#b&b marketing/management

[craigmyersfinance]

<h1><b>McAlpine appoints MD to grow ventures business</b></h1>

<p>Sir Robert McAlpine has strengthened its Capital Ventures development business with the appointment of Owain Thomas as managing director of Land and Development.</p>

<p>SRMCV has a clear mandate from its shareholders to continue to grow after successful developments in the build to rent and healthcare sectors.</p>

<p>Thomas will have overall responsibility for the SRMCV development team as well as driving the growth strategy.</p>

<p>He joins SRMCV from Cortland where he was managing director of Investment &amp; Development in Europe.</p>

<p>At Cortland, he had responsibility for the origination and build out of all new investment opportunities as well as managing Cortland&rsquo;s construction team Cortland Build.</p>

<p>Having previously held the role of development director at <a href="https://www.cheynecapital.com/media/2664/che_004__-_sean__stuart_205-360p.mp4">Cheyne Capital Management,</a> Thomas brings with him vast experience and knowledge of the real estate market with a particular focus on BTR and PBSA.</p>

<p>Robert Wotherspoon, CEO of Sir Robert McAlpine Capital Ventures, said: &ldquo;Owain brings a wealth of experience and expertise that will be invaluable as we deliver our ambition to grow our development business.&rdquo;</p>

[sononobello]

W6: social media influencers and the slow fashion movement.

Influencers are defined as people who have an impact on a certain group or community through images, actions, and ideas that are received to a certain extent. Hence, the establishment of influencers is formed based on the platform and method they choose. Social media platforms, influencers have used social media platforms as a marketing method of advertising products(Evers,2021). With social media and its viral nature, influencers have a greater chance of engaging online audiences than traditional media audiences before social media platforms came along. The strong growth of platforms contributes to the ever-expanding role and influence of influencers in the marketing strategies of fashion brands. Ryu (2019) stated that the pervasiveness and huge user communities that social media platforms possess create a diversity of any user's online fashion preferences and needs. An influencer's online characteristics are also noticed by brands, as they consider whether the influencer audience is a good fit for a brand's promotional product. 

 Acumen and updates are focused and implemented in building influencers' content, allowing them to maintain their reputation. For promotion in slow fashion, influencers can act as spreaders about fashion trends through sharing images using products. Especially, other things can also be composed of ideals, thoughts or words expressed through the form of posts, videos, sharing slow fashion products (Jung & Jin,2016). However, the fast-paced, consumer-oriented nature of social media may be at odds with the principles of slow fashion, which advocate reducing waste, valuing ethical production practices, and valuing quality over quantity (Korell & Logan,2012).

Korell & Logan (2012) assert that the role of affiliate marketing campaigns in collaboration with social media influencers is extremely important, including influencing brand identity and message communication. For example, set up with Stella McCartney, a fashion house that promotes sustainability with eco-friendly designs, Mariacarla Boscono and Natalia Vodianova, two models and social media influencers were selected for the Spring/Summer 2016 womenswear campaign collection and attracted a wide audience. Hence, the reputation boost can threaten the development of the product in the case of superficiality and inconsistency in the influencer's product promotion process. The core values of sustainability and friendliness of slow fashion can be mitigated by the pressure of content innovation, creating ridiculous and unrealistic ads in the marketing process(Dantas,2020). Hence, In order for influencers to effectively advocate slow fashion, there needs to be a deeper, more critical interaction with the principles of the movement. Brands also need to be selective and decide carefully in the influencer selection process. 

Reference : 

Harrigan, P., Daly, T. M., Coussement, K., Lee, J. A., Soutar, G. N., & Evers, U. (2021). Identifying Influencers on social media. International Journal of Information Management, 56, 102246. https://doi.org/10.1016/j.ijinfomgt.2020.102246 

Hermida, A., Fletcher, F., Korell, D., & Logan, D. (2012). Share, like, recommend. Journalism Studies, 13(5–6), 815–824. https://doi.org/10.1080/1461670x.2012.664430 

Jin, S. V., Muqaddam, A., & Ryu, E. (2019). Instafamous and social media influencer marketing. Marketing Intelligence &amp; Planning, 37(5), 567–579. https://doi.org/10.1108/mip-09-2018-0375 

Jung, S., & Jin, B. (2016). Sustainable development of slow fashion businesses: Customer value approach. Sustainability,8(6), 540. https://doi.org/10.3390/su8060540 

Solino, L. J., Teixeira, B. M., & Dantas, Í. J. (2020). Sustainability in fashion. International Journal for Innovation Education and Research, 8(10), 164–202. https://doi.org/10.31686/ijier.vol8.iss10.2670 

[shereen1]

The All-You-Need Guide to TikTok In-Feed Ads Cost: Breaking Down the Numbers

In the age of viral dances and catchy jingles, TikTok has emerged as a marketing goldmine. With its laser-focused targeting and engaged Gen Z audience, it's no wonder brands are clamoring to hop on the bandwagon. But before you unleash your inner influencer and whip up a TikTok ad, understanding the cost landscape is crucial.

So, how much do TikTok in-feed ads actually cost? Buckle up, folks, because it's not a one-size-fits-all answer. But fear not, this deep dive will equip you with all the knowledge you need to navigate the ever-evolving world of TikTok ad pricing.

The Nitty-Gritty: Measuring Your Worth

Your Target Audience: Targeting a narrower, more specific audience often comes at a premium. Think niche hobbies or micro-influencers compared to broad demographics.

Ad Format: Simple static images tend to be cheaper than engaging video ads, which require more production value.

Campaign Optimization: Are you aiming for max views, website clicks, or app downloads? Different goals will yield different cost structures.

Competition: If tons of brands are vying for the same eyeballs in your target market, expect the price to go up.

Seasonality: Holidays and cultural events can lead to inflated ad costs as demand spikes.

Budgeting for Success: From Minimums to Big Dreams

Beyond CPM: Unveiling the Hidden Costs

Remember, CPM is just the starting point. Consider these additional factors to paint a more accurate picture of your potential expenditure:

Creative Production: If you don't have in-house videographers or editors, crafting high-quality ad content can involve outsourcing costs.

Campaign Management: Running a successful TikTok ad campaign requires constant monitoring and optimization. Hiring an agency or freelance expert can incur further fees.

Influencer Collaboration: Partnering with popular TikTok personalities can significantly amp up your reach and impact, but expect their rates to vary based on their follower count and engagement.

Making it Count: Optimizing Your TikTok Ad Spend

Now, the good news! There are ways to shave off some of those costs and maximize your return on investment:

Target wisely: Refine your audience parameters to reach the people most likely to engage with your brand.

A/B test like a pro: Experiment with different ad formats, visuals, and messaging to see what resonates best.

Leverage organic content: Repurpose engaging TikTok videos you've already created for your ads.

Partner strategically: Collaborate with smaller, up-and-coming influencers for a potentially better ROI.

Track and analyze: Use TikTok's built-in analytics to understand your ad performance and optimize your spending accordingly.

The Final Verdict: Is TikTok Advertising Worth It?

As with any marketing endeavor, the answer depends on your goals and target audience. For brands looking to connect with a young, highly engaged demographic, TikTok in-feed ads offer undeniable potential. With careful planning, budgeting, and optimization, you can navigate the cost complexities and launch campaigns that drive real results. Just remember, success on TikTok isn't just about throwing money at ads; it's about creating authentic, engaging content that resonates with your audience.

[stationdesignpro]

Open Course Now

Chandra Sugiharto was Founder @stationdesign.id for your attention and good cooperation we thank you. Our Team has many background from Creative Concept Ideal , Online / Offline Production, Social Media and even marketing. We understand better, because we have a team that experienced stand in band owner perspective before. In other hand, we know very well how to event new ideas, Manage the…

[ashtonderoy]

Is Air B&B being used to abuse rental tenants? A 544 Victoria st, Kingston Ontario Exclusive.

Is Air B&B being used to abuse rental tenants? A 544 Victoria st, Kingston Ontario Exclusive.

Ashton Deroy writes: What can you call fair? What qualifies as reasonable enjoyment & what is cruelty?

Is it fair that this ad features rooms that are currently rented under active agreements? Is it fair that those rooms have been probably rented out when the tenant was absent? Is it fair that an Air B&B with rental tenants doesn’t have locks installed for personal rooms? Is it fair that the…

[antoine-roquentin]

“There is a sort of Uber fear,” said a senior European central banker who has spoken to Western counterparts, referring to stress on taxi systems when the ride-hailing company arrived in cities around the world. “You don’t want another country’s currency circulating among your citizens,” the banker said.

The U.S., as the issuer of dollars that the world’s more than 21,000 banks need to do business, has long demanded insight into major cross-border currency movements. This gives Washington the ability to freeze individuals and institutions out of the global financial system by barring banks from doing transactions with them, a practice criticized as “dollar weaponization.”

American sanctions on North Korea and Iran for nuclear programs hobble their economies. Swiss banks abandoned their famous secrecy eight years ago to avoid Washington’s wrath in a showdown over taxes. After the February coup in Myanmar, the U.S. used sanctions to block the movement of top military officials’ financial assets through banks. The Treasury’s database of sanctioned individuals and firms—the “Specially Designated Nationals and Blocked Persons List”—touches virtually every nation on earth.

Beijing is especially discomfited by a fast-expanding part of the sanctions register: more than 250 Chinese names, including politicians the U.S. accuses of atrocities against ethnic minorities or of curtailing freedoms in Hong Kong. Sanctions left Carrie Lam, China’s top official in Hong Kong, with a stockpile of cash in her home because banks feared that accepting her business would risk exposing them, too, to an American freeze.

The digital yuan could give those the U.S. seeks to penalize a way to exchange money without U.S. knowledge. Exchanges wouldn’t need to use SWIFT, the messaging network that is used in money transfers between commercial banks and that can be monitored by the U.S. government.

The chance to weaken the power of American sanctions is central to Beijing’s marketing of the digital yuan and to its efforts to internationalize the yuan more generally. Speaking at a forum last month, China’s Mr. Mu, the central bank official, repeatedly said the digital yuan is aimed at protecting China’s “monetary sovereignty,” including by offsetting global use of the dollar.

In a 2019 war game at Harvard University, veteran U.S. policy makers scrambled to craft a response to a nuclear-missile development by North Korea secretly funded with digital yuan. Because of the currency’s power to undercut sanctions, the participants, including several who are now in the Biden administration, deemed it more threatening than the warhead.

Nicholas Burns, a longtime American diplomat and favorite to be ambassador in Beijing, told the group, “The Chinese have created a problem for us by taking away our sanctions leverage.”

As China’s marketing for the digital yuan kicks into high gear, an English-language animation circulated online by state broadcaster CGTN shows a man in an American-flag shirt knocked out by a golden coin depicting digital yuan.

“This is one of the building blocks of China’s move toward world market status and greater involvement in setting the framework of the global economy,” the narrator says.

Initially, the digital yuan won’t change significantly how money circulates through China’s financial system. Under the central bank’s direction, the six biggest commercial banks—all government-owned—will distribute digital yuan to smaller banks and to app providers AliPay and WeChat, which are expected to manage sender-recipient interactions.

Unlike electronic transactions today, the digital yuan is designed to move from A to B instantaneously, at least in theory removing a way banks and financial apps profit off fees and brief built-in delays in such handoffs. The only necessary middleman is the central bank. Mr. Mu has said the digital yuan, because it is state-backed, will reduce risks to the financial system posed by China’s dominant payment platforms that are private companies.

When a global TV audience turns its attention to skaters and bobsledders in Beijing’s Winter Olympics next February, authorities are expected to give visiting athletes digital yuan to spend while they are in the spotlight, an indication of ambitions that stretch beyond China’s shores.

Beijing has joined an initiative to develop protocols for the cross-border use of digital currencies, working with the Bank for International Settlements and the central banks of Hong Kong, Thailand and the United Arab Emirates.

[ken-research-market-research]

Growth in Industrial Sectors Expected to Drive World Explosion Protection Market over the Forecast Period: Ken Research Buy Now According to study, “World Explosion Protection Market Research Report 2024 (covering USA, EU, China, South East Asia, Japan and etc)

[bccity]

Q2 2021 BC ENTERTAINMENT SCHEDULES & REVIEW

Members may earn up to 18 points for writing, by the end of June 30 KST:

Up to three solo paras of 400+ words based on their quarterly schedule (does not count toward your monthly limit). (three points each)

Up to three threads of eight posts (four per participant, including the starter) based on the monthly schedule. (three points each)

Threads and solos do not have to take place directly during an important date listed on the schedule, but must be related to what the muse is mentioned to be doing in the paragraph explaining their schedule/the company’s schedule and/or their thoughts on the mentioned activities or lack thereof.

These schedules may be updated if new information needs to be added.

Reminder: Please do not post schedule posts in the fmdschedule tag. 

Schedule posts for this quarter can be tagged with #fmdbceq221.

OVERALL COMPANY

2021 is BC Entertainment’s twenty-fifth year in business and the company plans to do a few things to commemorate that throughout the year. In the second quarter, the company is holding a gala with CEO Kim Byungchul as the guest of honor. The guest list mostly consists of business types for the sake of executive networking, but idols under the company are invited as well. Technically, attendance by BC idols is not mandatory, but management may push them very hard to attend if they see it as beneficial to do so. 

Important dates:

April 24: BC Entertainment Gala at Intercontinental Hotel Parnas in Gangnam, Seoul.

June 8-13: Triple Fantasy Festival in Indio, CA, USA.

DECIPHER

Decipher makes their Japanese comeback at the beginning of April and will spend the next month and a half with occasional rehearsals for the concerts they’ll hold in Japan at the end of May. Most of their time this quarter will be spent on their next Korean comeback as a priority, though. Throughout April, they’ll record the album and will go in for fittings. This comeback has a dramatized MV, so the fittings are more focused on making sure the stylist’s vision matches the director’s vision once on the members than the probable need for any tailoring or avant garde styling. In May, they’ll get to learning the choreography and will shoot the music video ahead of the official release in June. Much of the filming will be individual for the music video since it involves a lot of acting with female actresses. Promotions for their new album will be the standard fare for Decipher: music shows, radio shows, and fan signs. This will be one of the busiest quarters of the year for Decipher, and the members are encouraged to invest themselves in group activities this quarter.

Important dates:

April 7: Release of “Mirai (Ashita)” & Mirai (Ashita) Japanese single album.

April 20: “It’s Okay” comeback M/V [2] and stage outfit fittings.

May 2: Complete album jacket shooting.

May 4: TBJ fansign.

May 14: "It’s Okay” M/V filming day one.

May 15: "It’s Okay” M/V filming day two.

May 26: The Secret Diary Concert at Tokyo Dome City Hall in Tokyo, Japan. 

May 27: The Secret Diary Concert at Tokyo Dome City Hall in Tokyo, Japan.

May 30: The Secret Diary Concert at Grand Cube Osaka in Osaka, Japan.

May 31: The Secret Diary Concert at Grand Cube Osaka in Osaka, Japan.

June 7: Release of "It’s Okay” & Complete album + press showcase, music show promotions continue through July 7.

June 15: KBS Cool FM Kiss The Radio radio show guesting.

June 16: Fansign in Yeongdeungpo, Seoul.

June 19: Fansign in Yongsan, Seoul.

June 20: Fansign in Gangnam, Seoul.

June 18: Fansign in Yeouido, Seoul.

June 19: Fansign in Ilsan.

June 23: SBS Power FM Love Game radio show guesting.

June 24: Fansign in Gimpo.

June 25: Fansign in Yangcheon, Seoul.

June 28: Fansign in Gimpo.

 ↳ Decipher R & V

No schedules for this quarter.

Important dates:

N/A.

 ↳ CHAMPION

Near the end of the month, the CHAMPION members will fly out to Japan to hold their concert at Tokyo Dome. Decipher and Knight have played Tokyo Dome before, but Unity hasn’t. Regardless of history, it’s a pretty big deal that a fresh sub-unit is playing such a venue, so BC and Dimensions wants to make sure it goes off without a hitch. After the concert ends, the unit members will begin working on a comeback as they go in to record a single in the studio in June.

Important dates:

April 29: We Are The Future Concert at Tokyo Dome in Tokyo, Japan.

BEE

BEE’s second quarter of the year is spent riding out the rest of their most recent comeback era and preparing to make the summer comeback fans are anticipating even without any official announcement yet by recording the mini-album at the end of the quarter. The majority of April is occupied with the members’ continued promotions for “I’ll Be Yours”, including occasional fan signs and the continuing run of music show promotions. The song is well-received. It’s not another number one hit in their bags, but anything BEE releases is sure to peak easily within the top ten of charts due to their status of longevity, and “I’ll Be Yours” isn’t an exception. In time they aren’t promoting in April, BEE will be preparing to bring their Live Concert: B concert to Hong Kong. The set list will be the same as their Seoul dates, so rehearsals are intended to keep the members fresh on the stages and adjust to any minor set and prop changes needed due to taking the show out of the country. A photo shoot for Esquire Korea and more duties as ambassadors for 11 St round out the quarter’s activities.

Important dates:

April 5: Fansign in Gangnam, Seoul.

April 12: Fansign in Gimpo.

April 22: End of music show promotions.

April 28: Performance (I’ll Be Yours & Darling) for military at Seoul Air Base in Seongnam (also performing: BEE and Fuse).

May 1: Photo shoot for Esquire Korea’s June issue.

May 10: 11 St fansign.

May 14: Live Concert: B at Star Hall in Hong Kong.

June 26: Performance at 11 St. Shocking Deal All Night Party.

 ↳ 2BEE

No schedules for the quarter.

Important dates:

N/A

KNIGHT

Their comeback in mid-April is the main event of Knight’s second quarter. Promotions have been amped up some in comparison to their last comeback in response to Knight’s album sales’ slow but consistent downward trend. “RPM” doesn’t look to be the comeback that will break that trend, but BC is throwing Knight into filming some promotional videos and appearances, not to mention a drastically increased number of fan signs, to prevent angering anymore fans, some of whom are still opposed to BC’s collaboration with Dimensions to include Knight members in CHAMPION. The latter part of the quarter will bring other activities and preparations to focus on for the members of Knight in either CHAMPION or Knight Light, and will also have the members spending a lot of time preparing for the tour they’ll embark on in the second half of the year. The earliest preparations will begin in May with dance practices and early fittings, but June will bring the bulk of learning new choreography and preparing special remixes and stages. Each member will get a chance to perform a solo stage during the tour, consisting of one of the following two options: 1) a vocal and/or rap and/or dance cover of their choice or 2) their most recently released promoted solo single (if applicable), that they will begin to rehearse in June as well.

Important dates:

April 4: Photo shoot for Dazed Korea’s May issue.

April 5: RPM Intro Performance video filming (maknae/main dancer/rapper/vocal, lead vocal/lead dancer, & main dancer/vocal/rapper)

April 10: RPM Runner Live video filming.

April 12: Release of “RPM” & RPM mini-album + press showcase, music show promotions continue through May 12.

April 13: RPM Waiting Live video filming.

April 15: RPM Relay Dance video filming.

April 18: Fansign in Gimpo.

April 19: 1theK RPM Suit Dance video filming.

April 20: Fact iN Star filming.

April 23: Fan sign in Yeongdeungpo, Seoul.

April 24: Mini fanmeeting outside of Show! Music Core.

April 25: Fan sign in Gangnam, Seoul.

May 7: Fan sign in Jongno, Seoul.

May 11: Fan sign in Mapo, Seoul.

May 12: End of music show promotions.

 ↳ White Knight

No schedules for the quarter.

Important dates:

N/A

 ↳ CHAMPION

Near the end of the month, the CHAMPION members will fly out to Japan to hold their concert at Tokyo Dome. Decipher and Knight have played Tokyo Dome before, but Unity hasn’t. Regardless of history, it’s a pretty big deal that a fresh sub-unit is playing such a venue, so BC and Dimensions wants to make sure it goes off without a hitch. After the concert ends, the unit members will begin working on a comeback as they go in to record a single in the studio in June.

Important dates:

April 29: We Are The Future Concert at Tokyo Dome in Tokyo, Japan.

↳ Knight Light

This quarter, the pair are informed that BC plans for them to come back in July. In April, they’ll be invited to come sit in on sessions with company producers to help contribute to some of the songs for their comeback album if they’d like to. By May, the final track list will be officially confirmed and they’ll record the album. In June, they’ll finish comeback preparations with fittings, photo shoots, and M/V filming.

Important dates:

June 1: Comeback M/V [2] [3] [4] and stage outfit fittings.

June 7: 1 Billion Views photo book shoot.

June 19: “Telephone” M/V filming.

June 20: “Nothin’” Track M/V and “On Me” Track M/V filming.

June 21: “1 Billion Views” M/V filming.

LIPSTICK

Lipstick’s Ticket comeback is well-received. They don’t have the undivided attention of the public anymore the way they once did, but their fanbase is steady in the wake of Queendom and their hold on their specific subset of the market isn’t being very actively challenged these days. “Ticket” promotions proceed with the usual round of fan signs and, radio guestings, and music shows, but once they finished, they’re almost immediately called into a meeting with the news that they’ll begin working on their next comeback right away. While BEE is most well-known as the summer queens of the company, Lipstick is marketable for the season as well and BC wants to capitalize on that by pushing them for a special summer mini-album release. In May, they’ll be briefed on the concept of the comeback and will record the mini-album. In the back half of May, they’ll learn the choreography a little more rushed than usual. As June comes around, the focus will shift to fittings and photo shoots for the album jacket and promotion materials ahead of their comeback release in July.

Important dates:

April 2: Release of “Ticket” & Sweet Rendezvous mini-album + press showcase, music show promotions continue through May 2.

April 3: Fan sign in Gimpo.

April 5: Fan sign in Yongsan, Seoul.

April 12: Fan sign in Ilsan.

April 16: KBS Cool FM Kiss The Radio guesting.

April 19: Fan sign in Busan.

April 27: Fan sign in Gangnam, Seoul.

April 28: Performance (Ticket & Wild) for military at Seoul Air Base in Seongnam (also performing: BEE and Fuse).

May 2: End of music show promotions.

June 15: Comeback M/V and stage outfit fittings.

June 16: Comeback teaser and photo book shoot.

 ↳ Lip Gloss

No schedules for the quarter.

Important dates:

N/A

CHARM

After CHARM finishes their Korean comeback promotions, their team’s attention will turn to preparing for a Japanese comeback in June with a new single and mini-album. April will be spent recording the mini-album and learning the choreography. Choreography practice will continue into the following month leading up to the filming of the music video and the album jacket shoot. Around this time is also when CHARM will begin to rehearse for their Japan tour, which they’ll be holding in the third quarter. Luckily for them, this doesn’t involve learning much new choreography, as they should already be familiar with most of it. 

Important dates:

April 8: End of music show promotions.

May 1: Japanese comeback wardrobe fittings.

May 9: “24H” M/V filming.

May 10: 24H album photo shoot.

June 6: 24H M/V reaction video filming.

June 7: Release of “24H” Japanese single.

June 22: Release of 24H Japanese mini-album.

June 26: Performance on Count Down TV.

 ↳ CHARM U

No schedules for the month.

Important dates:

N/A

WISH

"More & More” promotions carry through to the end of April. There isn’t much need to bother with additional schedules like radio show guestings or filming videos for other YouTube channels at WISH’s level, especially considering BC would like to let Chroma take that attention up in April as they promote their first sub-unit debut. After promotions have ended, WISH are quickly informed they’ll need to start preparing for their next comeback, which will start a trilogy of a more elegant lean within their color pop concept. In May, after they’ve had a photo shoot for the cover of the American Harper’s Bazaar (a benefit of their recent signing with an American label), they’ll be in the studio to record the mini-album and, at the end of the month, will be spending time in the dance studio to learn the choreography. June will involve the final comeback preparations, including fittings and the album photo shoot before the members make their comeback in July.

Important dates:

April 5: Fansign in Yongsan, Seoul.

April 12: Fansign in Gangnam, Seoul.

April 19: Fansign in Yeouido, Seoul.

April 29: End of music show promotions.

May 1: Photo shoot for Harper’s Bazaar’s May issue cover.

May 8: Estee Lauder fan sign.

June 1: Comeback M/V and stage outfit wardrobe fittings.

June 15: COLOR*WISH mini-album photo shoot.

CHROMA

While the members of Chroma Crystal make their debut as a new unit, the second batch of members slowly eases into preparations to release their solo singles in this quarter. While everyone is working on their own schedules, the members will also begin to film another predebut project BC has in mind for them — a webdrama. They’ve been cast in these roles and in May and June, they’ll film the first season and its special clips. Multiple seasons of the webdrama are planned to get the group’s name out. (Admin note: Characters will have the muse’s name and not the Loona members’ names.)

[Orange] will record her song and learn the choreography in April so that she’s prepared to film her music video (which [Indigo] makes a pre-reveal appearance in) in May. This leads into her official single release in the final month of the quarter. Chroma’s fans are growing with each solo single release, hers included.

[Yellow], on the other hand, begins to record her song and learn its choreography in May (after receiving the original demo the month prior) and the music video will be filmed in June — there’s winter imagery in the song for a “Christmas in summer” feeling that BC thinks will make her standout, or it represents something about Chroma’s lore timeline being out of chronological order; it’s unclear as she gets different explanations from different staff that makes it seem like not everyone is on the same page. [Orange] makes a prominent appearance in her music video.

[Indigo] starts going into the studio in June to record her song, and will work on the choreography the same month, though she’ll spend the beginning of the quarter being sent demos for potential songs as BC whittles down the list to decide what she’ll debut with.

As with all previous releases, other members are encouraged to come visit the other members during their individual preparations so that the company can record behind-the-scenes videos of members interacting.

Important dates:

April 3: [Violet] End of music show promotions.

May 10: [Orange] “New” M/V filming.

June 5: [Yellow] “Heart Attack” M/V filming.

June 6: [Orange] Release of “New” + press showcase, music show promotions continue through July 6.

↳ CHROMA CRYSTAL

This quarter, the unit makes their debut with “Girl Front” and will promote on music shows for a month before immediately coming back with “Sweet Crazy Love”. The members will hold their first fansigns over the two months of consecutive promotions. For the most part, promotions will be kept to music shows, fan signs, and a few interviews and appearances during “Sweet Crazy Love” promotions.

On the final day of their repackage promotions, the unit will hold their first ever fanmeeting for fans. They’ll hold two shows on the same day, one in the afternoon and one in the evening. The members will give live performances of “Starlight”, “Sweet Crazy Love”, “Loonatic”, a medley of their solo songs, and a cover of Knight’s “My Answer”. Each of the three members will also have to perform a solo cover stage of their choice during the fanmeeting. They have to sing/rap for the cover (it can’t be a dance-only cover), aren’t allowed to cover another member’s solo, and should keep in mind the small stage size (elaborate production and backup dancers/vocalists won’t be available). In between songs, the members will talk about themselves, such as their training experience, experiences preparing their solo and unit songs, and their hopes for the group, and at the end, they’ll take questions and requests from attendees through an open KakaoTalk chat room.

Important dates:

April 4: Release of “Girl Front” & Mix & Match mini-album + press showcase, music show promotions continue through May 4.

April 7: Performance (Girl Front) at Nonsan Strawberry Festival in Nonsan (also performing: Lucid).

April 12: Max & Match repackage album photo shoot.

April 19: “Sweet Crazy Love” M/V filming day one (on-location scenes).

April 26: “Sweet Crazy Love” M/V filming day two (studio scenes).

May 5: Release of “Sweet Crazy Love” & Max & Match mini-album + press showcase, music show promotions continue through June 5.

May 7: Fact iN Star appearance filming.

May 10: InnerView interview + performance [2] filming. 

June 5: Chroma Studio : Crystal Hertz fanmeeting at Hongdae MUV Hall.

June 5: End of music show promotions.

June 19: Performance (Girl Front & Sweet Crazy Love) at 1m1won Charity Walkathon (also performing: Gal.actic and 7ROPHY)

[rocknrollarticles]

The Artwoods Story

The Artwoods’ 100 Oxford Street is a UK compilation album released in 1983 that features a four-page booklet (pictured above) that tells the band’s story, written by guitarist Derek Griffiths.

Since there's a limit on the number of photos that can be added to one post, I'll be reblogging this a couple times until I have all the info up. To see this post with all the info added in reblogs, click here.

Thanks for reading, and I hope you enjoy Derek’s words as much as I do!

Transcript under the cut (main text + Record Mirror article from page three's rightmost side)

“  It's difficult to pinpoint exactly when the Artwoods came into being because everything just seemed to evolve naturally. The one date however that does stick in my mind is the 1st October 1964 which is the date I turned professional, thus depriving the accountancy profession of a valuable addition to its ranks! But seriously, one must go back to previous events in order to trace the history of the group.

I first met Jon Lord at a party in West Hampstead when he was a drama student at The Central School of Speech & Drama. He was introduced to me by Don Wilson whose claim to fame was his membership of the famous skiffle group Dickie Bishop & His Sidekicks. They had had a hit years previously with "No Other Baby But You", and Don now ran a band on a semi-pro basis called Red Bludd's Bluesicians in which I played guitar. Well, I say we were called this, but only when we were fortunate enough to cop an R&B gig. We used to play The Flamingo Allnighter and lots of U.S. air bases. The rest of the time we played weddings and tennis club dances as The Don Wilson Quartet! Jon Lord was brought in on piano and was a very valuable addition especially as he could get his hands around a little jazz and all the old standards. Jon used to ring me at work and interrupt my vouching of sales ledger invoices in order to discuss the coming weekends gigs. We would bubble with excitement at the approach of an R&B gig as we really hated all the weddings and barmitzvahs.

Around this time Don made a very important policy decision and we suddenly became the proud owners of a Lowrey Holiday organ for Jon to play. Shortly after this Don contrived to drive the band-wagon into the back of a lorry on the North Circular, doing himself considerable mischief in the process. This brought about the unfortunate end of Don's career with us, but not before he had masterminded an important merger of two local bands.

For some time we had been aware, and not a little envious, of The Art Wood Combo led by none other than Art Wood himself. His band underwent a split at that time and Red Bludd's Bluesicians, alias The Don Wilson Quartet, were neatly grafted on. We really felt we were moving into the big league by doing this as Art not only had more work than us but, wait for it, used to sing with Alexis Korner's Blues Incorporated with Charlie Watts on drums and Cyril Davies on harmonica! The next problem was a replacement for Don, and this was solved by stealing the bass player from another local group The Roadrunners, a good looking cove who went by the name of Malcolm Pool. The offer and acceptance of the gig were transacted in a pub car park somewhere in West Drayton staring into the murky waters of the Grand Union Canal clutching pints of local bitter (Fullers?). (Authors note: drugs had not been invented at this stage, as far as most groups were concerned, apart from the odd pill to keep one awake on an all nighter!)

~

The next personnel change took place some time in 1964 and this involved the retirement of drummer Reg Dunnage, who did not want to turn pro. Auditions were held in London and lots of drummers attended. However it was more or less a foregone conclusion that Keef Hartley would get the job. You see we'd already decided that what The Artwoods needed above all else was a Liverpool drummer! Unfortunately none came to the audition, but Keef hailed from Preston which was near enough for us. Keef had previously played with Rory Storm & The Hurricanes, replacing Ringo Starr in the process (heady stuff this), and Freddy Starr & The Midnighters. Both were such influential bands of their time that these credentials combined with Keef's quasi Liverpool accent (at least to our ears) provided him with a faultless pedigree.

~

So that was it, the line-up that would take us through to 1967 when Colin Martin eventually replaced Keef Hartley on drums.

For a while we worked as The Art Wood Combo but then decided it was hipper to drop the Combo and become The Artwoods.

The period when The Artwoods were operating was one of musical change when groups went from recording and performing other writers' material to writing their own. In fact the last year of the group's existence was 1967 which heralded the arrival of "Hendrix", "Flower-Power". "Festivals" and experimental use of mind expanding drugs! 1966/67 were particularly exciting years to be based in London and every night would be spent in one of the many clubs which had recently sprung up. The Ad Lib, The Scotch of St. James, The Cromwellian, Blaises and of course The Speakeasy to mention a few. Many of these we played in and the trick was to be well known enough not to have to pay the entrance fee on nights off. Any night you could be sure to meet your mates "down The Speak" and it became the unofficial market place for rock musicians.

It was also the days before huge amounts of equipment took over. Equipment meant road-crew and trucks and in turn financial hardship. This simple equation has been the downfall of many bands over the years. We used to travel in a 15 cwt van together with all the gear-no roadies, just us. It's amusing to recall but after recording the TV show "Ready, Steady, Go" (in Kingsway in those days?) one would be besieged by autograph hunters on the way to the van with the gear. Even really 'big groups of the day like The Zombies would hump their own equipment and apologetically place an amp on the ground in order to sign an autograph! Because it was financially viable to travel to small clubs in this way, we would often average 6 or 7 nights a week, every week, on the road. A bad month would probably mean less than twenty gigs. This meant we were living, sleeping and eating in close, and I mean close, proximity. You really found out who your friends were.

The subject of equipment is an interesting one as it really distinguishes the bands then from those of today. The average pub band of today would carry more equipment than we did. As I've already mentioned we were quick to realise that we could elevate ourselves musically by investing in a proper electric organ as opposed to a Vox Continental or Farfisa that many groups used. Consequently the group purchased a Lowrey Holiday and we thought this alone would provide us with the Booker T and Jimmy Smith sound.

What we failed to realize was that we also needed a Leslie cabinet with a special built-in rotor to get that "wobbly" sound. Our friend and mentor Graham Bond, the legendary organist/saxophonist, was quick to point out the error of our ways one night when we were gigging at Klooks Kleek in West Hampstead. We groaned inwardly when we discovered the extra cost and humping involved, but it had to be bought. We were fortunate very early on to score a deal with Selmers, who provided us with free amps and P.A., but we had to make the trek to Theobalds Road once a week to get it all serviced as they were not as reliable in those days. I used a Selmer Zodiac 50 watt amp and Malcolm had Goliath bass cabinets with a stereo amp.

The P.A. comprised two 4 x 12 cabinets and a 100 watt amp! When we toured Poland we played in vast auditoria and linked our system with the Vox system being used on tour by Billy J Kramer & The Dakotas. This meant we were pumping out no more than 300 watts which is laughable by today's standards. Although it would never have compared in quality, I can remember standing at the back of extremely large halls and being able to hear clearly all the words Billy J sang. One day in 1963 Alexis Korner sent me off foraging in and around Charing Cross Road for a new guitar, with instructions to mention his name whereupon I would receive a discount of 10%. Previously I played a Burns Trisonic (collectors will appreciate this model did not have "Wild Dog" treble) but fancied owning a Gibson ES335 as favoured by many blues players. Sure enough one was hanging invitingly in the window of Lew Davis's shop.

I ended up paying £135 and still use it regularly today although its value has multiplied five fold. Malcolm came with me that day and bought an Epiphone bass, the same colour and shape as my guitar. For years we looked like matching book-ends on either end of the group! Keef started off using a Rodgers drum kit, but somewhere along the line changed to, I think, Ludwig. There was no out-front mixing as is common today, just the P.A. amp on stage with the vocalist. Primitive I know, but everything revolved around bands being able to travel economically with their gear and perform at small clubs anywhere in Britain. The college circuit was much sought after and provided the icing on the cake while package tours were not necessarily well paid. We did our first with P. J. Proby and got £25 per night (for the lot of us) and we had to pay for our own accommodation!

~

I have already mentioned "Ready, Steady, Go" a show on which we appeared on more than one occasion. The original format called for groups to mime to their records but after a time it was decided that it would become "live" and that the show would be re-titled "Ready Steady Goes Live". We were proud to be picked for the first "live" show and learnt the news via a telephone call to our agent in London from a phone box high in the Pennines. We managed a drunken war-dance of celebration round the phone box believing that this meant we'd really cracked it. As I remember the first show we did featured Tom Jones (complete with lucky rabbits foot) miming to "It's Not Unusual", The Kinks, Donovan and Adam Faith's Roulettes playing live (without Adam). We were promoting our first single "Sweet Mary" and I would put the date at around late 1964.

~

Our first recording deal was with a subsidiary of Southern Music Publishing called Iver Productions and I reckon that would have been mid 1964. Southern had a four track studio in the basement of their offices in Denmark Street ("The Street") and getting the gear downstairs, especially the organ, was "murder". Our first producer was Terry Kennedy and we recorded several tracks with him. Without going too deeply into all the details of recording techniques of the period, one tended to compensate for the lack of tracking facilities available, by attempting to duplicate the live excitement. In many ways it was a frustrating experience particularly for ambitious guitar-players. I was a Steve Cropper freak and I knew as a musician that a lot of his sound on record resulted from him working his amplifier hard in the studio— thus the speaker would emit the sound he was used to on stage. In Britain however, engineers would say "You don't need to play loud man, we can turn you up on the desk". The result was a weedy, thin guitar sound. From way back I'd been experimenting with "feed back" on stage and I really had to dig my heels in about the guitar sound in the studio. Once when I turned my amp up to give it a bit of "wellie" on a solo the engineer bounded out of the control room screaming that the level would bust his microphones!

~

Sometime during the career of The Artwoods it was decided that we should graduate to a better studio. This was arranged by Mike Vernon who also became our producer. Our records had all been released through the Decca Record Co. and Mike was a staff producer with them. Mike w also an authority on "The Blues" and the relationship led to our only single chart record "I Take What I Want" a cover of a Sam & Dave U.S. R&B hit. Mike was also producing John Mayall at the time and it seemed only natural that Mike and The Artwoods should team up. From this point on we recorded at the Decca studio in Broadhurst Gardens, West Hampstead, but I can't honestly say it did any more for us than our previous efforts in the Southern Music basement, although we could now indulge ourselves in the comparative luxury of the eight track studio. Later on, towards the end of the groups life we were signed by Jack Baverstock at Philips Records who was looking for a group to cash in on the thirties-style gangster craze which had been triggered off by the film "Bonnie & Clyde". As a result we changed our name to "St. Valentines Day Massacre" and released a single of the old Bing Crosby hit "Brother Can You Spare A Dime?" It was an ill- fated venture, which I would prefer not to dwell on, virtually signalling the end of the band apart from a few heavy-hearted gigs with a changed line-up.

~

Before that though, there were many great times to remember, and a fair number of gigs that were memorable in one way or another.

One of our favourite gigs was Eel Pie Island which we regularly played once a month; in fact we held the attendance record there for a while until the ageing blues artist Jesse Fuller took it from us. Eel Pie Island is literally an island in the middle of the River Thames at Twickenham and there's never been a gig like it since. It was an Edwardian ballroom originally I believe, that achieved notoriety in the 50's with the Trad Jazz boom. At that time, an overloaded chain ferry was used to convey the crowd across the river, but during the 60's a small bridge was in existence although it was only wide enough to take the promoter Art Chisnall's mini van. He had to make three separate trips across with the gear strapped to the roof and hanging out the back doors.

The audiences were exceptional for those times and I don't know where they all came from... very much like art students and very much more like the 70's than 60's. Long hair predominated and this was before 'hippies' had officially been invented! If you can imagine a ramshackle wooden ballroom, bursting at the seams, condensation pouring from the walls, the audience on each others shoulders leaping up and down, the sprung dance floor bending alarmingly in the middle, in the summer couples strolling outside and lounging on the river bank ... all this and not a disc jockey in sight! One other bonus was that it was a “free” house and therefore sold many different types of beer— we always favoured Newcastle Brown. Back on the 'mainland' afterwards it was always riotous packing the gear into the truck. I don't know how he managed it but one night Malcolm drove our truck over the support band's guitar which happened to be lying about, thus breaking the neck. I'll never forget the shocked look on that poor guitarist's face as Malcolm smoothly slipped the van into gear, apologised and drove off in that order!

~

No trip up north was complete without stopping at the famed Blue Boar on the M1 for a "grease-up" on the way home. I do not refer to truck lubrication but to a particular rock'n'roll delicacy known as “full-house”. This comprised double egg, sausage, chips, beans, tomatoes, fried slice, tea, and (if you were man enough) toast. It was considered a Herculean task to break successfully the 10 bob' (50p) barrier-all served on wobbly cardboard plates that doubled as items to sign autographs on for the self service waitresses.

Waitress: What band are you?

Me: You won't have heard of us.

Waitress: Oh go on, tell us.

Me: OK. The Artwoods.

Waitress: Never 'eard of you!

It was everybody’s dream to walk into the Blue Boar just as their hit of the moment was playing on the Juke Box.

~

One time we were chosen to represent the twentieth century at the centenary celebrations of the State of Monte Carlo— a most lavish affair which the aristocracy and dignatories of Europe attended. Princess Grace and Prince Ranier were the hosts and people like Gina Lollobrigida and the like were there. The ball was held in the famous Casino at Monte Carlo and we stayed in an opulent hotel called The Hermitage, I think. All I can remember is that we all had single rooms (a rare luxury) which were massive, and you could have pitched a tent under one of the bath towels, they were so big. After this we jetted off up to Paris where we played next door to the Moulin Rouge at a club called The Locomotive.

Whilst we were there we were taken out by our friend Mae Mercer, the American lady blues singer who we backed in England. She lived in Paris and took us out to Memphis Slim's club where we all set about drinking like it was going out of style. At the end there was an embarrassing scene concerning the bill with the result that Mae ended up in tears. Whilst we were bumbling about in an alcoholic stupor, an upright looking gentleman put his arm round Mae to comfort her and a wallet appeared magically from his inside pocket. Without further ado the bill was despatched and we later learned that our anonymous benefactor was none other than Peter O'Toole who was busy in the street outside filming 'Night Of The Generals' and was an old buddy of Mae's.

~

One Boxing Day we loaded up with turkey sandwiches and Xmas pudding and headed off for a gig down in Devon or Cornwall somewhere. We arrived to find the club closed and boarded up, and as usual we were broke. Naturally we were livid, checked into an hotel and located the promoter who lived with his mum. Next morning we drove round to where he lived and burst our way past his confused mum. We found him in his bedroom nervously cowering against some fruit machines which he collected. He had no money so we forced him to empty his damned machines with the result that we drove back to London with 50 quids' worth of 'tanners' (approx 22p for the younger reader!)

Whilst on the subject of disasters I suppose I am duty bound to mention Denmark. The first time we went there we caught the ferry to the continent, drove up through Germany, then caught another ferry to Denmark. There was no promoter to meet us when we arrived so all we could do was drive to Copenhagen and check in at the Grand Hotel. It cost us an arm and a leg but at least we got a good nights sleep after being awake for nearly two days travelling. The next day we made a few phone calls and finally tracked down the promoter. He said: "Didn't you get my telegram cancelling the tour?" We politely said no we hadn't and what did he intend doing with us? He checked us into another hotel (cheaper of course) and set about booking us at places that were similar to English coffee bars and youth clubs. We made enough to survive on and paved the way to more successful tours of that country. In fact by now we had Colin Martin on drums and were pursuing a much more adventurous musical policy and writing our own material. It was just right for Denmark who had taken Hendrix to their hearts to name but one, and we subsequently became quite big there in 1967.

The Artwoods achieved modest success-a minor hit single in "I Take What I Want", but we worked constantly, travelled abroad, had fantastic fun and made a living doing so. We had seven single releases, one album, and one EP, and we broadcast both on radio and TV many times. We did stage tours such as the P. J. Proby tour and covered most aspects of "show-biz" apart from actually making a movie. It was the era when bands still had to prove themselves as a live act before being offered a recording contract. now frequently happens of course that an act can become huge record sellers without so much as venturing to do a live gig.

~

So what happened to everyone? Well Art returned to his former occupation as a commercial artist and finds some time to fit in free-lance work between accompanying brother Ron Wood on raving excursions between Rolling Stones gigs. Malcolm moved into the same field as Art and they now work in the same building. Both of them gig occasionally on a semi-pro basis although Malcolm spent some time playing with Jon Hiseman's Colosseum and Don Partridge in the early 70's. Jon Lord became famous with Deep Purple and Whitesnake as did Keef Hartley with John Mayall and various bands of his own. Colin Martin is now a BBC Radio producer of repute. I played in various bands such as Lucas and The Mike Cotton Sound, Colin Blunstone's band, Dog Soldier (with Keef again), before I somehow drifted into studio and theatre work. Recently I formed an R'n'B band called the G.B. Blues Company, and it's great to be back on the road again.   ”

Derek Griffiths.

Clipping from Record Mirror on June 5, 1965, by Norman Jopling.

“We aim to excite!” … say the Art Woods

Just for the record, the Art Woods aren't a part of Epping Forest. In fact they're a group of five interesting young men, named after the group's leader Art Wood. They also happen to be one of the most realistic groups on the scene.

For a start, they are the awkward position of having a large following, a club residency but no hit record. Secondly. they don't mind pandering to commercial tastes, even though they have been hailed as one of the most authentic R & B groups in the land.

NO PULL

“But authentic R&B just isn't pulling the crowds any more,” says Art. “The audiences want to be excited, not to be lectured on what is 'good' and what is 'bad'. Although there was a time when you could spend half an hour on one number with long solos by everybody, it didn't last long. And although there are some clubs like that still, most of them want something fresh and new.

“And we try to cater for them. We like authentic R&B, but we also like playing everything and anything else. So far, our two discs haven't meant a light. Of course we'd love a hit. But we're lucky enough to make a good living without one.”

DISCS

The Art Woods latest disc is "Oh My Love" and the one before that “Sweet Mary”. Of them Little Walter has said that he couldn't believe any white group could sing and play the blues like they do.

Line-up of the group is Art Wood, leader. vocalist and harmonica. Derek Griffiths, lead guitar, Jon Lord, organ and piano. Malcolm Pool— base guitar, and Keef Hartley on drums. The boys use a specially adapted Lowrie organ, and get a sound that's really different.

But even if the boys sometimes become depressed about no hits records, they should remember groups like Cliff Bennett, the Barron-Knights, the Rockin' Berries and the Yardbirds, and how long THEY waited before they had a hit!

N.J.

[kemersonfsu]

Digital Marketing Fundamentals - Mastery Journal Reflection

1. How has the Digital Marketing Fundamentals course met your original objective?

    The Digital Marketing Fundamentals course has met my original objective by introducing me to the basics of digital marketing. There were a lot of areas covered and the information I captured during the four weeks, allowed me to immediately apply my learnings to my current digital platforms. The goal of the course was to demonstrate the ability of developing a high-level digital marketing strategy, explain key factors around how search engines work, identify strengths and weaknesses in websites, and conduct basic market/industry analysis.

2. What did you learn from the program content?

    I learned how to conduct keyword research and analysis using online tools such as BuzzSumo and Rankwatch.  I learned how to conduct a competitor website analysis by creating a scoring system for important website components, as specified on Website Grader and URL Profiler. During the last two weeks, I learned how to lay a foundation for creating a digital marketing plan and discussed strategies with my fellow classmates in a forum setting. I gained an understanding of how to leverage current and effective marketing tactics to drive website traffic during a class forum discussion in week four. Lastly, I learned how to analyze and evaluate website analytics using tools such as Google Analytics and Bing Webmaster Tools.

3. How you will apply it professionally?

    I was able to apply what I learned in the course during my four weeks of class. My learning style is a combination of reading/viewing and application. I learn best when I can apply my understanding of the material. I implemented some of the marketing tactics such as SEO, keyword selection and affiliate marketing through websites I manage. I started tracking the results using Google Analytics and compiling a database of the findings thus far. Considering this is an introductory course, I know I will have plenty of future opportunities to learn and apply tools from my Personal Knowledge Management System. I am excited to close out this chapter and prepare for the next journey!

References:

BuzzSumo LTD. (2021). Buzzsumo. BuzzSumo. Retrieved October 21, 2021, from https://app.buzzsumo.com/alerts/view/1254257.

Chen, J. (2021, September 21). The most important social media metrics to track. Retrieved October 19, 2021, from https://sproutsocial.com/insights/social-media-metrics/.

Hathaway, P. (2019, March 5). So you think all your pages are indexed by Google? think again. URL Profiler. Retrieved October 21, 2021, from https://urlprofiler.com/blog/google-index-checker/.

HubSpot, I. (2021). Website grader. Website Grader. Retrieved October 21, 2021, from https://website.grader.com/.

McKinney                                                                                    Head of SEO, J. (2020, April 9). The top 8 seo metrics & kpis you have to track (2018 update). Wpromote. Retrieved October 18, 2021, from https://www.wpromote.com/blog/seo/top-seo-kpis.

Moran, M., & Hunt, B. (2015). Search Engine Marketing, inc: Driving search traffic to your company's web site. IBM Press/Pearson.

Rob. (2020, August 8). How to build a personal knowledge management system. Cultivated Management. Retrieved October 20, 2021, from https://cultivatedmanagement.com/personal-knowledge-management-system/.

[rapeculturerealities]

Dee Rees was waiting outside a discreet home on a quiet street in Los Angeles on a warm day in June, wearing a T-shirt emblazoned with the words “Arrest the President.” She led the way past her fragrant jasmine bushes, past a kidney-shaped pool, past a Great Dane the size of a tween into an intimate guesthouse that had been converted into a music studio. The walls were painted dark blue and nearly every spare inch of wall and floor held equipment: Fender guitars, synths, amps, speakers and keyboards. The floor was covered by so many power cords that they resembled an area rug. A recording of an off-key voice earnestly singing was playing loudly on a loop. Rees shot me a pained look. “I’m not a singer,” she said.

Nearby, standing at a microphone, the singer Santigold was humming along to Ree’s voice and mimicking the undulations until she knew them by heart. The musician Ray Brady, sitting at a computer nearby, cycled through a series of drum-machine sounds until they heard one they all liked, and Santigold started singing over it. The air-conditioner was off — it interfered with the quality of the recordings — and the air was dense with humidity that no one seemed bothered by.

Rees and Santigold were recording a series of demos for a big-screen futuristic opera titled “The Kyd’s Exquisite Follies.” The screenplay, which Rees had been working on for about a year, describes the journey of a young, black androgynous musician living in a small town who sets off for “It City” in search of stardom. “An outsized, sequin-spangled, sunglassed Cosmic Being leans into frame,” reads the description for the first scene. “It is Bootsy Collins if Bootsy was simultaneously tripping on acid, André 3000 and CBD Frosted Flakes with extra sugar.” Her mood board for the project features images from the cultural festival Afropunk and a dream cast of Erykah Badu, Beyoncé, Janelle Monáe and the R&B singer Syd. The whole thing almost sounded like a fantasy incubated deep in a Twitter thread, but Rees later told me that she was inspired to combine the cultural legacy of “The Wiz” with the grandeur of the “Star Wars” franchise to create a kid-friendly movie as canonical as her reference points. “I was like, ‘Where’s “The Wiz” for us, for our kids, for queer kids?’ ” she said.

Rees has been working toward this moment for nearly 10 years, assuredly moving from indie films into blockbuster cinema with the hope of establishing a creative freedom few directors attain. She is placing a thick spread of bets, in the hope that she will soon be able to play as boldly as she wants. Legacy, she told me, is her ultimate goal: “I want to create work that matters and lasts.”

At 43, Rees has already had the type of success that will outlast her. In 2011, she released her first feature film, “Pariah,” a lush coming-of-age drama about a young black woman named Alike grappling with both her sexuality and the world’s response to it. The movie won more than a dozen awards, including, most notably, the N.A.A.C.P. Image Award for Outstanding Motion Picture. Last year, the movie was included on IndieWire’s list of best films of the past decade, along with “Moonlight,” “Carol,” and “Call Me by Your Name” — movies that also feature queer narratives, though it’s worth noting that “Pariah” came out years before them. In 2017, she released her next feature film, “Mudbound,” a drama about the lives of a black family and a white family working the same plot of land in Mississippi in the 1940s. It garnered four Oscar nominations, including Best Adapted Screenplay, making her the first black woman to be nominated in the category. Her latest project, opening on Feb. 14 before streaming on Netflix, is her most Hollywood yet: Starring Anne Hathaway, Willem Dafoe and Ben Affleck, “The Last Thing He Wanted” is an adaptation of the 1996 Joan Didion novel about an American journalist investigating illicit arms sales to Central America during the Reagan administration. It is Rees’s attempt to demonstrate her range across scale, genre and star power.

But here in Los Angeles, her deepest professional desire was underway. Rees had already secured a producer for “Follies” in her longtime collaborator, Cassian Elwes, as well as a costume designer. Lucasfilm’s Industrial Light and Magic had signed on to create the visual effects. The next stage of the process was to produce a music sample that could be played for potential financiers, studio partners and distributors, to generate excitement for the project.

The main song she and Santigold were working on that afternoon was a duet between the hero, the Kyd, and an unseen entity offering support from afar. “The intention here is that the Universe is accompanying her, and she doesn’t realize it,” Rees informed the room, using her hands to show two entities orbiting around each other, the smaller one oblivious to the larger one. She described the song as a ballet, with choreography. The Universe is not a metaphor, she explained; it’s an actual character, a guiding light and love interest, which she imagined being played by Erykah Badu. The song lyrics included melancholic lines like “It was easier when no one was looking” and “People see you as they need you to be.”

Santi, as everyone in the room called her, finished singing one part and began recording another, in a lower intonation to indicate a different voice. She and Rees were building out the bones of a pivotal point in the narrative: The Kyd is reflecting on the isolation, loneliness and self-doubt that accompany a rise to stardom — feelings that Rees teased out from her own life experiences as a young director. They worked intently for nearly an hour this way, playing keyboard, looping drums, recording Santigold as she sang both parts, then pausing to get feedback. When Rees wasn’t feeling something, it was obvious: She remained silent but shook her head “no.” When she liked something, she bounced in her seat and offered affirmations like “that’s hot.”

Watching the two women work, I realized that Rees didn’t just have an idea for music, she had created an entire universe, writing all the songs, arranging the melodies and constructing a 3-D model in her head of the sets and landscape. To her, composing compelling songs and comedy numbers while grabbing milk at the bodega comes as effortlessly as directing some of the biggest actors working in Hollywood. Despite that, the biggest question about her career now is whether Hollywood will allow her the longevity she craves.

“I know this character,” Rees said at one point about the Kyd, though she might have been talking about her own journey as an artist so far. “That feeling of being trapped, wanting to be an artist, knowing the odds are against you and doing it anyway.”

A few weeks later, Rees was sitting in a small coffee shop in Harlem, not far from where she lives with her wife, the author Sarah M. Broom, who recently won a National Book Award for her memoir, “The Yellow House.” Rees had been stationed there for a while, talking to other regulars, reading the short-story collection “Heads of the Colored People,” by Nafissa Thompson-Spires, and working on her laptop. Rees is a minimalist: Everything about her has an understated elegance, from the twists in her hair to the black and camo Jordans that she likes to wear. That day, she was dressed in a tailored white-and-pink-dotted button-down shirt and carrying a backpack.

Rees told me that people often describe her success in the film industry as overnight, which feels dismissive of the years she spent hustling for “Pariah” and glosses over the years that she struggled to sell pilots and feature films since then. “I’ve spent 12 years slugging away,” she said. She’s quick to point out that most of her work has not made it to market.

Rees said her strategy is to work on “five things at once and see which one sticks.” Each time we talked, she was working on a new project. Once it was a television show about a black police officer in the South, set in the 1970s. Another time it was a potential collaboration with a black playwright. This is both a survival tactic designed to navigate the ever-changing tides of a mercurial entertainment industry and perhaps also a defense mechanism: better not to get too attached to a project that doesn’t get picked up. The gap years after “Pariah” taught her to be strategic.

“For me, everything still comes with a grain of salt,” she said. “I never trust if it’s going to happen until you see a grip truck pulling up.” Many black women who make a compelling, noteworthy debut never manage to make a second feature — think of Julie Dash or Leslie Harris, whose names you might not know but who are responsible for, respectively, the indie films “Daughters of the Dust” and “Just Another Girl on the I.R.T.” “It seemed like people wondered if that was a fluke,” she said about “Pariah.” After “Mudbound,” she felt that question of her directorial ability has been answered. “Now it’s just about, How much do I get to do?”

From Rees’s vantage, this is the time to be working as quickly and furiously as she possibly can to get all of her dream projects off the ground — not just “Follies” but also a lesbian horror film she plans to write with her wife and a sci-fi graphic novel that she can eventually adapt for the screen. “It’s a creator’s market,” she told me. “There are more canvases, and not just feature films. You can work online, you can make different kinds of TV. You can make your thing, and they’ll come to you.”

Rees was referring, in part, to streaming services, specifically Netflix, which financed and is distributing “The Last Thing He Wanted.” Over the past five years, Netflix has done the same for hundreds of original shows and movies, many of which are critically acclaimed and attract as much attention and accolades than the offerings from traditional movie studios. In 2019, Netflix released 60 films, and analysts estimate the company spends more than $8 billion on original content a year. “We’re not a 100-year-old studio or own intellectual property like Disney does,” Scott Stuber, the head of films at Netflix, told me. “We don’t have an archive or a library, so it’s very important strategically to get in business with filmmakers like Dee, Alfonso Cuarón, Martin Scorsese, and that is our differentiator.” Netflix’s elbowing into Hollywood has propelled other companies to follow suit, including Disney, Hulu, Apple and Amazon, all of which now produce exclusive streaming content. Netflix’s dominance is likely to be challenged in the coming years, but the company has already reshaped consumer standards, including the expectation that people can watch high-quality, Oscar-worthy first-run entertainment from the comfort of their couch.

To stay competitive, traditional studios now have to pay attention to what those services are doing and try to beat them at their own game. Many of the directors making the best material are coming from the indie world, Rees reminded me: Ryan Coogler, Ava DuVernay, Barry Jenkins. “And it’s not because of altruistic reasons but because of moneymaking reasons,” she said. “Studios are realizing it’s profitable to keep their eyes open. Netflix forced the rest of the industry to take more risks. The advantage for filmmakers is that they’re making it impossible for the rest of the industry to be dismissive or willfully ignorant, and they make the industry consider films and filmmakers that they might not have considered.”

Rees also pointed out the desire for content aimed specifically at black consumers, noting that studio heads and industry leaders were finally paying attention to the black appetite: “We’re the consumers and we’re the producers. And we’re saying: No more ‘Green Book.’ We’re not interested in that.” Though Rees tends to avoid social media and the internet, she sees them as levers for this radical change. “The gatekeepers can still modulate production, but they can’t modulate awareness in the same way,” she told me. “With that awareness comes a hunger, and it sustains a stable of artists.”

In the 1970s, Rees’s parents bought a home in a largely white neighborhood in Nashville. Her father was a police officer; her mother, a scientist at Vanderbilt University. When I first asked Rees to describe her childhood, she told me it was a “typical, boring suburban experience.” She was an only child who liked to lose herself in video games, “Garfield” comics and Choose Your Own Adventure books. The family was solidly middle class. “At the grocery store, it was my job to hold the calculator and calculate the grocery bill as we went along,” Rees recalled fondly.

But Rees’s “typical” childhood also included anecdotes about growing up adjacent to white people who questioned her family’s presence in their midst. Neighbors hung Confederate flags as curtains. Kids toilet papered their trees, prank rang the doorbell, ripped up the roses that her mother planted in a wagon wheel. People regularly tossed garbage in their yard as they drove or walked by. “It was my job to pick up that trash,” Rees said. “They always seemed to be looking at us like, ‘How can you be here, how can you have more than us?’ ” Rees’s father often parked his police car outside their home to “let people know not to [expletive] with us,” Rees said. “You were constantly bracing for it, preparing for it and trying not to let it provoke you, as it was meant to do.” These incidents, and the questions about belonging they raised, can be felt in all her films.

Rees graduated in 2000 from Florida A&M University with a master’s degree in business administration and worked in marketing for a series of health and beauty companies. Rees envisioned herself as Marcus Graham, one of the young black advertising professionals in the movie “Boomerang.” “I really thought I’d be working with people like Strangé,” she said, referring to the eccentric Grace Jones character who gives birth to a perfume bottle in a cosmetics commercial. None of the jobs lasted more than a year, but the detour was productive: She went on a commercial shoot for a client, Dr. Scholl’s, and followed the production assistant around out of curiosity. She was energized watching the work, prompting her to reconsider her career trajectory. She was accepted to New York University’s graduate film program in 2003.

Rees had never been to art school or even touched a camera. “I had no idea what I was doing,” she said. She struggled with the assignments, which often consisted of making short film experiments. “I failed and I failed hard,” she recalled. Her professors seemed to pay more attention to the better students. “It felt like an instant divestment of interest.” By the second semester, she was considering dropping out. “On the first day, they told us that ‘only two of you will make it,’ ” she said. “And I was not the one who seemed like they were going to make it. I was like, ‘This is a waste, it’s so expensive, I shouldn’t do this.’ ” At 27, she worried that she was too old to start a new career.

Rees confessed all her fears and insecurities to her girlfriend at the time, who told her: “O.K., so there’s only going to be two of you. That means you and who else?” The pep talk helped, as did the support from a few professors, including Spike Lee, who has served as the film program’s artistic director for nearly two decades. Lee was impressed by Rees’s storytelling abilities and her eye, which already felt uniquely her own — rare for anyone, but especially students. “In my experience, very few people have a style right off the jump,” he told me recently. “It’s something that you develop over time, and she had it. I never had any doubts about her being successful. I could see that she was going to do what she had to do to get where she wanted to get.”

She felt her work began to click when the assignments moved into documentary. “That is when I found myself and found my voice,” she told me. She took a trip to Liberia with her grandmother and the budding cinematographer Bradford Young. “It just felt like no one was looking, and I felt confident and was able to make the doc.” That film, “Eventual Salvation,” tells the story of her 80-year-old grandmother, Earnestine Smith, as she travels to Monrovia, where she lived for decades, and confronts the aftermath of a devastating civil war.

She loved imagining herself into the shoes of her subjects. “It helped me be a better director, because I could see that ‘Oh, if I’d gotten this shot, it would be a better dynamic, better storytelling through body language.’ ” Rees’s graduate thesis was a short film called “Pariah,” and the strength of the script landed her at Sundance Labs to incubate the short into a feature. Lee offered guidance, and Young, still unknown, drenched the film in the shimmering, richly colored patinas that he would later use in movies like “Arrival” and “Selma.”

While at N.Y.U., Rees shortened her name from Diandréa to Dee. She was establishing a boundary between herself and the world that to this day feels as if it safeguards her personal life. She was coming out as a lesbian, which at first, her parents chalked up to an “art-school thing,” Rees said. But once they realized she was truly in love with a woman, they imploded. Her mother came to New York to try to stage an intervention. Her father was embarrassed. “Nashville is superconservative and small, and I guess word was getting around,” Rees said. Neither parent spoke to her for some time, but both came to see a screening of “Pariah” in New York in 2011. The support in the room eased their worries, as did the affiliation with Sundance. “My life wasn’t a wreck, which somehow made it more acceptable for them,” Rees said.

A common theme threading through Rees’s projects is the way the world places limits on people and whether that destroys or liberates them. The moments in her movies at which her characters confront that existential dilemma are often extremely subtle, but powerful nonetheless. In “Bessie,” the 2015 HBO movie Rees made about the blues singer Bessie Smith, we see how Smith rebels against societal expectations in her sexual fluidity, hard drinking and even in her confrontation with the Ku Klux Klan at one of her shows. But the moment that is most revealing is Smith, played by Queen Latifah, sitting fully nude at a vanity, her body shining with oil, seeing herself surrounded by the trappings of fame but ultimately alone and aging. She’s facing the choices she has made and seemingly deciding whether she’ll make different ones tomorrow. In “Pariah,” it’s the spark of possibilities reflected in young Alike’s eyes as she watches a dancer slide down a pole to Khia’s pleasure anthem “My Neck, My Back” in a gay nightclub.

What is striking about Rees’s work is that even though none of her movies are explicitly autobiographical, she still finds ways to channel her life experiences into them. Embedded in “Mudbound,” for example, is the experience of her great-grandparents, who picked cotton, but it also reflects the amorality of racial violence and how a country can fight against it in a war, while still perpetuating it at home. At the center of “The Last Thing He Wanted” is a father-daughter relationship complicated by guilt and obligation, but it’s also a thriller whose main character is determined to expose government corruption.

Rees realized early in her career that as a female director working in Hollywood, she wouldn’t have the same liberty as, say, Richard Linklater or Noah Baumbach to explore the details of her life onscreen. Rees made compromises so that she could still work on the themes that interested her most. “When I first started out, I was like, ‘I’m not going to do adaptations,’ ” she told me. “I only want to do my own stuff, but I quickly realized that I couldn’t survive because of the time it takes to get people to want to do your original thing.”

In 2014, Cassian Elwes, a longtime Hollywood veteran who has produced such films as “Lee Daniels’ The Butler” and “Dallas Buyers Club,” found himself horrified after reading about the extreme gender imbalance prevalent in Hollywood movie making. Dr. Stacy L. Smith, a communications professor at the University of Southern California at Annenberg, has found that less than 5 percent of major Hollywood movies were directed by women. People of color were also dramatically underrepresented. (Those numbers have not fluctuated significantly in the years since.) Elwes was similarly shocked to read that most young white male directors make their sophomore projects not long after their first; most women of color take years. Many of them, unable to support themselves during that gap, give up.

Around this time, two young producers brought Elwes the script for “Mudbound.” He fell in love with it, and his mind drifted to “Pariah,” which he’d seen at Sundance. Elwes sent Rees the script. A few years earlier, Rees had wanted to adapt the novel “Home,” by Toni Morrison, to explore the paradox of freedom for black Americans returning home from overseas; now she realized she could inject that desire into “Mudbound.”

“He was the first producer who was just like, ‘It’s yours,’ ” Rees recalled. “It wasn’t exploitative or like you should be grateful. He was like, ‘Whatever you want to do, let’s work it out.’ He’s believed more in me than some producers of color.”

A movie like “Mudbound” could easily be saturated with simplistic Hollywood narratives about the resilience of black people and the restorative power of interracial friendships. But Rees was not afraid to show a world where some white people are evil and none will save the black characters. Rees first impression of the script was that it was “a little too sweet.” It featured music as the balm easing tension between the two families. Rees wrote more scenes explicitly featuring the Jackson family, including one around a dinner table where they discuss their dreams of purchasing their own parcel of land, only to be interrupted by the white landowner, who demands they come unload his truck. The film finds its own emphatic language for the spectral horror of white violence in America through quiet vignettes: The tight face of a well-dressed black man, riding in the back of a white man’s dusty pickup truck. The wet and swollen face of a white woman sobbing into the arms of a black matriarch, whose resignation and fatigue can be read in the set of her mouth.

Rachel Morrison, the film’s cinematographer, who received an Oscar nomination for the film, said she was drawn to Rees’s ability to “put the audience squarely in the main character,” she told me. For example, when filming Laura, a woman at a loss for who she is in the world, the shots feature her petite, wiry body dwarfed by the soggy terrain and gaping blue sky. Rees was “uncompromising in only the best ways,” Morrison said, in a tone rich with admiration. She recalled an instance where Rees wanted a shot looking through a screen door, from the outside world into a dark home. “It was a ton of work, balancing the bright sun and dark shadows, but I was like, ‘If it’s worth it to you, I’ll do it.’ ” It was worth it to Rees. Morrison spent close to an hour manipulating the set to capture what would amount to seconds of screen time. When Morrison saw the final cut, she realized the elegance of the shot and how beautifully it articulated the difference between the two families and the worlds they inhabit. “It’s one of my favorite shots in the film,” she said.

After they finished “Mudbound,” Rees told Elwes that she wanted to adapt the Joan Didion novel. He knew Didion’s agent and was able to option “The Last Thing He Wanted.” “We took it around to all the studios, and no one would deal with it,” she said. “Netflix jumped in and saved it. But it was hard in that way. You think because it’s Joan Didion, like, of course — but nope.”

Rees struggles not to take the studios’ lack of interest in her work personally. When I asked her how she rationalized their indifference, she took her time answering, clearly weighing how much of her inner thoughts about Hollywood she wanted to air in public, staring into her coffee all the while. “When stuff doesn’t make logical sense, to me, I go to a place where there’s only one thing that can explain this. You know what I mean?” She paused again, fiddling with her latte. “It feels like a double standard, and the double standard to me is race.”

I asked her how she coped with being so demonstrably talented as a filmmaker and yet feeling thwarted in her efforts at the same time. “The only refuge I have is to do more work, to be relentless and keep making and making, and hopefully, eventually I won’t have to continue to prove that I have the capabilities.” She felt this deeply when “Mudbound” was passed over by major studios, even though it resembled a Birney Imes photograph come to life and featured mesmerizing performances by Carey Mulligan and Rob Morgan. It eventually sold to Netflix, reportedly for $12.5 million, the largest deal to come out of Sundance in 2017. “I’ve learned to go where the love is and work with who wants to work with you,” she told me. “The thing you’re up against is not new. Since first grade, the moment you enter school, you’re up against racism. But it’s still stunning sometimes.”

What remains striking about Rees is that these challenges haven’t muted her ambition. Elwes repeatedly highlighted it. “It’s gigantic,” he said, marveling. “She could be knocking out independent movies all day long if she wanted to.” But instead, with something like “Follies,” she is trying to create a pop-cultural empire. “She’s building a world, and right now in Hollywood, most people are just making another version of a comic book or a sequel or a remake,” Elwes said. Her fearlessness and talent are why he immediately agreed to help her produce and finance her sci-fi opera after she floated the idea by him in a text message. He has been hustling to raise the $80 million or so that she needs to pull it off. “It’s not a slam dunk,” he said, “but whoever takes the risk will get the reward.”

Toward the end of our meeting at the coffee shop, Rees told me shyly — a rare mode for her — that her biggest dream is to work on a major feature-film trilogy, something even more audacious than “Follies.” “I want to have a world with a black woman at the center of it, who ends up leading a rebellion,” she said. “I want to create a whole new world rather than color in somebody else’s.” The trilogy Rees wants to build takes place in a dystopic time, a hellscape devastated by climate change and out-of-control social media where people have to meet a minimum “credit” rating in order to have a decent quality of life.

Rees hopes that “The Last Thing” will be a bridge between her past work and her larger ambitions. Unlike her previous films, “The Last Thing” is a fast-paced political thriller with car chases, shootouts and body counts that includes tight close-ups and impressionistic landscape shots. The effect is claustrophobic and dizzying — a departure from Rees’s previous, more linear work — and yet the audience remains, as Morrison reflected, squarely in the perspective of Elena McMahon, the journalist at the center of it, played by Anne Hathaway. As McMahon loses her moral compass, the viewer becomes disoriented, too, and unable to keep up with the revelations, which, at Sundance, caused many critics to pan the movie.

When I spoke with Rees by phone from Sundance, right after the first reviews came in, she sounded sanguine. Her film had been “trashed,” she said, “but I still believe in it.” Then her voice perked up as she proceeded to tell me the details of a few still unannounced deals she had inked since we last saw each other. From her perspective, it seemed, the critical response was a blip in what she plans to be a long career.

Rosie Perez, who portrays a photojournalist in “The Last Thing,” told me that the day she arrived on location in Puerto Rico to shoot the film, she immediately noticed Rees’s sharp intelligence but found her aloof. “I wasn’t sure if I was going to connect with her,” she said. When it came time to work, Rees was meticulous but hands off. She set up the scene, positioning the camera with her own hands at times, and then stepped away. “It freed us up to just act,” Perez said. “She lets you do your thing. But you have to trust that she’s doing hers, too.”

Once, after a scene, Rees called cut, and Perez asked Rees if she was sure they got the shot. “She looked at me and said, deadpan: ‘I wouldn’t have moved on if we didn’t.’ ” Perez, deep in recollection, let loose that famous laugh from deep in her nasal cavity. “I was like: ‘Got it. Let me shut the [expletive] up.’ ” Her admiration for Rees was cemented in that moment.

But that wasn’t all she got from Rees, Perez told me, recalling a scene in which she and her co-star, Anne Hathaway, are running to catch a plane, dodging gunfire. “Anne is running like Catwoman, sprinting toward the plane,” Perez said. “I felt like the older lady trying to keep up.” She mentioned this to Rees, who replied, “Well, that’s your character, isn’t it?” At first, Perez’s ego was bruised. But later, Rees told her, “I hired you because you’re a kick-ass actress and also because you have the courage to look like a grown-ass woman.” At the time, Perez was splitting her time on the set of the second season of Spike Lee’s “She’s Gotta Have It,” where she was guest-­starring as Mars Blackmon’s mother. Lee didn’t want Perez to wear a lot of makeup, and Perez initially balked. But her time with Rees adjusted her priorities: “I walked onto his set, and I was like ‘O.K.’ ” Working with Rees, she said, “gave me the confidence to do that.” That, she said, was Rees’s gift. “You have to let her be who she is, in order to see what she is trying to give you.”

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To satisfy their nitrogen need, Lactobacillus types have actually developed a proteolytic system, which hydrolyzes the healthy proteins and also supplies the amino acids. Healthy protein hydrolysis is started by CEPs that cleave the healthy proteins into peptides varying from 4 to 30 amino acids. Especially, healing peptides, also synthetic ones, are usually less immunogenic than recombinant healthy proteins and antibodies. Lastly, neighborhood management, which is one of the most usual distribution course for AMPs, even more reduces the threat for any type of systemic toxicology issues. The role healthy proteins play within the body associates with the actions of 4 categories of peptides. Many peptides are lab-enhanced as well as are derived from all-natural plant, keratin, wheat, milk casein, rice, potatoes, and yeast. So, exactly how precisely do protein pieces as well as amino acid chains enhance the look as well as general health of the skin?

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When peptides connect together, they develop the basis for all proteins. Peptides additionally have the exceptionally crucial work to regulate the activity of other particles, offer antibiotic advantages and also aid in hormone balance.

Nonetheless, they are considered as meticulous bacteria as a result of their auxotrophy for countless amino acids. In order to locate the amino acids required for their development, lactobacilli hydrolyze healthy proteins in their environment through their proteolytic system, and, extra specifically, via the activity of enzymes called cell envelope proteinases. The most meaningful instances of BAPs created by Lactobacillus types are the antihypertensive tripeptides, Ile-Pro-Pro and also Val-Pro-Pro, created from casein hydrolysis by different Lb.

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Finally, a last concern to be born in mind is that as an item designed for direct usage, fermented food will certainly be sent to GID. The influence of GID on a fermented food must, as a result, be examined to obtain an accurate prediction of the actual in vivo tasks of the food. GID is even, on its own, one of the major procedures for BAP manufacturing from food proteins. Usually, for ACE inhibitory peptides, GID enhances the release of BAPs from fermented food, as healthy proteins that were not hydrolyzed during the fermentation will be digested throughout GID.

Enzyme inhibitor peptides impede the task of enzymes that deteriorate architectural proteins like collagen, slowing down the loss of quantity and flexibility in the skin. A presumptive artificial injection for foot-and-mouth condition has actually verified much less successful in a host species, cattle, than predicted by cause a small-animal version. Feasible reasons for this consist of non-recognition by T cells influenced by significant histocompatibility facility -connected immune feedback gene control. It is now feasible to kind for human leucocyte antigen DR-like bovine MHC course II polymorphisms with a one-dimensional isoelectric focusing technique. Utilizing this approach 14 unrelated livestock were chosen with eight different BoLA class II IEF types.

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The effect of GID can be assessed in vitro by treating the fermented product with stomach and pancreatic enzymes, as well as comparing the task of the resulting item with the activity of a non-fermented sample. Collagen makes up for 25-35% of the whole body's healthy protein web content. To day, 29 different sorts of collagen have been determined that contribute to various jobs in the skin, as well as a variety of peptides are called for to keep these collagens undamaged and healthy and balanced. As we age, the body loses 1% of collagen every year as well as thinning of ageing skin happens at the rate of regarding 6% every one decade! Collagen manufacturing is important to healthy and balanced skin, so think of peptides like 'body building' but also for the skin.

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After that, the process of antigen presentation using MHC class II particles generally follows the exact same pattern as for MHC course I discussion. Bicyclic peptides are known to have the capability of being employed as an effective alternative to complicated particles, such as antibodies, or little particles. This review gives a recap of the recent progress on the types, synthesis as well as applications of bicyclic peptides. A lot more particularly, natural and synthetic bicyclic peptides are presented with their different manufacturing approaches and relevant applications, including medicine targeting, imaging and diagnosis. Their usages as antimicrobial agents, as well as the healing functions of various bicyclic peptides, are likewise talked about. Lactobacillus species are auxotrophic for countless amino acids. An exterior resource of nitrogen is needed for their development, particularly in milk where focus of amino acids are low.

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Peptides are brief chains of amino acids that take place normally in our body. When amino acids connect with each other, the chain they create is called an amino peptide.

After immunization with FMDV15, 13 cattle generated a T-cell feedback to FMDV15. Nevertheless, the great uniqueness and magnitude of the response was related to BoLA class II type. The non-response by one animal and reduced action by 2 other animals were related to two of the BoLA class II kinds. Action to the region was immunodominant and animals which did not react to this area had reduced actions to the whole peptide. The constraint patterns of the lines suggested that the IEF method does not distinguish all practical polymorphisms. At the very least two of the IEF-defined types could each be split right into 2 distinctive uniqueness and exposed that the 3 sets of pets with identical IEF enters reality expressed unique limitation elements.

MHC class II particles bind to peptides that are originated from proteins degraded in the endocytic pathway. MHC course II complicateds includes α- and also β-chains that are set up in the Emergency Room and also are stabilised by regular chain. The facility of MHC class II and Ii is transferred via the Golgi right into an area which is labelled the MHC class II compartment. As a result of acidic pH, proteases cathepsin S and also cathepsin L are triggered and absorb Ii, leaving a residual course II-associated Ii peptide in the peptide-binding groove of the MHC class II. Later on, Buy peptides Direct Slovakia is exchanged for an antigenic peptide stemmed from a protein degraded in the endosomal path. This process calls for the chaperone HLA-DM, and, in the case of B cells, the HLA-DO particle. MHC class II particles packed with international peptide are then transported to the cell membrane to offer their cargo to CD4+ T cells.

Peptides currently exist normally in the body (mixes of amino-acids); healthy protein is ingested with the diet, permitting people to acquire these necessary amino-acids. Amino acids after that incorporate in particular series that result in peptides that perform a selection of functions-- one feature is producing collagen. Signal peptides can send out skin cells solid regrowth signals, triggering them to synthesise even more healthy proteins such as collagen and elastin which keep the skin company and also supple. An additional source of BAP diversity is the type of protein made use of as substrate by the germs. On the whole, Lactobacillus pressures are mostly utilized for milk fermentation and a lot of the BAPs characterized so far were isolated from milk societies. Nonetheless, also milk proteins are not the same, and the same Lactobacillus strain will create different peptides when hydrolysing caseins from cow milk, goat milk, camel milk, or mare milk. Several types of nanocarriers have been evaluated for delivery of AMPs with encouraging outcomes.

Lots of studies focused on ACE prevention peptides, possibly as a result of the ease of usage of in vitro anti-ACE assays. The popular Val-Pro-Pro and Ile-Pro-Pro peptides are created during milk fermentation by some Lb. The resulting fermented milk showed antihypertensive activities in animal and human clinical researches, with a considerable decline in systolic blood pressure. An extra ACE inhibitory peptide sequence (Ala-Ile-Pro-Pro-Lys-Lys-Asn-Gln-Asp) was likewise recognized in milk fermented by Lb. Additionally, various other Lactobacillus types might also release brand-new ACE repressive peptides, as reported for some Lb. The LABORATORY constitute a varied group of Gram-positive, catalase-negative bacteria generating lactic acid as the main end-product of carb fermentation. With greater than 231 valid species and also 29 subspecies, Lactobacillus genus is definitely the main and also most varied LABORATORY group.

It needs to be noted that 30-- 70% of proteins are immediately degraded after synthesis (they are called DRiPs-- malfunctioning ribosomal products, as well as they are the outcome of malfunctioning transcription or translation). This process enables viral peptides to be offered very quickly-- for example, flu infection can be identified by T cells approximately 1.5 hours post-infection. When Buy Peptides Products bind to MHC course I particles, the chaperones are released and also peptide-- MHC course I facilities leave the Emergency Room for presentation at the cell surface area. Sometimes, peptides fail to relate to MHC course I and also they need to be gone back to the cytosol for destruction. Some MHC class I molecules never bind peptides and they are additionally deteriorated by the ER-associated healthy protein deterioration system.

It keeps skin communication as well as anchors the epidermis to the dermis. Imagine the skin as plates held together by a series of chain web links. If among these web links becomes weak as well as breaks, home plates will certainly slip. As the healthy protein composed web links, such as laminin as well as integrin comes to be weak within the DEJ, the skin starts to droop, and loses elasticity ultimately developing a line or wrinkle.

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Posted: Sat, 17 Aug 2019 07:00:00 GMT [source]

Especially, numerous AMPs are currently under clinical advancement for healing indicators besides antimicrobials or antifungal representatives. The mechanisms through which LL-37 promotes injury recovery are not completely understood, yet are likely to include several wound fixing parts such as re-epithelialization, angiogenesis, and swelling. One more AMP presently in scientific growth for its residential or commercial properties other than anti-infection is PXL01. A collection of amazing items created for mix to oily skin types. Created with powerful active ingredients that consist of Hyaluronic acid, Liquid oxygen as well as seaweed extracts such as Undaria algae, Laminaria and Marine peptides that aid to bring back the skins Ph equilibrium and also aid decrease aging signs and symptoms. These technologically advanced peptides are a lot more complicated chains of amino acids as well as have the capacity once more to address a wide variety of aging problems however more successfully. The DEJ holds the skin together, boosting its compactness, firmness and elasticity.

Neuropeptides are tiny proteinaceous cell-cell signaling molecules generated and launched by nerve cells. They vary from peptide hormonal agents in that they are secreted from nerve cells and act locally on adjoining nerve cells, whereas peptide hormones are secreted in to the blood by neuroendocrine cells as well as act at remote sites. Neuropeptides are the most varied class of indicating molecules in the brain, and also are involved in a broad range of mind features, consisting of analgesia, recreation, discovering as well as memory, benefit, food intake and also even more. Electropherograms can aid compare the various sorts of healthy proteins, peptides and amino acids. This is a wonderful natural choice with this powder likewise being loaded with amino acids in addition to respectable healthy protein degrees in each serving and also being extremely easy to mix right into healthy protein trembles or various other drinks without including any kind of awful flavours like some can. This will last around a month based on the recommended offering recommendation so for a suitable collagen powder it's really not bad worth either and also one I would certainly more than happy to continue utilizing. MHC class II molecules are expressed by APCs, such as dendritic cells, macrophages and also B cells (and, under IFNγ stimuli, by mesenchymal stromal cells, fibroblasts and endothelial cells, along with by epithelial cells as well as enteric glial cells).

[ammarzmind]

5 Best Email Marketing Software & Email Automation Tools for2021

You want to grow your business — and need email marketing software that’s easy to use, affordable, and will turn your leads into customers — right?

It sounds simple enough, but with an overwhelming 450+ email marketing tools to choose from, in a rapidly-changing market, and with every email marketing company’s website saying the same thing, it’s anything but.

Which is why we created this guide; the only comparison of email marketing software that’s objective, regularly updated, and based on a comprehensive amount of surveys, experience and data — lots of data.

You can access the dataset we use to identify the top 10 email marketing software providers at the end of this guide.

The following top 5 list is the result of hundreds of hours of research, that I hope will assist you in choosing the perfect email marketing software for you.

The 5 Best Email Marketing Software

#1 ActiveCampaign

Best for small businesses & enterprises

Once an underdog, ActiveCampaign is now one of the most

popular email marketing tools with over 90,000 small businesses customers.

Impressively, they’ve achieved this organically by building a product that’s both easy to use and one of the most affordable in the email marketing space.

ActiveCampaign pioneered the visual automation builder which, unlike other tools that require expensive consultants and training to use, enables anyone to craft powerful email automation sequences with no prior experience needed.

And despite being so easy to use, ActiveCampaign is rich in revenue-boosting features. From predictive sending and predictive content to triggering SMS messages or site messages on your website, ActiveCampaign provides an exceptional toolkit for small businesses to grow their business.

One of my favourite features in ActiveCampaign is the ability to run A/B split tests inside of automation sequences, enabling you to sit back and let your automation sequences optimise themselves while you focus on more important things.

In 2016, we decided to move all of our ventures’ email marketing onto ActiveCampaign away from a tool called GetResponse (which was becoming outdated and failing to meet our email marketing needs).

Since then, we’ve automated our entire sales process (meaning we haven’t needed to hire any sales staff), virtually all of our lead nurturing, customer onboarding, and even our internal processes like employee onboarding.

ActiveCampaign is an all-in-one sales and marketing tool for small businesses, so it comes with an in-built CRM system to manage yours sales, live chat, and of course email marketing automation.

And, incredibly, they’ve done all of this with a price tag that’s literally 1/10th of many email marketing tools featured in this guide.

There aren’t many bad things to say about ActiveCampaign, particularly as they are constantly innovating and improving the product, but one area where I’ve always felt ActiveCampaign is lacking is their reporting.

While it has improved in recent years with the introduction of goal tracking and attribution, ActiveCampaign’s reporting isn’t quite on par with the likes of Hubspot or Autopilot. It’s worth pointing out, though, that they cost significantly more.

For the vast majority of small businesses looking for a great email marketing tool that’s easy to use and affordable, ActiveCampaign is likely the best balance of power, affordability and ease of use.

Check out in depth look about Active campaign here, and if you know about this service and want to read a comparison to choose which service is good for you check out

#2 AWeber

AWeber is one of oldest and most popular email marketing service providers in the world. They offer a wide-range of tools for small and medium sized businesses to manage their email marketing.

Getting started with AWeber is easy. It connects seamlessly to most platforms including WordPress.

You get access to ready to use html email templates, list management, autoresponders, a/b testing, and email tracking with detailed insights.

AWeber also has other powerful email marketing features such as AMP emails, automatic RSS-to-email for bloggers, and tag based subscriber segmentation.

Support options include live chat, phone support, email support, live webinars, and a vast library of how-tos and tutorials.

AWeber offers a limited free plan for up to 500 subscribers. After that, their pricing starts from $19/month. You can also sign up for quarterly or annual plans to save even more.

Check out in depth look about AWeber here (full guide), and if you know about this service and want to read a comparison to choose which service is good for you check out Aweber Vs GetResponse.

#3 GetResponse

GetResponse is another very popular email marketing solution. It is extremely easy to use and simplifies email marketing for small businesses.

It comes with some amazing marketing automation tools which allow you to create smart automated campaigns.

With their drag and drop builder, you can create campaigns, segment contacts, and send any number of emails designed for specific groups. These tools help you create effective email campaigns to boost your profits.

GetResponse comes with beautiful responsive forms, landing pages, A/B testing, unsubscribe tracking, and autoresponders. It also integrates with third party lead generation software like OptinMonster, SalesForce, Google Docs, ZenDesk, etc.

Support is provided by phone, live chat, and email. Their help section is full of free learning material including videos, webinars, how-tos, guides, etc.

GetResponse offers a 30-day free trial. Their pricing starts at $15/month.

Check out in depth look about GetResponse here, and if you know about this service and want to read a comparison to choose which service is good for you check out Clickfunnels Vs GetResponse.

#4 Mailchimp

Mailchimp is one of the most popular email marketing service providers in the world primarily because they offer a forever free email marketing service plan.

Mailchimp comes with an easy drag-and-drop email builder, autoresponders, segmenting contacts into groups, and simple tracking for analytics. It also allows you to set up delivery times based on the user’s time zones, and you can set up segmenting based on geolocation.

You can easily integrate MailChimp with WordPress, Magento, Shopify, and many other platforms.

When it comes to marketing automation features, Mailchimp platform is quite limited when compared to other providers in our list such as Drip or ConvertKit.

In recent years, Mailchimp has attempted to add many of the “advanced” features, but having tested many of these, they’re not truly advanced.

Mailchimp support is offered by email, live chat, and a large tutorials knowledge-base. However their support is often slow and no match to the quality of service that you get from Constant Contact.

Mailchimp offers a forever free plan which allows you to send 12,000 emails for up to 2,000 subscribers. This plan is fairly limited because you don’t get features like send-time optimization, advanced segmentation, multivariate testing, etc. You are also required to display their branding in your email. Last but not least, support is restricted to email only which is fine if you’re a hobbyist but as a serious business, you need reliable support that you can count on.

Their paid plans start from $10/month for up to 500 subscribers, and the pricing increases in the increment of 500 subscribers.

However if you want unlimited audiences, advanced audience segmentation, multivariate testing, and comparative reporting, then you’d have to move to their $299 per month plan.

#5 Clickfunnels

Clickfunnels is an online sales funnel builder that helps businesses market, sell, and deliver their products online. This tool simplifies online marketing, selling, and delivery of their products and services by providing users with funnel options that are pre-built for a specific business, product, or service.

It’s main functionalities include:

Custom Domains

A/B Split Tests

Email Integrations

Optin Funnels

ClickPops

ClickOptin

All Advanced Funnels

Sales Funnels

Membership Funnels

Auto Webinar Funnels

Webinar Funnels

Hangout Funnels and much more….

ClickFunnels is a perfect alternative for almost any entrepreneur. Then, whether you

sell a product, digital or physical, ClickFunnels will put you on the fast track for lead

generation and sales.

It is not a good fit for every entrepreneur or company, but it can be a valuable revenue-generating tool for the right candidate.

With their 14-day free trial, answering this question for yourself is a zero-risk chance. Give ClickFunnels a try, as long as you have a product or service to advertise.

The Facebook community ClickFunnels is filled with messages thanking Russell Brunson for helping them make a ridiculous amount of cash.

To build the first interactive summit, you can also use ClickFunnels!

If you want to learn more about this tool check out ClickFunnels full review-is worth it in 2021?

[taylorafergus]

Pornification: a justification or implication of Instagram? - Week  8

The ‘image first, text second’ ethos that underpins Instagram's platform generates a universally understood emphasis on a visually-oriented culture and reflects society's simultaneous growth into such a climate (Lee et al. 2015, pg. 552). The significance placed on this visual culture within the platform "influenc[es] the operations of consumer culture as both a commodity form and [as a] site for new consumer behaviours, such as selfies" (cited in Toffoletti and Thorpe 2018, pg. 300). Instagram, however, isn’t just a place for connecting with friends and posting personal pictures with family, it’s a big business marketing and advertising tool. 

Instagram is arguably the birthplace of a concept called 'influencer marketing' (Drenten et al. 2019) - a billion-dollar phenomenon that refers to the utilisation of influential individuals, who are active users online and are willing to share brand messages with their virtual following (cited in Léa et al. 2018, pg. 7). These influencers sometimes referred to as 'microcelebrities', alluding to “a new style of online performance in which people employ webcams, video, audio, blogs and social networking sites to ‘amp up’ their popularity among[st] readers, viewers, and those to whom they are linked online” (Senft 2008, pg. 25). Additionally, the visually-oriented ethos that underpins Instagram fundamentally normalises and encourages ‘microcelebrity’ culture.

Figure 1. Candice Swanepoel Instagram GIF. Source; Giphy c. 2020.

To create a commodified and celebrified version of oneself on Instagram typically requires an individual to conform to aesthetic templates that are endorsed by microcelebrity culture (Mavroudis 2020). For female influencers, this refers to the act of adhering to aesthetic templates that define what is considered attractive, sexy and feminine and is thus fundamental in gaining mainstream attention (Drenten et al. 2019). For male influencers, the expectation is that they will contribute to, and engage with, aesthetic templates that assert masculine ideals such as athleticism, strength and dominance (Mavroudis 2020).

Western culture and social media have become saturated with sexual imagery (Ward 2009, pg.3). In conjunction with the proliferation of digital technologies and its accompanying social media platforms, western culture has mainstreamed the pornification of mainstream culture and its ‘porn chic’ aesthetic (Drenten et al. 2018, pg. 41). Pornification refers to the increasing normalisation of displaying one's sexuality and projecting explicit sexual themes in popular culture in a way that reflects the aesthetics of commercial pornography (cited in Mavroudis 2020). Additionally, porn chic refers to “a style that reflects the mainstreaming of the aesthetics of commercial pornography within western societies” (cited in Drenten, Gurrieri and Tyler 2019, pg. 42).

Figure 2. @oabramovich [image] Source; Sociologylens 2019.

To adhere to these aesthetic templates female users are exerting aesthetic labour through the conscious and purposeful posing of their bodies, as well as the editing of their physical appearance - through both online photo-editing tools and/or plastic surgery - to present a hyper-sexualised version of oneself according to the relevant porn chic branded ideals through performing acts of sexualised labour (Mavroudis 2020). Sexualised labour refers to a form of work that "becomes associated with sexuality, sexual desire and sexual pleasure" (cited in Drenten et al. 2018, pg. 43). Further, The adoption of these porn chic ideals as an aesthetic template for "self-expression and lifestyle choice has come to be known as raunch culture" (Ward 2009, pg.4). Drenten et al. (2019) found "a continuum of pornified self-representations... [by female] social media influencers on Instagram. This ranged from “softer” references – where influencers pose to highlight sexualised body parts and employ “porn chic” gestures such as gently pulling their hair, touching their parted lips and squatting with legs spread to the camera – to images that were hard to differentiate from mainstream commercial pornography" (Drenten et al. 2019). 

These endorsed ideals and aesthetic templates can be unhealthy for users and can indulge fame labour seeking behaviours. Fame labour refers to "the work of managing dissonance between online brands and offline brands" and can result in users striving to emulate aesthetic templates promoted by celebrities and influencers (Mavroudis 2020). In 2017, statistics released by the American Academy of Facial Plastic and Reconstructive Surgery denunciated that 42% of surgeons are reporting that their patients are actively seeking aesthetic surgeries to improve their appearance for the purpose of appeasing social media ideals (Dorfman et al. 2018). Ultimately, the cultures that underpin Instagram and similar platforms allow for the idealisation and romanticisation of certain aesthetics and ideals that objectify and degrade women.

Figure 3. Music Video Plastic Surgery GIF. Source; Giphy c. 2020.

References:

'@oabramovich' [image], in Sociologylens 2019, Sexed up online: Instagram influencers, harassment, and the changing nature of work, Sociologylens, viewed the 11th of May 2020, <https://www.sociologylens.net/topics/communication-and-media/sex-online-instagram-influencers-work/25039>

'Candice Swanepoel Instagram GIF' [GIF], in Giphy c. 2020, Instagram, Giphy, viewed the 11th of May 2020, <https://giphy.com/gifs/fashion-show-washington-jsQFWmfr405KE>

Dorfman, R, Vaca, E, Mahmood, E, Fine, N, Schierle, C 2018, ‘Plastic Surgery-Related Hashtag Utilization on Instagram: Implications for Education and Marketing’, Aesthetic Surgery Journal, vol. 38, no. 3, pp. 332–338

Drenten, J, Gurrieri, L, Tyler, M 2018, 'Sexualized labour in digital culture: Instagram influencers, porn chic and the monetization of attention', Gender, Work & Organization, January 2020, vol. 27, no. 1, pp. 41-66

Drenten, J, Gurrieri, L, Tyler, M 2019, 'How highly sexualised imagery is shaping ‘influence’ on Instagram – and harassment is rife', Mumbrella, 8th of May, viewed the 11th of May 2020, <https://mumbrella.com.au/how-highly-sexualised-imagery-is-shaping-influence-on-instagram-and-harassment-is-rife-578396>

Léa, C, Malek, P, Runnvall, L 2018, 'Influencers impact on decision- making among generation Y and Z Swedish females when purchasing fast fashion.', Jönköping University: Bachelor’s Degree Project in Business Administration, 21st of May, viewed the 11th of May 2020, <https://pdfs.semanticscholar.org/f5fa/d75c4891a71b6c9f3781f75a13f4666ff846.pdf.>

Lee, B, Lee, JA,  Moon, JH, Sung, Y 2015, 'Pictures Speak Louder than Words: Motivations for Using Instagram', Cyberpsychology, behavior and social networking, September 2015, vol. 18, no. 9, pp. 552-6

Mavroudis, J 2020, ‘Lecture 8. Digital Health and Cosmetic Surgery on Visual Social Media', Learning materials via Canvas, Swinburne University of Technology, 6th of May, viewed the 11th of May 2020

'Music Video Plastic Surgery GIF' [GIF], in Giphy c. 2020, plastic surgery, Giphy, viewed the 11th of May 2020, <https://giphy.com/gifs/music-video-beyonce-visual-album-4n4jt9OPcNMyI>

Senft, T 2008, Camgirls: Celebrity and Community in the Age of Social Networks, DigitalFormations, New York: Peter Lang

Toffoletti, K, Thorpe, H 2018, 'The athletic labour of femininity: The branding and consumption of global celebrity sportswomen on Instagram', Journal of Consumer Culture, May, vol. 18, no. 2, pp. 298-316

Ward, M 2009, 'The production and consumption of the sexually explicit: a painterly exploration into the pornification of culture', OPEN ACCESS REPOSITORY: University of Tasmania, viewed the 9th of May 2020, pp. 1-99 <https://eprints.utas.edu.au/22230/>

[fortunebusiness]

Americas Recycled Plastics Market Size and Share Analysis | Industry Growth Forecast to 2027

Americas recycled plastics will exhibit a CAGR of 7.2% and reach USD 6,330.0 million by 2027, and the market value as per 2019 was USD 3,834.8 million.

Fortune Business Insights™ in its report, titled “Americas Recycled Plastics Market Size, Share & Industry Analysis, By Type (Polyethylene Terephthalate, High-Density Polyethylene, Polypropylene, Low-Density Polyethylene, and Others), Application (Packaging [Non-Food Packaging and Food Packaging], Construction, Automotive, and Others), and Country Forecast, 2020-2027”.

Americas recycled plastics market Drivers and Restraint :

Plastic recycling is a time-consuming, resource-heavy process. However, extensive research into plastic recycling in Americas, especially in the US and Canada, is showing potential in making this process more economically viable and convenient. For instance, Cornell University in the US has a developed a technique which involves adding a layer of tetra-block copolymer between laminated sheets of polypropylene and polyethylene, creating a tough plastic that will be easier to recycle. Another notable innovation was achieved in 2017, when two Denver-based companies, Alpine Waste & Recycling and AMP Robotics, developed “Clarke”, a robot powered by Artificial Intelligence (AI).

List of Key Players Covered in the Americas Recycled Plastics Market Report:

·                Biocirculo (Colombia)

·                Veolia (France)

·                Avangard Innovative (U.S.)

·                Ultra Poly Corporation (U.S.)

·                Fresh Pak Corporation (U.S.)

·                Suez Group (France)

·                Custom Polymers, Inc. (U.S.)

·                UltrePET LLC (U.S.)

·                Delta Plastics (U.S.)

·                Clear Path Recycling, LLC (U.S.)

·                Green Line Polymers (U.S.)

·                B. Schöenberg & Co. (U.S.)

·                Plastipak Holdings (U.S.)

 To gain more insights into the market with a detailed table of content and figures, Click Here: https://www.fortunebusinessinsights.com/americas-recycled-plastics-market-103363

Some of the key industry developments in the Americas Recycled Plastics market Include:

September 2020: The UK-based consumer goods company, Reckitt Benckiser (RB) Group, announced the formation of the “Healthy You, Healthy Planet” partnership with TerraCycle, the pioneer in waste recycling. Under the partnership, the two companies will offer simple and cost-effective solutions to clients to recycle plastic waste created by consumer goods packaging.

March 2020: Veolia and Nestle joined forces to cover all aspects of plastic waste management with focus on flexible plastic packaging in 11 priority areas across Europe, Latin America, Asia, and Africa. Their goal is to attain 35% recycled plastic content in bottles and 15% in all packaged products by 2025.