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A former Verizon employee who fed information to Chinese security agents about his employer, Chinese hacking operations, and pro-democracy activists living in the U.S. was sentenced to four years in prison on Monday. Ping Li, 59, pleaded guilty earlier this year to conspiring to act as an agent of China going back to at least 2012. His sentencing comes as the U.S. cybersecurity community reels from a Chinese hacking operation that U.S. Senator Mark Warner (D-VA), the chair of the Senate Intelligence Committee, recently described as the “worst telecom hack in our nation’s history—by far.” The operation, which compromised Verizon and other telecom giants, targeted politicians including Donald Trump and Kamala Harris and may have given the hacking group Salt Typhoon, which is linked to China’s Ministry of State Security (MSS), access to some victims’ call audio and text messages. The hack exploited security backdoors that the companies built into their systems to assist domestic law enforcement with wiretapping requests. Li’s sentencing agreement doesn’t suggest that he was involved in the Salt Typhoon hack, but his case illustrates how China has sought to infiltrate major telecoms and use insiders to gather information about corporate operations and political opponents. Li, who was born in China but moved to the U.S. 30 years ago and became a U.S. citizen 16 years ago, began working for agents of China’s MSS at least as early as 2012, according to his sentencing memorandum . He traveled to the country to meet with a former classmate and friend who worked for the MSS on multiple occasions and also shared information with them through a variety of online accounts. Li shared information with MSS agents about different types of communications the U.S. government can electronically monitor, what Verizon branches in China were doing, and cybersecurity training material from another employer. He also provided the agents with names and identifying details about members of Falun Gong, a religious group banned in China, who were living in the U.S. according to his plea agreement . When the FBI arrested Li in July, he initially claimed that the MSS agent and former friend had only requested advice about investing in the stock market, according to his plea agreement. But after being confronted with emails he had sent, he admitted to conducting research on behalf of China and transmitting internal cybersecurity materials from his employer that he knew he wasn’t allowed to share.Former Virginia guard Jalen Warley is transferring to Gonzaga, according to several reports Monday. Gonzaga appeared to confirm the transfer by reposting the news on social media. Warley, who has 96 college games (58 starts) under his belt, will use a redshirt this year and spend 2025-26 in Spokane, Wash. Warley played three seasons at Florida State before transferring to Virginia before the 2024-25 season. He was allowed to enter the transfer portal again following the surprise retirement of coach Tony Bennett just three weeks before the season. With the Seminoles, Warley averaged 6.0 points, 2.9 assists, 2.5 rebounds and 1.3 steals per game. His junior year was his best, as he put up 7.5 points, 2.8 assists, 2.6 rebounds and 1.3 steals per game over 33 appearances (32 starts). --Field Level MediaBy Jason Pargin The mysterious black box in Pargin’s novel may contain something that triggers an American apocalypse, or, you know, it may just be nothing. Either way, what’s inside is the mystery propelling this provocative, rambunctious, comedic cultural rant of a novel that’s fueled by internet paranoia, conspiracy theories and outlandish action scenes. Abbott Coburn, a Lyft driver, reluctantly helps Ether get the black box to Washington, D.C. No peeking inside. No cellphones. A lot of cash. Socially awkward Abbott has spent most of his time online. Ether, on the other hand, lives off the grid. She’s determined, pragmatic and, despite what her name implies, far from soporific. A posse of eccentric characters chase them cross country, cheered on by a virtual torch-waving mob. ‘The Night We Lost Him’ By Laura Dave “We’ve been looking at this from the wrong angle,” says Nora in Dave’s latest touching family drama. Dave’s trademark emotional twists and compelling characters, caught in the aftermath of loss, are in fine form in this latest mystery. It’s the story of the Noone family patriarch’s death and the unanswered questions it raises for his ex-wives, business partners and rivals, as well as his two sons and daughter Nora. Liam Noone was the founder of a boutique hotel empire, a company that appears to be at the center of his mysterious death. He appeared to everyone to be “smart, eager, solid,” a man who always showed his family “the best version of himself.” But what were the other versions? The reader is privy to revelations in a parallel narrative from Liam’s past, but Nora and her estranged stepbrother are on their own. ‘Death at the Sanatorium’ By Ragnar Jónasson (translated by Victoria Cribb) Helgi Reykdal, one of the characters in Jónasson’s delightfully fiendish “Death at the Sanatorium,” is a collector of Golden Age mysteries, like those by Patrick Quentin and Agatha Christie. Set in Iceland, Jónasson’s slowly unfolding plot twists and his overly suspicious characters make for an engaging homage to those classics. The story opens in 1983 when Tinna, a new nurse at a sanatorium, finds the murdered body of the head nurse, then cuts back and forth to 2012, when Helgi is writing his dissertation on the 1983 murders. The novel is cleverly constructed around the perspective of the main characters from both time periods. But Tinna was my favorite. A delusional romantic, she enjoys “exaggerating her stories” because “life was easier if you tweaked the facts a little in your favor.” ‘Guide Me Home’ By Attica Locke Against the backdrop of America’s “fascism under the guise of a return to better days,” Locke’s remarkable ”Guide Me Home,” the final book in her moving Highway 59 trilogy, finds Darren Mathews no longer a Texas Ranger, which informed his identity as a Black Texan for most of his life. A choice he made years before haunts him, eventually sending him into a nihilistic funk where “managing his sense of doom” is “nearly a full-time job.” When a young Black woman goes missing from an all-white sorority, no one is concerned except Darren’s estranged mother. The investigation forces Mathews to consider that the “men who had raised him had deceived him his whole life.” This realization makes Mathews worry “his cynicism, home-brewed over the years of living in a culture of double-dealing and dishonesty, was clouding his judgment.”
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Onfolio Holdings Inc. Announces Quarterly Preferred Stock Cash Dividend of $0.75 Per ShareMary Jenkins, of Winchester, passed away on June 11, 2024, after an eight-year battle with cancer. She was born on Nov. 27, 1947, in Revere, Mass., to Elizabeth (Fournier) and James Cooper. She was predeceased by her husband, Richard Jenkins. She is survived by her son, Phillip, and his wife, Janice, of Peabody, Mass.; her daughter, Lisa, and her husband, Moe, of Old Hickory, Tenn.; her daughter, Angela, of Florida; and her grandchildren: Jocelyn and her husband, Andrew; Jenna and her husband, Nic; Phillip, Jr.; Colton and partner Krystal; Tyler and his wife, Ashlei; Nicole and her partner, Al; and Cassie Emmonds. Additionally, she is survived by her great-grandchildren, Sophia, Odin, Audri, Chrissy and Mariana. She loved her family with all her being. She took care of her granddaughter, Cassie, from since Cassie was a toddler, and her granddaughter, Nicole, for most of her childhood. She enjoyed watching butterflies every summer and spending any chance she got watching her great-grandchildren play sports. Mary was a beloved member of Center Church in Winchester, where she made Jesus Christ her Lord and Savior. A celebration of Mary’s life was held on Oct. 19, 2024 at Center Church.
Proceeds to be used primarily to acquire bitcoin and repurchase existing convertible notes due 2026 Fort Lauderdale, FL, Dec. 04, 2024 (GLOBE NEWSWIRE) -- MARA Holdings, Inc. (NASDAQ: MARA) (“MARA” or the “Company”), a global leader in leveraging digital asset compute to support the energy transformation, today announced the closing on December 4, 2024 of its offering of 0.00% convertible senior notes due 2031 (the “notes”). The aggregate principal amount of the notes sold in the offering was $850 million. MARA also granted the initial purchasers an option to purchase an additional $150 million aggregate principal amount of the notes within a 13-day period beginning on, and including, the date on which the notes were first issued. The notes were sold in a private offering to persons reasonably believed to be qualified institutional buyers in reliance on Rule 144A under the Securities Act of 1933, as amended (the “Securities Act”). The net proceeds from the sale of the notes were approximately $835.1 million, after deducting the initial purchasers’ discounts and commissions but before estimated offering expenses payable by MARA. MARA expects to use approximately $48 million of the net proceeds from the sale of the notes to repurchase approximately $51 million in aggregate principal amount of its existing convertible notes due 2026 (the “existing 2026 convertible notes”) in privately negotiated transactions with the remainder of the net proceeds to be used to acquire additional bitcoin and for general corporate purposes, which may include working capital, strategic acquisitions, expansion of existing assets, and repayment of additional debt and other outstanding obligations. The notes are unsecured, senior obligations of MARA. The notes will not bear regular interest and the principal amount of the notes will not accrete. MARA may pay special interest, if any, at its election as the sole remedy for failure to comply with its reporting obligations and under certain other circumstances, each pursuant to the indenture. Special interest, if any, on the notes will be payable semi-annually in arrears on June 1 and December 1 of each year, beginning on June 1, 2025 (if and to the extent that special interest is then payable on the notes). The notes will mature on June 1, 2031, unless earlier repurchased, redeemed or converted in accordance with their terms. Subject to certain conditions, on or after June 5, 2029, MARA may redeem for cash all or any portion of the notes at a redemption price equal to 100% of the principal amount of the notes to be redeemed, plus accrued and unpaid special interest, if any, to, but excluding, the redemption date, if the last reported sale price of MARA’s common stock has been at least 130% of the conversion price then in effect for a specified period of time ending on, and including, the trading day immediately before the date MARA provides the notice of redemption. If MARA redeems fewer than all the outstanding notes, at least $75 million aggregate principal amount of notes must be outstanding and not subject to redemption as of the relevant redemption notice date. Holders of notes may require MARA to repurchase for cash all or any portion of their notes on June 4, 2027 and on June 4, 2029 or upon the occurrence of certain events that constitute a fundamental change under the indenture governing the notes at a repurchase price equal to 100% of the principal amount of the notes to be repurchased, plus accrued and unpaid special interest, if any, to, but excluding, the date of repurchase. In connection with certain corporate events or if MARA calls any note for redemption, it will, under certain circumstances, be required to increase the conversion rate for holders who elect to convert their notes in connection with such corporate event or notice of redemption. The notes are convertible into cash, shares of MARA’s common stock, or a combination of cash and shares of MARA’s common stock, at MARA’s election. Prior to March 1, 2031, the notes are convertible only upon the occurrence of certain events and during certain periods, and thereafter, at any time until the close of business on the second scheduled trading day immediately preceding the maturity date. The conversion rate for the notes is initially 28.9159 shares of MARA’s common stock per $1,000 principal amount of notes, which is equivalent to an initial conversion price of approximately $34.5830 per share. The initial conversion price of the notes represents a premium of approximately 40.0% over the U.S. composite volume weighted average price of MARA’s common stock from 2:00 p.m. through 4:00 p.m. Eastern Daylight Time on Monday, December 2, 2024, which was $24.7022. The conversion rate is subject to adjustment upon the occurrence of certain events. In connection with any repurchase of the existing 2026 convertible notes, MARA expects that holders of the existing 2026 convertible notes who agree to have their notes repurchased and who have hedged their equity price risk with respect to such notes (the “hedged holders”) will unwind all or part of their hedge positions by buying MARA’s common stock and/or entering into or unwinding various derivative transactions with respect to MARA’s common stock. The amount of MARA’s common stock to be purchased by the hedged holders or in connection with such derivative transactions may be substantial in relation to the historic average daily trading volume of MARA’s common stock. This activity by the hedged holders could increase (or reduce the size of any decrease in) the market price of MARA’s common stock, including concurrently with the pricing of the notes, resulting in a higher effective conversion price of the notes. MARA cannot predict the magnitude of such market activity or the overall effect it will have on the price of the notes or MARA’s common stock. The notes were sold to persons reasonably believed to be qualified institutional buyers pursuant to Rule 144A under the Securities Act. The offer and sale of the notes and the shares of MARA’s common stock issuable upon conversion of the notes, if any, have not been and will not be registered under the Securities Act or the securities laws of any other jurisdiction, and the notes and any such shares may not be offered or sold in the United States absent registration or an applicable exemption from such registration requirements. The offering of the notes was made only by means of a private offering memorandum. This press release shall not constitute an offer to sell, or a solicitation of an offer to buy, the notes, nor shall there be any sale of the notes in any state or jurisdiction in which such offer, solicitation or sale would be unlawful under the securities laws of any such state or jurisdiction. Nothing in this press release shall be deemed an offer to purchase MARA’s existing 2026 convertible notes. About MARA MARA (NASDAQ:MARA) is a global leader in digital asset compute that develops and deploys innovative technologies to build a more sustainable and inclusive future. MARA secures the world’s preeminent blockchain ledger and supports the energy transformation by converting clean, stranded, or otherwise underutilized energy into economic value. Forward-Looking Statements Statements in this press release about future expectations, plans, and prospects, as well as any other statements regarding matters that are not historical facts, may constitute “forward-looking statements” within the meaning of The Private Securities Litigation Reform Act of 1995. These statements include, but are not limited to, statements relating to MARA’s use of the net proceeds of the offering. The words “anticipate,” “believe,” “continue,” “could,” “estimate,” “expect,” “intend,” “may,” “plan,” “potential,” “predict,” “project,” “should,” “target,” “will,” “would,” and similar expressions are intended to identify forward-looking statements, although not all forward-looking statements contain these identifying words. Actual results may differ materially from those indicated by such forward-looking statements as a result of various important factors, including the factors discussed in the “Risk Factors” section of MARA’s Annual Report on Form 10-K filed with the U.S. Securities and Exchange Commission (the “SEC”) on February 28, 2024, as amended on May 24, 2024, the “Risk Factors” section of MARA’s Quarterly Report on Form 10-Q filed with the SEC on August 1, 2024, the “Risk Factors” section of MARA’s Quarterly Report on Form 10-Q filed with the SEC on November 12, 2024 and the risks described in other filings that MARA may make from time to time with the SEC. Any forward-looking statements contained in this press release speak only as of the date hereof, and MARA specifically disclaims any obligation to update any forward-looking statement, whether as a result of new information, future events, or otherwise, except to the extent required by applicable law. MARA Company Contact: Telephone: 800-804-1690 Email: ir@mara.com
FEDERAL UNIVERSITY OF AGRICULTURE, MAKURDI (FUAM) NOW KNOWN AS JOSEPH SARWUAN TARKA UNIVERSITY, MAKURDI (JOSTUM) CENTER FOR INNOVATION IN PROCUREMENT, ENVIRONMENTAL AND SOCIAL STANDARDS (CIPESS) CALL FOR APPLICATIONS INTO NEW REGULAR AND EXECUTIVE SHORT COURSES (TRACK A) Applications are invited from interested candidates for admission into Regular and Executive short courses in the fields of Procurement Standards, Environmental Standards and Social Standards (PES) at the Center for Innovation in Procurement, Environmental and Social Standards (CIPESS), Federal University of Agriculture, Makurdi (FUAM) now known as Joseph Sarwuan Tarka University, Makurdi (JOSTUM). About us: Centre for Innovation in Procurement, Environmental and Social Standards (CIPESS) is a World Bank sponsored Center of excellence established at the Federal University of Agriculture, Makurdi now Joseph Sarwuan Tarka University, Makurdi (JOSTUM), Benue State. CIPESS is funded by the World Bank for a 5-year period in the first instance under the Sustainable Procurement, Environmental and Social Standards Enhancement (SPESSE) project of the Federal Government of Nigeria. The SPESSE project is aimed at enhancing sustainable human capacity development in Procurement, Environmental and Social standards in public and private sectors in Nigeria and the sub-region in order to support good governance, increase transparency, competition, equal opportunity and enhance the efficiency and effectiveness of service delivery as well as improve value for money in public expenditure. This will be done through training, professionalization and research in procurement, environmental and social standards. Leveraging on Information and Communication Technology (ICT), the Center will collaborate with national and international partners to train students in short executive short courses, advanced certificate courses, post-graduate diplomas, bachelor’s degrees and master’s degrees. VISION To be a dynamic regional hub for expert training and research in public procurement, environmental and social standards based on global best practices. MISSION To produce a critical mass of highly skilled and fit-for-purpose professionals in the areas of Procurement, Environmental and Social Standards for sustainable development. WHO CAN APPLY Applications are open to the Unemployed, Professionals, Civil Servants, Public Servants, Experts, Graduates, Entrepreneurs, and other interested individuals seeking to advance knowledge and skills in procurement, environmental and social standards. NEW COURSES AVAILABLE HOW TO APPLY Candidates are kindly advised to visit CIPESS website; www.cipessfuam.edu.ng and fill the online application form to register for their preferred courses. WHEN TO APPLY Application is continuous. Interested candidates can apply for the Center’s short courses in Procurement, Environmental and Social Standards at any time as candidates will be routinely shortlisted and trained in batches. MODE OF DELIVERY LOCATIONS DURATION The duration of the short courses is 5 working days per course for the onsite mode. PARTICIPANTS’ CHARGES Candidates for the regular short courses in Nigeria would be required to pay the highly subsidized charges of One Hundred and Eighty thousand naira (N180,000) only per course. Charges for Executive Short Courses would be fixed based on prevailing conditions. CONTACT US Address: CIPESS building, Engineering Complex, Middle Core, JOSTUM Website: www.cipessfuam.edu.ng Email: [email protected] Call: 08066321522, 08024562933, 08038288040, 080339260253 Follow us: (Facebook) @cipessuam (X) @cipess_fuam (Instagram) @cipessfuam123 (YouTube) @cipess_fuam Signed Professor L.A. Nnamonu Center Leader & Director, Center for Innovation in Procurement, Environmental and Social Standards, Joseph Sarwuan Tarka University Makurdi.
Is Laufey a jazz artist, or a bona fide pop star? The qualified answer, with asterisks to spare, is “both.” And that’s part of the fun in discussing everyone’s favorite Icelandic-Asian-American singer-songwriter-guitarist-pianist-cellist. Genre discussions can be a drag for artists and fans alike, but they’re suddenly a lot more fun when the overriding question is whether to talk about someone in the same terms as we would an Ella Fitzgerald or push her more toward the Taylor Swift side of the ledger. Good thing that, with Laufey, we don’t really have to choose. Laufey is being honored at Variety’s 2024 Hitmakers event as the Crossover Artist of the Year. Much of the jazz world seems pleased enough to claim her, as there was no resistance when her sophomore album, “Bewitched,” came out in 2023 and made history as the first album ever to top both Billboard’s jazz and traditional jazz charts in its very first week of release. But follow the audience into any one of her shows — which are instant sellouts — and you’d be hard-pressed to be sure you weren’t in line for the Eras Tour, with an average age in the early 20s. An exception to that was the show she did this past summer with the LA Phil at the Hollywood Bowl, where an older demo of subscribers mingled happily with the Gen-Z fans who usually snap up her tickets the moment they go on sale. That mixture of both genres and generations is captured in her new Imax concert movie, “A Night at the Symphony: Hollywood Bowl” (directed by Sam Wrench, who, not incidentally, also helmed Swift’s smash concert film). Laufey (pronounced lay-vay ) grew up in Iceland as a multi-instrumentalist kid prodigy, schooled in classical as well as jazz. Now, living in L.A., she’s one of our unlikeliest as well as most talented pop stars, not to mention a fashion icon for a lot of her followers, the most devoted of which can be spotted with their clearly Laufey-inspired looks at her shows. This has to be the sole modern instance in which we see that kind of rabid fandom on a mass scale and, thanks to songs like “From the Start,” we can truly blame it on the bossa nova. In advance of her honor at the Hitmakers event, Variety spoke with her again about what makes her such a one-of-one — and her eagerness to do culture-crossing shows like her appearance with the Chicago Philharmonic at this year’s Lollapalooza. You don’t claim jazz as your genre, strictly. And yet you have impact in that field in small or big ways, from doing an intimate show at Hollywood’s Catalina Jazz Club last year to having your album debut at No. 1 on the jazz chart. What does it mean for you to be a part of that world, even though you’re also very much a pop artist? I have so much respect for jazz music, and there’s no question that that is where most of my influences come from, especially when it comes to vocal performance and chord writing — that is really very obvious. I think one of the reasons I don’t fully call myself a jazz artist is because I don’t think every single one of my songs falls directly under that category, and it could be insulting to those who do full jazz to say that it is a fully jazz album. That being said, there are lots of tracks in my discography and on “Bewitched” that do resemble jazz standards and would be very, very at home in a jazz setting. So it’s so hard to put me under any kind of category. If I were in a pop category, I wouldn’t feel completely at home, either. So that’s kind of the only reason I haven’t claimed it. I grew up listening mostly to classical and jazz, and jazz music is where all my vocal inspiration has come from. And I’m a trained jazz singer; that’s what I studied. So (topping that chart) was such an honor. I really would’ve never believed it, and especially not with an audience as young as mine, and an audience of listeners that don’t typically listen to jazz music. I think that’s what made it so cool. It would be interesting to take a survey some time of the younger part of your audience and ask them, “What do you consider this music to be?” I wonder how many of them think, “Oh yeah, I’m getting into jazz singing through Laufey,” or whether categories matter so little anymore that that doesn’t enter their minds at all. Right? Yeah, I don’t know. I think there’s definitely kids that will listen to maybe “Valentine” or “Dreamer” or “From the Start” or something like that and think “I’m listening to jazz.” Because in comparison to the other music they’re listening to, it has a lot more color in the chords and it has a lot more of a kind of old sensibility and is played by jazz musicians and is very directly inspired by jazz music. And I’m sure that is the closest thing that resembles jazz that they’ve listened to, and they’ll consider that jazz. But then I think the majority just listens to it and thinks it’s just music, and it’s cozy, or it feels maybe like old-soul music or rain music. You know, I think they connect to it much more with a vibe or an energy rather than a genre. I don’t think many kids my age or even younger are compartmentalizing the music they listen to that much into genre. Just from the way I’ve seen younger fans react to the music at shows, for a lot of them it seems like it might not be in a totally different genre than Taylor Swift or something. I also think that kids nowadays compartmentalize music by lyrics a lot more than they do by sound: lyrics that are happy, lyrics that are sad, or lyrics that are wistful, that have longing. I think because music has become such a visual form with social media, lyrics actually are what people categorize it into. So yeah, for example, when I’m in a setting standing with Olivia (Rodrigo) and Chappell (Roan, on the red carpet at Rodrigo’s recent film premiere), I don’t think people are like, “Whoa, what’s this random jazz singer doing here?” I think also because of my age and the way that I present and market my music, I’m just music for a different vibe, definitely, but I don’t think it’s like a completely different thing. I think to them I am a modern musician. With the classic influences that you do have, how have you adapted that to your modern writing style lyrically? There is a conversational tone that pops up in moments where you sing “blah, blah, blah” — which the audience shouts along with! — in “From the Start.” But the jazz singing that you’ve been influenced by tends to come out of songs with a little bit more of a formal writing style. Was it ever challenging for you to kind of find the balance between that sort of formality that you grew up versus the kind of confessional lyrics that pop fans of your generation tend to love? No, because actually, I would almost argue that I am more lyrically inspired by the lyrics of jazz standards than lyrics in pop music. The lyrics that I love the most are these lyrics in Cole Porter, Irving Berlin and Gershwin songs that are a little funny. There’s a bit of irony to them and they’re very descriptive of what’s going on around the singer. It’s also very first-person, because they’re taken from musicals. So it’s very literal. And especially if the song comes from a musical comedy, then the lyrics are often humorous. And I think that’s actually what I borrow a lot from. But instead of using lingo from the ‘40s that maybe Cole Porter was using, I just exchange it with lingo from my time that I would say. But if you asked a Gen Z-er about the lyrics in my songs, I think a lot of people would think they’re also old-fashioned. Like, it strikes a balance. I actually lyrically am really inspired by the musical theater writers whose songs turned into standards of the ‘30s, ‘40s, ‘50s. I think there’s a level of humor and irony to them that is now creeping into pop. Even three or four years ago, there was less of that. That’s interesting. It’s true, in pop singers of your generation, there really has been a lot more of a sense of humor lately, just looking at Taylor, Sabrina, Olivia and Chappell, for starters. Oh yeah. I mean, that is kind of the common denominator, I think, between music that is really popular nowadays. But I’ve kind of been trying to infuse humor in since I started. You can kind of hear that from even my first EP (2022’s “Everything I Know About Love”), but my influences didn’t come from the current climate. They came from, honestly, songs like “Makin’ Whoopee” (from the 1920s). I’m so obsessed with songs where it’s like you don’t really know what they’re singing about, but if you dig further, you find out that the song is about something like quite racy or funny. Sometimes in some of your songs, there’s a little bit of whimsy in the fact that, while you are taking love so seriously, there’ll be some aspect to the way you express it that’s sort of taking the piss out of it a little bit too. Always, always. And that’s what I like to call Nordic sarcasm. Like, I think Icelanders can never take themselves too seriously. Nothing can be too serious. So, you know, I’ll say something insane like, “Oh, I’ve never been so heartbroken before,” and then follow it up with a line that’s like some humorous line to take a piss at it or diffuse it, and that’s a very Icelandic thing. By the same token, you certainly have written dead serious songs. I don’t know if it portended a new direction or not, but the song “Goddess” you did as a sort of semi-title song for the deluxe edition of “Bewitched” was very emotionally raw. I didn’t know if that was kind of a one-off because that’s how you felt at the time, or whether you were trying to shift your songwriting style in a different direction. No, I mean, “Goddess” came out in tandem with a song called “Bored,” which is maybe one of my most sarcastic songs. With the songs that had been popular — “From the Start,” “Valentine,” “Falling Behind” — so many of the lyrics were so funny and unserious, and I wanted to show a side of myself that was a little more looking in the mirror and facing the facts, you know? I just wanted to showcase that side of my storytelling, and I guess I also just wanted to tell the story of something that was close to my heart. On the so-called crossover front, you’re obviously not on the classical charts and not likely to be, but you did grow up as part of that world, and people do feel at least a bit of that influence when you do your concerts. You always make it a point to perform at least one number on the cello each night. Yeah, it’s something I definitely don’t ignore. And, you know, the amount of classical influences in my music is actually almost just as much as the jazz influences, and I have all these hidden classical little references. I allude to a lot of my favorite classical pieces in “Bewitched,” they’re just quite hidden. And if you know the music, you can find it, but if you don’t know it... You know, I never want to seem unrelatable. But I really have a lot of fun infusing my favorite classical music in, and yeah, I do a lot of the concerts with symphonies or with orchestras. I do really want to make more of an effort also in the coming years to collaborate more with classical musicians, doing something more on the classical front. We released a rework of my song “Bewitched” with the classical pianist Vikingur Olafsson. He’s Icelandic, and is I think one of the greatest living pianists. He has a big following right now, and coincidentally, we went to the same conservatory growing up in Iceland. You should go listen to it if you haven’t. It’s so beautiful, very austere, recorded on three pianos. All of his recordings are just extremely classical, so this was a fun one to dip into. But yeah, I think more things like that are really important to me, and it’s something that I really don’t ignore and really hope to do more in that space in the coming years. And then there’s the idea of crossing over into different spaces. You did the Hollywood Bowl, obviously, as seen in your new concert movie, and Radio City Music Hall was another iconic venue. But doing Lollapalooza sounds like it might have been amazing. You probably don’t like to think of yourself as an ambassador, but there has to a little bit of aspect of that when you’re at Lollapalooza — so far astray, in a good way, from most of what’s there, and certainly in the sheer physicality of having an orchestra there. Was that a pretty cool thing for you? It was so cool. I was so scared. I’ve been very careful with festivals like that because, as much as I may belong to a lot of the same playlists as the other artists playing there ... I don’t know. My idea of a festival is people going to have fun and maybe being with their friends and being a little rowdy and having a drink. But also, I just literally had never visited a festival before, so I didn’t know what it would be like or how it would be received. My thought with having an orchestra there was, at the very least, I’m doing something memorable, and hopefully even if I’m turning one person on to maybe go listen to the Chicago Philharmonic next week, or just introducing that soundscape to even one person, I will have done a good job. That was kind of my goal with it. Like, people will either love it and they’ll remember it, or they’ll hate it and remember it, but either way it will be remembered. So it was definitely scary, but it turned out really well in the end, and I’ll definitely try to do it again at different festivals. Before getting on the Zoom with you, I did check your tour schedule and saw it was clear, so I wondered if you might be working on stuff in the studio. Yeah, I’m literally, as we speak, outside the studio where I’m working on my third album. I’m happy to have a little break from touring to make music and breathe and live a little bit. But I’m super, super excited about this next one and really curious to see how... I feel like this is the first year where I am needing to look for some sort of growth. I never want to stay stagnant, but also want to stay true to myself and true to my sound... I’m not going to do anything insanely different, but an artist always wants to grow. So that’s kind of the balance I’m trying to strike right now — in a very happy and exciting way, not in like a scary way. Just in a “this is a really exciting puzzle ahead” way, if you will. You haven’t released a full Christmas album, but you add some holiday songs to your recorded repertoire every year. Yeah, I wrote my first original Christmas song, “Christmas Magic,” for this film “Red One,” and it’s very classic and very playful, in the vein of Ella Fitzgerald and Bing Crosby and Nat King Cole. So there’s that one as well as “Santa Baby” this year. “Christmas Magic” is the first time I’ve also written a song for a movie, which is exciting to me regardless. But the fact that it’s a Christmas song just feels super appropriate given that I love Christmas and I love Christmas music. It is the one time of year that I do feel like the whole world listens to my favorite genre of music.Former Virginia guard Jalen Warley is transferring to Gonzaga, according to several reports Monday. Gonzaga appeared to confirm the transfer by reposting the news on social media. Warley, who has 96 college games (58 starts) under his belt, will use a redshirt this year and spend 2025-26 in Spokane, Wash. Javascript is required for you to be able to read premium content. 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The Sean Carrolls Explain the UniverseDaily Horoscope for Tuesday, November 26, 2024, for all zodiac signs by astrologer Vinayak Vishwas Karandikar
NASA's stuck astronauts hit 6 months in space. Just 2 more to goHorizon Aircraft Secures $8.4 Million Strategic InvestmentGretchen McKay | (TNS) Pittsburgh Post-Gazette Beans are kind of like the your best friend from high school — nearly forgotten but always ready to step back into the limelight and help out an old pal when needed. As gorgeously (and tantalizingly) demonstrated in Rancho Gordo’s new cookbook, “The Bean Book: 100 Recipes for Cooking with All Kinds of Beans” (Ten Speed, $35), beans are indeed a magical fruit, though not in the way you heard as a kid. Classified as both a vegetable and a plant-based protein in the USDA’s Dietary Guidelines for Americans, beans and other legumes can be the ingredient you build an entire vegetarian or veggie-forward meal around. Or, they can help an economical cook stretch a dish twice as far with nutritious calories. A healthful and shelf-staple plant food — they last for years when dried — beans have been among a home cook’s most reliable pantry items for a very long time. (Common beans (Phaseolus vulgaris) are thought to have been grown in Mexico more than 7,000 years ago.) That’s why, for some, they’re often something of an afterthought, especially if the only time you ate them as a kid was when your mom tossed kidney beans into a pot of beef chili or made baked beans (with brown sugar and bacon, please!) for a family cookout. Related Articles A starry Thanksgiving: Recipes beloved by Donna Kelce, Eric Stonestreet, Taylor Swift Pie crust 101: How tos from longtime instructor Tips for Thanksgiving turkey-roasting success Make these Tahini-Roasted Sweet Potatoes for Thanksgiving 7 recipes that will add a new twist to your Thanksgiving dinner Vegetarians have always appreciated their versatility and nutritional punch, and because they’re cheap, they also were quite popular during the Great Depression and World War II as C rations. Sales also peaked during the coronavirus pandemic, when shoppers stockpiled long-lasting pantry essentials. It wasn’t until Rancho Gordo, a California-based bean company, trotted out its branded packages of colorful heirloom beans that the plant began to take on cult status among some shoppers. Unlike the bean varieties commonly found in even the smallest grocery stores, heirloom beans are mostly forgotten varieties that were developed on a small scale for certain characteristics, with seeds from the best crops passed down through the generations. The result is beans that are fresher and more colorful than mass-produced beans, and come in different shapes and sizes. They also have a more complex and intense flavor, fans say. “The Bean Book” dishes up dozens of different ways to cook Rancho Gordo’s 50 heirloom bean varieties, which include red-streaked cranberry beans, mint-green flageolets, black and classic garbanzos and (my favorite) vaquero — which wear the same black-and-white spots as a Holstein cow. Other gotta-try varieties (if just for the name) include eye of the goat, European Soldier, Jacob’s Cattle and Good Mother Stallard, a purple bean with cream-colored flecks. “The very good news is that you have to work extra hard to mess up a pot of beans, and it’s not difficult to make an excellent pot,” Steve Sando writes in the book’s foreword. “The even better news is that you become a better cook with each pot you make.” Not convinced? Here are five reasons to jump on the bean bandwagon: Even the smallest grocery store will have a selection of dried and canned beans. Common varieties include black, cannellini (white kidney), Great Northern, pinto, navy, kidney, Lima and garbanzo (chickpea) beans. Even when they’re not on sale, beans are a bargain at the supermarket. Many varieties cost less than $1 a can, and dried beans are an economical way to build a menu. I paid $1.25 for a one-pound bag of cranberry beans, a smooth and velvety bean with a slightly nutty flavor, at my local grocery store. Rancho Gordo’s heirloom beans cost substantially more. (They run $6.25-$7.50 for a one-pound bag, with free shipping on orders over $50.) But they are sold within a year of harvest, which makes them more flavorful and tender. A bag also comes with cooking instructions and recipe suggestions, and the quality is outstanding. Plus, after cooking their beans with aromatics, “you are left with essentially free soup,” Sando writes in the cookbook. “If you drain properly cooked and seasoned beans, the liquid you are left with is delicious.” Beans are a great source of plant-based protein and both soluble and insoluble fiber, and they include essential minerals like iron, magnesium and potassium. If you’re watching your weight or following a particular diet, beans are naturally free of fat, sodium and cholesterol and are rich in complex carbohydrates. They also contain antioxidants and folate. And if you’re vegan or vegetarian, most types of dry beans are rich sources of iron. The U.S. Dietary Guidelines for Americans recommends eating 1-3 cups of legumes, including beans, per week Dry beans have to be soaked overnight, but cooking them is easy. They can be cooked on the stovetop, in a slow cooker, in the pressure cooker and in the oven. Canned beans are even easier — just rinse and drain, and they’re ready to go. Beans can be used in so many different dishes. They can be made into soup, salad or dips, top nachos, add some heft to a casserole or be mashed into the makings of a veggie burger. You also can add them to brownies and other baked goods, toss them with pasta, add them to chili or a rice bowl or stuff them into a taco or burrito. Check out these four recipes: PG tested This light and creamy vegetarian soup benefits from a surprising garnish, roasted shiitake mushrooms, which taste exactly like bacon. For soup 1/4 cup olive oil 1 medium yellow onion, chopped 2 celery stalks, chopped 1 medium carrot, scrubbed and chopped 6 garlic cloves, finely grated or pressed 2 sprigs fresh thyme, plus more for garnish 1/2 teaspoon sea salt 1/4 teaspoon pepper 4 cups vegetable broth 2 15-ounce cans cannellini beans, drained and rinsed For bacon 8 ounces shiitake mushrooms, caps cut into 1/8 -inch slices 2 tablespoons olive oil 1/4 teaspoons fine sea salt To finish Plant-based milk Chili oil, for drizzling Preheat oven to 400 degrees. Make soup: In large pot, heat oil over medium heat until it shimmers. Add onion, celery, carrot, garlic, thyme, salt and pepper. Cook, stirring occasionally, until vegetables are fragrant and tender, 8-10 minutes. Add vegetable stock and beans, increase heat to high and bring mixture to a boil. Reduce heat to medium and simmer until thickened, 12-14 minutes. Meanwhile, make the bacon: Spread shiitake mushrooms into a single layer on a sheet pan, drizzle with olive oil, sprinkle with salt and pepper and toss to combine. Bake until browned and crispy, 18-20 minutes, rotating pan front to back and tossing mushrooms with a spatula halfway through. Let cool in pan; mushrooms will continue to crisp as they cool. To finish, add some milk to the soup and use an immersion blender to puree it in the pot, or puree in a blender. (Cover lid with a clean kitchen towel.) Taste and season with more salt and pepper if needed. Divide soup among bowls and top with shiitake bacon. Garnish with thyme sprigs and a drizzle of chili oil. Serves 4-6. — “Mastering the Art of Plant-Based Cooking” by Joe Yonan PG tested Velvety cranberry beans simmered with tomato and the punch of red wine vinegar are a perfect match for a soft bed of cheesy polenta. This is a filling, stick-to-your-ribs dish perfect for fall. 1/4 cup olive oil 1 small onion, finely chopped 2 garlic cloves, minced 2 cups canned chopped tomatoes, juice reserved 1 tablespoon red wine vinegar 2 tablespoons tomato paste 1 cup chicken or vegetable broth 4 fresh sage leaves Salt and pepper 4 cups cooked Lamon or cranberry beans 2 cups uncooked polenta 6 ounces pancetta, diced Chopped fresh basil or parsley, for garnish Grated Parmesan cheese, for serving In large pan, heat olive oil over medium heat. Add onion and garlic and cook, stirring, until onion begins to soften, about 3 minutes. Stir in tomatoes and red wine vinegar. In a small bowl, dissolve tomato paste in the broth and add to pan. Stir in sage and season with salt and pepper. Simmer, stirring occasionally, until the sauce has thickened, 15-20 minutes. Add beans to tomato sauce. Cook, stirring frequently, until heated through, about 15 minutes. Meanwhile, prepare polenta according to package instructions. Place pancetta in a small saucepan over low heat. Cook, stirring frequently, until the pancetta is brown and crisp, about 15 minutes. Use a slotted spoon to transfer pancetta to a paper towel to drain. To serve, spoon polenta into serving dishes. Ladle the beans over the polenta and top with the pancetta. Garnish with fresh basil and serve with grated Parmesan. Serves 6. — “The Bean Book: 100 Recipes for Cooking with All Kinds of Beans” by Steve Sando PG tested Beans and seafood might seen like an unusual pairing, but in this recipe, mild white beans take on a lot of flavor from clams. Spanish chorizo adds a nice contrast. 4 cups cooked white beans, bean broth reserved 1/4 cup extra-virgin olive oil 1/2 white onion, chopped 2 garlic cloves, chopped 1 teaspoon salt, or to taste 1/2 cup finely chopped Spanish-style cured chorizo 2 plum tomatoes, chopped 1/2 cup dry white wine 2 pounds small clams, scrubbed well Chopped fresh parsley, for garnish Country-style bread and butter, for serving In large pot, heat beans in their broth over medium-low heat. In large lidded saucepan, warm olive oil over medium-low heat. Add onion, garlic and salt and cook until soft, about 5 minutes. Add chorizo and cook gently until some of the fat has rendered, about 5 minutes. Add tomatoes and wine and cook to allow the flavors to mingle, 5-6 minutes. Increase heat to medium and add clams. Cover and cook for about 5 minutes, shaking the pan occasionally. Uncover the pan and cook until all of the clams open, another few minutes. Remove pan from heat, then remove and discard any clams that failed to open. Add clam mixture to the bean pot and stir very gently until well mixed. Simmer for a few minutes to allow the flavors to mingle but not get mushy. Ladle into large, shallow bowls and sprinkle with parsley. Set out a large bowl for discarded shells and encourage guests to eat with their fingers. Pass plenty of good bread and creamy butter at the table Serves 4-6. — “The Bean Book: 100 Recipes for Cooking with All Kinds of Beans, from the Rancho Gordo Kitchen” by Steve Sando with Julia Newberry PG tested So easy to pull together for your next party! 1 1/2 cups cooked cannellini beans, drained and rinsed 2 tablespoons extra-virgin olive oil Juice and zest of 1 lemon 1 small garlic clove, minced Generous pinch of salt Freshly ground black pepper 2 or 3 tablespoons water, if needed 2 fresh basil leaves, chopped, optional 1 sprig fresh rosemary, leaves chopped, optional In a food processor, pulse cannellini beans, olive oil, lemon juice and zest, garlic, salt and several grinds of pepper until combined. If it’s too thick, slowly add the water with the food processor running until it is smooth and creamy. Blend in the basil and/or rosemary, if using Serve with veggies, pita or bruschetta. Makes 1 1/2 cups — Gretchen McKay, Post-Gazette ©2024 PG Publishing Co. 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Affirmed Housing Completes 96 New Affordable Apartment Homes in San MarcosBy MEAD GRUVER and AMY BETH HANSON A judge on Monday rejected a request to block a San Jose State women’s volleyball team member from playing in a conference tournament on grounds that she is transgender. Monday’s ruling by U.S. Magistrate Judge S. Kato Crews in Denver will allow the player, who has played all season, to continue competing in the Mountain West Conference women’s championship scheduled for later this week in Las Vegas. The ruling comes after a lawsuit was filed by nine current players who are suing the Mountain West Conference to challenge the league’s policies for allowing transgender players to participate. The players argued that letting her compete was a safety risk and unfair. While some media have reported those and other details, neither San Jose State nor the forfeiting teams have confirmed the school has a trans women’s volleyball player. The Associated Press is withholding the player’s name because she has not publicly commented on her gender identity. School officials also have declined an interview request with the player. Judge Crews referred to the athlete as an “alleged transgender” player in his ruling and noted that no defendant disputed that San Jose State rosters a transgender woman volleyball player. He said the players who filed the complaint could have sought relief much earlier, noting that the individual universities had acknowledged that not playing their games against San Jose State this season would result in a forfeit in league standings. He also said injunctions are meant to preserve the status quo. The conference policy regarding forfeiting for refusing to play against a team with a transgender player had been in effect since 2022 and the San Jose State player has been on the roster since 2022 – making that the status quo. Related Articles The player competed at the college level three previous seasons, including two for San Jose State, drawing little attention. This season’s awareness of her identity led to an uproar among some players, pundits, parents and politicians in a political campaign year. The tournament starts Wednesday and continues Friday and Saturday. San Jose State is seeded second. The judge’s order maintains the seedings and pairings for the tournament. Several teams refused to play against San Jose State during the season, earning losses in the official standings. Boise State and Wyoming each had two forfeits while Utah State and Nevada both had one. Southern Utah, a member of the Western Athletic Conference, was first to cancel against San Jose State this year. Nevada’s players stated they “refuse to participate in any match that advances injustice against female athletes,” without providing further details. Crews served as a magistrate judge in Colorado’s U.S. District Court for more than five years before President Joe Biden appointed him to serve as a federal judge in January of this year. Gruver reported from Cheyenne, Wyoming, and Hanson from Helena, Montana.Liverpool boss Arne Slot talks up ‘special player’ Mohamed Salah
Indulging in nightlife still a social taboo, says HCSanta Clara, CA and Kyoto, Japan, Dec. 04, 2024 (GLOBE NEWSWIRE) -- ROHM Semiconductor today announced the adoption of its EcoSiCTM products, including SiC MOSFETs and SiC Schottky barrier diodes (SBDs) in the HFA/HCA series of 3.5kW output AC-DC power supply units for 3-phase applications from COSEL, a leading power supply manufacturer in Japan. Incorporating ROHM’s SiC MOSFETs and SiC SBDs into the forced-air-cooled HFA series and conduction-cooled HCA series achieves up to 94% efficiency. The HCA series has been mass produced since 2023, while the HFA series began mass production in 2024. Many industrial applications that handle high power in the industrial sector, including MRI machines and CO 2 lasers, require 3-phase power supplies that differ from the single-phase power supplies used in households. COSEL’s AC-DC power supply units – equipped with ROHM’s EcoSiC technology that excels in high-temperature, high-frequency, high-voltage environments – are compatible with 3-phase power supplies from 200VAC to 480VAC, contributing to improved power supply efficiency across a wide range of industrial equipment worldwide. Jun Uchida, General Manager, New Product Development Dept. 2, COSEL Co., Ltd. “The HFA/HCA series achieves high efficiency, despite delivering a high-power output of 3.5kW, by incorporating ROHM's low-loss SiC power devices. Operating at high input voltages typically poses a challenge in reducing losses in high-voltage power devices, but using SiC power devices translates to significantly lower losses compared to conventional solutions, resulting in power supplies that maintain high efficiency and power density even under demanding high-power conditions.” Akihiro Hikasa, Group General Manager, Power Devices Business Unit, SiC Business Section, ROHM Co., Ltd. “We are delighted to support COSEL, an industry leader in power supply systems, by providing SiC power devices. A leading company in SiC power devices, ROHM also provides comprehensive power solutions that combine peripheral components. In addition, by addressing customer issues, we also improve device performance by incorporating the insights gained into our products. Going forward, we will continue to collaborate with COSEL to contribute to a sustainable society by enhancing the efficiency of industrial equipment that handle large amounts of power.” HFA/HCA Series 3.5kW Output AC-DC Power Supply Units for 3-Phase Power Supplies The HFA/HCA series are 3.5kW power supplies featuring a wide input range (200VAC to 480VAC) that meets global power supply requirements. This allows them to be used anywhere in the world without the need to modify the power supply for each region, contributing to the standardization of application designs. The forced-air-cooled HFA series and conduction-cooled HCA series models (selectable based on operating environment) are available in 48V and 65V output voltage variants that can be used as power sources for a variety of high-power applications, such as laser generation and MRI. About COSEL Co., Ltd. Since its founding in 1969, COSEL has contributed to the advancement of customers and society by providing products and services centered on DC stabilized power supplies. Looking ahead, COSEL is dedicated to continued growth by focusing on power conversion technology to create value that aligns with customer needs. As the demand to address uncertainty and environmental concerns increases, we remain committed to being a trusted company by deepening core technologies while leveraging rapidly evolving digital technologies and ensuring swift, flexible responses, guided by our management philosophy of placing quality first. For more information, please visit https://en.cosel.co.jp/ About ROHM Co., Ltd. ROHM, a leading semiconductor and electronic component manufacturer, was established in 1958. From the automotive and industrial equipment markets to the consumer and communication sectors, ROHM supplies ICs, discretes, and electronic components featuring superior quality and reliability through a global sales and development network. The company’s strengths in the analog and power markets allow ROHM to propose optimized solutions for entire systems that combine peripheral components (i.e., transistors, diodes, resistors) with the latest SiC power devices, as well as drive ICs that maximize their performance. For more information, please visit https://www.rohm.com/ Supporting Information An overview of SiC power devices that includes SiC MOSFETs, SiC SBDs, and SiC power modules (together with various support content that provides an introduction and enables quick evaluation of 4 th generation SiC MOSFETs) can be found on ROHM’s dedicated SiC webpage: https://www.rohm.com/products/sic-power-devices EcoSiCTM Brand EcoSiC is a brand of devices that utilize silicon carbide, which is attracting attention in the power device field for performance that surpasses silicon. ROHM independently develops technologies essential for the advancement of SiC, from wafer fabrication and production processes to packaging, and quality control methods. At the same time, the company has established an integrated production system throughout the manufacturing process, solidifying their position as a leading SiC supplier. EcoSiCTM is a trademark or registered trademark of ROHM Co., Ltd. Attachment ROHM's EcoSiC Products Adopted by COSEL for 3-Phase Applications