mobile Content – As you may expect, Millennials really are the mobile generation, particularly since 87% have their smartphones by their side every second of the day. For marketers and businesses, this means that the mobile is no longer an afterthought – it needs to be at the forefront of every single marketing strategy you plan.
Remember the popularity of smartphones means they're becoming the main method in which people access the Internet, so you need to make sure that everything you do is optimized for every device. From your email campaigns to your website, every aspect of your business needs to be mobile-friendly.
Typically, the most common problem for mobile devices is slow loading times, not because of the phones themselves, the issues are normally because of a slow website server. Did you know, if a website takes longer than 3 seconds to load, 40% of visitors will head elsewhere. Some websites are filled with content and scripts which are simply not needed, all of the additional elements can easily slow down your website. An easy way to check how quickly your site is loading is by running it through Google PageSpeed Insights. This is a great tool that will let you know exactly how accessible your site is, as well as giving you advice for improving your load times.
If you own a physical store then mobile friendliness is just as important, remember before customers even enter your store, they'll usually try to find you on their smartphone first. Did you realise that around 50% of users search for a local business on their phone? That's huge when you think about it. Even when people are in your store, mobile optimization still makes a huge difference to whether you make a sale or not. 82% of customers now check their smartphones for more information before making a purchase in-store, which means your whole business needs to be mobile friendly as they can easily purchase from a competitor at a few clicks of a button.


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STORY: A young couple gets involved in an accident in the middle of nowhere. When they go out looking for help, they stumble across an old cemetery. They somehow reach home and things seem normal, except when they look into the mirror, they see someone else.
REVIEW: Supernatural thrillers tend to follow a similar pattern. The protagonists seem normal, but find themselves in unusually spooky circumstances and everything around them seems to be haunted. In Ninu Veedani Needanu Nene ( NVNN), director Caarthik Raju brings in several quirks and twists to keep the audience interested but often flirts with a dangerous line between inventive and predictable. He does succeed, but not always.
NVNN opens in 2035 (A detail that's irrelevant to the film) and we see a veteran psychiatrist ( Murali Sharma ) who helps a young group of students with their thesis on supernatural elements. He tells them about a case that was specially close to him, the story of Rishi ( Sundeep Kishan ) and Dia ( Anya Singh ), a young married couple who go on a road trip and get involved in a major accident. They find themselves in a deserted area and walk towards a cemetery. They somehow manage to get home (We still don't know how) and things seem to be normal again, but when they look in the mirror, they see someone else. Whenever Rishi and Dia look at their reflection in a mirror, they see Arjun ( Vennela Kishore ) and Madhavi (Pragathi) instead. How they crack this mystery and become normal again forms the crux of the story.
Despite a few bizarre situations, the first hour absorbing. There are constant twists and turns and you relate to the characters' shock, fear and agony. The humour is brilliant and the horror element is not overdone. Posani, in particular, is hilarious as the cop who discovers there's a ghost living inside the protagonist's character. There are some subtle changes to the plot midway, which is cleverly done and changes the way you watch the film.
Once you get past the subtle twists and turns, the director seems to run of ideas. The film completely loses its momentum in the second half and the protagonist's quest for answers is hardly convincing. The climax is even worse. What starts out as a quirky supernatural tale suddenly turns into a melodramatic sobfest, full of sermons. Even science can't figure out human emotions, is the message sent across — but it's hardly the emotion you're looking for from the film.
Sandeep Kishan's character is overbearing, and is often projected as the guy who protects his wife at all times. "Don't worry, I'm there," he repeatedly keeps telling her, and yet, we hardly get to see her side of the story, and her emotions, even though she's pretty much going through the same thing. Strange. However, the film is lifted by the brilliance of Murali Sharma, Posani Murali Krishna and Vennela Kishore — all of whom deliver stellar performances. Vennela Kishore is more than just a funny guy and he shows that yet again, and looks convincing in every frame he's in.
NVNN begins with a lot of promise and has a few bright moments, but it loses steam as it goes along and turns into a rather dull show. There are some entertaining moments, but you can't help but wonder, what it could've been and what is has turned out to be.


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Absolutely stunning home W/beautiful landscaping situated in quiet family neighbourhood. Upon entering youll notice 9ft ceilings, oversized windows, upgraded trim, beautiful light fixtures & California shutters! Executive eat-in kitchen W/handsome dark cabinetry, high-end S/S appliances, tiled backsplash, glass feature cabinetry, pantry cupboards & huge breakfast bar W/pendant lighting & seating. Garden doors off breakfast nook lead to backyard. Bright & airy living room W/gleaming hardwood floor & multiple large windows. Formal dining room & powder room on this level.Follow the solid oak stairs W/wrought iron railings to master suite featuring oversized walk-in closet & luxurious ensuite W/deep soaker tub, separate shower W/marble bench seating & oversized vanity W/granite countertops. 2 other good sized bedrooms W/double closets & large windows.There is also 3pc main bath, laundry room & family room W/cathedral ceilings, hardwood floors & beautiful arched window. Unspoiled basement awaits your finishing touch. Currently features 3pc rough-in for a bathroom. Stunning backyard oasis W/massive composite deck W/privacy wall & lovely gazebo. Stamped concrete patio overlooking beautiful gardens & farmland. Short walk to Morningcrest Park & Ecole Guelph Lake making it an ideal location to raise a family. Walking distance to plaza W/convenience store, pharmacy, vet clinic, pizza store & physiotherapy centre. Minutes from groceries, LCBO, banks & more!Short drive to Guelph Lake! (id:23309)
87 Davis Street, Guelph
- Listing ID: 30770822
- Property Type: Single Family
- Year Built: 2009
|Second Level
|12' 6'' x 11' 0''
|Second Level
|12' 4'' x 10' 8''
|Second Level
|Family Room
|18' 6'' x 11' 6''
|Second Level
|3pc Bathroom
|Second Level
|4pc Ensuite Bath
|Second Level
|Master Bedroom
|18' 0'' x 12' 0''
|Ground Level
|Great Room
|14' 0'' x 13' 8''
|Ground Level
|10' 0'' x 9' 0''
|Ground Level
|11' 0'' x 10' 6''
|Ground Level
|Dining Room
|16' 0'' x 11' 0''
|Ground Level
|2pc Bathroom
- Architectural Style: 2 Level
- Amenities Nearby: Public Transit, Recreation, Schools, Park
- Community Features: Quiet Area, Community Centre
- Equipment: Water Heater
- Features: Park setting, Park/reserve, Double width or more driveway, Gazebo, Automatic Garage Door Opener
- Ownership: Freehold
- Parking Spaces: 4
- Rental Equipment: Water Heater
- Transaction: For sale
- View: View
- Zoning Description: R.1C
- Appliances: Dishwasher, Dryer, Freezer, Microwave, Stove, Water softener, Washer, Range, Window Coverings, Garage door opener
- Architectural Style: 2 Level
- BasementType: Full (Unfinished)
- Basement Development: Unfinished
- Bedrooms Main Level: 3
- Constructed Date: 2009
- Construction Style Attachment: Detached
- Cooling: Central air conditioning
- Exterior Finish: Brick
- Fireplace Present: False
- Foundation: Poured Concrete
- Bathrooms (Total): 3
- Heating: Forced air
- Heating Fuel: Natural gas
- Stories Total: 2
- Type: House
- Utility Water: Municipal water
- Amenities: Public Transit, Recreation, Schools, Park
- Sewer: Municipal sewage system
- Size Frontage: 40 ft
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Morganton NC Real Estate & Homes For Sale
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The median home value in Morganton, NC is $120,000. This is higher than the county median home value of $115,000. The national median home value is $209,892. The average price of homes sold in Morganton, NC is $120,000. Approximately 48% of Morganton homes are owned, compared to 38% rented, while 13% are vacant. Morganton real estate listings include condos, townhomes, and single family homes for sale. Commercial properties are also available. If you like to see a property, contact Morganton real estate agent to arrange a tour today! Learn more about living in Morganton.
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© 2015 - 2019. ACCPA. All Rights Reserved.
Trusted by Africa's Leading Financial Institutions
About ACCPA
ACCPA is a Risk & Compliance solutions provider for financial institutions in Africa. ACCPA currently has over 500 clients in all 55 African countries. ACCPA enables financial institutions to properly manage their risk and compliance standards through international best practices. ACCPA is a privately-held organization founded in January 2015.
The goal of ACCPA is to raise the standard of Risk & Compliance within the African continent by giving financial institutions and compliance professionals the tools, training, and knowledge they will need to achieve this goal. A primary objective of ACCPA is to train African compliance professionals in techniques that will allow them to interpret global AML regulations in the African context. The skill of interpreting global AML regulations in the African context is the most valuable skill an African compliance professional can have as there exist a dissonance between global AML regulations and their applicability in Africa. ACCPA aims to close this gap by helping interpret global AML regulations in a manner that reflects the 'African reality.'
ACCPA aims to build confidence among its clients by allowing them to gain an understanding of Africa's AML regime beyond their immediate borders. Members of ACCPA enjoy the privilege of connecting with other AML compliance professionals in ACCPA for networking, employment opportunities, and career advancement. Professionals who are new to the AML sector gain from the perspective of experienced professionals while experienced professionals also gain from the perspective of well-established professionals and experts who have experience working in and outside the African continent.
AML compliance is a knowledge/content-based field, as such, compliance professionals are expected to keep up with knowledge in the field by becoming familiar with new regulations as well as techniques to implement new regulations. Once a professional becomes a member of ACCPA, she or he is encouraged to take the ACCPA Certification Exam which is designed to provide rigorous training for compliance professionals in Africa. ACCPA is an independent organization. It is not affiliated with any private firm, NGO or government body.
Who Can Become A Member of ACCPA
ACCPA membership is open to all Risk & Compliance professionals. New members can submit their registration directly on our website or by contacting us at firstname.lastname@example.com. New members are required to register for the ACCPA Certification Exam in order to become certified. When you sign up for ACCPA membership, the employment information you provide will be verified before you will be allowed full membership. Your membership registration will be rejected if any of the information you submit on your application is found to be false or incorrect.
ACCPA's membership is made up of Risk & Compliance professionals at financial and non-financial institutions. Many of our members include:
• Senior Management
• Risk Management Staff
• Compliance Staff
• Internal Control Staff
• Internal Audit Staff
• Operations Staff
• Branch Staff
• Bank-wide Staff
ACCPA Membership Benefits
Risk & Compliance professionals within the ACCPA network enjoy the following benefits:
1). ACCPA provide its members with an in-depth global knowledge of compliance as practiced in North America and Europe and then guide them to re-apply this knowledge to the African context.
2). Compliance professionals within the ACCPA network receive ongoing professional development through our online tutorials and peer-to-peer advise forums that are designed to provide a solid foundation for professionals new to the field as well as to enhance the knowledge, skills, and expertise of our experienced professionals.
3). ACCPA members receive the training and expertise that will make them more qualified than others when they apply for a new job or seek promotion.
4). With the value-added from our certification program, ACCPA members have the potential to command a higher salary. Research shows that compliance professionals with certification receive more pay than those without certification.
5). ACCPA members gain international recognition as trained and certified compliance professionals with informed knowledge and expertise that is specifically tailored for the compliance environment in Africa.
6). Due to the diversity of its membership, ACCPA members benefit immensely from the perspective of their colleagues within the network who either work in their country, another African country, or outside the continent.
7). ACCPA members with practical knowledge of the compliance sector in their country can establish authority over such knowledge by submitting a short article for publication in the ACCPA Compliance Magazine.


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NEW YORK, NY / ACCESSWIRE / October 8, 2018 / U.S. equities plunged on Friday as concerns over rising interest rates countered upbeat economic data. U.S. unemployment rate dropped to 3.7 percent, its lowest since 1969, while wages rose by 2.8 percent in September, compared to the last year of the same month. The Dow Jones Industrial Average fell 0.68 percent to close at 26,447.05, while the S&P 500 Index decreased 0.55 percent to close at 2,885.57. The Nasdaq Composite Index shed 1.16 percent to close at 7,788.45.
According to Peter Cardillo, chief market economist at Spartan Capital Securities, "Wages are definitely trending higher, which is an alarming point for the market. That will likely keep the bond market under pressure, which means that yields will move higher and the dollar will continue to strength. All of that will weigh on stocks." "I'm cautiously optimistic about equities going forward, but we're looking at a lot of volatility in the short term and I believe we're entering a defensive market," he added.
RDI Initiates Coverage on:
The Walt Disney Company
HUYA Inc.
The Walt Disney's stock moved 1.16% lower Friday, to close the day at $114.78. The stock recorded a trading volume of 5,836,074 shares, which was below its three months average volume of 6,998,221 shares. In the last year, The Walt Disney's shares have traded in a range of 96.80 - 118.10. The share price has gained 18.57% from its 52 week low. The company's shares are currently trading above their 200-day moving average. The stock's 50-day moving average of $112.36 is above its 200-day moving average of $106.75. Shares of the company are trading at a Price to Earnings ratio of 14.49. Shares of The Walt Disney have gained roughly 3.43 percent in the past month and are up 6.76 percent year-to-date.
Access RDI's The Walt Disney Company Research Report at:
On Friday, shares of HUYA recorded a trading volume of 1,229,647 shares, which was below the three months average volume of 3,861,104 shares. The stock ended the day 3.62% higher at $21.76. The share price has fallen 57.18% from its 52 week high with a 52 week trading range of 15.25 - 50.82. The company's shares are currently trading below their 200-day moving average. The stock's 50-day moving average of $25.49 is below its 200-day moving average of $29.46. Shares of HUYA have fallen roughly 17.1 percent in the past month and are up 35.49 percent year-to-date.
Access RDI's HUYA Inc. Research Report at:
Our Actionable Research on The Walt Disney Company (NYSE:DIS) and HUYA Inc. (NYSE:HUYA) can be downloaded free of charge at Research Driven Investing.
Research Driven Investing
We are committed to providing relevant and actionable information for the self-directed investor. Our research is reputed for being a leader in trusted, in-depth analysis vital for informed strategic trading decisions. The nimble investor can leverage our analysis and collective expertise to execute a disciplined approach to stock selection.
RDInvesting has not been compensated; directly or indirectly; for producing or publishing this document.
Disclaimer: This article is written by an independent contributor of RDInvesting.com and Nadia Noorani, a CFA® charter holder, has provided necessary guidance in preparing the document templates. RDInvesting.com is neither a registered broker dealer nor a registered investment advisor. For more information please read our full disclaimer at www.rdinvesting.com/disclaimer.
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SOURCE: RDInvesting.com
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Visitors to Year 6
Year 6
As part of their continued discussions and reflections on aspirations, year 6 were pleased to welcome Sgt Chris Collins and Will Newton from the NHS Ambulance Service. They were challenged to think about teamwork, aiming high and the importance of never giving up. The children loved hearing all about their chosen careers!


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Although all this rain would say otherwise, Summer is technically here and to celebrate, LEGOLAND® Windsor are having a Monster Summer Sale. You can save up to 40% on tickets until July 1st. you'll be able to visit the all-new Haunted House Monster Party ride, check out sets from The LEGO® Movie 2 and should the weather allow it, cool down in DUPLO® Splash Valley. Learn more below, for full terms and conditions visit the LEGOLAND Windsor Resort website.
Families can 'Make it a Monster Summer' at the LEGOLAND® Windsor Resort with monster savings on all day tickets. Until 1 July 2019, guests can save 40% on tickets booked online, in the Monster Summer Sale. Day tickets are from just £28 to visit the Resort, on any date until 2 November 2019. For visits during the school summer holidays, day tickets can be purchased online for just £36.
Guests who snap up tickets in the Monster Summer Sale can enjoy the Resort's awesome rides, live shows and attractions including the fang-tastic new, Haunted House Monster Party ride. Meet Lord Vampyre and his friends as they celebrate the summer holidays and join them for a monstrous party at his spooky haunted home, where he'll reveal a magical party trick – bringing the banquet hall swinging to life and turning the room upside down!
For monstrously fun filled family day out, there's a splashtastic time to be had for mini monsters in the Resort's splash-tastic play areas. In Splash Safari little ones can play amongst their favourite DUPLO animal friends, brought to life with a host of water features. For a monstrous drenching, bigger kids can brave the oversized tipping DUPLO brick and whiz down the water slides at the largest outdoor water play structure in the UK; Drench Towers.
Over at the Heartlake Harbour Arena, the LEGO® Friends are back for the summer in their all singing and dancing live action show – 'LEGO Friends to the Rescue'. Fans can discover "The LEGO® MOVIE™ 2" film set recreated in hundreds of LEGO bricks in The LEGO® MOVIE™ 2 Experience. Plus, families can become part of the action in a new 4D movie; 'LEGO City 4D Officer in Pursuit!' brought to life through 3D glasses and 4D water, wind, fire and bubble effects. There's no better time to visit the Resort for less.
The Monster Summer Sale is available online NOW at www.legoland.co.uk/tickets-and-passes/online-tickets/. Offer ends 23:59 on 1 July 2019.
Guests can extend the monster summer with a monster short break at one of LEGOLAND's hotels. Families can sleepover at the unique LEGOLAND Hotel or the majestic LEGOLAND Castle Hotel. There's something for everyone with LEGO Friends, Pirates, Adventure, LEGO NINJAGO, Kingdom, Knights or Wizard themed rooms to choose from, along with LEGO character meet and greets, a free LEGO gift for every child and early access to the theme park. Guests can find out more and book packages from £123pp at the LEGOLAND Resort Hotel or a nearby partner hotel from £61pp at www.legolandholidays.co.uk


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We share our tips to help you hire a contractor for your startup.
Your contractor agreement should clearly set out the work terms and cover:
The work conditions for a contractor are different to those of an employee.
In a nutshell, contractor's have more say about how work is performed compared to employees.
For a full list of all the key differences between employees and contractors, you can read our article: choosing between employees and contractors here.
Sham contracting means to hire someone and classify them as a contractor when they should really be classified as an employee.
Some employers engage in sham contracting to avoid paying employee entitlements.There are expensive penalties for sham contracting and if you are unsure about whether you have incorrectly classified a worker you should get legal advice quickly.


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Senior Social Worker -Referral and Assessment Team - South East LondonReed are currently looking for a Senior Social Worker to join a Referral and Assessment Team based in South East London.Main Purpose of the job: To provide an accountable statutory social work service to children, young people and their families/carers, to include assessment, intervention, case planning and review, appropriate to the work of the team and service unit.To provide supervision, as appropriate, to social workers, students and/or Social Work Assistants.To undertake such project work as appropriate to the post holder's service unit.To undertake cases with complex risk levelsTo take responsibility for decision making on duty on a day-to-day basis as appropriateBenefits of this Qualified Social Work role includes:• Competitive rates of pay • Strong management and supervision• Manageable caseloads• Long contracts available• Low staff turnoverYou will need to have: • HCPC Registration• Post Qualified experience as a Social Worker• Eligibility to work in the UK Why Reed?•Dedicated expert consultant•Online timesheets & pay management•Automatic invoicing (Ltd Co)•Regular progress reports and face-to-face service reviews•Office hours 8am-6pm to provide support/advice•Recommend-a-Friend bonus for referrals•Substantial Continuing Professional Development (CPD) Fund to put towards training or other development•Reed Rewards and Holiday pay (PAYE only)• Personalised CV serviceInterviews are taking place immediately so please apply now to avoid disappointment! Alternatively, for more information or if you are a Qualified Social Worker looking for a role within a different team please contact Refer a friend and be rewarded with a £250 bonus! Reed Specialist Recruitment Limited is an employment agency and employment business
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What is a Philips Ambilight TV? If you've got been purchasing round for the perfect TV on the market, or simply one thing that that further wow issue over the competitors, chances are you'll effectively have come throughout one – particularly for those who're shopping for at Black Friday or within the Prime Day deals, after they are likely to drop a few fairly pennies off the asking worth.
Ambilight is a proprietary TV expertise unique to Philips TVs, and in a saturated market filled with near-identical goggle packing containers, it actually does assist Philips stand out from the gang. Ambilight is basically the inclusion of an LED array across the aspect of a tv, which tasks shade onto the wall behind a TV.
Sound like a gimmick? It is not. While a mild show is not essential on your viewing expertise, it has an extremely hanging impact you will not see with every other producer. The colours projected match the hues showing in your onscreen content material, growing your notion of distinction and creating an immersive mild show that appears to seep out of the tv itself.
All however the most cost-effective Philips TVs use Ambilight these days – they usually also can hook up with Philips Hue sensible lightbulbs, to let the colors of the TV picture flood your room, reasonably than simply bleeding out behind the display screen.
Keep in thoughts, although: a firm referred to as Funai owns the Philips license within the US, that means you will not get something like Ambilight. But for these within the UK and Europe, with a watch on an Ambilight TV, this is the information you want.
Should I buy a Philips Ambilight TV?
Philips's TVs could not earn fairly as a lot consideration as the most recent Samsung or LG OLEDs, however Ambilight is a fairly compelling purpose to decide on a Philips mannequin over every thing else.
Not each Ambilight TV is made the identical, although. Low-end fashions have "2-sided" Ambilight, that means color emanates from the left and proper of the TV. The relaxation have a "3-sided" array, with LEDs pointing upwards too. For the total Ambilight expertise, you need this characteristic.
Philips has even made a couple of 4-sided Ambilight TVs, together with the Philips 9800 collection. These challenge color beneath as effectively. However, proper now Philips's high fashions max out with three sides of LEDs.
While Ambilight separates Philips TVs from the remainder, there's nonetheless a lot to think about inside the firm's personal vary. It presents many fashions, from funds LCDs all the way in which as much as the wonderful OLED Philips 9000.
Philips's higher-end TVs use Android TV software program, similar to Sony's units. It's identified for being a little flaky at instances, however does grant entry to a great deal of apps, lots of the similar ones you possibly can obtain on your cellphone. 2018 mid-price TVs use Saphi TV as a substitute, Philips's personal interface.
Its newest 2018 TVs even have glorious "P5 Perfect Picture" processing, which ensures nice movement dealing with and shade replica.
Whether you're after an inexpensive LCD just like the Philips 43PUS6262 or one thing nearer to the unbelievable Philips 55OLED873 OLED, you get one thing not seen anyplace else. Yep, we're speaking about Ambilight once more. It's the primary purpose to "buy Philips".
Most of the Philips TVs we've reviewed lately have pretty mediocre on-board sound. But that is nothing to fret about for those who plan to make use of your personal audio system or a encompass system, which we all the time suggest.


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The New Haven, now Penn Central had some local service between New Haven and New London. Judging by the attention and sharpness of the train crew, I would like to think that this one car train had some important regular businessmen aboard who were referred to by the crew as "Mr._____ ". The passengers could have been connecting here to the ferries to Long Island or Fisher's Island. I am sure, however, this job only went to the railroaders with a lot of seniority.
Photographed by Ron DeFilippo, 1970.Added to the photo archive by Ron DeFilippo, April 10, 2019.Railroad: Penn Central.
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This week I'm going to expand on last week's Brighid post by sharing a bit of my own experiences with her. Brighid, while not my Patron Goddess, has been with me for a while. She is the one who sparks my creative fires, fans the flames of my desires, and helps me to remain compassionate even when facing adversity.
I cannot remember what year it was that I first became aware of her, but I do remember the circumstance. I was trying to think of something to paint for a friend whose son was in need of healing, and was at a complete loss of ideas. I started looking through my books, magazines and the internet for inspiration. I came across the same image of Brighid (Brighid of the Hearth By Artist Mickie Mueller) a few times, and was drawn to it. It led me to start looking into info about Brighid, and when I discovered she ruled creativity, inspiration & healing, I asked her for her help. The next day, I knew what I would paint, and I began to work. I infused each stroke of my brush with healing energy. I worked on it for weeks, pausing to thank her every day.
When I was done, I was quite pleased with my results. Mainly because I had never painted with acrylics before…and hadn't painted anything AT ALL in about 15+ years, but also because the image on the canvas matched the image that I had had in my head (I was kind of amazed by this, lol). I then took a picture of it, so that I could concentrate the energy on the photo and "recharge" the painting when necessary.
When I began working on that painting, I felt an instant kinship with Brighid. Perhaps because of my Irish Ancestry, but I think more so because I see her as the prime example of womanhood…at least a prime example for me. She is a Healer, a Diviner, at One with the Animals and she is Creativity. She exudes an heir of femininity, and yet, she is fierce and strong. Her association with Smith Craft reminds us that if we can endure and survive our 'Trials by Fire' we will come out the other side much stronger than we were before.
Now that I'm reflecting, I think she has been with me far longer than I have been aware of her. I've always been the creative type…with a slight fascination with fire <Insert Beavis excitedly repeating "Fire! Eheheheh Fire! Fire! Fire!" here 😉 >. I have been forged stronger through the flames of multiple trials, and have been called to be a Healer as well. Every time I have had an inexplicable drive to write something…every time I have had the fire within my belly rage into an inferno so that I may become fierce and defend myself in a dangerous situation…every time I tap into the waters of emotion and compassion for the purpose of healing myself or someone else, She is with me.
Below is a chart of correspondences that I've been compiling for a while, and have now finally put into a referable format. I'm sure it is by no means a complete list, but it should be enough to help you along if you're new to working with Brighid.
Brighid Correspondences
Meaning of Name
|The Exalted One, The Bright One, Fiery Arrow, The Powerful One, The High One
Area(s) of Influence
|Creativity, Smith Craft, Healing, Divination, Wisdom, Fertility, Childbirth, Animal Husbandry
Name Variations
|Brigid, Brigit, Brid, Brìghde, Brìde, Brigantia, Briginda, Brigdu, and Ffraid – Also the Christianized St. Bridget
|Threefold Goddess
|Goddess of the Sacred Flame (Flame of Inspiration, the Forge & the Hearth), Lady of the Healing Waters, Goddess of the Fertile Earth, The Mistress of the Mantle
Culture of Origin
Temples, Important Cities
|Kildare (Ireland), Shrine at Faughart Hill (Ireland), Bride's Mound (South West of Glastonbury, England), St. Bride's Ring (Forfar, Scotland), Bae Sain Ffraid (South Wales)
Festivals, Sabbats
& Holy Days
|Imbolc (Feb. 1/2), ST. Bridget's Feast Day (Feb. 1)
Crystals & Gemstones
|Amethyst, Azurite, Garnet, Peridot
Herbs & Flowers
|Angelica, Bay, Cinnamon, Cypress, Daffodil , Dandelion, Fennel, Lavender, Mugwort, Myrrh, Rosemary, Snowdrop
|Apple, Oak, Rowan
|Gold, Silver, Brass, Steel
|Serpents/Snakes, Cows, Sheep, Goats, Bees
|Fire, Forge, Candles, Bell, Brigid's Cross, Brìde's Bed, Wells, Springs, Corn Dollies, Cloaks, The Number 19
|Blackberries, Dairy, Honey, Seeded Breads, Dried Fruits
|Red, White, Green, Gold, Blue
Special Offerings
|Fresh Baked Bread with Butter, Honey, and/or Blackberry Jam, Oat Cakes, Milk, Blackberries, White Flowers, Shamrock
|Fire, Water
Best Day to Work With
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Tarot Card
|The Empress


text: Bhatura Bhaturas are thick leavened tasty pooris fried in hot boiling oil. Bhatura is a crispy, crunchy flatbread prepared from maida flour. Bhatura is unique and interesting with maida flour sieved with leavening ingredients and rolled out into thick pooris and deep fried. Bhatura tastes best with chole masala and onion. Bhaturas are nutritious, wholesome and filling too. You can explore a well detailed Bhatura recipe here that can be easily prepared at home.


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On October 21, 2016, Bernadette Duran-Brown partnered with Barbara Rodriguez-Pashkowski of Gust Rosenfeld P.L.C. and John Loper of John Loper & Associates at the Condemnation XIX to discuss environmental due diligence and its impact on acquiring right-of-way.
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Serious or fatal accidents involving tractor trailers or other commercial vehicles often arise or result in part from some maintenance defect in the vehicle. When this occurs and the matter goes into litigation, counsel for the plaintiff will shine a very bright spotlight on the pre-trip inspection that was or should have been performed by the driver. How much time was spent and what the driver actually did − and especially what the driver actually knew how to do − will factor into how much liability exposure the operator and owner of that vehicle may face.
The U.S. federal regulations governing this issue provide that "Every motor carrier, its officers, drivers, agents, representatives and employees directly concerned with the inspection or maintenance of commercial motor vehicles must be knowledgeable of and comply with the rules of this part." Those rules, particularly CFR 396.11, provide that "every motor carrier shall require its drivers to report, and every driver shall prepare a report in writing at the completion of each day's work on each vehicle operated..." regarding the driver's inspection of the following:
Because these inspections are mandated by federal regulations, failure to do them or to do them competently may result in a finding of negligence per se against a driver and his or her employer. In those states that recognize a negligence per se cause of action, such a finding may be sufficient to allow a plaintiff to demonstrate liability as a matter of law simply based on the violation of the regulation. In such cases, the damages can be quite high. Courthouses around the United States routinely see judgments and settlements in the seven-figure and even eight-figure range when the significant injury or death of a third party flows from the failure to conduct or adequately conduct a pre-trip inspection.
Below we address three key liability issues that commercial vehicle owners and operators should consider − and hopefully will address − in their practices, policies and procedures pertaining to pre-trip inspections:
- The amount of time a driver spends conducting these inspections and maintaining records for them
- Whether a driver is compensated for that time
- Whether drivers are trained and knowledgeable about how to conduct these inspections.
Unfortunately, there is no "right" answer to this question. Case law and expert opinions vary widely regarding how much time is enough. Some plaintiffs' lawyers will argue that the pre-inspection should take approximately 30 to 50 minutes. Others within the industry may argue that 5 to 20 minutes is sufficient.
Before driving any truck, the driver is supposed to be satisfied that the commercial vehicle is in a safe operating condition. If a driver testifies that he or she conducted a thorough inspection of the 11 vehicle systems required under the regulations in 10 or 15 minutes, he or she is going to be cross-examined regarding the thoroughness of that inspection and likely will be challenged regarding the meaningfulness of such an inspection. If the driver is just "going through the motions" and never finds anything wrong with a vehicle after years of doing these inspections, the driver's pre-trip inspection logs will be called into question when an accident does occur.
The plaintiffs' lawyer's ultimate goal is not to go after the driver regarding the time spent on pre-trip inspections. This is just the first step. If the driver is not performing full and adequate pre-trip inspections, the lawyer will then go after the company for failing to put systems in place to ensure that compliant pre-trip safety inspections are being conducted by the transportation company's drivers.
In the end, these lawyers will argue − including to a jury − that it is the company's responsibility to make certain that its drivers are complying with safety regulations. That means having policies and procedures regarding the completion of adequate pre-trip inspections, adequate training on those policies and procedures, and an adequate system to enforce those policies and procedures. If that spotlight were directed at your company, would it wilt or would it thrive?
While many truck drivers − employees or independent contractors − are compensated on a mileage basis, there have been a number of recent class-action lawsuits against transportation companies claiming that the failure to compensate drivers for activities that are integral to their trips, such as rest times and inspection times, amounts to a violation of state minimum wage laws. In the context of a claim for property damage or personal injuries resulting from a mechanical defect, a plaintiff's attorney may argue that if the driver were compensated only for mileage, the employer gave the driver no incentive to conduct an adequate pre-trip inspection to detect that defect.
If drivers are not compensated for their time performing pre-trip inspections, a plaintiffs' lawyer will argue at trial that the commercial carrier, by setting up a compensation system that omits pre-trip inspections, effectively dis-incentivizes a driver from performing an adequate or complete inspection. The lawyer will point out that there is no one to check on the activities of a driver on the road, and the inspection log filled out by the driver is the only contemporaneous record of the compliance. If the driver is compensated only for miles driven and efficient completion of a route, the lawyer will argue that the driver may spend minimal time on the uncompensated inspection, and even to lie about it on the log to get a bigger payday by focusing on the activities for which the driver is compensated.
If a driver's compensation includes spending time thoroughly inspecting the commercial vehicle, and completing the inspection log, not only will the owner/ operator of the vehicle be promoting this important safety activity, but it will eliminate the plaintiffs' counsel's opportunity to attack the company's policies and procedures and potentially shut down one avenue that a plaintiff might have to secure punitive damages at trial.
Every driver who earns a commercial driver's license (CDL) must demonstrate that he or she knows how to conduct a thorough pre-trip inspection. However, as technology on commercial vehicles changes, it is important to make certain that each driver in a fleet understands how to conduct a proper pre-trip inspection on the particular vehicle that he or she is driving.
For example, in New Jersey, a wrongful death case was filed against a trucking company because a driver failed to stop at an intersection due to maladjusted rear brakes on the vehicle, killing a pedestrian. The driver, who had a CDL, testified that he knew how to check the brakes by pushing them but not how to adjust them. He therefore did not realize that the brakes were maladjusted. The driver testified that he repeatedly had conducted a pre-trip inspection and logged those inspections, but admitted that he really did not understand the braking system on the vehicle he was assigned to drive. Not only was a five-figure award entered against the trucking company under the New Jersey wrongful death statute, but the company also was slapped with a seven-figure punitive damages award based on the company's reckless conduct of allowing this driver to drive and conduct inspections of a vehicle he did not understand.
Taking steps to train and periodically review the training of drivers is important. Equally important is ensuring that each driver actually understands how to inspect the vehicle he or she is operating. The changing technology on commercial vehicles is a significant risk-management challenge for any commercial carrier. One failure can lead to tragedy, which can lead to a substantial, and perhaps uninsurable and crippling, damages award against the company.
The content of this article is intended to provide a general guide to the subject matter. Specialist advice should be sought about your specific circumstances.


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Awww! We Can't Stop Cooing Over This Instagram Account Showing UPS Delivery People and Their Wild BFFs
Who says worst enemies can't be best friends, too?
Bugs Bunny and Elmer Fudd. Batman and the Joker. Tupac and Biggie. Delivery people and dogs.
There are certain classic feuds that will never be resolved. If you own a dog yourself, you know it to be true — no matter how calm his or her disposition is, your pooch probably freaks out whenever a deliveryman or deliverywoman comes to your door.
The Instagram account UPS Dogs commemorates this iconic relationship by posting images of UPS delivery people with the dogs that love to hate them — and also love to love them. I mean, come on, they're dogs — for the most part, after they bark, they want to kiss and cuddle. Especially if the delivery person has a treat in his or her pocket.
The account features all the good moments — dogs looking lovingly up the stairs of a delivery truck, dogs kissing faces, dogs trying to get the delivery person to take them home. It also has a number of surprise cameos from other types of animals, including horses, goats, cats, and even an elk.
The account is not officially associated with the United Postal Service, but they do take submissions. If you have a picture of your favorite pet posing with your favorite parcel deliverer — or if you are a UPS worker with a favorite pooch — send it to email@example.com. We look forward to cooing at you doing what dogs and humans do best — putting aside their differences for some good ole loving.
Below are some of our favorite images from UPS Dogs.
Unleashed is Bravo's celebration of pamper-worthy pets and how to spoil them. Want more? Then Like us on Facebook to stay connected to our daily updates.


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Deepika Padukone is among one of the most successful yet grounded actors in the tinsel town. The Padmaavat actor was last seen on the pink carpet at MET Gala 2019. Well, for the busy lady that she is, Deepika's next stop is at the Cannes Film Festival 2019. But, before that, Dippy was up for something adventurous. In a video that has been shared by Deepika Padukone's trainer on his Instagram story, we spotted a happy-go-lucky Padukone on the streets of New York City, as she cycled her heart out. The clip had Deepika in a very jovial mood and she couldn't stop flashing her pretty dimples. What's the matter, lady? *winks*
Check out the video of Deepika Padukone cycling here:
At the MET Gala 2019's pink carpet, Deepika Padukone channelled her inner Barbie in a Zac Posen pink gown and super-puffed hair. The actor played it safe with the theme, which was Camp: Notes on Fashion, but her ravishing look got a thumbs up from across the internet.
Have a look at Deepika Padukone's MET Gala 2019 look here:
Talking about her Cannes 2019 appearance, the Piku actor is expected to make her appearance at the red carpet on May 16 and she will be donning a Peter Dundas customisation.Meanwhile, Deepika Padukone is currently working on Chhapaak, a film based on the life of an acid-attack survivor Laxmi Agarwal. It is being helmed by Meghna Gulzar and stars Vikrant Massey in the lead role. Chhapaak is scheduled to release on January 10, 2020. Rumours have it that she has replaced Jacqueline Fernandez in Kick 2 opposite Salman Khan. So, are we finally going to see these two teaming up for a film? Only time will tell!


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