Canada has some world leading parks but our neighbours to the South sure have their fair sure as well.
Utah’s five National Parks featured on Utah.com offer adventure travelers and families a unique blend of accessibility and grandeur that have put these beauties on bucket lists since their birth a hundred years ago. Utah’s magnificence extends far beyond the borders of its national parks, as travelers logging on to Utah.com will discover. While visiting Arches you can explore mountain bike slickrock trails in Moab; stop by Coral Pink Sand Dunes on your way to Zion; ski the slopes of Brian Head after you hike Navajo Loop in Bryce Canyon; swim in Calf Creek Falls while exploring Capitol Reef country; and rock climb in famous Indian Creek on your way out of Canyonlands.
Utah.com’s local expert team recently spent three days in Zion National Park where they browsed the area’s best rock shops, interviewed the park’s Director of Wildlife and went hiking with the locals.
They know where to take a six-year-old hiking; divulge the best spots to paddle a brand new kayak; and they’re keen to tell you which local bed and breakfast has the friendliest hosts and coziest fireplaces—and you can book all these experiences on the spot right on the site.
Travelers looking for meaningful and inspiring experiences in Utah can find itineraries about small towns like Kanab that are perfect for family excursions to national parks and other unexplored areas.
Utah.com also gives travelers practical hiking and biking trail information with difficulty ratings, photos, and waypoints. Adventurers can learn about places that locals have been quietly exploring for generations, and find the best base camps to maximize their limited time in the world’s top destination. For travelers on a budget, there are always tips about free admission days and where to take your kids when the weather rains on the outdoor parade.
And for the digitally dependent family member who longs to get off the grid? Utah.com’s off-season tips and information prove that Utah is a year-round wilderness of glorious solitude where Wi-Fi isn’t even a temptation.
Utah.com helps travelers discover, plan and book intergenerational traditions. They’ll want to take their children to Bryce Canyon National Park and pontificate about geological uplift, erosion and the Paunsaugunt Plateau after days of wandering through hoodoos—humanoid sandstone pillars. Eyes may roll, but those littles will find themselves giving the same speech to their kids decades later–in the exact same spot. Utah.com will lead them to national parks and awe-inspiring places they’ll never forget and will always preserve. For the Silo, Victoria George.
The European Union (EU) isn’t known for its intelligence, fairness, or competence to govern and it more than proved this when it changed financial regulations limiting the amount of leverage contract for differences (CFD) brokers could offer their clients.
A few years ago, there were no limits on forex trading leverage with some brokers offering up to 1,000 times leverage to clients who eagerly accepted these terms as the returns were often highly favorable. In August 2018, however, the EU imposed a 30X restriction on leverage to retail investors, damaging their ability to make great returns from forex trading and investing.
The regulations were implemented by the European Securities and Market Authority (ESMA). Any country that was within the EU at that time had to enforce them regardless of whether they thought they would make a positive or negative impact within their borders. It is how the EU works.
ESMA stated that the leverage restriction was to protect retail investors from overexposure to the market. It could be argued that there is some validity in this position, but a good counterargument is that leverage should be left in the hands of the individual to take responsibility for their decisions.
It also has to be said that as EU politics is dictated by lobbyists, you would have to be very naive not to rule out lobbying from big financial institutions to prompt the change in leverage limits. Larger brokers played the PR game and said they welcomed the decision but the market reaction was mixed.
So what do you do now if you are a retail investor and want to utilize forex trading leverage for higher returns and advantage when investing?
Become a Professional Trader
The solution is to become a professional trader as they have no limits on leverage. To become a professional trader is not an easy thing to do as you have to meet strict criteria. See below:
Experience – You have to have worked in the financial sector in a professional capacity for at least a year and can demonstrate expertise and knowledge of the forex markets including services and risks.
Portfolio – Your financial instrument portfolio exceeds €500,000 (at time of publication 1 euro = 1.3 CAD $) or equivalent in your local currency. Your portfolio can consist of your stock portfolio, cash savings, trading accounts, mutual funds, stock portfolio, stocks and shares ISA, and SIPP financial instruments. Non-tradable assets such as property, luxury cars, jewelry, and company pensions are not eligible.
Trading Experience – Over the last four quarters you can prove that you have carried out at least 10 large market transactions over each quarter. This can be related to any asset.
To achieve professional status, you need to demonstrate at least two of the above.
To become a professional trader you need to apply for a professional trading account from your broker. There are disadvantages with professional trading accounts as you may lose some forms of investor protection, but you’ll enjoy higher leverage from day 1. In some circumstances, you may even qualify for lower fees. As you are an experienced forex trader, you’ll know the fees eat into your investment returns.
Final Thoughts Forex Trading Investing
When the EU imposed regulations on forex trading and investing, many retail investors were impacted negatively. Retail investors were no longer treated like adults, and were treated as if they needed protection from themselves. Through opening a professional trading account, ESMA at least for now is treating you like an adult. So become a pro trader and trade as you want to. .
One of Hawaii’s most photographed and celebrity-popular homes with postcard views of a 240-foot natural waterfall, a sports stadium with seating for 450 people, a nine-tee golf course, an aquatic center, a two-story water slide, and some of Hawaii’s best ocean views is going to auction. Read more about this stunning slice of Hawaii. Shout out to our friends at TopTenRealestateDeals.com for this feature.
With a secluded location on the Big Island’s northeastern shore, Waterfalling Estate made gossip-mag headlines in 2016 when Canada’s own- Justin Bieber rented the home for two weeks at $10,000 USD / $12,875 CAD per night for his entourage, which included six skimpy-bikini-wearing models.
Located a few miles north of Hilo on eight acres overlooking where the jungle meets the ocean and the Hamakua coastline, the home has five bedrooms, ten bathrooms and two third-floor master suites with lanai. The main living area, including chef’s kitchen and dining has spectacular waterfall and ocean views. On the aquatic level are two guest suites, a game room, media area, two whirlpools, sauna, shower, outdoor kitchen and dining area. There is a one-bedroom guest house, four-car garage, helipad, plus an outdoor bar.
The Big Island offers a big number of activities and entertainment from stunning beaches such as Laupāhoehoe, Waikiki, and Waipi’o, hiking in the Hilo Forest Preserves or Akaka Falls State Park, zip lining over KoleKole Falls, Volcano National Park, whale watching, jungle jaunts, farmer’s markets, world-class fishing, and unforgettable sunsets.
Laupāhoehoe Beach
Even more adventure is just a 50-minute plane trip away to Honolulu for less than $100 USD/ $129 CAD.
Taking the plane from Honolulu to Waterfalling Estate.
Currently listed for $9.95 million USD / $12.82 million CAD, the property will be going to auction August 15th with a $5.99 million USD/ $7.6 million CAD reserve.
The AAA 4 Diamond award winning Hilton Bentley South Beach recently debuted a newly renovated 3000 sq. feet penthouse suite with gorgeous wrap around views overlooking the ocean and the beautiful southern tip of South Beach, where the ocean meets the bay at South Pointe Park. This two story suite is complete with two master bedrooms and 3 full bathrooms. Now one of the most sumptuous of suites available on the beach, the suite was once home to sisters Kim, Kloe, Kourtney when the Kardashians filmed the first season of their reality show in Miami.
Following a multimillion dollar renovation a few years ago, the penthouse boasts a private rooftop pool, a Jacuzzi, spacious deck and two private terraces for relaxing or entertaining.
With a full stainless steel kitchen, a personal wine chiller, elegant dining room, living room with oversized retractable LED television, marble bathrooms, and immaculately decorated, the Hilton Bentley Penthouse is perfect for romantic getaways, family vacations, or as the ultimate bridal suite.
The suite is an iso technologically advanced with an all encompassing Dolby surround sound system, electric privacy shades and climate controls all accessed through the touch of the in suite iPad, or from the guest’s own iPhone.
Night rates for the penthouse range from $2,500 USD / $3,212 CAD – $7500 USD/ $9,638 CAD.
ABOUT HILTON BENTLEY:
The Hilton brand’s South Beach outpost, Hilton Bentley offers travelers a luxurious beachfront oasis situated at the southernmost tip of Ocean Drive in the exclusive “South of Fifth” enclave. Guests are footsteps away from Miami’s most sought after restaurants and nightlife. For visitors looking to vacation within the hotel, the amenity rich Hilton Bentley is a one stop shop for entertainment including celebrity chef Douglas Rodriguez’s restaurant DeRodriguez Cuba on Ocean, Myles Chefetz’s Prime Italian, the indulgent Bentley Beach Club, and the zen sanctuary Spa 101. Designed by the famed Architectonica and appointed with handcrafted European furnishings, this all suite property is the definition of opulence with modern upscale services.
“Underground” is a word, which is an essential part in the title of the “Keep it simple, make it fast” conference. Not only in punk, also in techno this is a term very frequently used, referred to and rejected at the same time.
Many claim, this terms doesn’t make much sense anymore nowadays.
Is this really true, or is there just a lack of a fitting theory to explain, why this term seems still to be central for discourses in and about music scenes? So called ‘scenesters’ say they prefer things “more underground”.
Matrix Dance Club
One of my interviewees, a label owner, put it succinctly, “Berlin isn’t Lady Gaga or Paul van Dyk; this is the capital city of the underground.” What does this term mean here, and how is it sociologically rooted in the cultural field of electronic dance music (Bourdieu, 1996)?
Current post-subcultural theories, such as from Andy Bennett, David Muggleton or Ronald Hitzler (2010; 2008; 2003), offer little means to understand these claims and differences; and how to explain why they don’t disappear, but re-shape and accommodate with newer developments.
Although I broadly agree with the insights of post-subcultural theories, a crucial feature of the music scene has been lost along the way: a systematical sociological exploration of the roles that distinctions play and how they are rooted in the music scene’s cultural economy (Kühn, 2011, 2013).
So far, the economy of scenes has been mostly understood as being part of the cultural industries (or creative industries by now), or not even economic at all (Gebesmair, 2008; Wicke, 1997).
Music industry research sees them as fully integrated actors of global and national music markets, classified into so-called independents and majors (Handke, 2009) and differentiated along lines of size, musical specialties and originality. Creative industries research tries to subsume them as major drivers for the attractiveness of cities and national economies by their engagement into supposedly very innovative products (Caves, 2002; Florida, 2003; Hartley, 2004).
What both perspectives have in common is that they do not approach economic structures from the music scene’s perspective, but rather from an economic-industrial point of view. And thereby they overlook and underestimate structural peculiarities.
In order to define the economic sphere of electronic dance music scenes sociologically, I argue for the term scene economy (Kühn, 2011).
Although previous insights have been extremely illuminating, these studies have lacked a systematic perspective that analyses the aesthetic, distinctive and commercial attitudes of hobbyist and professional scene participants within the conditions of their specific cultural norms and scene-based reproduction.
My assumption is that the scene economy of ‘underground’ electronic dance music scenes represent their own differentiated economic fields with specific structures that have developed their own organizational logic. The consequences and the basis of this logic are particular conditions for action and relations of production within the scenes’ own infrastructure and value-creation chain that result from the specific cultures and market relations of electronic dance music.
To understand the specific structure, the following features need to be considered: Scene-based cultural production instead of industry-based cultural production, the emphatic role of the music culture, the internal subcultural hierarchy and the role of distinctions in maintaining and re-shaping the scene economy, music culture and attractiveness.
The following remarks and claims are firstly based on my research, using focused ethnography, on producers of electronic dance music, twelve expert interviews with individuals active in various areas of the scene economy. And secondly on my own long-standing participation in the scene as a DJ, booker and media producer as forms of sociological ethnography. I use ideal-type descriptions. That is, I work with exaggerated representations of differences that in reality occur in a substantially more mixed and indistinct way. And yet, their exaggeration is precisely what allows the core of their specificities to be represented most clearly.
Tresor
Towards neo-subcultural theory
In his theory on cultural fields, Pierre Bourdieu noticed a general trend towards two poles with opposing cultural logics. The ‘autonomous pole’ defines itself by its cultural orientation; in which the furthering of art itself takes highest priority over any political, moral, or economic interest. The other pole has a commercial orientation; treating art as just another form of commerce like any other, in which art is produced based on its marketability. Each pole has its way of making value and profiting from it, but they are also in tension with each other.
This tension also exists in electronic dance music: on the ‘autonomous’ side of things you find house and techno music, along with the club/open-air party culture of Berlin. On the other side, you find mass-produced and profit-driven so-called EDM ‘dance pop’, which readily absorbs anything that promises to increase sales and reach. Both poles have very different definitions of success, as well as sharply divergent aesthetics and modes of production.
Aesthetic subcultures
(and not class-based anymore) with their own identity and infrastructures struggling to maintain aesthetic and seductive cores against unwanted external influences and political, moral or economic instrumentalization. To understand the dynamics of post-modern popular cultures, it is necessary to overcome the opposition of subcultural and post-subcultural readings of music scenes. The reality is, in the case of electronic dance music such as house and techno, neither strictly the one or the other. As small scale underground music culture and their big scale counterparts suggests, also in other fields of music, both are closely intertwined and distinct from each other at the same time.
Click to view on I-tunes
Pierre Bourdieu’s field theory helps to extend the concept of the music scene and re-shape the concept of subculture to understand the cultural dynamics between “underground” and “mainstream” as different forms of meaningful culture-economic infrastructure and social identity.
By combining Bourdieu’s theory of the cultural field (2001) with updating scene and subcultural theory, the presented approach is linking both subcultural identities and cultural-economic structures and is heading towards overcoming the current dichotomy of subcultural and post-subcultural theory.
DJ SiSeN and Berlin Goth culture
Scene-based cultural production
Involvement in house and techno music typically starts with a random visit to a techno club, or by first listening to the music through recorded DJ sets. Some become very passionate about music and clubbing and start to visit clubs very frequently. In the beginning, participation remains passive, but quickly may evolve I : People start to look for certain sub-genres, follow certain DJs, gain certain scene-specific sets of knowledge about clubs, do’s and don’ts, artists, and so on. Then, to participate more deeply and earn money, some start to DJ, throw parties, launch music labels, found scene specific agencies or just start to work in clubs or for labels and agencies.
They start to combine their passion for a certain aesthetic with commercial and distinctive attitudes: For some, it will always just remain a hobby, but others quickly become professional and turn their scene participation into a business. However, for the passionate, this business orientation remains strongly limited by the cultural institutions of the music scene. They don’t start making other music just because it is more profitable. They relinquish economic opportunities, because the feelings of enjoyment and freedom experienced through the music are more important to them. They see economic activity as being able to get by instead of pure profit-maximization.
This means that they associate the generation of sufficient income and social protection with their main desire for economic self-determination, artistic freedom and passion in life. For them, money exists to make their lives possible, in which they will be able to ideally pursue their personal goals in artistic freedom—but not in order to secure as much wealth as possible, following a logic of accumulation.The small-business structure of many lone entrepreneurs promotes this logic, since it imposes fewer practical constraints on the individual than a large organization with numerous employees. This connection through a commonly shared passion also results in individuals working together in clubs or labels, often referring to their friends and colleagues as a “family”.
To summarize: Their private desires and business activities become closely coupled and integrated, resulting in a deeply culturalized economic orientation. One recruits “bottom-up” out of the fascination for a certain music and prioritizes cultural orientations over economic possibilities. This makes small-scale actors who mainly do it for the fun and a feasible outcome. An atomistic structure of many sole entrepreneurs dominates the markets. Instead of pure sale orientation, subjective aesthetics and political interests dominate the cultural products and business co-operations among the scene economy participants.
The emphatic role of the music culture
As participants of a certain music culture, their activity is oriented on the cultural institutions of Detroit Techno and Chicago House and thereby framed by its opportunities and restrictions. These cultural institutions enable and demand certain cultural practices to be fulfilled and followed in order to reproduce and accommodate the seductive core of the music scene. The norms are typical music tracks to be seamlessly mixed by DJs in front of a dancing crowd on a loud sound system. What are these institutions? Although very roughly and surely not exhaustively, house can be understood as established musical practices condensed as tracks with repetitive and loop based beats, with a focus on groove, making crowds dance in clubs, mixing in DJ sets and played on events at high volume.
Genre-typical patterns for house and techno music are the four to the floor beats, between 100 and 150 beats per minute speed, elements like basslines, kickdrums, snare drums, hi-hats and track themes. Techno sounds rather dark and heavy, house sound rather soft, funky and easy-going. Tracks are typically composed with intros, breakdowns, a main section, climaxes and outros. Tracks are supposed to make people dance at events and to be mixed in continuous sets by DJs (Kühn, 2009; Mathei, 2012; Volkwein, 2003).
The central role of distinctions in the music scenes economy
As a result of their scene-based involvement and fandom of house and techno, many scene participants towards the autonomous pole exert distinctions in order to conserve and develop their preferred set of aesthetics and scene-based cultural production (Strachan, 2007; Mäe & Allaste, 2011; Moore, 2007). In the post-modern world, aesthetics can flow everywhere and thereby can be used and adopted anywhere. Even in contexts, that many scene participants find not very much desirable.
The current boom of electronic dance music in the US, with associated artists like David Guetta, Swedish House Mafia, Skrillex and so on, is a good example of this. With the increasing success of so-called “mainstream” EDM, many scene participants insists of debunking that culture as “fake” and “inappropriate” – and try to keep these aesthetics, actors and corresponding organizations out of their scene contexts. Sociologically speaking, they draw boundaries around their aesthetics and modes of production.
It is a form of resistance not primarily rooted in class, but in the preservation and defense of aesthetically-based life-worlds. Typically, these distinctions are about a perceived corruption of cultural logics by the economic logics of apparently too commercialized music and events, or about external actors like companies, political shareholders or councils who are not intrinsically interested in the music culture, rather using them for their own allegedly purely commercial or political aims. Aims that eventually might endanger the productivity and survival of the music scenes by for example causing gentrification or mainstream identity.
These distinctions have become a background knowledge of the subcultural field and are also expected by the participants in order to enable economic cooperation. From these distinctions the possibility and necessity of an internal subcultural hierarchy within the field of electronic dance music evolves.
*See (Kühn, 2013) for an example, how event producers use distinctions to avoid unwanted music, DJs, insfluences and crowds on their partys.
Various forms of distinctions as a form of “aesthetic resistance” become the primary means to keep out unwanted aesthetics and modes of production in order to preserve the aesthetic core of the music scene. For the Silo, Jan Michael Kühn.
Funding:
This work was supported with a 3 years scholarship from the Hans Böckler Stiftung within the doctoral study group (Promotionskolleg) “Die Produktivität von Kultur – Die Kultur- und Kreativwirtschaft unter den Bedingungen globalisierter Mediennetzwerke”.
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Music Scenes: Local, Translocal, and Virtual
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Creative Industries: Contracts Between Art and Commerce
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The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life
(Pbk.). Basic Books. Gebesmair, A. (2008).
Die Fabrikation globaler Vielfalt: Struktur und Logik der transnationalen Popmusikindustrie
(1., Aufl.). Transcript. Hall, S., & Jefferson, T. (2006).
Resistance Through Rituals: Youth Subcultures in Post-War Britian
(0002 ed.). Routledge Chapman & Hall. Handke, C. (2009). Indies im Aufwind?
: die Krise am Tonträgermarkt und ihr Verteilungseffekt. In Musikwirtschaft und Medien
: Märkte – Unternehmen – Strategien. – Baden-Baden
: Nomos, ISBN 978-3-8329-4383-7. – 2009, p. 49-72
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Creative Industries (First Edition, Later Impression.). Wiley-Blackwell. Hesmondhalgh, D. (1998). The British Dance Music Industry: A Case Study of Independent Cultural Production.
The British Journal of Sociology ,49 (2), 234. doi:10.2307/591311 Hitzler, R., Honer, A., & Pfadenhauer, M. (2008).
Posttraditionale Gemeinschaften: Theoretische und ethnografische Erkundungen (1st ed.). Vs Verlag. Kühn, J.-M. (2009).
Wie entsteht Neues bei der Produktion elektronischer Tanzmusik im Homerecording- Studio? Eine explorative ethnografische Erhebung
(Diplomarbeit). Technische Unversität Berlin, Institut für Soziologie. Retrieved from http://www.berlin-mitte-institut.de/wie-entsteht-neues-bei-der-produktion-elektronischer-tanzmusik-im-homerecordingstudio/ Kühn, J.-M. (2011). Working in the Berlin Techno Scene: Theoretical Sketch of an Electronic Music “Scene Economy.” 2011 ,translation made by Luis-Manuel Garcia from: Kühn, Jan-Michael (2011): Arbeiten in der Berliner Techno-Szene: Skizze der Theorie einer Szenewirtschaft elektronischer Tanzmusik, in: Journal der Jugendkulturen 17.
Kühn, J.-M. (2013). Underground und Kulturproduktion: Die Rolle von Distinktionen beim Veranstalten Berliner Techno-Partys. In B. Lange, H.-J. Bürkner, & E. Schüßler, (Eds.),
Akustisches Kapital: Wertschöpfung in der Musikwirtschaft
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Zeitschrift Für Wirtschaftsgeographie , 54 (1), 46-68. Mäe, R., & Allaste, A.-A. (2011). Making Distinctions on Autonomous Cultural Field: the Case of Small-scale Alternative Music Festival Organisers in Estonia. Retrieved from http://core.kmi.open.ac.uk/display/1028677
Keep it Simple, Make it Fast! An approach to underground music scenes 286 Mathei, D. (2012).
Oh my god – it’s techno music!: Definition und Abgenzung des Technostils unter Berücksichtigung historischer, stilistischer und soziologischer Aspekte (1st ed.). Universität Osnabrück. Erzieh.- u. Kulturwiss.
Moore, R. (2007). Friends Don’t Let Friends Listen to Corporate Rock Punk as a Field of Cultural Production.
Journal of Contemporary Ethnography ,36 (4), 438-474. doi:10.1177/0891241607303520 Muggleton, D., & Weinzierl, R. (2003).
The post-subcultures reader . Berg. Strachan, R. (2007). Micro-independent record labels in the UK Discourse, DIY cultural production and the music industry.
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Club Cultures: Music, Media and Subcultural Capital . Blackwell Publishers. Volkwein, B. (2003).
What’s Techno?. Geschichte, Diskurse und musikalische Ge stalt elektronischer Unterhaltungsmusik
(1., Aufl.). Universität Osnabrück. Wicke, P. (1997). Popmusik als Industrieprodukt. Webseite Humboldt Universität Berlin. Retrieved from http://www2.hu-berlin.de/fpm/textpool/texte/wicke_popmusik-als-industrieprodukt.htm
If you want to live like Nicolas Cage, David Copperfield, Johnny Depp, Faith Hill and Tim McGraw, who own islands in the Bahamas, the 721-acre Little Ragged Island is going to auction.
Little Ragged Island, also known as St. Andrews, is currently listed at $14.5 million USD or $18.8 million CAD. This pristine island is located on the southernmost part of the Bahamas with miles of sandy beach and the Bahamas’ calm, blue waters. The property will sell with “no reserve” to the highest bidder regardless of price.
According to the listing from Sotheby’s Concierge Auctions, “St. Andrew’s offers a blank canvas of rolling hills and calm warm waters awaiting boundless opportunities for development.
Be it a picturesque residential settlement, an expansive tropical estate with miles of private beaches to wander, or a boutique resort with more than enough acreage left to add an entire 18-hole golf course. Surrounded by azure ocean waters and fringed with pristine white sand beaches, elevations vary from sea level to a hilly 40 feet (12.2 meters).”
The auction runs from July 25th to July 29th at Sotheby’s casothebys.com website. Buyers can bid remotely from almost anywhere in the world. From our friends at toptenrealestatedeals.com.
AMSTERDAM — HUDstats, the pioneering esports data analytics company, has partnered with the leading multi-channel supplier of 24/7 live betting services, Sports Information Services (SIS) to deliver actionable, real-time data for esports betting purposes.
“We’re looking forward to working with SIS and providing esports fans and esports betting aficionados with engaging and fascinating data and statistics for their favourite streams,” said Andrei Bălănescu, CEO of HUDstats.
As part of the partnership, HUDstats will use its proprietary Advanced Video Analysis (AVA) technology to collect, standardize and distribute accurate esports data from SIS Ebasketball and Esoccer streams for the creation of real-time esports betting products.
“Our technology stack allows us to provide a great number of accurate match data points in real-time, at a sub-second speed,” said Bălănescu. “Our partners, SIS, can use them to create engaging on-screen graphics and betting commentary that increase performance for their customers.”
Live AI stats from Counter Strike provide bettors informed choices when wagering on this popular esports game.
Conleth Byrne, Product Director at SIS added, “HUDstats provides a ground-breaking and easy-to-integrate solution that enables us to scale our 24/7 Competitive Gaming content with automated and accurate in-play event tracking.”
Tracking Multiple In-Game Events for Ebasketball and Esoccer
The HUDstats – SIS partnership currently involves tracking more than 20 major in-game events for Esoccer and 40 in-game events for Ebasketball.
For example, in Esoccer, HUDstats covers data points from events such as ball location, free kicks, goal kicks, throw-ins, substitutions, added time, offsides, goals, corners, and more. For Ebasketball, HUDstats can track free throws, 2-pointers, 3-pointers, timeouts, fouls, the team in possession, and others.
“HUDstats showcases all the noteworthy aspects of the match and even more in-depth features, such as what side a corner is taken from or if a free-kick is from a dangerous position,” said Bălănescu. “That’s a feat otherwise impossible to obtain in real-time by manual input.”
Highly-Scalable, Reliable, Sub-Second, Fast Data Collection
HUDstats covers a full range of esports titles such as EA FIFA, NBA2k, EA NHL, EA NFL Madden, as well as the big three: League of Legends, Dota 2, and Counter-Strike: Global Offensive.
Its proprietary technology generates data directly from the esports stream or game server and can collect over 1,000 data points for every single minute of a game.
HUDstats is able to scale its data-collection solution to numerous streams at a time, analysing hundreds of angles and allowing esports bettors to experience a new dimension of esports.
esports team doing their best in CS:GO
About SIS (Sports Information Services)
SIS (Sports Information Services) has been at the forefront of live pictures and data delivery to the global betting industry for over 35 years with a rich heritage in creating and distributing betting events for horse and greyhound racing, as well as esports and live numbers draws.
SIS is the leading supplier of high-quality 24/7 live betting services, delivering a range of 24/7 channels to retail and online operators globally 365 days a year. To complement their horse and greyhound racing, they provide a flexible SIS Trading Services offer, which now includes a fully outsourced managed trading service.
In addition to racing, they also offer over 150,000 highly competitive esports events a year, all underpinned with robust integrity, and provide over 300,000 Live Numbers draws annually.
SIS partners with over 400 operators in more than 50 countries, offering rights holder partners the opportunity to showcase their first-class content across six continents.
A study by Compare the Market Australia has analyzed each country around the world on their annual search volume for terms such as ‘relocating to [country]’ and ‘moving to [country]’ to reveal the world’s most desirable countries to relocate to.
The most desired countries to relocate to? Here comes a boring chart!
Rank
Top destination
Favourite in X countries
1
Canada
50
2
Japan
31
3
Spain
19
4
China
15
5
France
11
6
Turkey
9
6
South Africa
9
8
India
7
9
Australia
6
10
Greece
4
10
Fiji
4
Taking the top spot is Canada, with our North American nation being the most desired destination in 50 other countries around the world. Canada is a very welcoming country for expats, which has led to it becoming a very diverse and multicultural destination.
Second place goes to Japan, with 31 countries having it as their number one relocation destination, including Australia. Japan has one of the highest life expectancies in the world, which could explain why so many people are researching to move there.
Spain is another very popular choice, especially amongst those in other European countries, with 19 countries having it as their favourite in total. Known for its warm Mediterranean climate, Spain is also another destination that has excellent healthcare and quality of life.
The least desired countries to relocate to in the world include: Sweden, The Philippines, Bulgaria, Germany, Thailand, Egypt, Singapore, Myanmar, Italy, and Nigeria with only one other country wanting to move to each of these destinations.
Further Study Insights:
Each country’s most desired relocation destination
Check the map below to see where each country in the world wants to relocate to the most.
While the majority seem to prefer somewhere within the same continent, there are some notable exceptions to this.
As the most searched country overall, we can see that people from as far away as India and South Africa have Canada as their most searched destination.
However, there were also some definite regional trends though. For example, many African nations have South Africa as their most searched destination.
Methodology
Using Google Ads Keyword Planner, the annual search volume for each of the following terms was found for each country in the world:
Houses in [country]
[Country] property
Moving to [country]
Relocating to [country]
This process was then repeated for each country in the world, taking a total of the searches across all four search terms, to reveal where each country wants to relocate to the most.
Note that searches within the same country were removed from the results.
In addition, all searches were carried out in English, as results in native languages proved to give inconsistent results.
Although the smallest city to have hosted the summer Olympics, Helsinki’s functionalist structures were conceived as versatile recreational venues and have been preserved to become modestly emblematic of successful circular design 70 years later.
With functional design and sustainably-driven innovation as core priorities for Helsinki’s future, the city and the partners undertaking renovation work to the heritage sites have echoed contemporary architects and designers across the world using innovative design to renew rather than demolish existing buildings as the city grows.
Hanna Harris
Hanna Harris, Chief Design Officer, City of Helsinki, commented: “Helsinki’s Olympic landmarks are a source of great local and national pride, and are buildings that many of us have either grown up recognizing as part of the city’s fabric, or fondly remember for their original purpose. It is therefore of particular importance that we maintain and protect the legacy of these historic buildings, while reconceiving new uses and undertaking architectural updates that bring new life to former Olympic sites as sustainably as possible.”
Helsinki Olympic Stadium
Built in 1938 and intended to host the 1940 Olympic Games before its cancellation, the Helsinki Olympic Stadium, is an iconic landmark of independent Finland and Finnish functionalism. The stadium is the result of an open architectural competition held in the 1930s – a favoured design process in Helsinki – which was won by Finnish architects Yrjö Lindegren and Toivo Jäntti. Becoming a crown jewel of 1930s functionalist concrete architecture in Finland, and at the heart of the 1952 Games, the Stadium has since been re-envisioned as a multi-purpose sporting and events location.
The refurbishment of the stadium, completed in 2020, respects the original architecture by preserving theangular concrete facade and original structure of the design. Additional features were added in a 20,000 sq m underground extension, and include sports facilities, logistical spaces, technical spaces, and an indoor running track. In addition, K2S Architects + Architects NRT improved public safety and comfort by adding new entrances to the stands, and a canopy to cover the stands almost entirely.
Amos Rex Art Museum
Originally designed as a temporary building to serve visitors to the Olympic Games, the Lasipalatsi (“glass palace” in Finnish) once housed commercial premises, restaurants, and a cinema. 2018 saw the completion of a five-year, €50 million project by Helsinki-based architecture firm JKMM to restructure the Lasipalatsi to house the Amos Rex Art Museum, amongst other public spaces.
At the heart of the museum, 13,000 cubic metres of rock have been excavated to create a world-class gallery space. The gallery is topped with a series of domes and skylights, which above-ground create a series of mounds that articulate the surface of Lasipalatsi Square. The mounds generate a playful landscape which invites residents and visitors alike to interact with the space, and are often used as grandstands, stages, or platforms for public events.
A programme of creatives are invited to also make use of this public space to produce site-specific work, such as The Nest, a sculptural installation by Japanese artist Tadashi Kawamata (7 May – 4 September 2022), in which reclaimed materials surge over the roof of the Lasipalatsi building and up the courtyard chimney.
Helsinki Airport
Built in 1952, Helsinki Airport saw nearly 2000 flights pass through during the Olympic Games, with guests including royalty, such as Dutch Prince Bernhard and Prince Philip of the United Kingdom, as well as Olympic sports teams from around the world.
Designed by Helsinki-based practice ALA Architects, the newest terminal extension aims to streamline the user experience and bring excitement back into air travel, with new departure and arrival halls that from 21 June 2022 centralise all flights under one roof, in addition to the introduction of next-generation security control and a new multimodal travel centre. New stores enliven the visitor experience such as Balmuir and Marimekko stores, a variety of restaurants, and the beloved Moomin Shop.
A central feature of the airport extension is a cross-laminated timber ceiling, made up of 500 unique pieces of Finnish spruce which slot together to form a feat of carpentry in an undulating structure that appears to float overhead. The terminal extension reflects a purposeful dedication to Finnish design and nature through the use of predominantly domestic materials. A freeform installation titled “Luoto” echoes the rocks and islets seen across the national landscape as a natural diorama featuring trees, plants, and stones as a memorable experience for visitors.
The redevelopment is due to complete in 2023, when a new baggage claim hall will be put into service.
Serpentine House
Designed by Yrjö Lindegren, also responsible for the Olympic Stadium, the Serpentine House in the Käpylä district of Helsinki is a highlight of Finnish architecture. The building of 189 residential flats was first constructed as part of the Olympic Village in 1951. The project to renovate the southern residential building ran from 2016 to 2018 and was led by architect Mona Schalin of Kati Salonen and Mona Schalin Architects. Serpentine House subsequently won the 2019 Finlandia Prize for Architecture, awarded annually by the Finnish Association of Architects, SAFA.
Despite its total length of 287 m, the design succeeds in avoiding a rigid and austere feel by setting the residential units in a fan-like arrangement that creates a series of private and sheltered garden spaces. The design team also worked in close collaboration with the staff at Helsinki City Museum and the city’s planning and building control departments to propose a sustainable refurbishment. The majority of the original windows and kitchen fittings were preserved and repaired and, significantly, the original natural ventilation system was retained. This energy efficient system will continue to reduce maintenance costs and prevent indoor air quality problems in the years ahead.
The City of Helsinki continues to demonstrate commitment to innovative, sustainable design and the transformational potential of architecture in shaping the city as ways in which to further improve its maritime character, create liveable spaces, and promote active citizenship.
Later in 2022, an Architecture Policy will be unveiled that formalizes the city’s relationship to architecture across landmarks, everyday buildings, coastal connections, and urban renewal.
Also in 2022, the design winner of the Makasiiniranta quality and concept competition will be announced, cementing plans for Helsinki’s most high-profile upcoming development that will house the new Architecture and Design Museum.
Instituting a new chapter for the city’s South Harbor – the last old harbor area to be transformed for public use in Helsinki, including the protected Olympic Terminal – the development of the 83,000 sq ft historic site will reconnect the expanding pedestrianized city centre with the shoreline as a new culturally-intensive destination. A separate architecture competition for the Architecture and Design Museum is set to launch during 2023.
It’s been eight years since an historic landing took place between an European Space Agency drone and a comet.(which looked suspiciously a lot like an asteroid to us!)
At that time a report from Deep Space Industrieslaid out their business plans up to 2020 and what they had committed to sounded more like science fiction than fact.
But it wasn’t and they’d already secured investors.
A 2019 announcement from NASA stating that it would be the National Space Administration in the lead instead ( NASA will soon begin hunting a nickel laden asteroid ) spoke volumes about not only the possibility of asteroid prospecting- but also to its inevitability in the private sector.
DSI concept of “coming soon” asteroid mining.
And yet, things have changed…..again.
In early 2020 Deep Space Industries (along with the only other asteroid mining company, Planetary Resources) were purchased by Bradford Space Group and ConsenSys Group respectively and all plans for private asteroid mining were shelved indefinitely. Deep Space Industries is now focused on developing space propulsion systems and ConsenSys is now focused on developing blockchain security applications for space technology.
What could have been- Deep Space Industries ambitious plan before the take over
Their plan was to send an entire fleet of prospector spaceships to Near-Earth asteroids in order to harvest them for precious metals and other undisclosed resources. (space rubies anyone?). Starting in 2015, Deep Space Industries were to begin their operation by sending three small spacecraft called FireFlies to selected asteroids near earth for sample taking and photo reconnaissance. One year later, bigger craft called DragonFlies were to leave on four year missions to retrieve asteroid samples and bring them back to Earth. An ambitious project to be sure and not surprisingly, the timeline had been regularly pushed back.
This press release from DSI said a precursor mission was scheduled to launch in 2017: “Recently, Deep Space Industries and its partner, the government of Luxembourg, announced plans to build and fly Prospector-X™, an experimental mission to low-Earth orbit that will test key technologies needed for low-cost exploration spacecraft. This precursor mission is scheduled to launch in 2017. Then, before the end of this decade, Prospector-1 will travel beyond Earth’s orbit to begin the first space mining exploration mission.”
Valuable materials exist in abundance in space and have strong economic potential. Using their tested indicators as investment attractors, Deep Space will move towards securing a commercial space operation and start into the next phase of its business plan. This involves concentrating firstly on processing rocket fuel from asteroid-harvested water.
This fuel, harvested and processed in space will save millions of dollars, since existing communications satellites will no longer be ‘thrown away’ when their fuel supply has been used up. (Satellites that can longer ‘move’ and stay in orbit by using their rocket engines are left to slowly fall towards earth and burn up in the atmosphere ).
Deep Space Industries past-CEO David Gump estimated that a satellite ‘refueled’ and saved from burn up is worth up to $8,000,000 per month. Those figures start to add up when you factor in the number of satellites in use and being launched every year. Another plan during this phase of their business operations is to return precious group metals such as platinum and gold back to earth.
After all, if you’re splitting up asteroids and discover metal commodities, why not bring it back down to earth?
Deep Space believed that other metals harvested from asteroids also have an in-orbit value. They are developing the Microgravity Foundry- a type of 3D printer that will be used to fabricate and machine metal parts in space from pure asteroid metal such as high strength nickel parts.
Deep Space cgi mockup of their planned 3D space printer.
Since this factory will operate in space and in zero gravity and produce parts in space, the idea of permanent space development and human habitation is economically feasible. Stephen Covey co-founder of Deep Space Industries and inventor of the Microgravity Foundry process: “What’s cool about the [3D] printer is that it can take its own parts, grind them up, and recycle them into new parts.”
Stephen Covey- inventor of the Microgravity Foundry process
Deep Space Industries past-CEO David Gump: “Using resources harvested in space is the only way to afford permanent space development. More than 900 new asteroids that pass near Earth are discovered every year. They can be like the Iron Range of Minnesota was for the Detroit car industry last century- a key resource located near where it is needed. In this case, metals and fuel from asteroids can expand the in-space industries of this century. That is our strategy.” Company estimates place a value of 1 ton of raw asteroid material at a worth of $1,000,000 [usd] in orbit.
Buy outs over the last few years have all but ended the dream and it will be the various space agencies such as NASA and ESA that will fulfill Deep Space Industries abandoned plan. For the Silo, Jarrod Barker.
“Our ability to fight off disease resides in our muscles,” Dr. Osborn says. “The greatest thing you can do for your body is to build muscle.”
He cites a large, long-term study of nearly 9,000 men ages 20 to 80. After nearly 19 years, the men still living were those with the most muscular strength. (BMJ, formerly British Medical Journal, 2008).
Muscle is all protein – “nothing but good for you,” Dr. Osborn says.
Fat, however, is an endocrine organ, meaning it releases hormones and other chemicals. When a person has excess fat, he or she also has a
disrupted flow of excess biochemicals, which can increase insulin resistance and boost risk factors for stroke and high blood pressure, among other problems.
“Increased cytokines, an immune system chemical, for example, are associated with increased risk for cardiovascular disease,” Dr. Osborn says. “You’re only as old as your arteries!” Strength-training has health benefits for everyone, he adds, no matter their size. “Some fat is visceral fat – it’s stored around the organs and it’s even more dangerous than the fat you can see,” he says. “People who look thin may actually be carrying around a lot of visceral fat.”
So, what’s the workout Dr. Osborn recommends?
“Back to basics,” he says. “These five exercises are the pillars of a solid training regime.”
• The squat is a full-body exercise; it’s the basic movement around which all training should be centered. Heavy squats generate a robust hormonal response as numerous muscular structures are traumatized during the movement (even your biceps). Standing erect with a heavy load on your back and then repeatedly squatting down will stress your body inordinately – in a good way — forcing it to grow more muscle.
• The overhead press primarily activates the shoulders, arm extenders and chest. Lower body musculature is also activated as it counters the downward force of the dumbbell supported by the trainee. From the planted feet into the hands, force is transmitted through the skeletal system, stabilized by numerous muscular structures, most importantly the lower back.
• The deadlift centers on the hamstrings, buttocks, lumbar extensors and quadriceps, essentially the large muscles of your backside and the front of your thighs. As power is transferred from the lower body into the bar through the upper body conduit, upper back muscles are also stressed, contrasting with the squat, which is supported by the hands. Deadlifts are considered by some to be the most complete training exercise.
• The bench press mostly targets the chest, shoulders and triceps; it’s the most popular among weightlifters, and it’s very simple – trainees push the barbell off the lower chest until the arms are straight. This motion stresses not only the entire upper body, but also the lower body, which serves a stabilizing function. This provides a big hormonal response and plenty of bang for your buck.
• The pull-up / chin-up stress upper body musculature into the body. A pull-up is done when hands gripping over the bar; a chin-up is where hands are gripping under the bar. Nine out of 10 people cannot do this exercise because most simply haven’t put in the effort. It’s also been called a “man’s exercise, which is nonsense,” he says. There are no gender-specific exercises. Women, too, should aspire to enjoy the health benefits entailed with this pillar.
“There are no secrets to a strong and healthier body; hard work is required for the body that will remain vital and strong at any age,” Osborn says. “Always practice proper form and safety. Otherwise, the result will be the opposite of your goal, an injury.”
Bringing work home can put stress stress on a marriage, especially when that “work” is a beautiful woman who seems too cozy with the husband. But in Bruce Deitrick Price’s genre-busting tragicomedy book “Frankie”, looks are deceiving.
Raymond Mason, an AI genius and college professor, brings Frankie, his latest, most human-like creation, to dinner. Raymond knows his wife will be impressed.
No way! Julia Mason feels competitive and threatened. Raymond touches Frankie in a romantic way.
Julia is hostile and drinks too much. She passes out as Professor Mason runs upstairs to find a gun. An hour later, Julia wakes to find her husband dead and Frankie gone. Julia, semi-hysterical, races into the night to find the missing masterpiece.
Simon, a grad school drug dealer, falls in love with Frankie. He realizes he can build a cult around this spiritually evolved woman. First, he has to hide her.
For different reasons, many people search frantically for Frankie. Meanwhile, more unexplained deaths are reported. Panic sweeps New Jersey. Some experts think that humanity is dealing with an alien invasion.
A pathologist says he has never seen so many beautiful corpses. Cause of death: unknown.
“Elon Musk believes that AI will destroy us.
First there will be lots of misunderstandings, confusion, and paranoia,” Price says. “Frankie is a look into the future of AI. The smarter the robots, the more likely that strange, unanticipated things will happen.”
About the Author
Bruce Deitrick Price is a novelist, poet, artist and education reformer. He wrote his first article about robots around 1990.
Featured image: Historic “Mona Lisa of the Pacific Islands” photograph Mestiza de Sangley, c. 1875
Travelers looking for meaningful and inspiring experiences in Utah can find itineraries about small towns like Kanab that are perfect for family excursions to national parks and other unexplored areas.
