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Simian Mobile Disco

There’s long been the perception that Saturday night crowds are the
rowdy, rough, ready orcs, drunkenly invading town centres,
trashing, smashing; leaving chaos and destruction in their grunting
wake. Friday night, it seemed, was always the reserve of those after a
few quiet ones – a sociable leisurely nightcap to the week. That logic
stood up tonight.

After the last embattled excursion to the Warehouse Project (that was it
over there, under Caribou), Mobile

the usual anticipation was a little dimmed but after Aeroplane’s effortlessly brilliant set, and a neat turn from Tensnake, Simian Mobile Disco proved why ‘Delicacies’ is a totally different beast in a live arena.

Out in the crowd, old school green lazers hover in indulgent retro abandon, while onstage a line of three Apple Macs shake the floor, the
walls, the cartilage in your ears, and the lining of your nose till you are convinced the universe is going to implode.

Then their MC, whoever he is, pipes up with some grandiose, hoarselyintoned, z-list bashment patter about ‘Three legends… come together… to form… Magnetic


Man’ like a stroke victim reading their press
release. While the backstage champagne

It’s cheese, taken melted like fondue but it’s not fondue. You put
it in a plug-in heater contraption that looks like a medieval torture
device and then mix up the sludge with potatoes, different meats and,
for the cholesterol-conscious, vegetables.

It’s stodgy, indulgent food from the Alps but the true regional dish is a kind of sausage wrapped in a pancake and, of course, everyone loses their shit
for wine, cider and Nutella

If the milieu of centuries-old Gallic
customs gets daunting, refamiliarise yourself with your
contemporary, disposable existence.

Out in the crowd, old school green lazers hover in indulgent retro abandon, while onstage a line of three Apple Macs shake the floor,

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Tech On The Horizon: Introducing Addison

Picture this.

Returning home from your morning walk, your assistant Addison greets you by name in her familiar voice.

You check the clock, trying to remember if you took your medication. Rather than count pills or guess, you simply ask Addison, who confirms that you did.

You’ve been feeling a little light-headed, so you ask her to help you take your blood pressure. Fortunately, it’s normal.

Perhaps you’re simply hungry.

Addison suggests a healthy recipe you might want to prepare for lunch.

You’ve considered adding some stretching to your fitness routine.

Addison offers to demonstrate some appropriate exercises, and the two of you do them together.

With her pleasant demeanor and helpful attitude, Addison is a wonderful companion in your home.

What’s truly remarkable, however, is that she’s a virtual one. While this scenario might sound like science fiction, one American company is on the verge of making it a reality.

 “We spent 10 years and millions of dollars just for this point in time,” said Joe Baffoe, president of Electronic Caregiver, Inc.

“We did everything we possibly could because we believe in allowing people to thrive in their own homes where they want to stay.”

Addison Care, a state-of-the-art, 3D animated virtual caregiver, is just about ready to hit the market.

Baffoe believes his company’s product will change the face of healthcare forever.

The voice-activated, Bluetooth-connected digital companion has the potential to transform a residence into a “Smart Health Home,” providing chronic care management, rehabilitation, behavioral health and care coordination.

For seniors, Addison just might be the high-tech answer for successfully “aging in place.”

 Addison is designed to fill in the gaps when caregivers aren’t in the home.

When installed she appears on 15-inch touch screen monitors strategically placed throughout the residence. Using an array of technologies including conversational speech,

Augmented Reality (AR), Bluetooth, cellular and internet,

Addison supplements care and provides numerous health and safety features. She can engage in two-way conversations,

check vitals (blood pressure, weight, blood glucose,

respiratory performance, pulse, blood oxygen levels and body temperature), provide medication reminders and connect with medical professionals.

She can even help you with your diet and provide rehab and fitness routines.

In addition to assisting with routine aspects of health maintenance and care, Addison is equipped with technology that could prove useful in emergencies.

Addison can access emergency response personnel, physicians or human caregivers by the touch of a button or through a voice command.

She’s also capable of motion tracking for gait, balance and fall risk.

According to her developers, Addison is also HIPAA compliant for patient privacy protection and compatible with Electronic Medical Record systems.

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beach house

From being hardly known in January, Baltimore’s Beach House
have quickly risen to become critically praised broadsheet
darlings by year end.

This transition has seen the central pairing of Victoria Legrand and Alex Scally unexpectedly caught by surprise,


and tonight they are almost embarrassingly thankful towards
the audience for attending this performance,

which largely takes from their third album ‘Teen Dream’ – an album that has connected unlike any of their previous and now comfortably
rests in amongst the higher echelons of many of this years best
album lists.

Transposed to a live environment, elegant dream pop songs such as ‘Norway’ and ‘Zebra’ do not loose any of their immediate tenderness, the
understated performance,

which sees them accompanied onstage by a trio of colour changing triangular shapes,

is perfectly refrained and compliments their shoe-gaze inspired melodies. On one hand, tonight’s performance is lacklustre, void of real presence and
blatant onstage charisma.

On the other Beach House have no need to be full blown. Sometimes it’s
better to take the foot off the pedal and let the songs glide by in a
controlled, delicate manner.
Tonight is one of those times.

One sounds as close to a disco hit – and as far from their
drums and bass punk genesis – as this band are likely to get; the
other sounds like a the theme to Beverly Hills Cop.

Hip Hop influences once replaced Plug’s skeletal guitar sound; now it seems they’re enamoured with dance music and the occasional ravey
breakdown that begs for a tenminute remix.

And ultimately it works – enough at least for us to not care that Georgie Nettell is no longer playing the bass guitar with her hands and keyboards
simultaneously with her feet,

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To Invent Again

Like butterflies,

two Las Vegas-based gaming companies are emerging

Reinvention is a word commonly used in the gaming industry.

Sometimes it’s a word of self-praise, such as Las Vegas continues to reinvent itself.

Sometimes it’s as an admonition, such as a company with a dated business model needs to reinvent itself.

For two publicly traded casino companies, reinvention is simply a truism.

It is now a well-known story that Eldorado Resorts and Golden Entertainment have transformed from small,

privately held Nevada gaming companies into much larger, multi-state publicly held enterprises.

Over several years, Eldorado has gone from one-and-a-half casinos in Reno into what, when its purchase of Tropicana closes, will be a national company of 26 casinos in 13 states approaching $3 billion in revenue.

Golden, after purchasing Colorado Belle and Edgewater casinos in Laughlin, Nevada, will have gone from primarily a Nevada slot route and tavern operator to principally a casino operator with over $1 billion in revenues.

The transformations are not unknown. We’ve chronicled them and included both companies in our Nevada Triple Play (along with Monarch Casino) as opportunities for investors.

And we’ve watched their stocks rise from $8-something a share each to $47 for Eldorado, and as of this writing, $25 for Golden. But the speed and scope of change has surprised even this bull.

Eldorado began its transformation in acquiring three MTR Gaming properties through merger and going public.

 However, with the purchase Isle of Capri, Eldorado overnight became a national operator of regional casinos.

That seemed like a lot to bite off.

But Eldorado met the challenge and is fulfilling its promise to grow profits through efficiencies.

Then Eldorado announced it is buying Tropicana Entertainment’s seven casinos, including the flagship Trop in Atlantic City, and the MGM Resorts-Hyatt joint-venture Grand Victoria near Chicago.

That would seem like enough for a while, but even before the close of that deal, Eldorado an nounced an agreement with British sports betting operator William Hill to run sports books at its properties.

William Hill is already entrenched in the U.S., operating more sports books than any company in Nevada, with operations in Delaware and New Jersey, and contracts to operate Penn National’s sports books, among others.

The agreement with William Hill offers two potentially big opportunities for Eldorado beyond its own sports books—an ownership position in William Hill and the inclusion of online gaming.

Eldorado will own 20 percent of William Hill US and gets $50 million of parent William Hill Plc. stock.

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Social Casinos: How the House Wins

Players can’t cash in at social casinos. But gaming operators can and do.

I n 2012, when New Jersey lawmakers OK’d real-money internet gaming, many thought it was the first ripple in a wave that would sweep the nation and kick off a giant interstate industry.

Some operators launched free-play internet platforms while they waited for the real thing.

They’re still waiting. In 2018, only three states—Jersey, Delaware and Nevada—offer real-money online games. But social casinos continue to grow.

The digital platforms do triple duty: as branded entertainment hubs, marketing channels, and data-capture tools. Ideally, they lure more players on property.

And sometimes, they even make a little money.

Adam Krejcik, principal of Eilers & Krejcik Gaming, says many thought the social casino phenomenon “would not survive as a genre” when real-money gaming stalled.

“They thought, who in his right mind would spend real money for virtual coins that can’t be withdrawn?

Well, the numbers and the growth of the industry have disproven that thesis.”

While social platforms associated with land-based operations occupy a tiny corner of the $4.5 billion worldwide social games market, there really is a payoff—for casinos and for players.

“Such a solution is not necessarily driven by P&L,” says Krejcik.

“It’s more focused on helping to drive land-based play.

That’s harder to quantify in terms of impact, but the evidence and research we’ve collected points to it being a complementary service and solution that makes a lot of sense for casinos.”

It’s been a big win for Foxwoods Resort Casino, according to Seth Young, director of online gaming for the tribal enterprise. Young gives FoxwoodsOnline “an A-plus ranking.”

“Roughly 92 percent of new FoxwoodsOnline players aren’t known to the Foxwoods Rewards Program,” which suggests that the social casino is tapping into a whole new customer base, Young says.

Allowing online players to earn on-site rewards has led to a “quantifiable increase in both frequency of visitation and spend at the physical property” among those guests.

It’s also “a great asset for new-customer prospecting.”

Facetime = Foot Traffic When the value of social casinos was in question, gaming manufacturers recognized the opportunity,

says Dana Takrudtong, executive in charge of digital transformation at GAN.

“They watched the rapid development of social casinos on Facebook and mobile apps, and the meteoric rise of revenues.

“The vendors who produced content said, ‘We have these historic libraries and these incredibly valuable games.

Why don’t we bring take this IP to our casino partners so they can participate in the marketplace as well?’”

She calls social casino “a phenomenal tool” that extends the house to the digital space, 24/7/365.

“Players can be home watching Netflix and shopping on Amazon while playing a social game, and the casino still has the player’s share of wallet, share of mind and share of time.”

“This goes beyond simply providing casino-style games in mobile apps,” says Luisa Woods, vice president of marketing, gaming and entertainment at Delaware North,

who previously led the online divisions of Tropicana Atlantic City and Caesars Interactive.

“These games are integrated into a deeper relationship with the customer.

Casinos can provide features, services and benefits in new ways and get more face time with their customers.”

Ideally, “that open communication channel” will tempt online patrons to become on-site players.

“Casinos have hotel rooms to fill, slot machines to be occupied, restaurants they want people to frequent,” say Woods, whose company acquired social casino developer Ruby Seven Studios in 2016.

Social casinos, as much as direct mail and other types of outreach, can help make that happen.

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Treats

History dictates that each year there is at least one band that will emerge from the seismic undercurrents of Brooklyn, New York, and go
on to have a sudden large-scale rise to notoriety; one that reverberates throughout the media,

beyond Pitchfork.com, and ensures them a place amongst the higher echelons of near every End of Year List published.

Many would have laid all there chips on The Drums being that band in 2010 but it is Sleigh Bells who have gallantly trotted their way to the honour at year’s close.

Though many could passionately canonise their finely tuned blend of distorted noise pop as being the type of hipster-adored Treats

nonsense that only connects with a handful of people in each of the world’s major cities (fashion fans, not music fans etc.),

there is little denying that this M.I.A.-approved and signed duo of Derek E. Miller and Alexis Krauss have cooked

up a debut album that positively bustles with frustrated energy,

gnarly synthetic beats and acutely channelled anger.

And via the viciously pent-up power chord riffs (born from Miller’s hardcore punk past),

and vocals that flit between hip-hop sass and
being almost coquettish (thanks to Krauss’ pop history),

‘Treats’ was the year’s best party record, with as sense of beastly fun that
overshadowed the duo’s aesthetic and hipster tag.

Whether people will be looking back and proclaiming this to be a contender for Album of The Decade in just under ten years time is another matter, but right now this is an album that needs to be enjoyed

captivating punk bands of the year, giving us the blatantly scary ‘Scare’ and baroque horror show ‘Juried’, which, with its falsetto wails and
axing time changes, rightly suggest that this band are more imaginative than a lot of the DIY crowd.

They are named after the ghost from early 90s, shit-ya-pants BBC show Ghost Watch, after all.

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Cashin Hand

Slowly, inexorably, funding floodgates open for gaming operators.

Casinos find new revenue streams from debit cards, mobilephone access and retail shopping to augment brick-and-mortar ATMs.

They also generate more transactions, helped by suppliers easing regulatory issues with compliance-based product features that target fraud.

Even the speed of disbursement increases, as ATMs, kiosks and mobile technology work together. Big rewards greet those who serve this intensified market.

During the season of G2E, with industry power brokers convening, companies offer new looks into their lineup.

Their theme for funding: make it available, make it easy to attain and make it safe.

Payments Pay Off Las Vegas-based Everi Holdings encompasses the payments, games and intelligence realms.

And the payments are hot.

That sector was credited for a whopping tripling of stock-market shares over the last year.

 Everi Payments is a well-rounded collection of integrated solutions and kiosks bringing next-level transactional security to the casino floor.

These components reduce the risk of fraud, increase patron accessibility to funds, and ease potential operator stress due to compliance and reporting requirements, company officials say.

“Our payments business continues to grow as we listen to the market needs and implement innovative, efficient, secure and compliant ways for players to access cash,” says Tim Richards, the company’s senior vice president of payments and innovations.

“Everi was the first to provide the industry with an EMV (Europay, MasterCard and Visa)-compliant cash access product.

Implementing compliant standards has allowed our customers to reap the benefits of greater approval percentages, higher transaction sizes and reduced fraud.

“By being first with this technology, we have been instrumental in assisting with the writing of EMV standards for our specific transaction types, and also building out the technology to continue delivering on the unique payment types and processes associated with gaming.”

The company has not rested upon its accomplishments.

As G2E dawns, several new aspects greet the industry. “We are excited about introducing our next-generation full-service kiosk, with security features that are unmatched,” Richards indicates.

“We are also launching mobile cage products that will allow players to stay at their game while they withdraw funds for continued play, with the transaction still being completed by cage employees.

And our wallet, which integrates with our CashClub and Xchange products, has been enhanced for improved ease of use and adoption for casino players.”

Richards says Everi’s focus has evolved in the last couple of years. It now integrates varied product lines to harness the power of the entire company.

 Previously, it acquired companies but focused on improving each individual product.

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Swim

Way back in March, I doled out my first ever 10 out of 10 review in a literary display of effusive,

gushing, fan-boy praise for Dan Snaith, Caribou and, particularly, ‘Swim’.

So, if you happened to read it, and loathe every superlative-laden word then,

it’s advisable to look away now because everything that made
‘Swim’ ambitious, intriguing and ultimately brilliant then has had a few months to manifest.

Needless to say, it’s made ‘Swim’ pretty vital. This was the album where Snaith reined himself in, compromising himself with a simple doctrine of keeping it lean and clean.


Where the previous ‘Andorra’ was bold and ostentatious, ‘Swim’ was contained and regimented; a filtered redux of Caribou’s

trademark ambition. Except it wasn’t; ambition was at the album’s core and Snaith wasn’t content to just let his tracks aimlessly wander
(much), he wanted purpose and, dare we say it,

a disciplined narrative. ‘Swim’ was an album born of consideration and contemplation, masterminded by its author’s intelligent design to make it both potently mesmeric on record but flexible

enough to allow Snaith to realise and unleash the explosive potential that makes a Caribou live set so invigorating.

It glorified the focused, economic and efficient qualities Snaith so desperately wanted to instil, and while it’s an album that doesn’t possess that sonic killer blow, the threat to do so was deliciously always there.

It’s all very well us suggesting that our favourite albums of 2010 are well worth investigating, but let’s face it, twenty albums in physical form don’t come cheap.

To make our list a little more affordable though, we’re
giving away our top ten, slicing that record bill in two.

So to be in with a chance of winning albums 1 to 10 off our list email the correct answer to the below question to info@loudandquiet.com by January 1st 2011.

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Crooks & Lovers

In a year where Skream can have top-ten hits, Burial can feature on Channel 4 idents and teen pop producers are heading ever more
bass-wards, being “dubstep”

carries less of the cultural cool it once had – surely one reason why Mount Kimbie have had so many daft labels pinned on them by critics eager to point out the fine piece of work that is ‘Crooks & Lovers’Crooks .

However, with the benefit of time to digest, another reason might be that for all the “chill-wave”, “glo-fi” and other blog-busting nonsense that has flown about in the past twelve months,

Mount Kimbie’s debut is fascinating precisely because of its slippery relationship with categorisation. Its twists and turns are a feature, not a bug,

and make for an arresting listen: there’s sped-up vocals and
moody field recordings (very dubstep) alongside live instrumentation and moments of spiralling aural bliss (very not);

the record is book-ended by two beautifully homespun tracks, but they sit astride the artificial, the synthetic and the sheeny.

Seldom does a track edge far beyond the four-minute mark; never does one feel overcooked, and the result is serpentine, pleasingly unclassifiable stuff.

y, sepia-tinged family albums, super-slow-motion shots of
raindrops hitting leaves and isolated walks through rain-soaked, neon-lit streets. And while ‘Lucky Shiner’

was an album inspired by familial warmth, it still burned with a theme of beautiful, contented loneliness that permeated throughout; seeping through granular beats and crystalline blankets of melody

“Naturally people are going to say the new album sucks
compared to ‘United by Fate’ and then there’ll be someone in a
chat room who’ll go,

‘No way! This sounds way better’, then someone else will go, ‘You’re a fuck, I hate you’, then the next person is going to say, ‘You’re a fucking racist’, then the next person will be like, ‘Really, Obama sucks.’

“Seriously, I think the album is going to have its champions but if you think about those things, you just can’t control it.

If people say ‘United by Fate’ was the greatest album
ever and it left this unattainable legacy, how can you
make another album? It’d be impossible.”

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Culinary Teacher

Jonathan Deutsch

Professor, Drexel University Center for Hospitality and Sport Management

J onathan Deutsch found his calling at 14 when he learned to cook. During high school, he cooked for his family’s summer camp for those with disabilities, an experience which foreshadowed the importance of food in shaping hospitality.

That importance shaped a career that led Deutsch to his current title as professor,

Center for Food and Hospitality Management and Department of Nutrition Sciences at Drexel University in Philadelphia.

Deutsch’s parents were not so enthusiastic about his ambitions, but went along if he earned a college degree.

He did, from the Culinary Institute of America in 1997.

He received a B.S. in hospitality management at Drexel in 1999 and a doctorate in food studies and food management from New York University in 2004.

“Those formative experiences in both culinary and academia I kept separate,” says the Scranton, Pennsylvania native.

“Now I’m really enjoying their combination, teaching, researching and writing about food service management, product development and social and cultural aspects of food and hospitality.”

 At Drexel, Deutsch teaches courses in food service, hospitality management and culinary arts. He writes a weekly column in Restaurant Business magazine.

“Lately, I’ve been working in the area of reducing food waste and improving health through culinary innovation and product development,” he says.

The world of academia creates a seasonal flow and constant change. Drexel works on quarters,

With a new schedule every 12 weeks— a new group of students, new assignments and research projects.

“It can be challenging, but is great for people like me who have varied interests and short attention spans,” says Deutsch,

Who plays the tuba. While Deutsch seems removed from the casino world, he’s not. Casino resorts are a microcosm of the hospitality industry, he says.

“Leisure tourism, meetings and conven tions, F&B, rooms, spa, retail, gaming, entertainment and attractions all convene under one roof.

I can’t think of any other facet of the industry where that is as clearly visible,” says Deutsch, who met his wife Molly in the culinary end, where he cooked and she served in a restaurant.

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