text:
Better benefits
attract top talent
Insperity's plan designs and long-term relationships with nationally
recognized insurance carriers allow us to provide employees with access to
cost-effective, comprehensive group health coverage.
Medical, dental and vision
Multiple offerings to satisfy individual needs.
- Multiple options
- Nationally recognized carriers
- Dental and vision coverage independent of medical
- Prescription coverage
Flexible spending account
Employees can save money each year with a flexible spending account.
- Eligible employees can pay for specific health care expenses using pretax dollars
- Employees decide how much to set aside each paycheck before taxes
- Employees can contribute up to $2,600 annually
- Funds may also be used toward expenses for eligible dependents
Health savings account program
Employees can cover qualified health care expenses using a health savings account.
- Available to Insperity high-deductible health plan enrollees
- Money can be set aside through payroll deduction on a pretax basis
- Ability to make employer contributions
Term life and personal accident insurance
Team members will have peace of mind when the unexpected happens.
- Basic (employer-paid) and voluntary (employee-paid) options
- Coverage amounts are equal to an employee's covered annual earnings
- Employees are covered anywhere
Disability insurance
An extra cushion employees need when unforeseen events make it difficult to work.
- Basic (employer-paid) and voluntary (employee-paid) options
- Short-term disability coverage replaces 60% of an employee's covered weekly earnings
- Long-term disability coverage replaces 60% of an employee's covered monthly earnings
Employee assistance program
Improve the quality of employees' lives both on and off the job.
- Assistance with emotional well-being, addiction and recovery, legal matters and more
- All members of an Insperity employee's household are eligible for prepaid, professional counseling
- Most services are available at no cost
Insperity 401(k) Plan*
Professionally managed, low-cost plan that minimizes the burden of daily administration and compliance.
- Various eligibility options, 100% immediate vesting and flexible employer contributions
- Pre-tax and Roth contributions, automatic enrollment, and loans and in-service withdrawals
- With the Insperity 401(k) Plan, Insperity assumes the responsibilities and fiduciary obligations of plan sponsorship
- The Insperity 401(k) Plan undercuts average industry fees by 40%-60%**
Another option is to sponsor your own Insperity Customized 401(k) Plan, which has competitive fees and can be designed for your specific situation and goals. This includes various options for eligibility, vesting, employee and employer contributions, automatic enrollment, and loans and in-service withdrawals.
* Insperity 401(k) Plan is an additional cost.
** According to comparisons with data provided by the 401k Averages Book. Data is licensed from the 401k Averages Book. All rights reserved. 401k Averages Book shall not be liable for any errors or delays in the content, or for any actions taken in reliance thereon.
Cost–efficient health coverage
The structure and design of Insperity's Group Health Plan helps us keep costs low while providing value to employees.
Compounded annual cost
The compound annual cost increase for group health insurance and related benefits paid by Insperity over the last 10 years averaged 3.68%.
Health Plan and is not reflective of past changes or a guarantee of future changes to a
client's comprehensive service fee.
We handle the benefits process, start to finish
Carrier and plan analysis
As plan sponsor, Insperity negotiates contracts and manages
vendor relationships to help ensure compliance, cost
containment and stability.
Regulatory compliance
Insperity keeps its benefits plans in compliance with all
applicable laws.
Unparalleled service
Benefits specialists are just a phone call away to answer
employee questions. Or go online for 24/7 employee self-service
with enrollment and decision-making tools.
Choosing benefits is easier with our HR technology
Employees can select and manage benefits all in one place using our employee self-service HR technology solution, Insperity Premier™. With its clear and easy-to-use navigation, Insperity Premier™ makes browsing benefits simple and efficient – all from a desktop, tablet or mobile device.
Meet ALEX – your employees' new benefits BFF
ALEX is an interactive support tool on Insperity Premier™ that helps simplify the benefits selection process for employees. Instead of wading through every possible option one by one, employees can lean on ALEX to help them quickly choose the plan that's right for them.
- Helps identify the option that may work well for employees and their families
- Takes only about 10 minutes, depending on the amount of guidance employees need
- Is available 24/7 during open enrollment on Insperity Premier™
Check out what our clients are saying
"Insperity has enabled us to create
a benefits package that cares deeply for our people."
Peter Kardel –
Co-founder & CEO, Clever Ducks


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Sydney, Australia – Global digital agency Jellyfish is ramping up its global presence by acquiring five companies, including one in Australia, Data Runs Deep.
The Australia-based Google marketing agency provides consultancy and training to clients. Data Runs Deep assists its clients with the structure and implementation of Google Analytics in their business – most importantly, giving companies the ability to produce outputs through large amounts of customer behavior data in order to make fast business decisions.
The newly-announced acquisitions speak to the rapid acceleration of businesses looking into integrating digital transformation strategies into their company. This is done in response to the global pandemic that has created a greater need for brands to partner with companies to help them navigate and meet the challenges of driving growth and sustainability.
Other of Jellyfish's global acquisitions include tech agency Seelk, e-commerce content production Quill, creative technology company Splash, and technology services Webedia Brand Services.
"These acquisitions bring powerful enhancements to our portfolio of services by expanding our depth of expertise, geographical reach, and our offerings across several continents and regions," says Chris Lee, COO at Jellyfish.
Jellyfish's rapid expansion comes against a backdrop of consolidation and challenges in the traditional agency sector as the company's capabilities lie in helping brands during their digital transformation journey.
"Our mission is to ensure that our clients have all the resources needed to fully embrace digital transformation and reach results that transcend every expectation. These acquisitions are key in driving prominence and growth in the marketplace and we believe nothing is impossible or beyond the reach of our clients," said Rob Pierre, CEO of Jellyfish.

subset: commoncrawl


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Rockford Post Office Has Released Christmas Shipping Deadlines
Have you mailed out your Christmas cards yet? What? You haven't even bought them yet? Geez, you're such a slacker.
I'm totally kidding, I haven't even started my Christmas shopping yet so I'm the real slacker here. But seriously though, if you are mailing out Christmas cards or sending gifts through the mail, you might want to get on top of that.
The Rockford Post Office has issued a reminder to customers about holiday mailing and shipping deadlines and according to wifr.com, they're coming quick.
That link above will give you all the details you need to know to make sure all of your Christmas cards and gifts are delivered on time.
You're welcome. And Merry Christmas.


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August, 9 2019
Richmond, CA
Date Lost: 2019-07-30
Thank you for all the support in helping bring our pup home! You are all amazing at what you do.
August, 8 2019
Alhambra, CA
Date Found: 08/08/19
Dear Lostmydoggie.com, Thank you for being here! I believe that your website and spreading the word absolutely helped to find my dog! You all are wonderful and again Thank you! From my heart. Sincerely, Sandy Mcnown
August, 7 2019
Orleans, MA
Date Found: 08/07/19
Nala returned this morning after 2 days missing. Her leash was cut in half so we assume she had gotten it caught on something in the woods and eventually chewed her way off the leash. Thank you so much for the support during the challenging time. This website is a fantastic resource for families in search of their loved one! I now feel inspired to volunteer to help find lost dogs in my local community.
August, 1 2019
Fort Lauderdale, FL
Date Found: 07/31/19
lostmydoggie found Noodle. Literally! I posted the ad on the website and just as the person who found him walked into the animal hospital; his adorable little face showed on their printer. The hospital staff quickly called us to id him and within 3 hours of Noodles going missing, he was returned home. The site works and is efficient. We are so grateful.
July, 6 2019
Emerald Isle, NC
Date Found: 07/06/19
Our precious Golden Doodle Bailey was lost at 9:00pm July 4th. We spent nearly the entire night looking for him. The next morning 6:00 am we needed help so we went to lostmydoggie.com. We had a social media post immediately, a flyer printed before 8:00 am, but the most effective was the amber alert phone calls, this IS what made this possible. We live in a beach community and the family that found Bailey was on vacation and had no social media, but they received the amber alert phone call on the landline phone in their rental home. Because of social media, Family, friends and dog lovers from everywhere were coming to help search for Bailey. We are so thankful and overwhelmed by the out pour of love and help from the community. Thank you lostmydoggie.com for bringing our Bailey home!!!
June, 26 2019
Tullahoma, TN
Date Found: 06/18/19
Without LostMyDoggie.com we wouldn't have found my dog, Lacie, as fast and as easy as we did. With this site, the word about Lacie traveled fast and easy, and she was back to us in a matter of hours. We were so extremely happy to get her back.
June, 25 2019
Cara A (Victoria, TX)
Date Found: 08/16/22
Our tiny dog got out and was found running by a highway. Through the grace of God lostmydoggie.com allowed kind hearted people to bring our little one home just in time.
June, 14 2019
Tanya G (Cambria Heights, NY)
Date Found: 06/14/19
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North Las Vegas, NV
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Our Sophie was found 45 miles away from our home. This service started a host of calls and spotting of her. We found her within 2 days of posting!!! Thank s so much!!!
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Tucson, AZ
Date Found: 06/12/19
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Bellingham, WA
Date Found: 06/08/19
Panic, and then more panic sets in, what to do? Social media, obviously but where do I start. This website allowed me to feel a sense of control while our beloved family member was missing. Seconds after filling in the data I received notice that our dog was reported missing to all animal shelters in the area. The option to share our pets details to twitter and Facebook followed immediately after. Thank you! Brilliant service. Our beloved came home, safe and sound. Phew
June, 7 2019
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Date Found: 06/01/19
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Date Found: 06/03/19
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June, 3 2019
Eatonville, WA
Date Found: 06/03/19
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May, 31 2019
West Chester, OH
Date Found: 05/31/19
My dog although had been missing for four days I put up fliers called around And had no luck I stumbled across this site posted in the missing dog ad And within 20 minutes I had a phone call from the SPCA that they checked the website and had a dog with his description!!Solo is home safe and happy!!without this site I don't know if we would've found him thank you lostmydoggie.com


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In latest 'woman feels content; general public scorns the downright audacity of it' news, Emma Watson has been trending online for the way she's dared to describe her romantic status.
In an interview with British Vogue, Watson spoke about what should ideally be a complete non-topic: being single with her 30th birthday on the horizon. Reconciling her past anxieties about 'settling down' on a deadline, she said she hadn't been immune to the "influx of subliminal messaging around" that makes you anxious "if you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30, and you're not in some incredibly secure, stable place in your career, or you're still figuring things out…"
But she's made peace with this arbitrary expectation, and adds, "It took me a long time, but I'm very happy [being single]. I call it being self-partnered." Great, good for her, and I'm now reaching for my coffee and scrolling through jumpsuits that look amazing but would make toilet trips a complete disaster. Yet this is the part where Twitter users threw down their paninis, rolled up their Gap sweaters and drew an angry red line on the ground.
Watson's neologistic label has been called "dumb" and "pretentious" on social media, and she's been compared to self-indulgent brides who marry themselves in ostentatious ceremonies. One opinion-excreter whose Twitter bio states that he has – of all things – a linguistics doctorate, mused: "I strongly suspect that Emma Watson describing herself as "self-partnered" is going to backfire on her horribly. Not only does it sound self-obsessed, it also sounds utterly off-putting to potential suitors. Who would want a relationship where he/she is surplus to requirements?" Backfire? Self-obsessed? Really? A linguistics expert should perhaps take a moment to consider that Watson's word choice was entirely intentional. She has a brain (and an English degree), after all. It's like sneering, "Silly cow's got such shoddy spelling that instead of writing me a love letter, she accidentally posted me a notarised restraining order. Doesn't she realise she won't be able to savour my salami burps during Emmerdale any more?" (Also, he used the word "suitors", so if we're going to dissect word choice and social attitudes, this guy deserves an article of his very own.)
And there's more. Comedian Ronald Funches commented that "Emma Watson is that uncle who has been unemployed for so long they just say they're self-employed but everyone in the family knows what's really going on". Now, listen up ladies, because this is bad news for the mere mortals among us. It turns out you can be extremely intelligent, successful, wealthy, socially-conscious, stylish and one of the most conventionally beautiful and desired people on the planet, but if you're single then it's clearly because no man has judged you worthy of his unwashed polyester bedsheets and blistering arrogance. Must be her poisonous vagina, or something.
But hey, it's not just men joining the pile-on. Get ready to spit feminist coffee all over your feminist Macbook, because Julie Gunlock – a director at the feminist organisation, the International Women's Forum – tweeted, "Alternative headline: Emma Watson is looking for attention". Julie. Juuuuulie. WHY, Julie?!
People equating the phrase "self-partnered" with showy solo weddings are entirely missing the point. This is not a form of attention-seeking, rather, it's the complete opposite. It's an invisibility cloak. It's the verbal equivalent to slipping on an engagement ring before heading out to a club with your friends, knowing that it will act like mosquito repellent in the world's stickiest, thirstiest jungle. You've got your plan for the night, and it doesn't involve being harassed by someone who gets his mum to iron his shirts and thinks that "Kid Rock is the most talented mofo to ever walk this earth".
We cannot seem to compute satisfied singledom. So if so many people refuse to accept that a woman can genuinely (gasp) enjoy her life without pairing up a man's socks on the regular, then it makes sense that Watson would come up with an alternative expression of commitment to help them understand her contentment. Maybe it was tongue-in-cheek, and maybe it wasn't, but the message of 'self-partnership' is clear: she's not waiting in the lobby for anyone; she's in the club, ring on hand, having a banging time.
And if this phrase is just too new for people to accept, how about going back in time instead? What if single women embraced the pejorative label 'spinster'? The LGBT community reclaimed 'queer'; African Americans took back the N-word; and fat people want you to stop beating around the bush and call them 'fat' (or just, you know, their name). At least the literal meaning of 'spinster' is a reminder that an evening of needlecraft, Regina Spektor and Malbec is the actual goddamn dream (for which many of your married friends would happily take your place in a heartbeat). Plus, the handy thing about spinsters is that, traditionally, they know how to cope when confronted by pricks.


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Ski resorts around the country shut down
Coronavirus concerns put the ski season on pause from coast to coast
Get access to everything we publish when you sign up for Outside+.
The ski season very well may be over due to the coronavirus pandemic. From California to Utah, through the Rockies and Midwest to New England, closure announcements went out in rapid fire Saturday.
Colorado Gov. Jared Pollis issued an executive order Saturday that all 30 Colorado resorts suspend operations for one week. "Never would I have believed that a global pandemic would force the temporary closure of our world-class ski resorts," Polis wrote in an email announcing the news.
Other announcements quickly followed. All 37 Vail Resorts around the globe: closed through March 22. "This decision provides a pause for the entire ecosystem of our mountain resort communities," wrote Rob Katz, CEO of Vail Resorts. Vail will continue to pay all employees, both seasonal and year-round, during this eight-day period. "Their commitment to our company and guests during this uncertain time has been unwavering and I am personally grateful beyond words," wrote Katz.
Alterra Mountain Company resorts—all 15 of them—will also close until further notice.
In Utah, all Summit Country resorts are closed as officials battle new community spread there.
As of Sunday morning, March 15, Jackson Hole remained open, though they announced closure of the Arial Tram, which typically packs skiers in elbow to elbow, on March 14. The March 15th Jackson Hole Mountain Resorts snow report touted 23 inches of fresh snow and concludes, "Have a fantastic start to your Sunday out there. It's gonna be a big one."
Update: JHMR closed down at 8:40 a.m. Mountain Time. An anonymous group of resort employees called for the closure yesterday in an email to the company, reported the Jackson Hole News & Guide.
These closures will, no doubt, have a serious impact on resort community economies.
"Hourly workers will get crushed," Nick Sargent, president of Snowsports Industries America told SNEWS on Sunday morning. "From the lifties to burger flippers to the restaurants and drivers. The list goes on an on."
Sargent says this has been a defining week for the snowsports industry and that SIA will be digging into the wide ranging impacts. "In light of all these announcements, we'll be looking into what we can do to create different options for the industry, to help and educate our members," he said. Sargent says SIA will put out a statement next week.
"In the meantime, getting outside is best place for all of us," he said.
This is a developing story.


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Philadelphia's robust arts and culture scene is returning to center stage. Are audiences?
The shutdown of performances by the pandemic is ending. Whether audiences will follow is the critical question.
Ann Cohen was standing in the lobby of the Kimmel Center not long ago as a film was about to start in the Perelman Theater. Across the Kimmel plaza in Verizon Hall, the Philadelphia Orchestra was warming up.
"Philadelphia's getting back to being Philadelphia, where there are at least six things a night to choose from," said Cohen, a frequent culture consumer from Roxborough.
Artists, actors, and musicians might be getting back to stages and galleries in the region after what has been, for many groups, a painfully long hiatus forced by the pandemic. But are audiences returning?
"The arts can really revive activity and life downtown, and every time we have hundreds or thousands of people at a performance it's another indicator that we're beginning to get over the shock to the system that is the pandemic," says Matias Tarnopolsky, president and CEO of the parent company of the combined Kimmel Center and Philadelphia Orchestra.
Popular shows like Hamilton appear to retain the power to draw thousands per night. But other events are drawing well below capacity as many patrons mull the prospect of returning to theaters and concert halls with caution. As the pandemic wears on, the drop in ticket revenue is shrinking budgets of the area's arts and culture sector, and many expect to run a deficit this season, a new study by the Greater Philadelphia Cultural Alliance shows.
At museums and galleries, the relationship between pandemic and visitation levels is somewhat different than it is with performance venues. Yes, attendance remains below pre-COVID levels — but not because of the unwillingness of visitors to turn out in large numbers. Rather, attendance figures are down at museums and galleries largely because of pandemic-related capacity limitations imposed by the institutions themselves and by the absence of school groups, which have yet to resume regular visits.
But adult visitors appear to be all in on attending exhibitions and museum shows.
"I think compared to our dark days forecasting in April of 2020, we feel like we're in a much stronger position, certainly than we imagined we would be at this point, although who knew it was going to go on for so long?" said R. Scott Stephenson, president and chief executive of the Museum of the American Revolution.
For one thing, federal relief money (a total of about $3 million for this museum) plugged a huge lost-revenue gap, he said, allowing the institution, and many others, to survive lengthy lockdowns.
"The good news is that visitation really has rebounded since the summer and I'd say we are currently about 70 to 75% of pre-pandemic visitation," Stephenson said. "What has not come back is our school visits, the group school visits. That was about maybe 25% of our visitation, pre-pandemic."
A similar story is heard from many other institutions.
"I'm very optimistic about where we're at and where we're headed," said Larry Dubinski, president and CEO of the Franklin Institute. "The visitors that we've had here, they're universally just happy, positive. They're glad to be back out experiencing things. They're taking advantage of everything when they're here. ... I have to say, it's wonderful to see and it's energizing. A perfect example is we've sold over 63,000 tickets for Harry Potter, which doesn't open until February.
"I think that's a really good indication of where people's mind-sets are."
The Philadelphia Museum of Art tells a similar story. "After a very modest start, recent attendance at the museum has been running at approximately 75% of pre-COVID levels and is trending upwards, in large part because of the great interest in three new exhibitions that are currently on display — Jasper Johns, Emma Amos, and Richard Benson," said a museum spokesperson. "We are cautiously optimistic that this upward trend in attendance will continue."
For performing-arts audiences, the calculation seems to be somewhat different.
"They are looking at this as a risk equation," says Priscilla Luce, interim president and CEO at the Great Philadelphia Cultural Alliance. "How much risk can I take to do something I really, really want to do? We're starting to see those kinds of questions being asked, so maybe shows and performances that have big names or big titles or an important performer, those may find an audience more easily than more leading-edge work or newer work, where people might be saying, 'I think I need to pass on this because I just don't feel comfortable.' That's the equation we've been seeing since delta."
"My impression is some of them are coming back and they are very enthusiastic to be there, and some folks just don't feel ready," says Leigh Goldenberg, managing director of the Wilma Theater.
"People are waiting longer to buy tickets," says Christopher Gruits, executive and artistic director of Penn Live Arts.
Fall has meant a return of the arts, but layers of uncertainty remain. Most cultural groups received substantial federal pandemic aid to help make up for lost ticket revenue and bolster finances this season. Will more aid be available if needed? And what effect will news of the omicron variant have on potential audiences?
Like other groups, the Wilma had planned on smaller audiences this season. But some had planned for smaller audiences and still aren't seeing those numbers. The Philadelphia Orchestra, for instance, budgeted for a concert hall 70% full but so far is averaging houses at just 50% of capacity.
The Wilma capped attendance at half of its 300 seats for its 22-performance October run of Minor Character and sold only 67% of those 150 seats.
Ballet X, which pre-COVID routinely sold out two-week runs, is selling just 70% of its available tickets, says company artistic and executive director Christine Cox.
"I have to be honest. I feel like we will be rebuilding audiences. People are hesitant to subscribe and I don't blame them," she says. "It's going to take time."
Critically, Philadelphia Ballet is about to test the waters. Its annual production of The Nutcracker runs Dec. 10-31, with expectations that the production will provide 60% of the company's ticket revenue for the entire season. Ticket sales so far for the Tchaikovsky/Balanchine favorite are a little ahead of goal, and the hope is that last-minute decisions will buoy sales figures even more. "A lot of it is last-minute," says executive director Shelly Power, "but we saw this trend of last-minute buying coming pre-pandemic and I think this [the pandemic] has accelerated that a little more."
Audience attitudes brightened considerably during the spring and summer. In a survey by consultant Wolf Brown for the New Jersey Theatre Alliance (covering the Wilma and other Philadelphia-area theaters), only 16% of vaccinated respondents said in February that they were ready to return to in-person cultural events. By April, that number was up to 33%, in June 58%, August 43%, and October 52%.
Now, with omicron dominating headlines, attitudes seem likely to shift again.
"My suspicion is that it's not going to help," says GPCA's Luce.
Visual-arts venues have generally fared better than performing-arts groups.
At the Mütter Museum, officials have put a 700-person-a-day cap on visitation, a number that is routinely hit now on weekends.
"There's definitely a desire for people to come and visit," said Julia Jordan, Mütter associate director of visitor services. "But we're trying to maintain having a reasonable amount of people in the museum at one point or another. ... We do tend to sell out on the weekends, so people are eager to come."
At the Franklin Institute, the lag in school-group attendance has held down overall numbers.
"We're going to end the year with about a quarter of a million visitors," said Dubinski. "I would say on the weekends we're seeing visitation of about 50% of the pre COVID number. Some of our attendance challenge obviously is that, for the most part, school groups have not returned. And we're rebuilding our membership program. I mean, pre-pandemic, we had over 30,000 member households. It went down to almost 9,000 member households. We're continuing to build on that number."
For the Franklin Institute, he said, development of vaccines for younger children has been extremely important.
"We're starting to see that number pick up and build as well," Dubinski said. "The message I keep telling people is Philadelphia is open for business. And from a science point of view, I really keep saying, you know, people need to get vaccinated for us to continue on this trajectory."
In performing arts, shows with wide appeal appear to be doing well. The Kimmel on Thursday welcomed its 210,000th visitor since its official reopening Sept. 18, and its biggest name of the season did draw a crowd. Hamilton rolled into the Academy of Music for 48 performances from Oct. 20 to Nov. 28, and although a Kimmel spokesperson says an agreement with the show's producers prohibits revealing sales figures, one recent Tuesday night in November filled the hall with an estimated 2,300 patrons of the nearly 2,400 tickets on sale.
Still, the pandemic has sapped the vitality of the arts and culture sector to an astonishing degree.
The budgets of Philadelphia arts and culture organizations have dropped by 26% so far during the pandemic, from a combined $1.17 billion in fiscal year 2019 to $866 million in 2021, according to a GPCA impact study released this month that took in responses from 138 Philadelphia-area groups. (By comparison, budgets shrank only 12% during the 2008 Great Recession.)
Even with their budgets slashed, more than a third of groups responding to the GPCA survey expected to post a deficit this year.
The biggest drop came in the category of earned revenue — typically ticket sales. Earned revenue dropped an average of 46%.
Many groups have been able to stay afloat this season with pandemic-relief financial assistance in the form of the Paycheck Protection Program or with a Shuttered Venue Operators Grant. With no such additional aid on the horizon, arts groups fear they will soon face serious questions about their viability.
"It does seem 2022 is going to be a moment when things are going to start to become clear as far as organizations feeling a huge impact and asking questions of whether they can go forward," says GPCA's Luce. "There is a question of sustainability of the sector we have. If earned revenue is reduced and foundation and corporate giving is at the max that it can be, then where is the support going to come from? Those are very real questions."


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The Monster Energy AMA Supercross Championship season will come to Fort Worth, featuring what has become a deep array of talent. Three Supercross champions - 2x champion Cooper Webb, 2020 champion Eli Tomac, and 2018 champion Jason Anderson - will be competing for another title, and both a domestic and international "who's who" list of competitors vie for their first title – Ken Roczen (Germany), Marvin Musquin (France), Dylan Ferrandis (France), and Adam Cianciarulo, Justin Barcia, Aaron Plessinger, Malcolm Stewart, and Chase Sexton, all from America.
The 250SX Class will see a return of both reigning champions Justin Cooper (Western Regional) and Colt Nichols (Eastern Regional), while Australian super-star brothers Jett and Hunter Lawrence and Japan's Jo Shimoda seek their first title.


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Selena Gomez has confirmed that a new album is in the works, but she's a little "nervous" about it.
The 26-year-old singer has been spotted at the studio multiple times in recent months, fueling speculation that an album might be dropping soon. Amid the chatter, Gomez took to Instagram Live this week to give her fans an update on her new music.
"I'm currently in the studio right now," she shared. "It's going really good."
Gomez went on to admit, "I'm just nervous about it, honestly, because I feel like the next few choices that I'm gonna make are very crucial. So, I'm trying to be really, really diligent and just patient with everything."
While an album release date is still unknown, Gomez has been featured on two new songs recently.
In late January, Gomez's collab with Julia Michaels was released. The duo teamed up on the track "Anxiety," off of Michaels' new EP, Inner Monologue Part I.
A month later, Gomez, Benny Blanco, Tainy and J Balvin dropped their new song, "I Can't Get Enough."
You can check out the just-released music video for the hit track above!


text: Any youth from Kindergarten to fifth grade – or five- to ten-years-old – may join Cub Scouts. As of July 2022, the Fort McHenry District has 14 Cub Scout Packs. If you know any youth interested in joining Cub Scouts, you can find the Packs chartered at the organizations below, and you can contact each unit through Be A Scout.


text: Uncle Murda – Change Gone Come (Official Video) ft. Mysonne, Tamika Mallory Jan 31, 2021 Listen to the album "Don't Come Outside, Vol. 3". Out now!Stream: Don't Come Outside, Vol. 3 by Uncle Murda (empi.re) Subscribe * indicates required Email Address * First Name Last Name Email Format html text View previous campaigns. Share Share on Facebook Tweet Tweet on Twitter Pin it Pin on Pinterest Leave a comment Name Email Message


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mwe3.com presents an interview with Henrik Hytteballe of The Haiku Project.
mwe3: Can you tell us where you're from originally and where you live now and what you like best about it?
Henrik Hytteballe: I am Danish, living in Copenhagen, the capital of Denmark. I was born in the countryside, but have lived most of my life in cities, which gives me the possibility to find people to work with and I enjoy the cultural life a big city offers.
mwe3: How long have you been playing music and when did you start the band Haiku? Is it The Haiku Project?
Henrik Hytteballe: I began playing piano as a kid. In the school orchestra I played trombone and when I moved to a big city to study, I started playing piano with my first band. During the 1980's I played with four bands, toured a lot and made albums and composed music for theater. In 1987 I started a duo with guitar player Sokomo, called Haiku, and we played live on the radio and gave small intimate concerts with our ambient, instrumental music.
I moved to Copenhagen and was involved in other projects for a long time. In 2004 I started Haiku, releasing the first album Haiku in 2006. Sokomo joined me for the second album Mondo, writing the lyrics and performing vocals as he also did on the recent Vagabond, which was released in March this year.
The Flow album is entirely my own creation. I wanted to create an ambient album perfect for yoga and meditation and as it is pure instrumental, I could do it all by myself. So yes, The Haiku Project is me, being solo.
mwe3: Haiku records both instrumental / ambient New Age and electro pop vocal music. How do you balance all the variety of music that you write and record and then determine what kind of album to make?
Henrik Hytteballe: As human beings we have complex and varied reactions to what life gives us. Every album I make has a different concept from the other, which defines the atmosphere and style of the music. I have in mind what kind of album, I want to make, and keep my compositions apart. Right now, I am composing for a follow-up to Flow and an electronic album with a German singer from Berlin. The two albums are like night and day, but I like being able to switch between genres.
mwe3: What instruments do you play on the Haiku Flow album and how many instruments do you play?
Henrik Hytteballe: Flow is played on piano and keyboard, this is what I play. In my next life I want to be a guitar player (lol) but in this life I only play keyboard. I am educated a piano player from DARK, the alternative Rhythmic Conservatory in Copenhagen and love the sound of a piano. Playing the synthesizer is a complete different thing. I am painting with my instrument, giving the music colors, I make sounds that squeak, rattle, complain, long and love. Combining the 2 instruments is the Haiku Project.
mwe3: Would you describe the Flow album as being New Age, ambient or healing music (or all three) and what is your opinion on musical therapy? It seems to be a worldwide phenomenon still.
Henrik Hytteballe: Flow is all three, I guess. New Age has a tendency to emphasize beauty and pleasure, where I think my album Flow contains aspects of life's darker side, too. There's loss, despair and longing in my tracks, too. By communicating these various feelings, I think Flow becomes healing, too. It is not by neglecting our feelings that we improve our lives, but by facing life and dealing with it. I felt that during the making of Flow, I was healing myself.
I believe that music therapy is very effective. I had a severe traffic accident thirteen years ago. For almost one year I was absent and could do almost nothing. I was in a bad state both physically and mentally. All my cognitive functions had to be rehabilitated as well as my physique.
I think that music helped my brain in building new connections and helped me retain my ability to coordinate and create visual images in my brain, a skill that had been completely gone for more than four years.
So yes, I have experienced myself what music can do.
I have a younger brother, who is autistic and almost every night before he goes to sleep, he listens to Flow. This is something he has chosen himself, but being as sensitive as he is, I take this as a huge compliment.
mwe3: What artists do you follow or listen to from both the pop world and the instrumental electronic / New Age worlds of music and who were some of your favorite artists over the years?
Henrik Hytteballe: I think it was Pink Floyd who started my interest in making music. They, among others, taught me that music is much more than an ordinary pop song.
Brian Eno, who actually invented ambient music, is a pioneer I still follow. I also appreciate his works as a producer for various rock bands. My absolute favorite piano player is the Norwegian jazz pianist Tord Gustavsen. He has the most delicate touch of all, and I love the Nordic melancholy in his tunes.
Among the new artists, I find James Blake very interesting. Both his voice and his musical arrangements are excellent.
Of modern classical composers, I like very much Arvo Pärt.
I have always been very fond of French music. Both classical music like Debussy, Satie, and Fauré but also French pop music. In France they put chords together different from their Anglo-Saxon colleagues. I like when you cannot always foresee what the next step will be. I like being surprised in music and finding the small gifts that this can give you.
mwe3: I was watching the video you have for the latest Haiku pop song, "Tingle Tangle Town" which was quite well done. Can you tell us about the making of that video and how the song contrasts with your life in Copenhagen? Is Copenhagen "Tingle Tangle Town"? Tell us about the musical life in Copenhagen in the year 2014. It's such a beautiful city.
Henrik Hytteballe: On behalf of Copenhagen, thanks for the compliment! Yes I agree it is a beautiful city. "Tingle Tangle Town" is not a greeting as such. It describes the hectic pulse people feel urged to follow when living in a big city. Since my accident I must look after myself and cannot take part in the rush, but still I can enjoy the variety of life in Copenhagen.
mwe3: Tell us about how you began working with Real Music and about the upcoming instrumental release by Haiku you have planned as a follow up to the Flow CD. Is it also planned for Real Music and what other plans do you have as far as writing new music, recording and performing in 2014 and beyond?
Henrik Hytteballe: Flow has done well in Denmark and is by some considered the best music for meditation. I thought people in other countries should have the chance to listen to it and contacted three labels in the US. The one I was hoping for, Real Music proposed a release on their label. And I must say that I am happy about this cooperation. The new cover they have made illustrates the music exactly and they've hit it with the beautiful video for "Eternity". So I am so pleased by their professionalism.
For the last year I have been composing for a follow-up to Flow to be released on Real Music, and hope to finish it in 2015. As I mentioned I am working on a project of electronic pop songs with a German singer Barbara, and Sokomo and I will meet later to discuss possible future work.
In combination with the next instrumental album, I am planning to do some solo live performances next year.
Thank you very much, Robert, for taking time to listen to my music and for this interview. It is a pleasure being treated with such respect and interest. All the best to you.
Thanks to Henrik Hytteballe @ Haiku Music and Real Music


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The French authorities notified the European Commission in June 2014 of three State aid schemes for airports and airlines.
On 7 April 2015, the European Commission approved the French schemes, which will apply to:
- investment aid for airports;
- operating aid for airports;
- start-up aid for new airline routes.
The schemes are founded on the 2014 Aviation Guidelines and provide for identical conditions.
In February 2014, the European Commission adopted its new Guidelines on State aid for airports and airlines. They entered into force on 4 April 2014. They replaced the Guidelines adopted in 2005 following the Commission's first decision in the Charleroi Airport/Ryanair case in 2004.
They formalize the European Commission's new approach towards airports: to promote sound use of public resources for growth-oriented initiatives and to avoid overcapacity and duplication of unprofitable airports.
The new approach is formalized in the 2014 Aviation Guidelines in the following way:
- State aid for investment in airport infrastructure may be authorized under stricter conditions and if there is a genuine transport need and if the aid is necessary to ensure the region's accessibility. The new Guidelines set maximum permissible aid intensities, depending on the size of the airport.
- Operating aid for regional airports that was forbidden under the 2005 Guidelines is allowed for a transitional period of 10 years under certain conditions. Airports with fewer than 3 million passengers a year may benefit from this aid, plugging 50% of the operating funding gap until 2023. Airports with fewer than 700,000 passengers a year may benefit from operating aid, regardless of any transitional period. The aid for those small regional airports may total up to 80% of the average operating funding gap until 2019. Their situation will be reassessed by the Commission before 2019.
- The new Guidelines provide for fewer conditions for start-up aid for airlines that launch a new air route at a regional airport. Start-up aid takes the form of a rebate of a maximum 50% on airport charges in respect of the new route for three years maximum.
All aid for airports and airlines under the Aviation Guidelines must be notified by Member States to the European Commission prior to being granted and must be formally authorized by the Commission. Unnotified State aid is per se illegal and may be challenged by a competitor before a national judge.
Since the adoption of the 2014 Aviation Guidelines, the Commission has adopted about 20 individual decisions on investigations dating back to 2001 following complaints and relating to Brussels South Charleroi Airport, Marseille Airport, Nîmes Airport, Saarbrücken Airport, Frankfurt Hann Airport, Alghero Airport, etc. It also approved new aid notified by Member States, such as aid for Groningen Airport in the Netherlands and St Mary and Land's End airports in the United Kingdom.
Nevertheless, considering the number of airports falling within the scope of those Guidelines and the few notifications made by Member States since April 2014, they seem reluctant to notify aid in the air transport sector.
Therefore, in late January 2015, the European Commission sent a letter to all Member States to remind them of their obligation to notify airport aid, to request the list of operating aid granted to airports and to invite them to notify general aid schemes at the national level in order to minimize the number of individual notifications for airports or airlines.
The approval of these schemes by the Commission now allows the competent French administration - the DGAC - to examine whether airport or airline aid is compatible with the schemes without having to notify the European Commission of each individual aid.
The French authorities provided the Commission with a business plan model which the airports must comply with in order to demonstrate both the necessity and the proportionality of the aid they request.
The French aid schemes have been approved for a period of 10 years and the French authorities provided the Commission with monitoring arrangements to ensure that the DGAC complies fully with the Aviation Guidelines.
The French administration will shortly publish both the forms and the procedure for requesting authorization of aid.
It should be emphasized that the French schemes only apply to airports where there is not another airport within 100km or 60 minutes' traveling time (by high-speed train, car or other means). Due to the large number of airports in France, those scheme rules therefore have limited scope of application. Nevertheless, it eases the administrative burden on both airports and the European Commission.
French airports have been under scrutiny from the European Commission following, firstly, a notification by the French authorities of aid to Ryanair at Pau airport and then following a complaint by Air France against 27 airports in relation to Ryanair. The Commission initiated seven formal investigations. Since February, it has closed four investigations concerning Marseille, Pau, Angoulême and Nîmes airports.
The investigations concerning Carcassonne, Paris Beauvais and La Rochelle airports are expected to be finalized before the end of 2015.


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Understanding EQ is essential when producing, mixing and mastering. This post is a clear explanation and helpful overview of the topic from Mark Garrison's book Encyclopedia of Home Recording.
Equalizers allow us to control the tonal qualities of a signal by changing the relative volume of different frequency ranges. Originally designed to compensate for frequency loss caused by inefficient cabling, equalizers are now used as a creative tool as much as a corrective one. Reasons for using an equalizer include correcting tonal problems that have occurred in the recording process, creating tonal separation between two instruments that exist in the same frequency range, and creating special tonal effects.
An equalizer affects the tone of a signal by boosting or cutting signal in different frequency ranges. This is achieved through the use of three types of filters: bell, shelf, and pass (see Fig. 39).
Bell filters (also called peak filters) boost or cut the chosen frequency, affecting the surrounding frequencies in a bell-shaped curve. How much on either side of the target frequency is affected by the filter is controlled by the its quality factor or "Q". A high Q affects very little to either side of the target frequency, while a low Q affects a wide band of frequencies (see Fig. 40).
Shelf filters work at either end of the frequency spectrum. A high-shelf slopes up or down to the desired amount of boost or cut, then shelfs off to boost or cut all frequencies above by the same amount (see Fig. 39). A low-shelf does the same, only affecting all frequencies below. For example, a high-shelf set to boost 2 dB at 7 kHz will increase the volume of all frequencies above 7 kHz by 2 dB. A low-shelf set to -3 dB at 80 Hz will attenuate all frequencies below 80 Hz by 3 dB.
Pass filters can only cut signal. Like shelving filters, pass filters occur at either end of the spectrum, but rather than shelving off, the cut continues on the same slope until signal is completely removed (see Fig. 39). The target frequency is the point on the slope where the volume of the signal has been reduced by 3 dB. A high-pass filter cuts all sound below the target frequency completely, allowing only the higher frequencies to pass while a low-pass filter cuts everything higher than the target frequency, with all lower frequencies allowed to pass though unaffected. When both a high-pass and a low-pass filter are used together, it is called a band- pass filter. A band-pass filter leaves a band of frequencies, with everything above and below being cut.
The effect of an equalizer is often represented with an "EQ curve", a graphic depiction of what is happening to a signal (see Fig. 41). The dashed horizontal line represents the signal coming into the EQ, and the black line represents the signal coming out. When the black line is above the dashed line, the signal is being boosted, when it is below, the signal is being cut, and when the dark line is even to the dashed line, there is no cut or boost. The curve being shown in Fig. 41 shows that the signal is being cut with a shelf filter at 100 Hz and boosted with a bell filter at 2.5 kHz. All other frequencies are unaffected.
Types Of Equalizers
There are two basic types of equalizers: parametric and graphic (see Fig. 42). Parametric equalizers vary in the number of bands they have (essentially, the number of frequencies that can be affected at the same time), generally ranging from 3 to 7. The highest and lowest bands are shelf filters (unless labelled otherwise), with the bands in between being bell filters. On a parametric EQ, each band has controls to set the target frequency and the amount of boost or cut that is to be applied to that frequency. If a band uses a bell filter, it will also have a control for the filter's Q. An equalizer that works in this manner but has less fewer (for example on a mixing board) is called a semi-parametric equalizer. Parametric equalizers are favored in recording because they can be used to hone in on precise frequencies.
Graphic equalizers use a series of set-frequency, set-Q faders to control frequency balance. They are called graphic equalizers because the positions of the faders provide a graphic representation of the equalization curve they are producing (see Fig. 43). Like parametric equalizers, graphic equalizers have a shelf filter at either end of the spectrum with bell filters in between. The number of bands a graphic EQ has varies, though 15- and 31-band are among the most common. Graphic EQs are less precise than parametric EQs, but they can be used more quickly, making them preferable for use in live sound reinforcement.
Finding Frequencies
Equalizers are usually used with the goal of boosting or cutting a specific portion of a signal, such as the crack of a snare drum, the pick hitting the strings on an acoustic guitar, or the scratch of the bow on a fiddle track. Using a parametric EQ, there is a quick and easy way to find the frequency of a specific quality you want to affect within the signal.
On one band of the equalizer, turn the Q up quite high and boost the band all the way. Then, play the sound and slowly sweep the frequency back and forth until you find the point where the tone you are looking to focus on is loudest. Make a note of the frequency and put the EQ back to zero. You now know the frequency where your target tone occurs, and you can cut or boost appropriately.
General Equalizer Tips
Don't "fix it in the mix". Try changing the sound by other means first, such as using a different microphone or mic placement. Heavy EQ often sounds manipulated and can lead to phasing issues.
It is usually better to cut than to boost. Boosting in EQ makes the instrument take up more space in the mix, which can contribute to muddy or unintelligible mixes. Also, the phase problems mentioned above are more common with boosting than with cutting.
An instrument only needs to sound good on its own if it is heard on its own at some point in the song. Otherwise all that matters is how it sounds in the mix.
Don't be a low-mid junky. When an instrument has a lot happening in the low- mid range (120–250 Hz), it sounds big, but this range tends to get crowded very quickly resulting in a muddy or muffled mix. Avoid allowing too much to happen in this frequency range.
Make space. Every instrument needs its own place in the mix in order for it to be heard clearly. Try cutting a bit of volume from the less important frequency ranges of each instrument to make room for other instruments in that range.
If two instruments exist in the same basic frequency range (for example bass and kick drum) try interlocking their EQ curves. This means that any frequency boosted on one should be cut in the other and vice-versa. In the example of a bass and kick drum, if you boost the bass at 100 Hz to give it more thump, then cut from the kick drum at 100 Hz.
Cut narrow, boost wide. As a rule of thumb, equalization tends to be less obvious when a narrow band (high Q) is used to cut frequencies and a wide band (low Q) is used for boosting frequencies.