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lavotha · 6 years ago

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Embracing all clean-energy sources to protect our ecosystem

Yesterday, Thursday, July 12, 2018 was the opening ceremony of the 5thedition of the Solar & Energy Boat Challenge that runs from July 12-14, dedicated to promote and optimize innovations in propulsion systems, with this year expanding from the solar-powered boat to embrace all clean-energy sources. Bernard D’Alessandri, General Secretary of the Yacht Club of Monaco introduced H.E. Serge Telle, Minister of State of Monaco, who gave a brief presentation, followed by Bernard Fautrier of the Prince Albert II of Monaco Foundation and Marco Casiraghi, who is at the initiative of this project, accompanied by other personalities and supporters.

Marco Casiraghi said: “The aim of this project is to highlight the enormous potential of our young engineers supported by the shipyards. We have a common goal, which is to work together to build the leisure boats of tomorrow.”

HE Serge Telle with Marco Casiraghi, Bernard Fautrier, Bernard D’Alessandri and other personalities during the opening Ceremony of the Solar Boat and Energy Challenge 2018 – YCM @Celina

HE Serge Telle, Bernard Fautrier and Marco Casiraghi at YCM 2018@CelinaLafuentedeLavotha

Organized by the Yacht Club of Monaco in collaboration with the Prince Albert II of Monaco Foundation, Hydros Foundation and International Power Boating Federation (UIM), this competition is unique in the world, giving young engineers an opportunity to reinvent boating to meet future energy and environmental imperatives. The 30 teams with 400 participants include students from colleges and universities, engineers and people from other industries. The boats are grouped in three categories: Solar Class with 21 teams, 6 nations; Offshore Class with 5 boats doing a round trip Monaco-Ventimiglia, or 16 nm; and new this year the Energy Class.

For the new Energy Class category the Yacht Club of Monaco, in collaboration with the Hydros Foundation arranged the construction of five identical catamaran hulls in Dubai. “These teams of college Engineering students and industrials must on their own assemble the cockpit and install a proper propulsion system,”explained Bernard D’Alessandri, YCM General Secretary. The five sources of clean energy they could choose from are: electricity, hydrogen, comprised air, recyclable waste and biosourced gas.

“The purpose of this event is to bring new solutions and compare them. You need to know that the internal combustion engine in terms of pure propulsion gets only 30% out of the energy contained in 1 litre of fuel, compared to a fuel cell that attains about 80%. So why aren’t we seeing more fuel cells and new more efficient systems than the combustion engine?” asks Jérémie Lagarrigue, General Manager of Hydros Efficiency and organiser of the Hydrocontest in Saint-Tropez, first student competition dedicated to maritime energy (working on hulls).

The cutting edge participating teams

During the opening ceremony the different teams took the stage to introduce themselves.

Solar Class

AGH Solar Boat Team YCM 2018@CelinaLafuentedeLavotha

Antwerp Maritime Academy YCM 2018@CelinaLafuentedeLavotha

HAN Solarboat YCM 2018@CelinaLafuentedeLavotha

HZ Solarboat Team YCM 2018@CelinaLafuentedeLavotha

Skipper Solar Team YCM 2018@CelinaLafuentedeLavotha

Solar Team Sneek YCM 2018@CelinaLafuentedeLavotha

VHL-Nordwin Zonne Boat Team

Tecnico Solar Boat YCM 2018@CelinaLafuentedeLavotha

BME Solar Boat Team YCM 2018@CelinaLafuentedeLavotha

CLAFIS Victron Energy Solar Boat Team YCM 2018@CelinaLafuentedeLavotha

DB-20 Racing Team YCM 2018@CelinaLafuentedeLavotha

Dutch Solar Boat YCM 2018@CelinaLafuentedeLavotha

Engineers of Innovation YCM 2018@CelinaLafuentedeLavotha

NHL Solarbaotteam YCM 2018@CelinaLafuentedeLavotha

Solar Boat Twente YCM 2018@CelinaLafuentedeLavotha

TU Delft Solar Boat Team YCM 2018@CelinaLafuentedeLavotha

Team Clean Mobility Solar YCM 2018@CelinaLafuentedeLavotha

Sunderbird YCM 2018@CelinaLafuentedeLavotha

Offshore Race heads to Italy

Another edition, another destination for the offshore race, which this year heads to Ventimiglia in Italy. Boats must comply with YCM Offshore Class rules, which means being able to take three people and comply with technical specifications defined with the UIM. Five teams are all set to do this 16 nautical mile race (there and back).

“The aim is to highlight the enormous potential of our young engineers supported by the shipyards. We have a common goal, which is to work together to build the leisure boats of tomorrow,” explains Marco Casiraghi, himself an engineer and the man behind the project. The two harbours are set to be interconnected soon. Meanwhile this race serves as a big test for boats, close to commercialization, with an eco-responsible propulsion on the sea.

Offshore Class – Ernesto Riva Innovation YCM 2018@CelinaLafuentedeLavotha

Offshore Class – T5 Powered by Terra Modena YCM 2018@CelinaLafuentedeLavotha

Offshore Class, Politecnico Milano YCM 2018@CelinaLafuentedeLavotha

Featuring a few Solar Boats

Antwerp Maritime Academy YCM 2018@CelinaLafuentedeLavotha

SUNFLARE – YCM 2018@CelinaLafuentedeLavotha

Solar Team Sneek YCM 2018@CelinaLafuentedeLavotha

ROCvA Maryland YCM 2018@CelinaLafuentedeLavotha

Dutch Solar Boat YCM 2018@CelinaLafuentedeLavotha

Plastic Odyssey

Find new more sustainable solutions and apply them to boats is the challenge that is inspiring a new generation like Bob Vrignaud, responsible for R&D and Simon Bernard, co-founder of Plastic Odyssey, a 25m catamaran powered by plastic waste.

It is a concept that became obvious faced with the urgency of the situation, one where, they explain that, “every minute plastic waste the equivalent of the weight of three elephants is dumped into the oceans.” Plastic Odyssey is a round the world expedition on a laboratory boat, totally autonomous thanks to plastic, the waste we collect at each port of call being recycled on board. The goal of this project is not to cleanup the oceans, already widely polluted by plastic. Indeed, once it is in the sea, it’s too late: only 1% of plastic waste floats to the surface, with the remaining 99% breaking-down into micro-particles and carpets the seabed. The goal is to demonstrate that it is too valuable to end up in the ocean.”

Bob Vrignaud of Plastic Odyssey – YCM 2018@CelinaLafuentedeLavotha

Plastic Odyssey, Incubator for the propulsion of tomorrow YCM 2018@CelinaLafuentedeLavotha

Experience the thrill of the event

Bertrand Piccard, the man behind Solar Impulse, the first fuel-less zero-emissions plane with limitless autonomy in which he flew round the world, agreed to sponsor this fifth edition. “I’m delighted to see what can be achieved with clean energy sources. These boats can compete in races full of suspense and all without any noise or pollution. It really is something that needs to be encouraged.”

World’s largest civilian drone 

A showcase for new technology after Planet Solar in 2014, the 2018 Solar & Energy Boat Challenge hosts the oceanic drone Sphyrna, the largest civilian surface drone in the world (17m), with an electric motor powered by solar, wind and tidal energy. It is here on a mission this summer to help assess noise disturbance on cetaceans in the Pelagos Sanctuary, supervised by Professor Hervé Glotin from Toulon University and François Sarano, former scientific advisor to Captain Cousteau and member of the YCM’s Explorers Club.

Exchanging ideas to build a clean future for yachting

It is just over a century since the first powerboat meetings were held in Monaco, attracting the world’s industrialists to see the latest innovations in internal combustion engine technology. Today, the Principality continues a long tradition as a laboratory for progress, focused today on clean energy sources. For the 5thedition, all participants are invited to exchange ideas at daily Tech Talks (see program) in the format of round tables and present their ideas on Open Source. A jury of specialists, including members of SMEG (Société Monégasque de l’Electricité et du Gaz) like Anthony Dupont, responsible for controlling energy use, and Sales Director Pierfranck Pelacchi, will present a special innovation prize at the closing ceremony on July 14.

After its success last year, UIM (International Powerboating Federation) will be holding its international workshop once again, focused on the environment and watersports. Speakers include representatives from authorities and international sports federations who will discuss challenges facing the application of sustainable energy sources for motorboats.

Program

The Solar & Energy Boat Challenge Village will be open to the public, with a host of activities going on in the paddocks where everybody is welcome to get close to the action.

Today’s Quote

“Solar power, wind power, the way forward is to collaborate with nature – it’s the only way we are going to get to the other end of the 21stcentury.”Bjork

Solar & Energy Boat Challenge – Monaco sails into the future riding on clean energy Embracing all clean-energy sources to protect our ecosystem Yesterday, Thursday, July 12, 2018 was the opening ceremony of the 5thedition of the Solar & Energy Boat Challenge that runs from July 12-14, dedicated to promote and optimize innovations in propulsion systems, with this year expanding from the solar-powered boat to embrace all clean-energy sources.

#Bertrand Piccard #Clean energy #ecosystem #Hydros Foundation #International Power Boating Federation #Plastic Odyssey #Principality of Monaco #protecting the oceans #Solar & Energy Boat Challenge #solar energy #sustainable solutions #Yacht Club of Monaco

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biomedres · 5 years ago

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Immunological diseases- BJSTR Journal

The use of Animals in Assisted Therapy: Systematic Review of the Literature by Bruno Vilas Boas Dias* in Biomedical Journal of Scientific & Technical Research (BJSTR) https://biomedres.us/fulltexts/BJSTR.MS.ID.001293.php#

Animal assisted therapy refers to the use of animals such as dogs, cats, rabbits, turtles, birds, among others in the care of hospitalized patients. This study aimed to analyze the benefits of Dog Therapy for children with cancer. It is a systematic review of the literature, carried out in Scielo and with the descriptors “assisted therapy” and “animals” and in the VHL, with the descriptors “assisted therapy”, “animals” and “pediatrics”. The articles published in Portuguese and English, available in full, published between 2005 and 2017 were considered. We found 8 articles that dealt with the subjects: animal use in assisted therapy, hospital infection, role of the team in assisted therapy, humanization, lack of familiarity, recommendations and benefits of assisted therapy. It was observed that the Assisted Therapy brings innumerable benefits enabling improvement in the care for both the patient and the health professionals. Childhood cancer is a generic term that refers to “a heterogeneous group of diseases that have morbidity and mortality rates that depend on the type and extent of disease, the age of the child and the effectiveness of the initial treatment response” [1,2]. Cancer reaches 10 out of every 1,000,000 children each year worldwide, with one child in 600 developing it during childhood, but it is now known that two-thirds of these cancers are considered curable if the diagnosis is early and the treatment administered is adequate for the type of cancer [2,3].

For more Articles on Immunological diseases please click here https://biomedres.us/index.php

For bjstr journal

#bjstr journal #biomedical open access journals #Nuereological disorders #Journals on Psychology #Regenarative medicine

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azveille · 6 years ago

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Protein-slaying drugs could be the next blockbuster therapies

When Craig Crews first managed to make proteins disappear on command with a bizarre new compound, the biochemist says that he considered it a “parlour trick”, a “cute chemical curiosity”.

Today, that cute trick is driving billions of US dollars in investment from pharmaceutical companies such as Roche, Pfizer, Merck, Novartis and GlaxoSmithKline. “I think you can infer that pretty much every company has programmes in this area,” says Raymond Deshaies, senior vice-president of global research at Amgen in Thousand Oaks, California, and one of Crews’s early collaborators.

The drug strategy, called targeted protein degradation, capitalizes on the cell’s natural system for clearing unwanted or damaged proteins. These protein degraders take many forms, but the type that is heading for clinical trials this year is one that Crews, based at Yale University in New Haven, Connecticut, has spent more than 20 years developing: proteolysis-targeting chimaeras, or PROTACs.

Large and unwieldy, PROTACs defy conventional wisdom on what a drug should be. But they also raise the possibility of tackling some of the most indomitable diseases around. Because they destroy rather than inhibit proteins, and can bind to them where other drugs can’t, protein degraders could conceivably be used to go after targets that drug developers have long considered ‘undruggable’: cancer-fuelling villains such as the protein MYC, or the tau protein that tangles up in Alzheimer’s disease.

“This is new territory,” says Alessio Ciulli, a biochemist at the University of Dundee, UK. “We’re breaking the rules of what we thought would be druggable.”

The field has reason to be optimistic. In 2014, scientists discovered that the myeloma treatment lenalidomide (Revlimid), one of the world’s best-selling drugs, works in a similar way to protein degraders to chew up two formerly untouchable proteins1,2.

Yet the field lacks published data confirming that PROTACs and other emerging compounds can make undruggable proteins disappear. And there are questions about where and how these odd-looking molecules will work in the body.

For now, all eyes are on Arvinas, a biotech company in New Haven, Connecticut, founded by Crews. It’s scheduled to begin testing a PROTAC for prostate cancer, albeit attacking a protein that’s been targeted successfully by other drugs. “We’re on the cusp of proving these PROTACs can be drugs,” says Ian Taylor, senior vice-president of biology at Arvinas. “Right behind that will be: can we do this with an undruggable?”

An academic exercise

In diagrams, PROTACs often look like dumb-bells. They are molecules made up of two binding ends connected by a thin tether.

The action happens on the ends. One grabs on to the target protein, while the other latches on to a ubiquitin ligase — part of the cell’s natural rubbish-disposal system that labels defective or damaged proteins by slapping a small protein called ubiquitin onto them (see ‘Marked for destruction’). Ubiquitin tags act as sort of ‘Please collect’ stickers that instruct the cell’s protein shredder, called the proteasome, to do its thing.

Proximity accounts for a lot in biology, so by simply bringing together the ligase and the target protein, a PROTAC ensures that the target will get marked for destruction. Ligases are efficient and ubiquitin, as the name suggests, is plentiful, so a single PROTAC should be able to perform its catch-and-release function repeatedly throughout the cell, suggesting that only a small amount of such a drug is needed for potent activity.

The earliest-known published description of a PROTAC-like molecule is in a patent filed in 1999 by two scientists at Proteinix, a biotechnology company in Gaithersburg, Maryland. In the patent (see go.nature.com/2vyjf9l), John Kenten and Steven Roberts proposed co-opting the cell’s protein-degradation system. Colleagues dismissed the idea, saying that Kenten and Roberts were complicating drug discovery by trying to bind to two proteins — the unwanted protein and the ligase — at once. “There was not a lot of enthusiasm internally for it,” recalls Kenten, now research director at Meso Scale Diagnostics in Rockville, Maryland. Proteinix did not pursue the approach.

But on the other side of the United States, another pair of minds was mulling the same idea. During a research retreat in 1998 at a scenic resort on Semiahmoo Bay in northwest Washington, Deshaies paused in front of a poster by Crews to listen to him talk about using small molecules to link two proteins together. Deshaies, then a biochemist at the California Institute of Technology in Pasadena, was knee-deep in the study of ubiquitin ligases. The human genome encodes roughly 600 of them, which need to form a complex with other proteins to do the tagging. About a year earlier, Deshaies had co-discovered3 a protein family now known to contain 250 ubiquitin ligases.

“It wasn’t that big of a leap to come to the idea of, well, gee, if you could link things to ubiquitin ligases then you could potentially drive the ubiquitination of a protein — and its degradation,” recalls Deshaies. He and Crews continued to chat all weekend and parted ways with a plan to find funding to explore the idea.

At the time, Crews was developing a drug that worked in the opposite way to PROTACs. It blocked the ubiquitin system in cells, causing proteins to build up to dangerous levels and eventually trigger cell death. The result of that work, carfilzomib (Kyprolis), is now used to treat the blood cancer multiple myeloma. “I thought the flip side would be equally as interesting,” says Crews. “That certainly has turned out to be the case.”

Crews and Deshaies soon published a study demonstrating that their first PROTAC, Protac-1, successfully grabbed and led to the degradation of a cancer-associated protein called METAP2 in extracts from Xenopusfrog eggs4.

Still, Protac-1 was far from being a drug, says Crews, who called the paper an “academic exercise”. First-generation PROTACs had low activity in human cells, probably because the compounds struggled to get inside. They relied on big, unwieldly peptides to bind to the ligases. The scientists had to find a way to make the ligase-binding ends more drug-like — “Something that had potential to be a pharmaceutical,” says Crews. Or they needed to move on.

With funding and research support from GlaxoSmithKline in London, Crews pushed ahead, mainly targeting one particular ligase, the von Hippel–Lindau disease tumour suppressor (VHL). In 2012, Crews, together with his graduate student Dennis Buckley and Ciulli, a former visiting fellow in Crews’ lab, reported on a small-molecule binder for VHL5. Crews finally began to believe that PROTACs really could become drugs.

Fishing for small molecules

Crews wasn’t the only one chasing protein degraders. In 2010, while at the Dana-Farber Cancer Institute in Boston, Massachusetts, chemical biologist James Bradner read a paper by a team of researchers in Japan, led by Hiroshi Handa, then at the Tokyo Institute of Technology in Yokohama6. Handa had been trying to understand why the infamous drug thalidomide, approved in some countries in the late 1950s and early 1960s to help with nausea in pregnancy, caused problems with limb development. (It is now approved to treat multiple myeloma and a skin condition.) Using thalidomide as the bait to fish for proteins in cells, Handa discovered that the drug hooks on to and blocks the activity of a ubiquitin ligase called cereblon. That inhibition, his team found, affects limb growth and development in zebrafish and chicks6.

Bradner realized that if thalidomide binds to a ubiquitin ligase — no easy feat, because such enzymes are notoriously difficult to grab — then perhaps he could find a way to bind to the same ligase but target it to proteins implicated in disease. In 2013, Buckley joined Bradner’s team as a postdoctoral researcher, and they began the search for small molecules that bind to cereblon.

In May and June 2015, three teams — led by Bradner, Ciulli and Crews — published five separate papers describing small-molecule PROTACs with potent, drug-like activity7–11. With Ian Churcher at GlaxoSmithKline, Crews bound a PROTAC to VHL and used it to degrade the levels of several proteins to less than 10% of those present in untreated cells7. Bradner and his colleagues bound cereblon to their PROTAC to reduce levels of a cancer-causing protein8, and Ciulli, by then at the University of Dundee, and his team degraded the same protein, using VHL as the ligase9. The protein degraders worked both in cells in a dish and in human tumours in mice.

As well as designing drug-like protein degraders, Crews and Bradner’s teams have both built systems — HaloPROTACs10 and dTAG12, respectively — that enable researchers to put targeted protein degradation to work as a tool in the laboratory, using genetic tags to mark proteins for destruction in cultured cells and in mice. With dTAG, “you can deplete a protein in minutes or hours and monitor what happens”, says Behnam Nabet, a chemical biologist who led development of the system with Nathanael Gray at the Dana-Farber Cancer Institute. “This gives you a lot of power to study oncogenes and kinases and proteins that have very rapid activity.” The dTAG materials are currently freely available: more than 150 academic labs use the probe to investigate the effects of depleting specific proteins in cells, says Nabet.

Bradner, who left Dana-Farber in 2016 to become president of the Novartis Institutes for Biomedical Research, estimates that around 30 separate tools already incorporate the technology. “The path to chemical probes is now well established,” he says. “But the challenge to make real-world medicines from these ligands is significant.”

Gold rush

Following the 2015 flurry of small-molecule PROTACs, Deshaies, who had left the field, penned an opinion piece declaring that PROTACs had the potential to become a major new class of drug, possibly surpassing two of the hottest drug-development areas of all time — protein kinase inhibitors and monoclonal antibodies13. “The gold rush is on!” Deshaies wrote at the time.

Since then, he says, it has only intensified. He joined Amgen in 2017 and now oversees the company’s work in the area.

The Arvinas trial, expected to begin by mid-2019, will include 28–36 men with metastatic prostate cancer and will last around 9 months, says Taylor. It is usual for any new class of drug to go after a well-known target, where the biology and toxicology are well-understood, and Arvinas’s first candidate is no exception. It degrades the androgen receptor, a protein that is already targeted by a handful of approved drugs. The company hopes that by degrading rather than inhibiting the receptor, its PROTAC will be able to treat people who have become resistant to or see no benefit from existing drugs. And if the candidate succeeds, the field will finally have the clinical data that everyone is looking for. Arvinas will have shown that a PROTAC can be a drug.

That’s crucial because there has been considerable doubt about whether protein degraders can work in humans. Fully assembled PROTACs break well-known rules of thumb for drugs. Chief among them is size. A good small-molecule drug typically has a mass of less than 500 daltons. Current PROTACs range upwards of 1,000 daltons. Yet the molecules can still enter cells7,10,11. Crews suspects that this is because they are probably recognized by the cell membrane as two smaller molecules that happen to be tethered together, rather than a single large one.

“We’re throwing out preconceived notions we’ve had about larger-than-average small molecules,” says Taylor.

Also out of the window are preconceived ideas about undruggables. The problem with many of these tough protein targets is that most small-molecule drugs or monoclonal antibodies need to bind to an active site on an enzyme or a receptor to work. But an estimated 80% of proteins in human cells lack such a site. PROTACs, however, can grab a protein by any nook, cranny or crevice — they don’t need to be sitting in an active pocket to work. So they could make those proteins accessible.

There’s already some evidence to support this approach. Last year, a team at the Institute of Cancer Research in London produced a small molecule that can bind to a transcription-factor regulator that doesn’t have an active site14. They were able to create a potent PROTAC by attaching a binder for the ubiquitin ligase cereblon.

The field still lacks published evidence of a PROTAC that can target and degrade a valuable undruggable protein. Deshaies says that Amgen has a PROTAC effective in both cultured cells and animals against an unnamed high-value cancer target that has been historically tough to bind. Arvinas claims to have in vivo evidence of PROTACs degrading tau in the brains of mice. On its website, the company says that injecting its tau-protein degrader directly into the mouse hippocampus reduced levels of tau by 50%.

By developing PROTACs for an array of diseases, including those that affect the brain, Taylor says that many researchers hope to show that the technology is “therapeutic-area agnostic”. Various teams are also working to expand the pool of ligases that protein degraders can recruit. There are only four main ones used at present, including VHL and cereblon, and a wider variety of available ligases could enable drug developers to match the most potent ligase–PROTAC combination with their cell type or protein of interest. “Potentially, any ligase can be hijacked through this approach,” says Ciulli, who is collaborating with German pharmaceutical company Boehringer Ingelheim on the development of PROTACs.

Buoyed by fresh targets, improved potency, and a clinical trial about to begin, researchers are ready to prove that protein degraders can be more than a parlour trick. “The sky is the limit,” says Ciulli. “It is just a question of when.

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mitchbeck · 6 years ago

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CANTLON: NHL DRAFT NIGHT - FIRST ROUND

BY: Gerry Cantlon, Howlings HARTFORD, CT - The New York Rangers made three first round selections in Dallas in Round One of a made for TV 2018 NHL Entry Draft. It was just the fifth time in Rangers history that they had multiple first round picks. The remaining rounds will be conducted Saturday starting at 11 am (NHL Network). None of these picks are likely to see Hartford any time soon. The Rangers' first pick, Russian right winger, Vitali Kravtsov, was a bit out of the box. There were other higher-rated options waiting to be snatched. Among them was another top scoring forward, the BC-bound, Oliver Wahlstrom. He was selected by the Islanders in the eleventh slot. Also on the board were defensemen Evan Bouchard (Edmonton) and Noah Dobson (Islanders 12th pick). With their highest pick at ninth, the Rangers tabbed the lefty shooting, Kravtsov, who at age 18, stands at 6’4 and weighs 185 lbs. Kravtsov is from Traktor Chelyabinsk (Russia-KHL). Kravtsov was the second Russian taken in the Top Ten picks. The Carolina Hurricanes took right winger, Andrei Svechnikov. Kravtsov's regular season numbers with the big club weren’t eye popping. He tallied four goals and seven points in 35 games, but he was a boy playing in a men’s league. His post season numbers however were excellent and very well may be a greater indicator of his talent. He put up 11 points (6 goals - 5 assists) in 16 KHL post season games. Playing against his peers with Chelmet Chelyabinsk (Russia-VHL), Kravtsov tallied seven points with four goals in nine games. In one game in the Russian MHL Junior League with Belye Medvedi, he popped in a goal and had three points. Kravtsov is eligible for the CHL Import Draft to be held next week. He has one year left on his Russian contract. If he plays in the KHL, he could only play in Hartford once his Russian season end under the current CBA. One caveat could be similar to the one with Filip Chytil last year. He played with the Pack as an 18-year-old in part because a formal transfer agreement with the Czech Hockey Federation exists while one does NOT exist with Russia. Kravtsov could play in Hartford if an agreement between the Rangers and Traktor Chelyabinsk could be worked out on his Russian contract. Kravtsov did earn the KHL's Alexei Cherepanov Rookie of the Year Award. Cherepanov, of course, was a Rangers first round pick (17th overall) in 2007. He died tragically at a KHL game on October 13, 2008 while with Avangard Omsk. His team and linemate was one-time Ranger, Jaromir Jagr, who was right next to him on the bench with what was called an undiagnosed heart ailment. Subsequent investigations showed the possibility of blood doping, though it was later stated doctors were treating a heart condition that never showed up in the Rangers pre-draft medical evaluation. The Rangers successfully argued that since he was never under contract with the Rangers they were awarded a compensatory draft pick in the second round in the 2009 Draft. That ruling is now known as, "The Cherepanov Rule." The rule is that if a player was selected and should pass away, the team drafting that player will receive a compensatory draft pick.

The second first round pick was an 18-year-old defenseman who has lots of room to grow into. K’Andre Miller from Minnesota is 6’4 195 lb. He played the last two years for the US Development Team program in the USHL. He played international competition for the US U-17 and U-18 teams. Miller is a left-handed shot who played 22 games this season for the USHL squad. He tallied four goals and 12 assists and is a big, punishing hitter. Later, while with the U-18 squad, Miller played 58 games and had nine goals and 29 points. Miller has played the equivalent of an NHL regular season schedule. The U-18 team garnered a silver medal at the IIHF U-18 World Championships. Miller will be heading to the Big 10, where he will play for the University of Wisconsin Badgers program that's coached by former Ranger, Tony Granato. Miller was selected three years ago in the WHL bantam draft by the Saskatoon Blades in the 9th round, 177th overall. He was two sport (football & hockey) athlete at Minnetonka High. The Rangers thought enough of Miller to move up from the 26th pick to 22nd and gave up their 26th and 48th pick to get him.

The last pick is a 17-year-old, right-handed shooting defenseman. His name is Nils Lundkvist and he's from Lulea HF of the Swedish Hockey League. He went 28th overall. Lundkvist is 5’11 and just 172 pounds. He played on Lulea’s J-20 team. In 26 games, Lundkvist had three goals and 14 points and was voted best defenseman. He also played with the SHL club for 29 games scoring two goals and had five points. He was 16 for most of the season playing against men. He played on Sweden’s U-18 team that won the bronze medal at the IIHF U-18. championships. All three players are eligible for their national World Junior Championship squads. Expect to see them at the tourney which will be held in Vancouver, and Victoria, BC starting December 26 on Canada's Boxing Day. The aforementioned four sets of Rangers dual first round draft picks were interesting parts of Ranger history. In 1971, Steve Vickers, who had a solid Rangers career playing in 698 games and scoring 241 goals, registered 340 assists (586 points), and the highly combustible, the late Steve Durbano. He never played a game for the Rangers and was traded to St. Louis, but in the words of the late great Ranger broadcaster, Bill “Big Whistle” Chadwick,“ speaking of Durbano he said, "He was suspended in every league he ever played in." The words came during his wild fight with Nick Fotiu at the Garden in 1979 when he was on his second tour with the Blues. It set off a major bench clearing melee after a hat trick goal was scored and he exited the ice surface by bending over and mooning the MSG crowd. In 1972, Al Blanchard, who never played a game with the Rangers but played in the AHL with Providence and Springfield, and Bob MacMillan, who played 22 games with the Rangers, but would have a nice career with St. Louis, Atlanta/Calgary Flames, the Colorado Rockies/New Jersey Devils and Chicago, but not the Rangers. He is presently an amateur scout with Calgary. In 1977 they took Lucien DeBlois and Ron Duguay. They played well in New York. Two years later went the team went to the Stanley Cup Finals against the Montreal Canadiens where they lost in five games. The Rangers passed on Mike Bossy who would become one of the greatest scoring right wings in NHL history who helped the New York Islanders win four consecutive Stanley Cups. The last set of multiple first round picks came in 1999 at the draft in Boston. The picks that year were Pavel Brendl and Jamie Lundmark. Brendl never played in New York. His lack of conditioning and inflated ego impaled his career in North America. He played in just 77 NHL games with four different teams none of whom were named Rangers. After a stellar junior year with Calgary (WHL), Brendl was assigned to the Wolf Pack for the post season of their Calder Cup winning spring. He ended up being sent home after two games when he tried to instruct head coach John Paddock on how to run the team’s powerplay during practice. Brendl played in Europe last season after taking a year off due to a medical condition. He's rostered to the HC Arlanda Swedish who play in the first division. Lundmark played in 114 games posting 11-19-30 with the Rangers. He had 295 NHL games in total. He played parts of his time with Calgary, Phoenix (nee Arizona) and LA. While with the Wolf Pack, Lundmark played 165 games with 50 goals 68 assists and 118 points Lundmark retired this season after a six year career with Klagenfurter AC in the Austrian Elite League. The first 19 years of the NHL Draft were held in Montreal. 1985 was the first year that it wasn’t. That year the draft was held in Toronto. The first time it was held in the US was in Detroit in 1987. HOCKEY NEWS Late Thursday, Rangers GM, Jeff Gorton, confirmed that Adam Tambellini was not going to receive a qualifying offer. He is free to negotiate a new deal elsewhere. Steven Fogarty was given a qualifying offer and it remains to be seen if he takes it or tries his luck elsewhere. Two more AHL’ers are off to Europe. Miro Aaltonen, from the Calder Cup champion Toronto Marlies, heads back to a yet unnamed KHL team. Leland Irving leaves San Diego for HC Bolzano (Italy-AEHL). Read the full article

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alexgabriel-me-blog · 7 years ago

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Quantum Cascade Lasers Market - Commercialized Recently For Various Semiconductor Application.

Quantum cascade lasers were first demonstrated in 1994 by Bell Labs Team. Quantum cascade lasers are used as a semiconductor lasers which offer peak emission in the mid-IR range. This quantum cascade lasers finds in mainly application of chemical physics such as research on helium droplets, in matrix isolation infrared photochemistry and in population pumping. Various quantum cascade laser manufactures are now focusing on the design for operating wavelengths ranging from a few microns to well above 10 μm. In recent trends, a number of applications have been catered by medium- IR quantum cascade lasers. Additionally, powerful mid-infrared (IR) quantum cascade lasers (QCLs) have been developed and commercialized recently for various semiconductor application. The Quantum Cascade Lasers market is predicted to witness a steady growth during the projection period from 2017 to 2025.

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Global Quantum Cascade Lasers market has been segmented on the basis of packaging type, operation mode, fabrication technology, end use industry and geography. On the basis of packaging type, global Quantum Cascade Lasers market has been fragmented into C-Mount Packaging, HHL and VHL Packaging, To3 Packaging. According to industry-standard, one-tab C-mount package provides good thermal contact and easy to mount, making it an ideal choice for high-power and OEM applications. Extensive utilization of C-Mount packaging across various application segments especially in gas and plasma diagnostics and environmental analysis is predicted to boost the Quantum Cascade Lasers market growth in the coming years. In addition, global Quantum Cascade Lasers market is classified on the basis of operating mode into continuous wave and pulsed. In terms of fabrication technology, global quantum cascade lasers market has been segmented into fabry–perot, distributed feedback and tunable external cavities. Additionally, global Quantum Cascade Lasers market has been segmented on the basis of end use industry into telecommunication, industrial, aerospace and defense and medical among others. Major application for Quantum Cascade Lasers is stand-off explosives detection in defense industry. Across the globe, various researchers are now focusing to determine the goal of discriminating and nano-gram quantities of several explosives at distances up to fifty meter. This is expected to increase the demand of Quantum Cascade Lasers Market in coming years. The quantum cascade laser has been used in many novel biological and medical applications to detect noninvasive blood glucose monitoring solution in recent year. This in turn is predicted to drive the demand of global Quantum Cascade Laser market during the forecast period from 2017- 2025. Across the globe, owing to significant economic development in quantum cascade laser usage in free-space communication and multiple gas sensing technique is expected to create a better opportunity for quantum cascade lasers. This is expected to create better opportunity for the Quantum Cascade Laser market in coming years. On the flip side, lack of commercialization and requirement of skilled labor force to develop quantum cascade lasers products is likely to affect the installation of quantum cascade lasers across various end use industries. However, high cost of quantum cascade lasers and higher installation are also hindering the demand of the Quantum Cascade Lasers market during the forecast period.

Geographically, global Quantum Cascade Lasers market has been segmented into North America, Europe, Asia Pacific (APAC), Middle- East and Africa (MEA), Latin America. In 2016, North America held the largest share of the Quantum Cascade Lasers market due to the high technological adoption of QCLs in military and defense, industrial and medical among others industries in the area. Asia Pacific is estimated to be the second largest market for Quantum Cascade Lasers market currently, followed by Europe. Furthermore, in Asia Pacific region owing to industrially developing economies in China and India is enhancing the demand for Global Quantum Cascade Lasers market.

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The key players operational in the global Quantum Cascade Lasers market includes Wavelength Electronics, Inc. (US), Block Engineering, Inc. (US), Hamamatsu Photonics K.K. (Japan), Thorlabs, Inc. (US), mirSense (France), Alpes lasers SA (Switzerland), AdTech Optics (US), Pranalytica Inc. (US), Technologies GmbH (Germany) and AKELA Laser Corporation (US) among others.

The report offers a comprehensive evaluation of the market. It does so via in-depth qualitative insights, historical data, and verifiable projections about market size. The projections featured in the report have been derived using proven research methodologies and assumptions. By doing so, the research report serves as a repository of analysis and information for every facet of the market, including but not limited to: Regional markets, technology, types, and applications.

#Quantum Cascade Lasers Market

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themusicindustry1511 · 8 years ago

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The Four Areas of The Music Industry

Record Companies

A record company will begin its venture by making a business plan, detailing the costs of their start-up and creating a team. Once their business is finalised and formalised, they can bring in the talent and/or create their own music. For example many famous artists, such as Kid Cudi, Oasis and Prince, started out by being signed to a record label, and they then went on to create their own label. A record label will have scouts who go out to find live talent, so they can offer them opportunities to make money from their music and get some recognition, however many artists are discovered through the internet and other means, for example Justin Bieber, Adele and The Weeknd.

A record label will have scouts who go out to find live talent, so they can offer them opportunities to make money from their music and get some recognition. Record companies with a lot of money, such as the main three (Sony Music Entertainment, Universal Music Group and Warner Music Group) could, as an example of a contract, offer a large endowment to the artist and ask them to create an album, then depending on how many are sold and how much profit is made they will get a sum of the money. However, if it fails the company and artist can lose a lot of money. There are a few types of deals that record companies offer, these include:

Exclusive Recording Contract

360 Deal

License Deal

Development Deal

Profit Share

I will discuss in-depth each recording contract in the recording contracts article, please take a look for more information.

To make their money, they sell albums and songs and collect revenue from artists who are doing shows and tours. Lets look into the company structure and the departments of a large record label;

Departments and Roles in a UK Record Company

A Record Company President The President will run the legal and business departments, coordinating with them to ensure success in the company, whilst being well informed on all of the on-goings within the company.

The Legal Department This department is a vital part of the company, with an important responsibility for all of the contracts that are made between the company and the artist, as well as contracts between the record label and other companies.

Business Department Business is key in any successful company, everything works together within the company like one big mechanism and the ever important business department deals with duties such as payroll for all parties, bookkeeping and general finance.

Executive Vice President Often, a record company will own various record labels. While the President is in charge of the entire company and the legal and business areas, the executive vice president runs the bulk of the activities within a record company, including the following.

A&R Department A&R (artists and repertoire) are in charge of discovering new talent. This is made possible by sending scouts to gigs or other events that showcases new and unsigned talent. In the recent 2000′s, as the internet inflated, more and more young and new talent are being discovered through videos on websites all over the world wide web.

Promotion Department The Promotion Department’s primary goal is to secure radio airplay for their company’s new releases. These days that means not only traditional FM radio stations, but select Internet stations and satellite radio as well. Their work to get songs played on the radio is key to the success of the whole company. This department is closely connected to and constantly communicating with other departments, such as publicity, within the label to ensure that all strategies being used to market and sell an artist’s record are working together correctly. Soliciting videos to MTV, VH1 and other music oriented television networks and programs may also be the responsibility of this department. At some labels this job is a separate department, or part of the New Media department.

Artist Development Department This department is responsible for planning the careers of the artists who are signed to the record label. It promotes and publicises the artists over the course of their career, working together with the publicity, marketing, new media and promotion department to get the artist into the world of music.

Many labels no longer have such a department. Others have changed the name to Product Development, and aim to concentrate more on “breaking” or promoting artists quickly in order to try to speed up the return on their financial investment. This is something that can be done these days through the internet, and viral videos that are world popular. The pressure to return a profit to shareholders has changed the face of the music business dramatically in recent years, so the emphasis has been more on Product Development.

Marketing Department This department creates the overall marketing plan for every album that the record company will release, working together with other departments (sales and distribution, promotion, publicity) and third party companies to advertise and generate interest and sales.

Publicity Department This department is in charge of the publicity side of an artist and their music, they arrange for any interviews and feature stories, reviews for national newspapers, magazines and other forms of media advertising such as broadcasting opportunities on TV and radio. This department likely co-ordinate with the artist and their publicist for appearances and other public displays.

New Media Department The New Media Department produces and promotes the music videos for the label’s artists that are shown on MTV, VHl, etc. This department also oversees some promotions and marketing opportunities on the Internet that use the audio and video technologies available from online hardware and software sites that support music, such as YouTube which has channels from VEVO and other important music channels.

Record Label Liaison Department The Label Liaison is the person who coordinates the business of the major label’s distribution company with the needs of their parent record labels. Street dates (the date that a new release goes on sale at music retailers) must be approved by the label’s distribution company, meaning communication between sales and distribution are key.

Sales and Distribution Department The Sales and Distribution Department oversee all of the retail activities of the label, and concentrates on building relationships with the key record store chains and other mass-market retailers. Sales and Distribution aren’t always one department. If they are separate, the sales staff coordinate their efforts with the major label’s distribution company, as well as communicating regularly with the Promotion, Publicity and liaison departments at the label.

Distribution manage the processing of orders, delivery of physical and digital products. Brokers make deals with manufacturers, distributors and vendors.

Art Department The Art Department supervises all product design jobs, (CD, Tape, Vinyl cover art etc), trade and consumer press advertising, retail sales posters and other needs of the print media.

The Structure of a Record Company

A Record Companies goal is to generate as much attention, to in turn generate sales for an artists album and work. This means that they work as a whole, communicating with all departments to be successful.

Live Performance

Live Performance is an amazing area in the music industry, where artists have opportunities to perform there music live in front of small or very large audiences. The three key areas in Live Performance include The Venue, Co-ordination and Promotion. I will discuss the live performance sector, and also some of the roles associated with this sector, the main three I will discuss will be; The FOH Engineer, The Venue Manager, and The Performer. I will give short descriptions for other roles as well.

Departments and Roles in The Live Performance Area

The Venue The promoters, who work in co-ordination with The Venue, will find and hire out a venue that suits them and the performances they are organising.

As the venue is where everything will take place, there are many jobs and roles to be filled, here are the jobs and roles at the venue;

Venue Management Teams of venue managers will ensure everything is correct and on task.

The Stage Manager/Promoters Representative This person will be a representative of the promoter and artist, they will manage what is happening with the stage and performance while collaborating with the venue workers, the artist, promoter and manger so that everyone is on the same page about what is going to happen.

Sound (PA) and Lights Everyone works together as a whole although there are many departments jobs and roles, for example the promoter is responsible for organising and managing all elements of the live performance, hiring the venue, sound and lighting equipment, tickets, posters and advertising. However the other areas are there so the promoter has assistance, so the stage manager will direct the crew who set up lights and manage the sound at the venue until everything is to standard. Further information below.

The Crew and Technicians These people work individually or in teams to set up systems and ensure the quality of the technology being used, making sure everything works as it should and will produce the best possible performance.

Artist/Crew Catering This is the catering for the talent and crew, usually backstage there are buffets of food setup for everyone working to help themselves to. This may be organised by the crew, promoter, manager or venue manager.

Emergency Services At any event on a large scale where famous acts are performing and large audiences made up of the public, and screaming fans, there will always be a need for stand by emergency services, in case anyone injures themselves or any major accidents occur.

Security Staff (Door) Just as the emergency services are important, security to keep the public where they are supposed to be and behaving as they should security will be hired for the doors and other areas of the venue, and if the artist is particularly famous, they may have their own security hired but their manager.

Merchandise Merchandise is sold at most concerts and gigs, this includes the artists tour merchandise such as glow-sticks, wristbands, even artist albums and more.

Food and Drink (Public) This departments runs the service of providing food and drink to the public who attend the concert. This creates income for the venue.

Job Description and Person Specification for Venue Manager, The Crew and Technicians Under all of the areas I am discussing come the individual jobs and specifics, I will discuss a few of them below.

Venue Manager The venue manager is a very high position in the venue area of the performance sector. They are responsible for running the venue, which includes tasks such as financing, food and drink, handling bookings for the venue, working with the promoter and performer during a booked performance to organise the set-up, equipment, hiring of staff, and health, safety and security.

A person with this role must have great organisational and time-management skills, and also be able to direct and lead staff to do set tasks, ensuring everything flows well and the client (promoter/performer) is happy. it is important that they are confident, strong-headed and good at working in a fast and organised manor. Bookings need to run smoothly, so the set-up and take-down process is all scheduled to ensure time for organising the next booking, setting it up etc. The manager must be able to schedule a plan for the set-up etc. this means managing the time that everything happens so the performance can be on track, such as setting up, letting the audience in, preparing everything for the performers, staff and attendees. Whilst dealing with administrative work.

The safety of the audience and staff is vital, security will need to be hired by the manager and regulations will be in place, so that everyone can enter and exit in an organised and safe fashion. It is important that the venue manager has organised everything to a great standard, so any problems can be resolved and everything can run as planned. It is also key that the manager can solve problems that arise, anything can go wrong and threaten the success of the performance and venue when hosting, such as timings, broken equipment which will be dealt with by other staff as well and other issues that could arise. The manager will need to have a quick mind and good decision making and problem solving skills. Every one of the staff must keep communication up with the manager, this is the managers responsibility as well as their staffs.

Good social skills are important when it comes to taking on the role of venue manager. Liaising with the clients and potential bookers/performers is important as this is when they will discuss all of the opportunities, and scheduling/planning for the event. Negotiation is a very useful skill as well, for example the manager may have to discuss contracts with the artist/booker such as terms and conditions of the performance and its content, the audience, the management and set-up etc. If a manager struggles with this they may not be able to gain many good bookings.

Without these skills the venue may not be a popular one, and may not get many bookings or business, which can lead to a financial struggle. The venue manager must be able to budget and manage the finances, ensuring that their plans are possible and that they are making enough money to remain stable, safe and self-sufficient.

Front of House Engineer (FOH) A person with this job title is responsible for the sound that the audience will hear at the show, they must balance every instrument, every vocal and every audio element in the performance.

This person may be ‘in-house’ or freelance, meaning they either work for the venue or go through agencies/find work for them selves as a freelance worker, managing themselves. Their responsibilities include ensuring good sound quality throughout the performance which they will control by altering instrument volume levels, balancing each channel with the vocalist/the main performer. The must also ensure the set-up off the sound is up to standard before the performance, regularly doing sound checks and solving any problems such as broken equipment etc. they will also be responsible for other members of staff, directing them to assist and solve problems.

They will require skills including up-to-date knowledge of music technology, meaning they will constantly be learning and researching. They will need good knowledge of acoustics and music environments, have to have excellent hearing and decision-making skills. They work well under pressure but unfortunately this is an under-appreciated role in the industry.

A great deal of experience is required for employers who seek to hire a sound engineer, they usually look for the skills discussed above and past achievements and experience (not necessarily uni degrees). The sound engineer will need to work with the artist as well to understand how they like their performances set-up for their audience. Knowledge of the equipment and their workings is required, so that problems can be fixed and everything can be set-up swiftly.

Roadies (Local Crew) The term ‘roadies’ means they travel with artists on tour, they are responsible for the load-in and load-out of all of the tour equipment. They work long and unsocial hours, but have a lot of time to rest during shows. Its essential they have skills such as physical strength and discipline, they are instructed by the head roadie, or production manager, and other technicians for example guitar tech, FOH Engineer (below) etc.

The Artist and Their Crew The artist has the obvious job of performing at their best and putting on a good show for their fans. They are very responsible as they are in the public eye. Their crew may include people with jobs such as back up vocalists (who will learn and practice vocals with the artist), a choreographer (who will work with dancers and all performers to rehearse for the performance) etc.

Co-ordination The co-ordination area of Live Performance is the center, as you can see in the map above, the head managers and agents are found in the co-ordination sector, jobs and roles include;

The Performer The performer is obviously a critical member in the live performance sector, they are the centre of attention and draw all of the audience and fans to pay and attend the performances. Further information below.

The Manager The managers role is to ensure that the artist is happy. This is the person that tries to book an artist in for any publicity appearances and live performances etc.

The Tour Manager If the artist is on tour, the tour manager is responsible for the artist/band while they are on tour. This includes hotels, transport, equipment, crew, punctuality and behaviour.

The Agent An agent gets work for the performer and in return takes a commission, this is on a percentage basis usually 15% of performance fee/ticket sales. The agent is normally appointed by the manger and will work with many local promoters.

The Promoter The promoter is responsible for organising and managing all elements of the live performance, hiring the venue, sound and lighting equipment, tickets, posters and advertising.They run the three areas and are one of the main administrators. Further information below.

Health and Safety (and Legal Aspects) This area will focus on all health and safety aspects, drawing up risk assessments and plans for if any problems occur. They will likely co-ordinate with other areas, mainly the venue to assess the safety of the venue.

Job Description and Person Specification for The Promoter and The Performer The Promoter Music promoters play a crucial role in the success of musicians. They can work for the musicians or for venues where live performances are held.

Their job is to target the appropriate audience and ensure that people hear about concerts and buy tickets for performances. The promoter is responsible for organising and managing all elements of the live performance, hiring the venue, sound and lighting equipment, tickets, posters and advertising.They run the three areas and are one of the main administrators.

They must have a good skill set of discipline, decision making, communication, organisation and a good knowledge of the live performance area and music.

The Performer There are many types of job roles that come under the performer title, for example a session musician, a tour musician or the solo performer and their team.

A session musician is generally self-employed (freelance) and manages themselves, which allows them to work multiple jobs in one week for different bands/gigs. Organisational skills are key if a musician is managing themselves, taking on a stable amount of work and being able to complete work to a high standard for the client.

In this role the musician will be hired to play in a band or ensemble for a performer or group, they will be hired according to their skill sets and what instruments they can play, and what knowledge they have. They are useful for when a band or performer doesn't have the required skills or persons to play that part/instrument. Some musicians art hired for a whole album, or tour (this would be a tour musician which I will discuss) or just as a one off job for different clients.

Key skills include high grade achievements in multiple instruments, being able to play them perfectly within different genres and styles. This person must be skilled in reading sheet music and learning music quickly, as well as having good musical knowledge. If a session musician can play multiple instruments they are likely to get much more work. flexibility is key, as performances and gigs, rehearsing and setting up takes a lot of time and planning.

A tour musician is similar, but the difference is they will be on much longer jobs, as they will complete a full tour with a performer or band. Once they finish one tour they will be hired for others and can manage what they do.

Promotion This area works on all of the aspects that the public will see, for example adverts and promotions in magazines, posters, flyers, the media, ticket design etc. The jobs and roles found in this area are:

Ticket Design, Print and Distribution A team will create a ticket design for the performance, they will have them printed in bulk depending on how many people the venue can hold, they will distribute these tickets through ticket sale websites, at some events they will sell them on the door, and some tickets are VIP which will be distributed through agents and the artist and other means.

Poster and Flyer Design, Print and Distribution Teams will design posters and flyers for the concert, for example the Marshmello event poster you can see below, and these will be displayed around towns and cities, and also sent digitally through the internet and media.

The Media (TV, Radio, Press) Advertisements for tours and other live performances will be broadcasted on TV, radio and in the press. The agents, managers and promoters will discuss how to get the best publicity for the tour. Radio DJs will talk about the tour on their show, and radio appearances can be arranged where the artist will have the chance to talk about their career and tour. Further information below.

Job Description and Person Specification for The Media Sector The promoter will hire media companies and utilise promotional materials to organise advertisements and promotions for tours and concerts for their artist. There are many jobs within the promotion section of live performance, here are some below for The Media Sector:

Radio DJ’s Popular radio djs have the job of running the radio channel, playing music, promoting tours, interviewing celebs and more. For example Capital FM, a popular radio station, broadcasts interviews with guests, the djs job is to ensure that their tour is being promoted and that they look good in the public eye. They must have skills in communicating, asking the right questions, and djing the music played on the radio station.

Graphic Designer Graphic designers can work for companies, or work for themselves doing freelance. They must have a good eye for design and have knowledge of the current marketing and advertisement strategies. The musician themselves will have input into the design of their look for posters, flyers and tickets. They will need skills with graphic design software, drawing and working in teams.

Music Publishing Companies

There are many companies out there whose purpose is to provide artists and record labels the service of music publication.

Departments and Roles in a Music Publishing Company

The Publisher The types of music publishers include:

Major These are the big boys, associated with The Big Three record labels. (Sony Music Entertainment, Universal Music Group and Warner Music Group). The labels publish there artists music.

Major Affiliated These are the independent publishing companies that have deals with the majors to handle their licensing administration.

Independent Independent companies are small groups that handle their own administration in-house without the aid of one of the majors. They are also self-funded.

Writer-Publishers Some musicians work for themselves, developing and producing their own music, it is not uncommon. If the workload dictates it, they may hire someone to handle their song administration for them, but this person is an employee of the songwriter who gets a salary/hourly rate/flat fee for their work - not a representative from a publishing company that takes a cut of the income generated by a song.

https://www.thebalance.com/what-does-a-music-publishing-company-do-2460915

There are again many different roles and areas within a company, their main aim is to publish high quality music with all of the correct legalities which I will go on to explain. Here are the areas:

A&R (See Recording Companies)

Promotion (See Recording Companies)

Production and Editorial This is the area here the music will be developed/produced an edited to perfection before publishing. Job roles include the musician, music producers, sound engineers etc.

Human Resources This is the area of administration where staff are hired and trained for th company.

Rights Administration The people working in this sector will be responsible for all of the rights and legal documents that state what rights people have to that music.

Accounts/Royalty Administration This is the sector where accounts are managed, and any royalties are dealt with and paid to the artist and whoever is owed them.

Sales, Marketing, Hire and Distribution (See Recording Companies)

A publishers job is to find the talent, or work for record labels, make sure the music hits the high standards of the music world, register the work of songwriters and composers to the correct agencies and societies such as PRS or MCPS (which i will discuss in the licensing and royalties article), prepare promotional aspects such as CDs, license the use of music, organise the payments such as royalties to all musicians, and track the use of owned music making sure the correct licenses are paid the amount they are due.

There are three key processes when it comes to publishing music:

Developing Music This is the part where the music is recorded and created. Depending on if the artist is solo or signed to a label, they can create their music using their own equipment or a music publishing company. Most record labels will have their own studio for creating and publishing music, or they may go to a company to publish. Wanted talent will be found and hired to create music.

All areas of the industry intertwine, the artist will work with sound producers and they will communicate with other departments such as their agent, promoters, managers and more when needed. Once the music is created by the songwriters/band/artists and produced, its ready to be published, advertised and distributed.

Protecting Music This is a extremely important part of the music world, it is the protection of an artists music under law and the rights they have, without it music can be stolen and used. Every song or recording made by a creator or artist can be licensed for value in the UK and globally, which will generate a substantial and good balance of export income for the UK from copyright licensing. Copyright is the process that allows the owner of the music to control who uses it for what. It provides an incentive to industry to invest in new creative content.

If a piece of music is protected by copyright, permission will be applied for usually from the recording company in order for it to be used/sampled.

I will discuss licensing and royalties in a later article.

Valuing Music The publisher must make sure the creators get the correct wage, so any royalties owed to the creators are paid, and owned music is tracked so any payments that are due can be paid to the creators, for example when the song is bought or downloaded.

Music is valued through processes, depending on how well it does, and standard Uk music prices etc.

Music publishing companies male there money predominantly with licensing fees and royalties. Most publishers get a 50/50 split of profits generated by the songs they represent. In terms of royalties, there are several different royalty streams of which a publisher will get a cut, but some of these royalties are not exclusive to them. As a musician/band/solo artist, a deal with a good publishing company can significantly increase how much an artists can earn, but they can be complicated and signing the wrong deal could have them broke for years to come. Legal advice should always be found before making a publishing deal.

Artist Management

The artist management area of The Music Industry is smaller than other areas, however it is still all the more important. When an artist is signed to a recording label, they have rights and responsibilities especially when in the public eye. A lot of variables are found here in terms of what the artist can and can’t do, which all depends on their contract.

Diagram of Areas in the Artist Management Sector

An artist may have a management team, usually because they may not have the knowledge, time, or expertise to establish and self-manage the business side of their work, and because they can afford to have this team, or are assisted by their record label (if signed to one).

It includes their head manager, a lawyer and an accountant. This team ensures the artist is receiving all of their due royalties and payments from each area of The Music Industry, Recording, Live, Publishing and other business as you can see in the image above. Record companies are sometimes involved in the hiring of the artists management team, or artists who work individually may be their own management team. Here are the job descriptions for the management team:

The Manager This is the artists representative in all business areas, they manage the interests shown in the artist such as publicity, jobs, interviews, shows and anything in the music area, turning them down or taking them on. Their purpose is to ensure the artists reputation is good in the public eye, and that they are getting all of the money they are owed.

They work closely with the accountant and the lawyer to communicate and assist with legal and money business. The Manager will negotiate all contracts and collaborations with their artist, they usually take 20% commission and the gross earnings.

A good manager has good industry connections, knowledge, decision making skills and communication.

The Lawyer This job role is usually taken up by a specialist music lawyer, they may spend their time drafting and negotiating record label, live performance and all other contracts and offers on behalf of music artists. They advise the manager and artist on what contracts will be best in terms of how good the contract will be for them and what conditions, rights and royalties they include. They usually make 6% commission, and can make $136,260 in mean annual salary. - http://study.com/articles/Music_Lawyer_Salary_Info_Job_Description_and_Requirements.html

Music lawyers are a specific entertainment lawyer who represent many different professions within the music industry including songwriters, managers and producers, just to name a few, and negotiating distribution, music publishing, music placement, and other contracts in order to protect their clients’ interests. Music lawyers can file lawsuits when their clients’ intellectual property rights or copyrights are infringed.

The manager and the artist must have separate legal representation as well, in case of any disagreements and possible conflict.

The Accountant The accountant is in-charge of preparing financial statements, annual tax returns, and overseeing payments, royalties and all other transactions. They will advise the manager and artist of their financial situation, and what is best to do to generate income.

Their average annual salary is $65,080, however their general salary range is $40,370 - $113,740 anuually. - https://www.careersinmusic.com/music-business-accountant

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seliasaihcsalavatufa-blog · 8 years ago

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Big Interview with Igor Grigorenko. February 15, 2017.

Igor Grigorenko, the current captain of Salavat Yulaev, gave a big interview to a KHL journalist Vladimir Bakulin. The interview was given on February 14 just before the game, so something may not be up-to-date, because HCSalavat has already won the Green Derby (3:1). Grigorenko gives interviews very rarely, and this one is big, so we must appreciate Igor's openness in such a hard situation. I've provided you with the translation of the whole interview.

Igor Grigorenko: Salavat is on thin ice. Everything's in our hands.

The captain of Salavat Yulaev in an interview for KHL - about Salavat's hardest situation, about a meeting with Ufa fans at the airport, about the 500th game in KHL, about time with Aleksander Radulov, about off-hockey live and all the rest.

"Well we're not a boy and a girl with Radulov to miss each other" - The game against CSKA became your 500th in KHL, did you know? - Frankly speaking, I didn't. Our press-attache told me about that before the game. Of course it's a bright spot for me, I played so many games. - Did you follow your statistics until this moment? - No, I never follow stats. - Which season do you consider the most successful for yourself? - Of course, I remember that season in Ufa, when we won the Gagarin Cup. This is the most memorable event. Probably it's about everybody: if you win something, then it's the best year. - What about the time in CSKA? - I have pleasant memories of that time. The results were good. Positive time. - Right in CSKA two years ago you had the most successful season in the sense of goal production. - Again I'll tell that it was excellent time for me. We played with Aleksander Radulov then, we got it right. In the sense of mutual understanding: both in Ufa and in CSKA. We spent a lot of time with him. That season was really memorable. Especially the play-offs, when we led 3:0 over SKA, and then we lost that series... - Do you miss the line with Aleksander Radulov? - Well, do I miss? Well we're not a boy and a girl with Radulov to miss each other. (Laughs). We played - yes, we did great. Unfortunately, now is the time when I play in one team, he does in another. So goes the sports life. - Is Radulov the best playmaker you've ever played with? - I don't want to single out players - who's better, who's worse. I'll say that Sasha (Radulov) is a strong player, everybody knows that. - Was it easy to get on with him as a person? He's got nasty temper after all... - For me it was always easy with him. Starting with the time when he joined Ufa. (Smiles). - How did you take Radulov's decision to try himself in NHL again? Do you keep in contact? - Of course, we call each other. Regarding Sasha's move - that's what he wanted. He wanted - he got it. He went to NHL to try himself again. I follow his perfomance in Montreal. As far as I know he's recently even scored a goal. Good job! Let him do his best, I wish him to win the Stanley Cup! Let's be happy for him. - Just recently KHL All Star Game has taken place in Ufa. Did you go there? - Yes, I did. Everything was organized seriously. We met with the guys who took part in it, everybody liked it, everything was great. Probably it was the best All Star Game that's been ever held. - The next season is the 10th for KHL. Has the League developed during this time? - The League has been developing every year, there are some changes in rules and in other stuff. It seems everything started just now, but so many things were made. Good job!

“Kaprizov is not the leader of Salavat? He scores goals right when we need them" - Almost two months have passed after you recovered from an injury. Have you already got in shape? - I'm still getting. There was a break in KHL, enforced work-outs. I'm getting the shape that you need in play-offs. Though now is such a situation that we're still not in play-offs, we didn't guarantee a place in it. - After an injury you have a hard time scoring goals. What's the reason? - I don't know. Probably I haven't recovered completely. - In the current season you haven't been invited to Team Russia. Do you aim at it? - Every player aims at playing in Team Russia. Unfortunately, I'm having such a season, a lot of injuries, and there's nothing to be done...Again so goes the hockey world: today you're playing, then you get an injury and you can do nothing about it. You have to spend a lot of time to recover. - This season a whole epidemy of injuries has caught Salavat up, you can even open your own hospital. What do you think is the reason: defects in pre-season preparations or simple accidents? - Can't say anything about the pre-season, because I didn't attend it due to an injury. As for injuries and the reasons...I don't know. But we really have a lot. - How does the team feel physically in general? - We work out on the physics. Normally. Everybody understands his role in the team. Now we have two games to play before the play-offs and we must win them. All the boys are getting in the necessary shape for the games. - Now Linus Omark has not so very succesful time. Did the story about the spoilt holiday influence him? He didn't take part in the All Star Game, then he got injured... - I don't think it could somehow influence him. All the people, including hockey players, cannot always be in the same shape: someone has his downs. I think he's tired a bit. And this injury...Now he'll recover, gain strength and everything wil be alright. - How are you going to make out without him? After all Omark is the key player of Salavat, the leader of attacks... - I've already told in some interview that our team is a true team. We worry about the injured boys as well as about him. - This season Kirill Kaprizov has hit another level. How could he make so much progress? A young boy - 19 y. o., but he plays excellent in the club, in young and national team Russia. - Well, look at how we started out careers. We played when we were even younger, in our 19-20s we were already accomplished players. Yes, he's a young boy, but he pursues his aims. He works a lot, he strives, he listens out and does what the coaches ask him. He's got a good shot, he's smart. That's the reason he plays like that. - Is Kaprizov taken as a leader in Salavat Yulaev? - Of course. Kaprizov is not the leader of Salavat? He scores goals right when we need them. We sure understand that he's young. But everything is about that in such age he's already a player of the main team. No leeways. - There are such cases when players of 19-20 y.o. throw a lead and then leave the hockey horizon... Even if we remember your team of 1983: not everybody drew out, as many forecasted. Do you agree? - In some sense, yes. But the most of that boys still play, and regarding the players who hasn't drawn out - so goes the career. Our team was really strong. Many players sparkled. And even if someone couldn't play on the highest level, they play in VHL.

"We don't understand what is happening with Salavat, why we lose" - Let's talk about the current state of Salavat: the losing streak counts 9 games. It's the situation when the experts shrug their shoulders and say: "We don't know what's with Ufa". What is the reason of failed season in your opinion? - I've told many times about it. We the players, constantly meet and discuss it. How come that we are leading 3:1 in the 3rd period and then lose the game?! I don't understand it. I think this is not about physical, but psychological state. There came diffidence. It comes one after another, we lose each game after another. I think after a break in the regular season, everything will be alright. - And when did this diffidence come? - I don't know at all. So many injuries, everything imposes on one another... It's hard to tell, when this moment has come. - What is being done in the team in order to stop this bad luck? - We constantly make meetings. We constantly talk to each other to huddle together, in order to be stronger, be the united body, to be one fist. And more positive thinking, than negative. - Heavy criticism went on the goalies: including Niklas Svedberg. Is this criticism fair? - This question is not for me. I'll just say that we are one team. And the goalie has got nothing to do with it. Yes, he concedes some goals, but the skaters also don't shrugg off responsibility. If it goes on him, then it goes on us as well. That means we don't make him play confident. Our every player is interdependent: if one made a mistake, the other makes that too. And this chain of diffidence transferres to everybody. - What does the team lack at defending own net? Salavat concedes a lot, many at a time, even fails separate parts of the games. - Probably everyone should get in his head. We may play well the whole part, the 1st period, and just fail the 2nd. This is more about psychology. - Has the club management already talked to the team about the losing streak? - They came, talked. We have a heavy situation. We are really on thin ice, we can miss the play-offs. Everything is in our hands.

"The thought of Salavat missing the play-offs? We try to shake it off. We're thinking positively" - What is the psychological situation in the team? Are there mutual allegations? - No. On the contrary, we huddled together in order to be the united body. We talk only positively. - How does Igor Zakharkin react on the losses? - I think the same as us. On top of all of that, he's the responsibility for the team. It doesn't come cheap for him. I understand him, but he's with us, he also says that we should the one united body and gain strength from each other. - Zakhar Arzamastsev in an interview said that Igor Zakharkin is a gentle and democratical coach, but still sometimes buckets fly all around the locker room. Does it happen more often now? - No, I would say so. In any case, he shouts sometimes. This is normal work situation. - Do the rumours about the coach shift on the eve of the play-offs get on the team's nerves? Someone even named the specific candidate - Canadian specialist Mike Keenan. - We don't read the press. - You are the captain of Salavat Yulaev. Has Zakharkin talked to about the situation in the team? - We talk, but again it's not for the press. It's our inner workings, we keep it in. This information doesn't go anywhere, it's only in the team. - Now do you feel more responsibility as the captain? - Of course, I feel. When you need to talk, get the idea across the players. - Zakharkin has recently made a decision to talk to the fans who waited at the airport. How did you take it? - It's not Zakharkin, it's us all together, the whole team made that decision. We talked to the fans, it's a normal situation. Their position can be understood: they worry about us. - Do you allow the thought of Salavat may not make it to play-offs? - We try to shake it off. Now we have only 7th games of play-offs: 2 games which we must win. The result depends on us and we are getting ready for these games and striving. I'm sure everything will be alright. - Do the losses leave traces on off-hockey life? - Of course! Fans, everybody discuss it, friends call and ask the reasons. Our fans came to the airport, even one fan came to my house - we also talked. What can I say? The situation is as in life: not everything goes smooth in life. There are moments when everything's good or bad. You have to cope with that and work on it. Remedy the situation and that's it. - Do you have confidence that things will straighten out in play-offs? - We'll hope so and strive to make it happen.

"I wouldn't say that something changed after the car accident. Just became a bit older" - Which coach was the most comfortable to work with in your whole playing career? - I was comfortable with each. I'm not like that: comfortable with one, not with the other. We have contracts, we perform them. - Do you plan to become a coach in future? - The life will show. I don't want to guess at the future. - Many hockey-lovers still remember that terrible car accident in Togliatti, which happened to you in 2003. That period wasn't easy for you. How do you feel about that time? - I've alrady forgotten all of that. Let bygones be bygones, you have to live further. - Does your heart miss a bit when you drive near that place? - No. - Did something change in you, in your attitude to life, in your principles after you spent 14 days in coma? Between life and... - I wouldn't say changed. I simply started to be more careful at some moments. Just became a bit older. (Smiles). - The golden youth of 2003 is very friendly. With whom do you still communicate? - With Ilya Kovalchuk, Maksim Kondratyev, Andrei Taratukhin, Akeksander Perezhogin. I have normal relations with all of the boys. - What or who is on the 1st place in your life? - Family is on the 1st place. - If you choose between Togliatti and Ufa, which is the dearest and nearest? - As I live in Ufa, my wife and the children's hometown is Ufa, I think Ufa is my hometown too: I have an apartment here, a house. I don't forget Togliatti too, I was born there. brought up, my mother lives there. Everything dearest. In general I think it's bad to choose. - What is Igor Grigorenko fond of in life? - I try to spend more time with the family. As much as I can. We have holidays together, but I don't have a hobby. - Do you feel insulted by CSKA when you left the club in 2015? - What is the sense in feeling insulted? So goes the hockey career: today you are here, tomorrow elsewhere. No one knows where we are going to be the next year. - Talking about the future, your contract with Salavat Yulaev expires in April. Have you thought about the future and how much will the decision depend on whether the team makes it to play-offs or not? - Now I don't think about it at all. I think only of how we can get into play-offs, the rest will be later, in April.

Source:http://www.khl.ru/news/2017/02/14/339134.html All the photos are taken from the KHL official site and HCSalavat's official VK Public page: https://vk.com/hcsalavat From myself I will add that in the Green Derby Igor Grigorenko played the crucial role. He was The Captain who led the team on ice and scored probably the most important goal in this regular season.

#Captain #HCSalavat #Igor Grigorenko #Grigorenko #Icehockey #KHL

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