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ezcater · 1 year ago

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Celebrate National Pasta Day with These Pasta Dishes

For a lot of people, pasta is a go-to comfort food. From spaghetti bolognese to rigatoni arrabbiata, there’s a pasta dish for everyone. This National Pasta Day—Tuesday, October 17—why not celebrate the occasion with a catering order for the office?

Pasta, in its many varieties, is highly caterable. You can find it individually packaged and as part of larger catered spreads. This October, celebrate National Pasta Day in style with a hearty helping of this culinary masterpiece. Here are a few exceptional pasta options to inspire your next workplace catering order. Pasta Fit for a Crowd You need to make a sizeable order when ordering catering for the whole company. Pasta is one of those cuisines that’s exceptionally scalable. Caterers can adapt to various size orders with relative ease. In fact, some restaurants offer large catering packages that are perfect for feeding dozens of people. One example is Buca di Beppo, an Italian restaurant catering Indianapolis businesses and companies around the country. Buca di Beppo makes it easy to order pasta for larger groups—and you can get packages with different sides. There’s the Celebration Package 4, which includes two pastas (like baked rigatoni and spaghetti with meat sauce), one entree (like chicken parmigiana), salad (like chopped antipasti salad), and dessert (like tiramisu). It’s a pasta order fit for a crowd. Pasta Just for You Along with large packages, many restaurants also offer individual meal options. This can be ideal for smaller teams or for workplaces lacking communal areas suitable for larger catering packages. It’s also a great option for businesses that offer regular lunch catering perks to team members. Anyone catering Nashville workplaces can turn to Maggiano’s Little Italy for all kinds of exceptional pasta choices. This includes large catering packages and individually packaged pastas like Individual Eggplant Parmesan, Individual Mom’s Lasagna, or Individual Rigatoni Arrabbiata with Chicken. There’s a lot to choose from, and every member of the team can put in their specific order. Simple and delicious! Pasta for Everyone Pasta is a well-known source of gluten. But when ordering food for a workplace, you may need to serve gluten-free options, along with vegetarian or vegan dishes. Thankfully, it’s super easy to find pasta that takes these dietary needs into consideration. One option for those catering Wilmington NC workplaces comes from A Taste of Italy. Not only does this caterer offer sandwiches and salads alongside many traditional pasta offerings, but their menu also includes gluten-free and vegetarian dishes. There’s the Gluten-Free Pasta & Mixed Veggies with Grilled Chicken, Pasta Primavera, and Pasta & Broccoli Alfredo, to name a few. The bottom line is that no matter where you’re ordering from, Wilmington NC or elsewhere, you have tasty choices that can take every member of your team into consideration. About ezCater Food is the fuel that keeps businesses running. This may be why so many companies choose ezCater for their catering needs. ezCater is here to connect you with local restaurants and caterers while providing the support you need to ensure your food arrives on time and as ordered. Find quick and convenient options for individually packaged lunch catering or get an exceptional spread of appetizers for the team—the choices are endless! Need to cater a major corporate event? Turn to ezCater, and you can order food for the event no matter where you are in the nation. With over 100,000 restaurants to choose from, you can get the best catering Dallas has to offer or highly-rated Cincinnati catering—or delicious meals from practically any other city in the U.S. The catering possibilities are nearly endless with ezCater. Discover all kinds of pasta possibilities at https://www.ezcater.com/ Original Source: https://bit.ly/46Ex5ak

#wilmington catering service

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manchacasti22 · 2 years ago

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U.S. Polo Assn. lanza la colección primavera-verano 2023

U.S. Polo Assn., la marca oficial de la Asociación de Polo de Estados Unidos (USPA), ha lanzado su icónica colección primavera-verano de inspiración deportiva para 2023. La sesión fotográfica global de la marca tuvo lugar en la histórica Santa Bárbara, California, conocida por su espectacular clima, hermosos viñedos, románticos escenarios de inspiración mediterránea y espectaculares puestas de sol en el centro de California.

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chrisryanspeaks · 2 years ago

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HNAF (HotNewAlbumFridays): Far Caspian - ‘Last Remaining Light’

8/10 Rating - Great Album Far Caspian’s new album The Last Remaining Light is an ethereal, expansive and cosmic listening experience that will certainly be on repeat for most listeners. Far Caspian created the whole album himself and played all instruments. He craftfully approaches the work with precision and care, fine-tuning every instrument on the album. His catchy and melodic songs are sure to please you. Check out “Pet Architect” below and let us know your thoughts: Read More: Far Caspian today released his impressive new album The Last Remaining Light via his own Tiny Library Records; stream or purchase it here. The LP and its singles ("Arbitrary Task," "Own," "The Last Remaining Light," and "Pet Architect") arrived to early acclaim via Pitchfork, Bandcamp (New & Notable), Billboard (Cool New Pop Songs), Consequence (Top Songs), Brooklyn Vegan, FLOOD, Treblezine, Northern Transmissions, and more. Far Caspian will embark on a U.S. headlining tour this fall, including shows at his biggest NYC & LA venues to date: Le Poisson Rouge on November 10th and Teragram Ballroom on November 18th. The performances follow his SXSW and Primavera Sound Barcelona festival debuts this year. See below for a full itinerary of upcoming dates. Far Caspian is the project of Leeds, UK-based Irish musician Joel Johnston, and the music he creates is anchored by his dogged attention to detail—he writes, performs, records, and mixes everything himself. As such, Far Caspian’s music consistently feels like its own self-contained world, full of densely packed hooks and guitar-based atmospherics. With The Last Remaining Light, he’s made his most cohesive and compelling work yet. The album is the result of Johnston streamlining his approach in the studio, finding inspiration in peeling back his tracks’ layers in a way that’s both rewarding and immediate in its simplicity. Work on The Last Remaining Light began right after Johnston turned in mixes for his 2021 debut LP Ways To Get Out. Whereas that previous album was the result of almost two years of tinkering and finding his sound, Johnston decided to set clear limits and a hard deadline for its follow up. “This process was more about following my intuition rather than getting in my head and rewriting everything over and over,” he says. Far Caspian Live Dates: 09/19 - Edinburgh, UK - The Speakeasy, Voodoo Rooms 09/21 - Belfast, UK - Ulster Sports Club 09/22 - Dublin, IE - The Workman’s Club 09/24 - Manchester, UK - YES (The Pink Room) 09/26 - Leeds, UK - Brudenell Social Club 09/27 - Nottingham, UK - Bodega Social 09/28 - Bristol, UK - Rough Trade Social 09/30 - London, UK - Islington Assembly Hall 10/07 - Amsterdam, NL - Melkweg 10/09 - Hamburg, DE - Nochtwache 10/10 - Berline, DE - KANTINE AM BERGHAIN 10/12 - Cologne, DE - artheater Köln 10/13 - Brussels, BE - Witloof Bar 10/14 - Paris, FR - Point Éphémère 11/08 - Boston, MA - Deep Cuts 11/09 - Philadelphia, PA - Johnny Brenda’s 11/10 - New York, NY - Le Poisson Rouge 11/11 - Washington DC - Songbyrd 11/13 - Chicago, IL - Subterranean 11/15 - Seattle, WA - Madame Lou’s 11/17 - San Francisco, CA - Popscene @ Rickshaw Stop 11/18 - Los Angeles, CA - Teragram Ballroom Read the full article

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audiofuzz · 2 years ago

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HNAF (HotNewAlbumFridays): Far Caspian - ‘Last Remaining Light’

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puntof1 · 2 years ago

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U.S. Polo Assn. lanza la colección primavera-verano 2023

La colección primavera-verano 2023 de U.S. Polo Assn. representa la frescura y la vitalidad de las próximas temporadas. En este hermoso entorno de Santa Bárbara, los colores pastel bañados por el sol se combinan con linos texturizados y se fotografían junto al resplandor dorado del sol de la costa del Pacífico. Exuberantes jardines de rosas, sinuosos senderos y vistas panorámicas muestran las suaves siluetas de los vestidos de temporada de U.S. Polo Assn. rematados con suaves jerséis. Los polos tonales se combinan a la perfección con vaqueros clásicos que nunca pasarán de moda, junto con accesorios que brillan, como elegantes bolsos y totes reversibles, calzado a la moda y gafas de última tendencia, para completar todo un look digno del tiempo cálido.

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andronetalks · 2 years ago

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Chinese firm buys education company contracted by US military

American Military News MAY 15, 2023 By CHRIS KIRKMAN A Chinese company quietly bought two of the largest test-prep companies used in America to study for the SAT and ACT tests. One of the companies also has a years-long contract with the U.S. military. The Primavera Capital Group, based in Hong Kong, bought Princeton Review and Tutor.com, which were previously owned by ST Unitas, a Korean…

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theageoftheunderstatement · 2 years ago

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Spin: Arctic Monkeys Hit A New Gear

Written By Steve Appleford, 18/10/2022

It’s a warm, cloudless night in Los Angeles when the Arctic Monkeys step onto a festival stage at the far edge of Chinatown. They’re confident English dudes in windbreakers and leather jackets, picking up their instruments and arriving to the sound of Stan Kenton’s 1970 instrumental recording of the standard “Here Comes That Rainy Day,” a song both muted and deeply emotional, wounded and effervescent.

The sound is a clue to the state of a rock band caught at another moment of evolution, equally connected to their past, present and future, still rockers at their core after two decades, but aspiring to expand beyond that. The Monkeys are here headlining the final day of Primavera Sound, the international Barcelona-based festival making its U.S. debut in L.A., drawing 50,000 fans into the city.

The Arctic Monkeys have been at this since they were teenage mates bashing out modern guitar rock with emotion and bite, quickly growing into superstars in the UK, and festival headliners in the U.S. and everywhere else. The band’s core band members – singer Alex Turner, drummer Matt Helders, guitarist Jamie Cook and bassist Nick O��Malley – are augmented tonight by three other players. The sound is arch and sophisticated, like a next-generation Roxy Music, noisy and unruffled through clanging guitars, alluring piano melodies and lyrics wide open to interpretation.

The biggest international hits would come later in the set, but early on they share a song from the band’s new album, The Car, a shimmery funk tune called “I Ain’t Quite Where I Think I Am.” The song is ready for the dancefloor or your nearest smoke-filled room, as Turner’s voice goes higher, if not quite falsetto, singing soulfully of a dystopian future (or dystopian present): “Freaky keypad by the retina scan…”

With a disco ball at his feet, Turner doesn’t say much between songs, but never comes off as distant, either leaning into the mic or strumming his guitar. When he does speak, the words are as opaque as his lyrics, ending one song with a teasing: “Yes, you like that? I understand loud and clear. Don’t make a big deal out of it.”

Two weeks later, Turner is in the mostly deserted bar of a small boutique hotel on Hollywood Blvd., wearing an embroidered Guatemalan shirt over a faded black top. He sits at a table with a nearly empty bottle of sparkling water and a small paper coffee cup, a lick of dark hair dangling stylishly over his forehead.

As a host, Turner is perfectly relaxed and cordial, but chooses his words carefully during our interview, finding the messages he wants to convey slowly. Seeing his words in print since he was barely 20 no doubt brought him to this careful state, but he also looks pleased when you recognize one or another inspirational touchstone (Mick Ronson, Brian Wilson, etc.) in the new songs.

In town to talk up the album, the bar is a convenient meeting place. On the wall behind him is a collection of ancient class photographs, of strapping young men in school, on sports teams, all forgotten memories from the last century. “I hadn’t noticed that. Actually just been too busy making it all about me,” Turner says with a knowing laugh.

The whole band lived in L.A. for a time, but now only drummer Matt Helders remains, and between Monkeys projects is a member in good standing of Joshua Homme’s rotating crew of players and accomplices. (Which meant being recruited in 2015-16 for Iggy Pop’s Post Pop Depression.) While Turner still likes to squeeze in some quality time in the city, he now mostly bounces between London and Paris, usually accompanied by the French singer-songwriter Louise Verneuil.

A few days after Primavera, the band headed out to New York for a quick visit to premiere more songs from The Car on The Tonight Show and at Brooklyn’s Kings Theatre. It’s an album The Guardian has already praised as a wide-ranging collection of “Portishead-stark noir, improbably catchy yacht-funk and … poppy bombast.”

Two decades after forming as a band of neighborhood teenagers in Sheffield, England, the Arctic Monkeys have maintained relevance as artists and hitmakers by following their own creative impulses rather than passing trends. They began as excitable rockers with flinty bad attitude and pop instincts, quickly hitting No. 1 in the UK with their anxious second and third singles, “I Bet You Look Good on the Dancefloor” and “When the Sun Goes Down.” Compare that with The Car, and the evolution to music of increasing sophistication is startling and undeniable, with Turner growing from sneering punk to multiple layers of feeling.

Historically, you might compare Turner and the Monkeys’ evolution to Bowie’s mid-’70s leap from edgy rocker Ziggy Stardust to the deeply emotional crooner of Station to Station and Heroes, and still always sounding like no one but himself. Helders began to notice a change in the vocals when Turner started working with his other project the Last Shadow Puppets, which then carried over into the Monkeys. “It was less shouty and fast and more like Walker Brothers singing. He’s leaned into that a lot more vocally. I’m like, ‘Oh wow. You’re actually a singer now,” Helders says later on the phone, laughing.

In 2022, as much as the sound has changed over time, Turner insists the core quartet is still “following our instincts, which is precisely what we were doing in the summer of 2002.” They were kids then, and songs were composed in that early stage around their abilities in the rehearsal space, designed to be played live in a small club. They now record music with no concerns about recreating the same sounds onstage, allowing their creative impulses to drive the recordings.

He’d grown up surrounded by music, his father, David Turner, a big band musician and educator who actually sat in with the Last Shadow Puppets during a 2016 set in Berlin, blowing sax on “The Dream Synopsis.” That early influence not only reached young Alex, but the friends who came over to the house, including future members of the Arctic Monkeys.

Long before he was a musician himself, Helders heard a lot of mysterious sounds from the distant past at the Turner home that most neighborhood kids were not, learning of an earlier generation’s iconic figures that definitely weren’t being written about in NME.

“When I went around to his house – which was often – big band and jazz and swing was on,” says Helders. “It has always been a powerful thing for Alex. And me too. When I first saw Buddy Rich playing drums on TV, it was before I played drums. I didn’t really understand what was happening. I was like, ‘Whoa, this is blowing my mind!’

“There’s just so much feeling when you listen to music like that,” he adds, noting their current use of Stan Kenton as intro music. “Musically it’s like a masterclass. We’re not quite there yet, but maybe it is enough to know what skill level we’d like to be at.”

The musical lessons kept coming, even as the Monkeys grew into a leading force in a new wave of British rock and pop music, with their every move documented and scrutinized.

The band experienced a career-altering revelation while working with Homme as co-producer on 2009’s Humbug, which in hindsight looms even larger in their story. Rolling out into the high desert to make that album with the Queens of the Stone Age leader opened their eyes to the freedom available to them as artists. Getting weird was something to be embraced, not avoided.

Helders says, “It was Josh who said, ‘Whatever you do in this room, it’s still you. No one can tell you it’s not you. You’re doing it.’ As simple as that sounds, it makes sense. It made us feel like, Oh, we can do whatever we want.”

They’d first met the tall, redheaded rocker backstage at a Belgium rock festival. “We heard him coming down the corridor shouting ‘Monkeys! Monkeys!’” Turner recalls with a smile. Arctic Monkeys had been open in the press about being fans of QOTSA, and now, “He’d come looking for us.”

After that encounter, Domino label co-founder Laurence Bell suggested they reach out to Homme to see if he would be interested in producing. He said yes, and guided the band through seven songs on Humbug. (Four other tracks were produced by longtime collaborator James Ford in New York City.) Looking back, Helders says their first trip with Homme to the Rancho de la Luna recording studio, way out on the edges of Joshua Tree, “felt like I was on another planet.”

“Had we not had that experience at that time, I’d question whether we would still be going now,” Turner says thoughtfully. “At that moment, it felt as if we were put in a bit of a dead end, and creatively it felt like we’d ran out of steam a little bit.”

The Monkeys eventually returned to Joshua Tree (minus Homme) and came back with the monster album of their career to that point, 2013’s AM, which reached platinum in both the UK and U.S. The songs mixed G-funk rhythms with their edgy guitar rock and Turner’s words of romance and ruin. Songs traveled from the crunchy riffs of “Arabella” to the swaggering, woozy funk of “Why’d You Only Call Me When You’re High?” Mojo called the album “exciting, audacious work,” and NME declared, “Smart, randy and touched by genius.”

The wildly enthusiastic public reaction that greeted AM didn’t lock the band into a sound, or pressure them to produce sound-alike albums. If anything, it only freed Arctic Monkeys to do as they pleased, to follow their meandering muse wherever it led them.

The band’s last album, 2018’s sci-fi conceptual Tranquility Base Hotel & Casino, threw things for a loop. The Car is another step forward, unimaginable in their early days as a stripped-down rock act. Back then, the quartet were on a mission to be as new and original as they could. Helders made a point on the early records to create new beats that were flashy and technically difficult, looking to always “make this new weird thing,” he says.

“That was great for then and it matched what we were doing with the riffs and maybe the aggressiveness of the singing,” he adds. “Now I appreciate restraint and being able to play a groove in a really good way. It’s not any less fun for me, contrary to what it might look like. Even though the drumming is calm and more laid back, it’s as much fun as it is to play more showy.”

The new album’s gently urgent closing track, “Perfect Sense,” came together quickly, with strings mingling with drum beats to create a swirling Brian Wilson flavor. The Beach Boys maestro “has always had a place in my heart,” Turner says. “That’s been in the back of my mind since I was a five-year-old kid.”

The lyrics paint a murky, playful picture: “Having some fun with the warmup act/If that’s what it takes to say goodnight then that’s what it takes. … four figure sum on a hotel notepad … A revelation or your money back.”

“I suppose overall none of it makes a great deal of sense in the traditional sense,” Turner acknowledges happily. “It’s like when you’re trying to leave a party and this is like the fifth attempt. Okay, now I’m really going. That’s what it sounds like to me.”

On the album cover is a photograph shot by Helders in downtown Los Angeles, looking down at a lone car parked on a rooftop lot amid other tall buildings in 2019. The drummer is serious about photography, has published a book of pictures from the Tranquility Base sessions and shown in galleries. For that photograph, he was simply trying out a new lens on his Leica, walking around the city or shooting out his bedroom window, inspired by vivid color work of master photographer William Eggleston.

Helders liked the picture and included it with some others he shared with Turner. “He was like, Oh, wow. He kept coming back to it, like, ‘There’s something about that photo. It tells a story somehow.’” The singer eventually wrote a song inspired by it, and began thinking of the album as The Car, with that image as the cover.

On the title track, as Helders plays brushes on record for the first time, Turner sings his evocative, mysterious, disjointed lyrics: “Your grandfather’s guitar, thinking about how funny I must look trying to adjust to what’s been there all along ... But it ain’t a holiday until you go to fetch something from the car.”

Ahead of the sessions with the band, Turner wrote and recorded preliminary demo versions of the songs, written half on acoustic guitar, half on piano. He sensed where the album was headed when he landed on the instrumental section that begins the opening track “There’d Better Be a Mirrorball.” “That felt right,” he says, “and of course the words have to get on board with that.”

They recorded basic tracks for The Car in an ancient, 700-year-old house called Butley Priory in the English countryside of Suffolk. With arched windows and walls made of stone, the two-story building has recently been refurbished as an elegant venue for weddings and other events. With producer Ford, the Monkeys rented it out and transformed it into a studio.

Says Helders, “We managed to make it feel like a place you wanted to make a record.”

The idea was to somehow replicate scenes Turner had read about, of Led Zeppelin or the Rolling Stones camping out at a large country home, and parking a mobile recording truck outside. In the ‘70s, a truck had to be packed with recording gear: tape machine, mixing board, speakers, plus engineers and the producer, with cables running into the house.

Loren Humphrey, a frequent Monkeys engineer in recent years, had given Turner a copy of the book The Great British Recording Studios, and the singer became fascinated with its pictures of the famous Stones Mobile Studio unit, with its linoleum floor and history of recording multiple classic rock albums. Modern digital equipment has made the need for a mobile unit mostly obsolete, but the idea of recording at a home in the country stuck in his mind.

“That was kind of the dream idea, but we didn’t quite make it all the way to the linoleum floor in the truck,” he says with a grin. Band and crew instead loaded in their gear and computers and got to work. The band also lived on-site during the recording, and between sessions would gather in front of broadcasts of the 2021 UEFA European Football Championship, where England got to the final.

“That was a pretty exciting time in England then, and we were all watching the games and hanging out,” says Turner. “We hadn’t seen each other for a while and I think that got that kind of the energy of the band back together again.” Helders recalls sessions being structured around soccer viewing. “It really dictated the mood,” the drummer says. “If England had a bad game, it wasn’t going to be a good day in the studio.”

For the band, now looking back at 20 years of history, the sessions were a throwback to the Monkeys’ debut album, Whatever People Say I Am, That’s What I’m Not, recorded in 2005 at Chapel Studio in the countryside of South Thoresby. That album might not have happened any other way.

“If we were in a city, we would’ve never finished that record,” Helders says with a laugh. “We needed the discipline of like, ‘Okay, we need to do a song every day. We don’t want any distractions.’ We were just teenagers.”

Sessions for The Car were delayed for a year because of COVID-19 restrictions. It took time for Helders to get back to England from L.A., and he was required to arrive first so he could quarantine ahead of the rest of the band and crew. But Turner used the year to refine his songs, to experiment and explore “a few blind alleys” without concerns about time.

Later, vocals and overdubs were recorded in another house in France, where Turner picked up a 16mm movie camera and captured footage of the band at work, handing it off during his vocals. Some of those grainy color and black-and-white moments turn up in the music video for “There’d Better Be a Mirrorball.”

“I found that having the camera kind of removed me a bit from the situation and hopefully allowed a bit more space for the band to fill,” he says now of his foray into filmmaking. “It gradually transformed itself into a promotional music video, so it all happened pretty naturally.”

In London, strings were recorded at RAK Studios, not to add “sweetness” but evoke complex emotions. That final ingredient is essential to the sound of The Car, contributing to its 10 tracks a consistent personality, a bit like an old Sinatra record as arranged by Nelson Riddle.

“Those arrangements of Sinatra were definitely on when I was in the passenger seat as a kid,” says Turner, whose songwriting usually begins on piano, where he sometimes drifts towards the kind of chord structures his father played at home. “But obviously it’s not swinging quite in the way that stuff is.”

For all the willingness to slow down and use understatement along with noisy guitars, the Monkeys remain at their core a rock band. So Turner embraced the idea of using each piece only as needed, with the strings rising at one moment, then disappearing as the rock instruments roar back. With Tranquility Base, the band looked to create a consistent sound and mood from song to song, and The Car takes that a step further, sounding like a larger work rather than a collection of songs.

“I think we’ve done a better job this time with the dynamics of the whole thing, like allowing each element to have its space and come into focus and disappear when the time is right,” he says. “I felt like there had to be some caution, like the alarms going off: Don’t just go throwing the strings on top of the rock band sort of thing. Let’s try and find a way that it can sort of take turns. There was an idea before the record about splicing two things together from a totally different time and space.”

“Body Paint” captures that balance, starting gently with strings before leading to an explosive guitar piece played by guest Tom Rowley. Turner hadn’t imagined that particular crescendo when laboring over the song alone in a room, before reinterpreting it with the full band. “Having everybody there, it gives you that energy of the band you can’t really replicate,” he says, adding he welcomes the surprises.

There is also an undeniable strain of funk across the songs, which marks a different kind of blast from their past. “It did probably start with opening the drawer and finding the old wah-wah pedal again from 15 years ago,” says Turner. “I’m thinking, ‘Wow, let’s audition that again in this creative juncture.’ When we played it in rehearsal in the first place, it was exciting to sort of blow the dust off the wah-wah pedal.”

That makes The Car a record they could only have made now. The original sound and energy of the Arctic Monkeys wasn’t ready for it. They weren’t self-aware enough to have such aspirations.

“We wouldn’t have been able to do this 10 years ago, or 15 years ago,” confirms Helders. “Everyone sort of learned their instruments at the same time, at the same pace and got better. We’ve got to a place where we can make music like this.

"I think everything happened at the right time.”

#interview #arctic monkeys #alex turner #matt helders #the car era #spin 2022

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worldbytenews · 4 days ago

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From AI to private equity: Investors reveal how to play Trump 2.0on February 7, 2025 at 6:30 am

As markets weigh the return of U.S. President Donald Trump, investors at a CNBC “Delivering Alpha” event in Hong Kong discussed where to find long-term growth. Panelists including Fred Hu, founder, chairman and CEO of Primavera Capital, and Lincoln Pan, partner and co-head of private equity at PAG, discussed these issues and more with Emily Tan last month.As markets weigh the return of U.S.…

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longliveblackness · 3 years ago

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The Strange Disappearance of Lloyd Gaines

Lloyd Gaines had just become a civil rights pioneer.

Denied admission to the University of Missouri's Law School in 1935 because he was African American, Gaines sued, without much hope of winning in Jim Crow America.

Yet after the U.S. Supreme Court finally heard his case in 1938, the justices ruled that unless Missouri created a black law school overnight, it would have to admit Gaines to the all-white law school.

This was astonishing news for a black boy born dirt-poor in rural Mississippi who had watched racism follow his family's migration north to St. Louis.

In the spring of 1939 it appeared, remarkably, that Gaines would enter the Missouri Law School later that year as the first African American ever enrolled there.

On the cold, rainy evening of March 19, Gaines told a housemate he was going to buy stamps. He went out and was never seen again.

•••

La extraña desaparición de Lloyd Gaines

Lloyd Gaines se ha convertido en un pionero de los derechos humanos. Se le negó la admisión a la Facultad de Derecho de la Universidad de Missouri por ser afroamericano, esto fue en el año de 1935.

Gaines los demandó sin esperanzas de ganar en una América en era de Jim Crow.

Aún así, después de que la Suprema Corte Estadounidense finalmente escuchó su caso en el año 1938, los jueces dictaminaron que a menos que Missouri creara una facultad de Derecho para personas negras de la noche a la mañana, tendrían que permitirle la admisión a Gaines a la facultad de derecho creada exclusivamente para personas blancas.

Esta fue una noticia asombrosa para el niño negro que había nacido en la pobreza extrema en la zona rural de Mississippi que había visto cómo el racismo había seguido la migración de su familia hasta el norte de St. Louis.

Sorprendentemente, en la primavera de 1939 parecía que Gaines ingresaría a la Facultad de Derecho de Missouri ese mismo año como el primer afroamericano en haberse inscrito allí.

En una noche fría y lluviosa el 19 de marzo, Gaines le dijo a un compañero de viviendo que saldría a comprar estampillas postales. Salió y nunca lo volvieron a ver.

#blacklivesalwaysmatter #blacklivesmatter #history #blackhistory #english #spanish #read #share #culture #blackpeoplematter #law school #missouri #knowyourhistory #knowledge #law student #disappearance #blackhistorymonth

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ameymeti2001 · 2 years ago

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Europe Lipid Ingredients Market for Cosmetics Worth $3.60 billion by 2028

According to this latest publication from Meticulous Research®, the Europe lipid ingredients market for cosmetics is expected to record a CAGR of 3.9% from 2021 to 2028 to reach $3.6 billion by 2028. The growth of this market is expected to be driven by the factors such as rising investment for the development of innovative/customized lipid ingredients, growing consumer demand for cosmetics with nutrient-enriched vegetable oils, rising demand for natural cosmetic ingredients, and increasing demand for skincare products in the region. However, the availability of substitutes such as mineral oil can hinder market growth. In addition, the limited availability of some lipid ingredients places challenges for the lipid ingredients market in Europe.

The Europe lipid ingredients market for cosmetics is mainly segmented on the basis of source, application, and geography. The study also evaluates industry competitors and analyzes the market at the country level.

Based on source, the Europe lipid ingredients market for cosmetics is mainly segmented into plants, animals, and novel lipid sources. In 2021, the plants segment is estimated to account for the largest share of the Europe lipid ingredients market for cosmetics. The large share is mainly attributed to the rising demand for plant-sourced lipid ingredients in the cosmetics market, the growing need for organic and natural beauty products, and consumer demand for non-toxic and non-irritating cosmetics. Further, plant oil is widely adopted in cosmetics products as an alternative to mineral oils.

Based on the application, the lipid ingredients market is mainly segmented into skincare, haircare, and other applications. The skincare segment is expected to command the fast growth of the overall Europe lipid ingredients market for cosmetics during the forecasted period. The segment's fast growth is mainly attributed to the shift in consumer focus towards anti-aging skincare products and acne-reducing solutions, growing demand for natural skincare products, and increasing demand for luxury skincare products. Furthermore, rising skin problems are also fueling the demand for skincare products in the region.

Based on country, the lipid ingredients market for cosmetics is segmented into Germany, France, U.K., Poland, Netherlands, Switzerland, Austria, Czech Republic, Belgium, Finland, Denmark, Sweden, Norway, Baltic Countries, and the Rest of Europe. In 2021, Germany is estimated to account for the largest share of the overall Europe lipid ingredients market for cosmetics. This country’s prominent position in this market is primarily attributed to the largest consumer market for cosmetics in Europe and major production centers for conventional and natural cosmetics. For instance, Beiersdorf is the most important cosmetics company. Important natural and organic cosmetics companies include Lavera, Logona (L’Oréal), Dr. Hauschka, and Primavera Life. The Swiss natural cosmetics company Weleda also has a manufacturing facility in Germany.

Some of the most important cosmetics companies operating in Europe are L’Oréal S.A. (France), Unilever PLC (U.K.), The Procter & Gamble Company (U.S.), Beiersdorf AG (Germany), Coty Inc. (U.S.) Avon Products, Inc (Subsidiaries of Natura & Co, Holding S.A.) (U.K.), The Estée Lauder Companies Inc. (U.S.), Revlon Inc. (U.S.), Shiseido Company, Limited (Japan), Colgate-Palmolive Company (U.S.), Johnson & Johnson (U.S.), Kao Corporation (Japan), L'Occitane International S.A. (France), LVMH Moët Hennessy Louis Vuitton (France), and Sally Beauty Holdings, Inc. (U.S.). Important natural and ethical cosmetics companies are Weleda (Switzerland), Neal’s Yard Remedies (U.K.), Léa Nature (France), Lush (U.K.), Yves Rocher (France), and The Body Shop (U.K.).

The key players operating in the Europe lipid ingredients market for cosmetics are KONINKLIJKE DSM N.V./DSM (Netherlands), Archer-Daniels-Midland Company (U.S.), Stepan Company (U.S.), Cargill Incorporated (U.S.), BASF SE (Germany), Croda International PLC (U.K.), Merck Group (Germany), NOF Europe GmbH (Subsidiary of NOF Corporation) (Japan), Neptune Wellness Solutions, Inc. (Canada), ABITEC Corporation (U.S.), Lipoid GmbH (Germany), Polaris (France), Sonic Biochem Extraction Pvt Ltd. (India), Nordic Naturals Inc. (U.S.), and Solutex GC Sl (Spain), among others.

𝑺𝒑𝒆𝒂𝒌 𝒕𝒐 𝑨𝒏𝒂𝒍𝒚𝒔𝒕: https://www.meticulousresearch.com/speak-to-analyst/cp_id=5206?utm_source=Product&utm_medium=Social&utm_campaign=Product&utm_content=30-12-2022

Scope of the report

Lipid Ingredients Market for Cosmetics Production, By Source/Type

Plants

Vegetable Oil

Nuts Oil

Fruit Seeds

Other Plant-sourced Lipid Ingredients

Animals

Fish Oil

Other Animal-sourced Lipid Ingredients

Novel Lipid Sources

Microalgae

Insects

Lipid Ingredients Market for Cosmetics Production, By Application

Skincare products

Haircare products

Others

Lipid Ingredients Market for Cosmetics Production, By Country

Germany

France

U.K.

The Netherlands

Belgium

Poland

Norway

Sweden

Denmark

Austria

Finland

Switzerland

Czech Republic

The Baltic countries

Rest of Europe

𝑫𝒐𝒘𝒏𝒍𝒐𝒂𝒅 𝑺𝒂𝒎𝒑𝒍𝒆 𝑹𝒆𝒑𝒐𝒓𝒕 -https://www.meticulousresearch.com/download-sample-report/cp_id=5206?utm_source=Product&utm_medium=Social&utm_campaign=Product&utm_content=30-12-2022

#food & beverage #lipid

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