Republican members of the Senate Select Committee on Judicial Oversight and Reform discuss a proposal during the committee's final meeting on Dec. 4, 2024. (Photo by Blair Miller, Daily Montanan) Republicans on the Senate Select Committee on Judicial Oversight and Reform will have 27 bills ready for introduction in the 2025 legislative session that starts in January, several of which seek to move some power away from the judicial branch or make judicial elections partisan. The committee wrapped up what is likely to be its final meeting Dec. 4 just hours after Democrats held a news conference alongside former Republican Gov. Marc Racicot in which they pledged to fight against the bills coming out of the committee, calling them political attacks on the judiciary. Democrats are in the minority in both chambers and chose not to participate in the committee because they did not want to legitimize its efforts, they said. The committee’s members, however, praised their work and that of their staff after seven months of meetings and bill drafting. “It was a big lift. Got a lot of work accomplished in a short amount of time. I’m anxious for the bills coming out of here. We have some good legislation,” Senate President and Committee Chair Jason Ellsworth, R-Hamilton, told the oversight committee to finish its 12th meeting since April. The committee’s final act – barring signing off on a report summarizing the committee’s work – was to approve for drafting three more bills on top of the 24 already ready to go or which are in process. One attempts to outline in statute what the Montana Constitution says about the separation of powers among the three branches of government. The other two seek to make changes to judicial recusal and to limit the effect of an injunction only to the parties involved in the case. While most of the committee’s meetings have been day-long or two-day affairs full of presentations on parts of the judicial branch and discussion over lawmakers’ many proposed bills , Wednesday’s meeting was much shorter, and most of the discussion surrounded the bill on the separation of powers, which will be carried by Sen. Daniel Emrich, R-Great Falls. Emrich said the bill is “one of the most important bills you may see this session.” Deputy Director of Legal Services Jaret Coles told the committee the version they were looking at was his seventh draft of the measure, which over 12 pages creates several new sections of law that describes the baselines of each branch’s powers according to the Constitution, he said. “I think that the most important part about this entire bill is that it creates boundaries and fences that every branch can see,” Emrich said. “And so, there’s a lot of question on where those boundaries are between the branches of government, and I think this puts some pretty good definition on it.” Sen. Tom McGillvray, R-Billings, who will be Senate majority leader come January, asked Coles if putting some of the language that involves legislative rules into statute could create legal issues for the legislature because the proposed bill directly outlines its duties. Coles said that whether rules, which are the sole responsibility of the legislature, trump statute or vice versa has been interpreted differently by different courts and states, and that he included “limited language” in the bill to try and avoid legal issues. “They’re the legislature’s rules. They’re not supposed to be interpreted by any other branch,” Coles said. “So, I think you’d have to get to your questions, look and see, is there any of these areas that seem like they would restrict the legislature’s powers? I don’t believe so, but you raise a good question. That’s always going to be, you know, a struggle.” Emrich’s other bill , which aims to make injunctions apply only to the parties in a suit and not to the entire state or court system, would “prevent the court from offering a blanket injunction that affects the entire state of Montana,” he said. Emrich told the committee that he believed the bill would allow the legislature to weigh in when it believes the court is “misinterpreting” the state Constitution and ensure any relief granted from a bill being declared unconstitutional would be narrowly tailored. He claimed that a court enjoining a portion of a bill violates the separation of powers because a court is altering a statute. “This gives the legislature the ability to say, ‘OK, if there is an issue with the statute, we can go back and fix it,’” Emrich said. “And if there’s not, or if we need to restate it in a different way, it gives us the ability to do that. So, it really gives the legislature a seat at the table when it comes to constitutional review.” Ellsworth pointed out that many bills already have severability clauses built in that say that the rest of a bill can stand even if one portion of them is found unconstitutional, and wondered if the “knife would cut both ways” because the legislature might have to defend a bill in every district court in Montana. Moreover, he added, a district court decision still may be appealed to the Supreme Court, whose ruling would bind district courts across the state. Emrich responded by saying he believes courts, through judicial review established by Marbury v. Madison in 1803, are abusing their authority. “I think it opens up new territory, but it’s also opening up old territory where the courts really never had any authority to do this for quite a long time,” he said. “I believe us as a nation survived just fine for quite a long time, and the state survived just fine without the courts stepping into this arena.” Earlier Wednesday, a panel of two legislative Democrats, Racicot and former First Judicial District Court Judge Jim Reynolds, who all have experience as Montana attorneys, said the committee was knowingly pushing out more unconstitutional bills as it responds to courts finding prior bills passed by the Republican-led legislature unconstitutional. “Our constituents have a right to ensure that their taxpayer money is being used with integrity, and now what we have is a small group of individuals pointing their fingers at the court for doing its job, upholding your individual rights under the Constitution,” said Sen.-elect Laura Smith, D-Helena. Smith said she expected lawmakers regardless of party to vote against bills during the session that “clearly violate” Montanans’ constitutional rights, lest those bills also end up back in court being defended by the state. Racicot, rebuked by the Montana GOP last year and who spoke up against what he said were attacks on Montana’s Constitution during the 2023 session, said a “faction” of legislators was trying to exercise complete control over the judicial branch and “threatening the demise of democracy and ultimately our way of life.” “These proposals that have been discussed ... are simply extremist measures offered for the convenience and for the ultimate satisfaction of individual groups within the legislature,” he said of the oversight committee’s efforts. Rep.-elect James Reavis, D-Billings, a public defender in Montana for a decade, talked mostly about the committee’s bills seeking – as some bills that failed did last session – to make judicial candidates declare a party. He said having nonpartisan and impartial courts is key to the principle of justice, as someone facing a judge of an opposing political party, for instance, might not feel they were afforded due process based on their politics. “That’s not a future for Montanans that I want and I don’t think it’s a future Montanans want,” he said. While nearly every bill from last session that the group on Wednesday said attacked the judiciary failed, they said that some efforts to pick away at the Constitution take time. Smith said nonpartisan people and groups have been taking notice of the wave of bills out of the oversight committee and plan to fight them during the upcoming session, and that she believes her colleagues will take notice. “Our colleagues in the House and Senate are thoughtful people who will have conversations with us about the impact of what these laws will actually do, and so I am hopeful in that regard,” she said. “But at the same time, the sheer volume and content of these bills is extremely concerning.”Giants will try to snap a 7-game losing streak when they host the Saints
Trump names Andrew Ferguson as head of Federal Trade Commission to replace Lina KhanSenedd agrees 16% budget increase ahead of expansionNEW YORK , Dec. 2, 2024 /PRNewswire/ -- Report with market evolution powered by AI - The global arcade gaming market size is estimated to grow by USD 2.22 billion from 2024-2028, according to Technavio. The market is estimated to grow at a CAGR of 2.18% during the forecast period. Increasing physical activities in arcade gaming is driving market growth, with a trend towards rising integration of vr in arcade games. However, high cost of arcade gaming machines poses a challenge. Key market players include Bandai Namco Holdings Inc., Bay Tek Entertainment Inc., Capcom Co. Ltd., Chicago Gaming Co., CXC Simulations, D BOX Technologies Inc., Eleetus LLC, Helix Leisure USA Inc., Incredible Technologies Inc., Innovative Concepts in Entertainment Inc., International Games System Co. Ltd., Neofuns Amusement Equipment Co. Ltd., Nintendo Co. Ltd., PrimeTime Amusements, Sega Sammy Holdings Inc., Square Enix Holdings Co. Ltd., UNIS Technology Ltd., Valley Dynamo Inc., Vesaro Ltd., and Bowlero Corp.. Key insights into market evolution with AI-powered analysis. Explore trends, segmentation, and growth drivers- View Free Sample PDF Arcade Gaming Market Scope Report Coverage Details Base year 2023 Historic period 2018 - 2022 Forecast period 2024-2028 Growth momentum & CAGR Accelerate at a CAGR of 2.18% Market growth 2024-2028 USD 2.22 billion Market structure Fragmented YoY growth 2022-2023 (%) 1.86 Regional analysis APAC, North America, Europe, Middle East and Africa, and South America Performing market contribution APAC at 50% Key countries US, China, Japan, India, and Germany Key companies profiled Bandai Namco Holdings Inc., Bay Tek Entertainment Inc., Capcom Co. Ltd., Chicago Gaming Co., CXC Simulations, D BOX Technologies Inc., Eleetus LLC, Helix Leisure USA Inc., Incredible Technologies Inc., Innovative Concepts in Entertainment Inc., International Games System Co. Ltd., Neofuns Amusement Equipment Co. Ltd., Nintendo Co. Ltd., PrimeTime Amusements, Sega Sammy Holdings Inc., Square Enix Holdings Co. Ltd., UNIS Technology Ltd., Valley Dynamo Inc., Vesaro Ltd., and Bowlero Corp. Market Driver Virtual Reality (VR) is gaining popularity as a mainstream gaming platform in the entertainment industry. VR solutions aim to create a realistic virtual environment, immersing users in a lifelike experience. In recent years, VR-based arcade games have emerged, with notable releases such as the VR 360 dinosaur attack car arcade game 3D shooter and Sega's VR Agent. These innovative games offer unique experiences, combining VR headsets with gun controllers for action-packed gameplay. In 2021, Springboard VR, a leading VR venue management software and content provider, was acquired by Vertigo Games. Vertigo offers a growing portfolio of VR games and location-based entertainment (LBE), including arcade games. This strategic alliance will increase the introduction of VR-based arcade games in the future. The Arcade Expo International (AEI) convention in Las Vegas in March 2022 focused on VR technology in arcades and other LBE games. Discussions covered successful VR arcade chains, operational issues to boost sales and profits, and enhancing user experiences. Such factors will drive the growth of the global arcade gaming market during the forecast period. Arcade gaming is experiencing a resurgence in various public spaces, including malls and restaurants. Amusement arcades, filled with arcade games, video games, simulation games, mechanical games, and electrical display machines, are once again becoming popular hangouts. The genres of racing, shooting, sports, action, and even carnival games are attracting a wide range of consumers. This trend is not limited to residential areas; commercial gaming hubs are also seeing in demand. Arcade gaming offers physical activity and potential health benefits, making it an attractive alternative to sedentary online gambling or remote betting on football wagers or horse racing. Meanwhile, the technology behind these machines continues to evolve, with new levels, scoring features, and consumer-friendly designs. Classic games like pinball machines, slot machines, and coin machine games remain popular, while newer genres like Anime and lifestyle games are gaining traction. Arcade gaming provides a unique blend of entertainment, social interaction, and technology that appeals to a diverse audience. Whether you're looking for a fun day out at an amusement park or a quick break at a game parlor, arcade gaming has something for everyone. Request Sample of our comprehensive report now to stay ahead in the AI-driven market evolution! Market Challenges The global arcade gaming market faces a significant challenge due to the high cost of arcade gaming machines. These specialized machines, featuring advanced hardware, interfaces, and captivating gameplay experiences, necessitate substantial investment from both operators and developers. The development and purchase of modern arcade gaming machines, including those with cutting-edge technologies like VR and AR, involve considerable research and development (R&D) expenses. Additionally, the demand for machines with high-definition displays, motion-sensing controllers, and sophisticated audio-visual components further increases the cost. Ongoing maintenance expenses, averaging around USD4,500 per year, add to the financial burden for operators. With prices ranging from USD5,000 to USD10,000 and sometimes exceeding USD15,000 , the high cost of arcade gaming machines may negatively impact market growth, limiting consumer accessibility and potentially hindering the expansion of the global arcade gaming market. The arcade gaming market faces various challenges in both residential and commercial sectors. Residential consumers prefer the convenience of online gaming, while commercial gaming hubs compete with physical activity and health benefits. The online gambling sector, including remote betting on football wagers and horse racing, poses a significant challenge. The lifestyle change towards technology and virtual reality games, along with the popularity of online streaming and e-sports, impacts the market. However, arcade gaming still thrives with carnival games, merchandiser games, pinball machines, slot machines, and coin machine games in public places like game parlors. The technology behind these machines continues to evolve, offering consumers new levels and scoring features. Toys, amusement parks, anime, and lifestyle trends also contribute to the market's popularity. Despite the competition, affordability remains a significant factor, making arcade gaming an enduring pastime. Discover how AI is revolutionizing market trends- Get your access now! Segment Overview This arcade gaming market report extensively covers market segmentation by End-user 1.1 Gaming hubs 1.2 Semi-commercial 1.3 Residential Genre 2.1 Racing 2.2 Shooting 2.3 Sports 2.4 Action Type 3.1 Video games 3.2 Simulation games 3.3 Mechanical games Geography 4.1 APAC 4.2 North America 4.3 Europe 4.4 Middle East and Africa 4.5 South America 1.1 Gaming hubs- The arcade gaming market's largest segment in 2023 and throughout the forecast period is gaming hubs. These establishments use expensive arcade gaming equipment, making them the only accessible option for consumers. Despite the market's maturity, advanced technologies like gaming simulators are still growing, attracting businesses. Vendors provide simulation-based games, primarily for teenagers and Millennials, such as CXC Simulations' Motion Pro II racing simulator. These products are targeted at racing arcade centers and clubs, increasing demand and driving growth in the gaming hub segment. Download a Sample of our comprehensive report today to discover how AI-driven innovations are reshaping competitive dynamics Research Analysis Arcade gaming refers to the use of electronic games in public spaces, such as malls, restaurants, and amusement arcades. These venues offer a wide range of arcade games, including video games, simulation games, mechanical games, and electromechanical games. Arcade games come in various genres, including racing, shooting, sports, action, and more. They are often found in commercial areas, such as gaming hubs, game parlors, and malls, and can be played for a fee using coins or tokens. The consumer enjoys the thrill of competing against others or the machine itself, with the added excitement of scoring points and advancing through levels. Electrical displays and mechanical movements add to the experience of arcade gaming. Coin machine games, slot machines, and other gambling games are also popular in arcades. Market Research Overview Arcade gaming refers to the use of electronic games in public spaces such as malls, restaurants, and amusement arcades. Arcade games encompass various genres including simulation, racing, shooting, sports, action, and mechanical games. These games are often housed in electrical display cabinets and can be found in both residential and commercial settings. Gaming hubs provide a physical activity outlet with potential health benefits, while also catering to the online gambling sector through remote betting on football wagers, horse racing, and other events. The lifestyle change brought about by arcade gaming extends to carnival games, merchandiser games, and pinball machines, as well as coin machine games and slot machines. With the advancement of machines technology, consumers can now enjoy levels and scoring features in arcade parlors. The popularity of arcade gaming is driven by affordability, accessibility, and the integration of virtual reality and online streaming. Consumer competitions, e-sports, and internet penetration continue to fuel the growth of this dynamic industry. Table of Contents: 1 Executive Summary 2 Market Landscape 3 Market Sizing 4 Historic Market Size 5 Five Forces Analysis 6 Market Segmentation End-user Gaming Hubs Semi-commercial Residential Genre Racing Shooting Sports Action Type Video Games Simulation Games Mechanical Games Geography APAC North America Europe Middle East And Africa South America 7 Customer Landscape 8 Geographic Landscape 9 Drivers, Challenges, and Trends 10 Company Landscape 11 Company Analysis 12 Appendix About Technavio Technavio is a leading global technology research and advisory company. Their research and analysis focuses on emerging market trends and provides actionable insights to help businesses identify market opportunities and develop effective strategies to optimize their market positions. With over 500 specialized analysts, Technavio's report library consists of more than 17,000 reports and counting, covering 800 technologies, spanning across 50 countries. Their client base consists of enterprises of all sizes, including more than 100 Fortune 500 companies. This growing client base relies on Technavio's comprehensive coverage, extensive research, and actionable market insights to identify opportunities in existing and potential markets and assess their competitive positions within changing market scenarios. Contacts Technavio Research Jesse Maida Media & Marketing Executive US: +1 844 364 1100 UK: +44 203 893 3200 Email: media@technavio.com Website: www.technavio.com/ View original content to download multimedia: https://www.prnewswire.com/news-releases/arcade-gaming-market-to-grow-by-usd-2-22-billion-2024-2028-driven-by-increased-physical-activities-with-ai-redefining-the-market-landscape---technavio-302318971.html SOURCE Technavio © 2024 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.
A member of the St. Paul City Council has raised objections to human resources and the city attorney’s office after she fired her top assistant, only to see him quickly rehired by another council member. When four new council members won their elections in November 2023, most of them set about interviewing legislative aides who would help coordinate meetings with constituents, research policy matters and even in some cases ghost-write speeches and craft proposed city ordinances. Some officials in City Hall were taken aback when the new council was seated in January and incoming Ward 1 Council Member Anika Bowie had yet to hire a permanent legislative aide. February and March passed, and still no hire. Dan Dodge, who had been legislative aide to former Ward 1 Council Member Russel Balenger, continued in a transitional role for several weeks past the swearing in of the new council but stepped down on Feb. 9. Ward 7 Council Member Cheniqua Johnson, also new to her seat, suggested to Bowie last April that she interview her friend Jon Berry, a marketing professional who also happens to serve as the in-arena host for both the Minnesota Timberwolves and Minnesota Lynx. Bowie met with Berry and made him an offer on April 25, officially hiring him on May 20 as her proverbial right-hand man, at a starting salary of more than $45 per hour, or about $93,000 annually. The fit, by Bowie’s account, was a disaster. She would later accuse Berry of unauthorized spending during a September work trip, misappropriating travel funds and sharing sensitive information on a policy proposal with Johnson’s office last August without permission. “Jon was involved in unauthorized spending of the Ward 1 budget, specifically regarding a work trip scheduled for Sept. 10-13, 2024. A charge related to this trip was issued on August 22nd, 2024, but he did not request approval for it,” according to an email from Bowie to the city attorney’s office, the city’s human resources director and other officials in City Hall. “During the trip, I attended all the scheduled events and did not see him present at any of the conference panels, tours, or events by member of congress he was expected to attend ... His absence raised serious concerns about the handling of city funds.” Termination On Oct. 2, Bowie terminated Berry’s employment, in an action facilitated at her request by then-City Council Operations Director Brynn Hausz. “His termination followed my decision to forgo an investigation into the misappropriation of funds from my office,” said Bowie, writing she had placed him on a performance improvement plan on Aug. 12 without success. Bowie also accused her legislative aide of “demonstrating a lack of organization and preparation for community meetings” in her letter. Attempts to reach Berry for comment on Friday and again on Monday were unsuccessful. To her surprise, Berry would not be gone for long. He soon returned to City Hall in a lesser administrative role — as an executive assistant — rehired by Johnson, at a rate of pay of $17 per hour, or about $35,000 per year. On Oct. 21, his first day at the new job, Bowie emailed the two-page letter to Johnson, Berry, the city attorney, the city’s human resources director, a labor relations manager and at least six other city officials. “I find myself in a position that I do not take lightly, having to disclose serious concerns about a colleague’s decision to rehire Jon Berry, who was terminated from my office less than a month ago,” Bowie wrote. A ‘pending investigation’ Also among her concerns, she wrote in the letter, was the possibility that Berry and Johnson had previously been romantically involved. “Rumors of Intimate Relationships: There were unverified rumors regarding a prior intimate relationship with Council Member Johnson, communicated to me by mutual acquaintances in her presence,” Bowie wrote. “These allegations, while not confirmed, raised significant concerns about his ability to maintain professional objectivity and integrity.” She added: “I want to be clear. I am not suggesting any office on this email take formal action, such as initiating an investigation or terminating Jon Berry again.” His rehiring “without prior consultation with my office,” however, “poses risks to confidentiality and the overall work environment,” she added. Her email was addressed to City Attorney Lyndsey Olson, Human Resources Director Toni Newborn, Labor Relations Manager Jason Schmidt and City Budget Officer Jay Willms, among 11 city employees. After checking with Human Resources, Jennifer Lor, a spokesperson for the mayor’s office, confirmed this month that Berry remains an active employee of City Hall and that his HR file contained no history of any disciplinary actions. Asked if there was an active investigation or disciplinary proceeding underway, Lor said “there is a pending investigation.” Further details not public Further details of the matter are not public. By state statute, the final disposition of any disciplinary action against a public employee — and the specific reasons for the action — would become public information if a determination to impose discipline is made. Reached by phone this month, Johnson declined comment, saying she would wait for more information to come to light. Attempts to reach Bowie for comment by phone on Thursday and Friday were unsuccessful, but she wrote in an email Friday afternoon that she had “nothing but respect” for Johnson and was committed to fostering a “collaborative working relationship” with all her colleagues. Bowie said she would not discuss personnel matters with the media. The council member said she was in the process of interviewing candidates to fill the position of legislative aide. Before joining City Hall, Berry had spent more than two years as the marketing director for the Metropolitan Economic Development Association, or MEDA, which serves to promote entrepreneurs of color. Berry, who holds a business degree from DeVry University’s Keller Graduate School of Management, previously worked in marketing for Lift Brands, Effectv Advertising, Coborn’s, Target and Disney Radio. Related Articles6,000 gallons of wastewater spill at Burke County pump station after heavy rain
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SwitcH2 is partnering with CorPower Ocean to deliver a unique industrial scale floating green ammonia production facility partially powered by wave energy. With backing from Norway-based BW Offshore and Dutch Oceans Capital, SwitcH2 is leading the development of industrial-scale offshore green hydrogen and green ammonia production units based on proven FPSO (floating production, storage, and offloading) technologies. The concept, which sees electrolysers powered by a mix of renewables including wind and solar, will now incorporate wave energy to ensure a greater balance of green electricity. Supported by grant funding from the Dutch Government’s GroenvermogenNL TSE (Top Sector Energie) scheme, SwitcH2 is aiming to launch a new open-sea project in northern Portugal utilizing CorPower Ocean’s wave energy technology. SwitcH2’s NH3-FPSO unit involves the use of a new built vessel, nearly the size of a VLCC (Very Large Crude Carrier), to support a 300MW electrolysis plant on deck. The final output is green ammonia, which is temporarily stored in pressurised tanks in the vessel and then exported to shore via dedicated shuttle carriers. The floating facility is expected to reach an annual production capacity of almost 300 kton of green ammonia – enough to fuel multiple oceangoing vessels for a full year. The project anticipates green ammonia production by 2029. With an established role in the global fertilizer market, the green ammonia market is expected to grow from USD 0.7 billion in 2024 to USD 55 billion by 2032. Because of its high energy density and ease of storage, green ammonia also holds major significance as the preferred fuel choice to decarbonize the global shipping industry – responsible for roughly 3% of global emissions. SwitcH2 Director and co-founder Saskia Kunst said: “We are extremely pleased with our collaboration with CorPower Ocean as integrating their promising wave energy adds economic benefits to our already competitive offshore production system. Jointly we look at a buoyant market for green ammonia which is set to expand 6-fold between now and 2050. Our project will contribute to decarbonize also hard to abate sectors such as global shipping.” CorPower Ocean Commercial Director Kevin Rebenius said: “Wave energy is one of the largest untapped energy source in the world. It’s renewable, accessible, and abundant. Crucially, it’s also highly consistent bringing greater stability to the clean energy mix, enabling 24/7 renewable electricity supply allowing industrial processes like this to run at high utilization. We look forward to working with fellow tech pioneer SwitcH2 with a shared vision for a cleaner, brighter future powered by renewables.” SwitcH2 is expanding its portfolio beyond its initial project in Portugal, actively pursuing a range of high-impact opportunities. These include plans in West Africa, focused on ammonia export for markets in Northwestern Europe, and projects in the Dutch sector of the North Sea aimed at hydrogen export feeding into the Dutch national hydrogen backbone. These initiatives are pivotal to advancing SwitcH2’s gigawatt-scale ambitions. “A floating production system is by definition a mobile asset which we will build where this is cheapest and which can be deployed around the globe, wherever we have access to attractively priced wind, wave, and/or solar energy,” added Ms Kunst. Meanwhile, CorPower Ocean recently announced the largest single investment in its wave energy technology after securing EUR 32 million Series B1 funding, marking a significant development for wave energy which is accelerating towards a bankable mainstream energy source. Source: CorPower OceanJACKSON, Miss. (AP) — Clarke Reed , a Mississippi businessman who developed the Republican Party in his home state and across the South starting in the 1960s, died Sunday at his home in Greenville, Mississippi. He was 96. Reed was chairman of the Mississippi Republican Party from 1966 to 1976, beginning at a time when Democrats still dominated in the region. During the 1976 Republican National Convention, delegates were closely divided between President Gerald Ford and former California Gov. Ronald Reagan. Reed united the Mississippi delegation behind Ford — a move that created a decadeslong feud with William D. “Billy” Mounger, another wealthy businessman who was prominent in the Mississippi Republican Party. Reed recalled in a 2016 interview with The Associated Press that delegates faced considerable pressure. Movie stars visited Mississippi's 30 delegates to push for Reagan, and Betty Ford called on behalf of her husband. Reagan met twice with the Mississippi delegation — once with his proposed running mate, Pennsylvania Sen. Richard Schweiker — and once without, according Haley Barbour, who was executive director of the Mississippi Republican Party in 1976 and served as the state's governor from 2004 to 2012. “Everybody was coming to see us," Reed said. “These poor people had never seen this before, the average delegate.” Mississippi delegates were showing the stress at a meeting away from the convention floor in Kansas City, Reed said. “I looked out, and about half of them were crying," he said. Reed initially supported Reagan, but said he moved into the Ford camp because he thought Reagan made “a hell of a mistake” by choosing a more liberal northeastern running mate in a gambit to win support of the unpledged Pennsylvania delegation. “In my opinion, Reagan was the best president of my lifetime. I didn’t know that then,” Reed said in 2016. “And had he been elected with Schweiker, he might’ve gotten a bullet one inch over and Schweiker would’ve been president.” Ford won the party nomination during the convention, then lost the general election to Jimmy Carter, the Democratic former governor of Georgia. Reed was born in Alliance, Ohio, in 1928, and his family moved to Caruthersville, Missouri, when he was about six months old. He earned a business degree from the University of Missouri in 1950. He and Barthell Joseph, a friend he had met at a high school boarding school, founded an agriculture equipment business called Reed-Joseph International, which used technology to scare birds away from farms and airports. Republican U.S. Sen. Roger Wicker of Mississippi said Monday that Reed was “a mentor, supporter and advisor to me for over 56 years." Wicker said he was 21 when Reed put him on the Republican Platform Committee in 1972. “There is no more significant figure in the development of the modern day Mississippi Republican Party than Clarke Reed,” Wicker wrote on social media. “Our state has lost a giant."House rejects Democratic efforts to force release of Matt Gaetz ethics report
VANCOUVER, BC , Dec. 9, 2024 /PRNewswire/ - Seaspan Corporation (Seaspan), world leading independent containership lessor, has signed an agreement to equip its fleet with the OneWeb advanced low-earth orbit (LEO) satellite offering from KVH Industries. This marks the next step in Seaspan's drive to deliver shore-like internet connectivity at sea, supporting its digital transformation strategy and augmenting its fleet's existing LEO services. As an early adopter of LEO technologies, Seaspan is the first major owner/operator of containerships to partner with KVH for its OneWeb solution. Seaspan's OneWeb rollout will further strengthen the fleet's data connectivity infrastructure, enabling Seaspan to leverage advanced technologies and high bandwidth-demanding applications, including solutions such as cloud-based software as a service (SaaS) technology that were previously unsuitable for maritime use. "Our partnership with KVH for OneWeb services aligns with our strategy of providing a best-in-class communication experience across our fleet," said Garret Wong , Seaspan's Vice President of Information Technology. "This initiative brings us closer to realizing shore-like connectivity at sea while enhancing efficiency, safety, and seafarer welfare." Adrian Alb, Senior Manager of IT Operations at Seaspan, added "LEO satellite technologies have set a new benchmark for vessel communications, offering high-bandwidth, low latency, and reliability far beyond traditional marine satellite solutions. This collaboration with KVH aligns with our goal of enhancing provider diversity and minimizing geographical blackout zones, further bolstering the robustness of our satellite communications infrastructure." Chad Impey , Senior Vice President for Global Sales at KVH, commented, "We are proud to support Seaspan with the planned deployment of OneWeb service and hardware as part of our integrated KVH ONE multi-orbit, multi-channel network solution." With the integration of OneWeb LEO technology from KVH Industries, Seaspan continues to demonstrate its commitment to adopting cutting edge technologies enabling its fleet to meet the demands of modern maritime operations. About Seaspan Corporation Seaspan is the world's leading maritime asset-owner and operator focussed on long-term, fixed-rate leases to the world's most prominent shipping lines. As of September 30, 2024 , Seaspan's operating fleet consisted of 218 vessels, pro forma for undelivered newbuilds including PCTCs, with a total fleet capacity of approximately 2.3 million TEU on a fully delivered basis. For more information, visit seaspancorp.com . About KVH Industries, Inc. KVH Industries, Inc. is a global leader in maritime and mobile connectivity delivered via the KVH ONE® network. The company, founded in 1982, is based in Middletown, RI , with research, development, and manufacturing operations in Middletown, RI , and more than a dozen offices around the globe. KVH provides connectivity solutions for commercial maritime, leisure marine, military/government, and land mobile applications on vessels and vehicles, including the TracNetTM, TracPhone®, and TracVision product lines, the KVH ONE OpenNet Program for non-KVH antennas, AgilePlans® Connectivity as a Service (CaaS), and the KVH Link crew wellbeing content service. KVH Industries, Inc., has used, registered, or applied to register its trademarks in the USA and other countries around the world, including but not limited to the following marks: KVH, KVH ONE, TracVision, TracPhone, TracNet, and AgilePlans. Other trademarks are the property of their respective companies. View original content to download multimedia: https://www.prnewswire.com/news-releases/seaspan-corporation-signs-agreement-with-kvh-to-equip-fleet-with-oneweb-low-earth-orbit-solution-302326768.html SOURCE Seaspan CorporationSnap-on CEO Nicholas Pinchuk sells $7.7 million in stock
Meet Warren Stephens, Investment Banker Picked By Trump To Be UK AmbassadorNone
Metaverse in Education Market Future Trends, Size, Share, Growth Factors, Industry Analysis, Advance Technology And Forecast - 2028LOS ANGELES, Dec. 11, 2024 (GLOBE NEWSWIRE) -- Glancy Prongay & Murray LLP (“GPM”) reminds investors of the upcoming February 3, 2025 deadline to file a lead plaintiff motion in the class action filed on behalf of investors who purchased or otherwise acquired ASP Isotopes Inc. (“ASP Isotopes” or the “Company”) (NASDAQ: ASPI ) securities between October 30, 2024 and November 26, 2024 , inclusive (the “Class Period”). If you suffered a loss on your ASP Isotopes investments or would like to inquire about potentially pursuing claims to recover your loss under the federal securities laws, you can submit your contact information at www.glancylaw.com/cases/ASP-Isotopes-Inc/ . You can also contact Charles H. Linehan, of GPM at 310-201-9150, Toll-Free at 888-773-9224, or via email at shareholders@glancylaw.com to learn more about your rights. On November 26, 2024, Fuzzy Panda Research published a report which alleged that ASP Isotopes is “using old, disregarded laser enrichment technology to masquerade as a new, cutting-edge Uranium enrichment.” The report quoted a former employee of Klydon (the company ASP Isotopes purchased its “proprietary” technology from) as stating scientists “did not think it would work on Uranium.” The report revealed a series of experts interviewed stated the Company’s reported cost estimates and timeline for building its HALEU uranium facilities was misleading to the point of being “delusional.” The report further alleged the Company had significantly overstated the significance of its agreement with TerraPower, which was only a “non-binding” memorandum of understanding entered into to “put pressure on [TerraPower’s] real suppliers.” The report quoted a former TerraPower executives as stating that ASP Isotopes was “missing the manufacturing; They are missing the processes as well; They still have to develop the HALEU...the most important part.” Finally, the report revealed that the Company’s subsidiary, Quantum Leap Energy, which operates its nuclear fuels segment and to which the Company assigned the TerraPower memoranda of understanding, was completely absent from its registered South African address. The report revealed there were “zero signs” of their presence and “security guards and neighboring business about them all told us they had never heard of the companies.” On this news, the Company’s stock price fell $1.80 or 23.53%, to close at $5.85 per share on November 26, 2024, on unusually heavy trading volume. The stock continued to fall on the subsequent trading date, falling $0.83 or 14.19%, to close at $5.02 per share on November 27, 2024, on unusually heavy trading volume. The complaint filed in this class action alleges that throughout the Class Period, Defendants made materially false and/or misleading statements, as well as failed to disclose material adverse facts about the Company’s business, operations, and prospects. Specifically, Defendants failed to disclose to investors: (1) the Company overstated the potential effectiveness of its enrichment technology; (2) the Company overstated the development potential of its high assay low-enriched uranium facility; (3) the Company overstated the Company’s nuclear fuels operating segment results; and (4) that, as a result of the foregoing, Defendants’ positive statements about the Company’s business, operations, and prospects were materially misleading and/or lacked a reasonable basis. Follow us for updates on LinkedIn , Twitter , or Facebook . If you purchased or otherwise acquired ASP Isotopes securities during the Class Period, you may move the Court no later than February 3, 2025 to request appointment as lead plaintiff in this putative class action lawsuit. To be a member of the class action you need not take any action at this time; you may retain counsel of your choice or take no action and remain an absent member of the class action. If you wish to learn more about this class action, or if you have any questions concerning this announcement or your rights or interests with respect to the pending class action lawsuit, please contact Charles Linehan, Esquire, of GPM, 1925 Century Park East, Suite 2100, Los Angeles, California 90067 at 310-201-9150, Toll-Free at 888-773-9224, by email to shareholders@glancylaw.com , or visit our website at www.glancylaw.com . If you inquire by email please include your mailing address, telephone number and number of shares purchased. This press release may be considered Attorney Advertising in some jurisdictions under the applicable law and ethical rules. Contacts Glancy Prongay & Murray LLP, Los Angeles Charles Linehan, 310-201-9150 or 888-773-9224 shareholders@glancylaw.com www.glancylaw.comSmall-business owners say they were mistakenly accused of defaulting on federal Covid loans
The Swiss-Peruvian-Spain co-production Queens , co-written and directed by Klaudia Reynicke , is set amidst the grueling reign of Alberto Fujimori’s dictatorship in the 1990s. During the social and political unrest, the story centers on the goings-on of an unconventional family living in Lima. Elena (Jimena Lindo) is a mother of two young daughters (Abril Gjurinovic and Luana Vega) who has chosen to accept a job offer in Minnesota to escape the country’s turmoil. However, she needs the legal signature of her estranged husband, Carlos (Gonzalo Molina), in order to take her children with her. When Carlos comes back into the picture, the girls, who don’t particularly enjoy his company, soon grow fond of him, complicating any chance of safety Elena has in store. After premiering at Sundance, the film won the Grand Jury Prize for Best Feature in the Generation Kplus strand of Berlin. In Switzerland’s Locarno Film Festival, it won the Audience Award and won Best Screenplay at the Festival de Lima in Peru. Here, Queens EPs Jessica Alba and Tracey Nyberg and Reynicke talk to Deadline about the joys of embracing complex familial storylines and the importance of reconnecting with your roots. DEADLINE: What was your reaction to Switzerland choosing Queens for the Oscars? KLAUDIA REYNICKE: Back in September, we found out we were on the shortlist for Switzerland. They had a short list of two films. It was mine and another one. The other film I’ve seen is a great film. It was shot in French in France and Lausanne in Switzerland. So, we were like, “There’s no way they’re picking ours,” which is in Spanish and takes place in Peru. The thing is that I’m Peruvian, but I’m also Swiss. And for a country to pick a film that will represent them, because there’s a lot of public money, you have to add “points.” This means that for this film to be Swiss, it couldn’t be picked by Peru even though the actors I chose were Peruvian; everything behind the camera had to be something else because we have two other countries of production and its public money. So, we had to pick heads of the department from Switzerland because that’s where most of the funding was, and some from Spain. So, when you add all these things together, the film has more points in Switzerland. So, when we made it to the shortlist, I was already so honored to be on the shortlist. Suddenly, they call us and say, “It’s you.” And we’re like, “What?! Are you sure?” Since then, I’ve been excited and so thankful that it shows me the open-mindedness of Switzerland because they’re actually picking something that talks more about immigration and family somewhere else. They were like, “We believe in this film and these values. We believe in the story of all these women who believe in this other woman who made that film.” And I’m like, “Wow, this is insane.” Since then, it’s been crazy because I’ve never done any Oscars campaign before [laughs]. DEADLINE RELATED VIDEO: DEADLINE: Talk about the need to film in Peru. What was that experience like? REYNICKE: We did everything in Peru because it didn’t make sense for us not to. It’s a small film. It’s a small-budget film. So, we didn’t get any studio saying things like, “Oh, we are going to reproduce all this somewhere else.” No. It was like, “We have to do it in Peru. And that’s it.” Peru had to be the place to film everything for the story, actors, actresses and to have the entire vibe from that country in the’90s. DEADLINE: That house that the family of women lives in is so gorgeous in a very retro way. Talk more about the atmosphere and aesthetics you wanted to capture with the film. REYNICKE: The house is from the ’50s. I was trying to find a house where I used to live, which is my grandma’s house. My mom and I used to live at my grandma’s house. She was a divorcee and then remarried to my stepdad, who is Swiss, so we moved out. But that’s my childhood. So, reconnecting with the country was also a way to reconnect with my youth and what I remember, the ’80s and ’90s. It wasn’t conscious, but I was pretty obsessed when I was looking for the house for the grandmother in the movie [laughs]. When my family saw the film, my cousins were [incredulously] like, “How did you find Grandma’s house again?” We changed some colors and other minor things. But the house is a character as well because it’s part of this family, and there are so many intense things with all the blackouts and everything that I needed to be able to tell the context of where this family is living. DEADLINE: How did your background as an immigrant and your co-writer Diego Vega’s background help inform the story of Queens ? REYNICKE: I thought of many moments from my life when I started creating this project. It was a need to tell the story in Peru, in a country where I haven’t lived as an adult, a country that I left when I was 10, a country that I’ve been telling people I’m Peruvian. Now I’m in my 40s, and I don’t know how Peruvian I actually am. I had this identity thing where I had done other films but was always away from everything related to my homeland. For my co-writer Diego, we had many talks, and he wanted to hear all the stuff I remembered. I did the same thing with him because we had very similar lives. He is also from Peru. He left when he was young, but then he went back as an adult and now he lives in Barcelona. It was interesting for us to just play with both of our lives, being like, “OK, we are Peruvian, but what do we remember?” So, some of his memories made it in. For example, the father makes the “atomic eggs,” right? He would tell me, “Oh, my dad used to always say, ‘I’m making atomic this and atomic that.'” I guess because back then, ’80s or ’90s, it was such a thing to be atomic. I don’t know what that was about. For me, it’s the car that goes in the desert. That’s something from my childhood, in Ica, a city that is desert and the ocean. That’s one of the strongest memories I have. So, I needed to recreate that moment. Also, there’s the ghost. We have many ghosts in our culture, so we both agreed on, we could not live without ghosts in the story. The house, the family, they needed their ghost. It’s a good ghost that’s going to protect them. It’s not exactly like the scary ghost from the Western world. It’s something else. And all the parties, my family was like that [laughs]. I do remember this with a lot of warmth in my heart. Recreating those scenes was very important to me. DEADLINE: There are many layers to Queens . Originally reading the synopsis during its film festival run, I thought the story would be mostly about him. But outside of the brief taxi rides, we don’t see his life outside of interacting with the girls. It’s very much about womanhood and sisterhood. Why did this work better for your narrative? REYNICKE: This is primarily a story of a family that is not a family anymore and that somehow will become a family before they separate forever. By saying this, I want to underline the fact that they’re not a family anymore because Carlos is just out of the picture. We have all these women though, and I wanted it to be a theme of family. The important part is why do they re-become a family? It’s because there is a union that is created by this upcoming departure, by the fact that the father learns to be a father, by the fact that the kids learn what it is to have a father, and by the fact that there is a mother who accepts and listens to her daughters. It was important to tell the story not from one point of view but from different generations as well. We have all these women, and we have the two kids who are very different because when you’re 10 years old and when you’re 14, you’re really different. The mom has her own agenda, the grandma has something else. And to have this man making this a bit messier was the idea because that’s what a family is about. I love my family, but my family is a bit crazy, I think [laughs]. When nothing is perfect, but love is there, you work it out. DEADLINE: For what he lacks in being reliable, Carlos is a sympathetic character. You don’t let him off the hook for the lies or the distress he causes. He’s just trying to do the best he can with what he has. How did you approach that character working with Gonzalo Molina? REYNICKE: Having a character with these imperfections was very important because I know a lot of Carlos’ [laughs]. But it was also about making him likable because we get attached to him, and he’s a reflection of the country. He’s the mirror of a society that’s falling apart. Yes, he lies, and he does a bunch of things we can criticize him for. But at the same time, I think this man is underwater. And it was important for me to talk about this group of women. This mother is doing everything on her own, and she’s the pilot of the whole thing. She’s also in a society where it’s not easy to be a single mom. But this man is also in a society where it’s not easy to be a father who can’t give money to his ex-wife or can’t be there because he’s so ashamed of himself that he prefers not to see his daughters and disappear. Originally, in the script, Carlos was a lot darker, and then I would make people read the script and 50% liked him and the other 50% hated him. I had to be very careful with the casting because, at the beginning, because it was such a dark character, I had someone a bit darker in mind. And when I met Gonzalo Molina, he was this actor who was talking too loud and kind of clumsy [laughs]. At the beginning, I was like, “Wow, I don’t think this is going to work.” But then I’m like, “Wow, he’s exactly the opposite of the character we’d written.” I thought it was going to bring an entire balance to this character. A script is a dead thing for me. It has no emotions, nothing. Life comes from the person who’s going to do the role, so we found Carlos this way. DEADLINE: Jessica and Tracey, what led you to add this project to your Lady Metalmark Entertainment brand? JESSICA ALBA: Tracey brought it to me. She had been talking about this film for a while. TRACEY NYBERG: I saw it at Sundance. Immediately, I fell in love and reached out to Klaudia, who was just so enamored by what she did as a filmmaker and the performances she got. Then I reached out to Jessica and said she had to watch this. We were just starting the company, maybe three weeks in [laughs]. JESSICA ALBA: What was so beautiful about the film and the performances is the humanity that gets pulled through. You see many stereotypes flipped on their head, and you have compassion for the man who could be considered the villain in other stories. But the father’s role is much more complicated and human. I think there’s a lot of pressure on men to be the breadwinners of a family and to be able to care of everyone. Now, I think we are realizing more that the reality is that women are also capable. There’s a lot of men who are trying to find their place in society, in the world, even if they are grown or if they are fathers. And we need to allow space for that, for men not to have to have it all together and not always to be the king of the castle. This film does a great job at that, and it’s also good to see he’s a decent man, not just some one-note guy. I thought that was beautiful. I also thought it was so relatable as a mother and as a parent to want something for your kids, as your kids are just completely in their own world. As a parent, you want them to do one thing, but they just want to do their thing, and their reality is just as important to them as the adults. It’s so beautiful the way Klaudia made space for the girls, and that they had their own different personalities and that they’re fully realized young people. I just really loved how all the characters are very dynamic and complex, they all have a beautiful journey in the film. DEADLINE: What kinds of projects are you both looking for in general? Anything specifically made by women, or is everything open? NYBERG: We are very interested in things that have strong female representation, whether that’s in front of or behind the camera, but also just stories about women that are complex, interesting and compelling characters– things that are ultimately accessible to audiences. The driving thing for us, too, is diversity. And again, in front of and behind the camera, however that looks. And just having a supportive, creative framework for filmmakers much like Klaudia to hopefully do something interesting. It feels like there is that blank space. DEADLINE: How did you find the two lead girls, Abril Gjurinovic and Luana Vega? REYNICKE: We started casting before COVID. I was in Switzerland doing casting. I was sent videos, and then COVID hit, and Peru was one of the countries that suffered the most in Latin America. The country closed completely for two years. When the country opened up again, we started casting again. There is no cinema industry in Peru, especially the type of cinema I do. They have commercials. They have series and soap operas. So, the kids they would send me had another type of language for other things that wouldn’t be as realistic as the films I do. So, I asked the casting directors to go on the streets and find kids. We call it Yeah. What we call “casting salvaje,” which is “wild casting” in English. So they found Abril in a shopping mall with her dad. Out of 200 kids, I believed everything that she was doing. So, I mentioned to them that I was coming to Lima soon and wanted to make sure she was available to be seen. They called me three days later and said, “We can’t find her anymore.” And I was like, “What?” Two weeks later, right before I arrived in Peru, they said, “We found her, but she doesn’t live in Peru.” It turns out she lived in Belgium, which is next to Switzerland. So, I flew her to Switzerland with her mom, and she auditioned in my house [laughs]. She’s super talented, but the plus was that her story was pretty much Lucia’s story. She had to leave her father because her parents were separated; her mom told me that they left when there was the horrible COVID situation happening. So, when the casting directors saw her in the shopping mall, she was visiting her dad. When she read the story of Lucia, I think she knew exactly what Lucia was going to live through, so she could give all [her energy to that]. With Luana, it was different because this is pretty much a month before shooting, and I still don’t have the bigger sister, and I’m desperate. I’m Zooming with all the producers. I’m like, “What do we do?” And they kept sending me girls, but nothing that stood out. My Peruvian co-producer, Daniel Vega, also my co-writer’s brother, is on Zoom. I see his daughter walking in the background, and I’m like, “Who’s that?” He’s like, “My daughter, Luana.” I found out she was 14, and I was like, “Daniel, why haven’t I seen no pictures, nothing?” [laughs]. And he lowered his voice to say that because he was a filmmaker and a writer, and his wife is a producer, she [jokingly] hates this world. She wants [our daughter] to do something real like a doctor or lawyer. So, he sends me pictures and left some dialogues of the script around her room. I also cast her best friend, to help her maybe sign on to the project. Eventually, she agreed to send a tape but said, “I’m not going to be an actress, but OK, I’m going to try.” So, she tried and did it perfectly, and I said, “She’s the one.” DEADLINE: What would you like audiences to take away from this film? REYNICKE: I want audiences to feel the hope and the light. This project talks about womanhood, migration, complexity, and complicated families. But out of all this, I want people to actually feel the hope that everything can be OK if you put the right feelings towards it. I think for all films and artistic projects, it’s very important to me to have an audience that is open so that they can love these art house films. They can dislike the film too. I prefer to have that than to have someone who doesn’t care at all about the film. I’ve had both reactions, which has been very interesting for me because a lot of people love the film. But from time to time, there’s that person who says something, and I’m like, “That’s good.” It means that the film is actually getting somewhere in particular that moves everyone, and that’s what I want. Now, it’s not my film anymore; it’s people’s film because when it’s out there, it’s not mine anymore. [This interview has been edited for length and clarity]None
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