Daily Archives: February 1, 2018

BioArctic Receives US Patent Protection for a Method With a Medical Device for Treatment of Patients With Complete Spinal Cord Injury

STOCKHOLM, Feb. 2, 2018  /PRNewswire/ —
BioArctic AB (publ) (Nasdaq Stockholm: BIOA B) announced today that the US Patent and Trademark Office (USPTO) published an Issue of Notification of granting the company’s patent application US 14/361,650 for a method with the medical device, wh…

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ASSA ABLOY Acquires Phoniro in Sweden

STOCKHOLM, Feb. 2, 2018 /PRNewswire/ — ASSA ABLOY has acquired Phoniro, the largest player within integrated digital key management solutions and alarm for homecare and nursing homes in the Nordic region.
“I am very pleased to welcome Phoniro into the ASSA ABLOY Group. Phoniro…

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Produits d'exploitation 2017 Acheter-louer.fr : croissance confirmée

http://rockbands.net/wp-content/blogs.dir/3/files/2018/02/Acheter_louer_fr_Logo.jpg?p=captionLES ULIS, France, February 2, 2018 /PRNewswire/ —
Acheter-louer.fr confirme en 2017 le redressement initié en 2016 : les produits d’exploitation connaissent leur seconde année consécutive de hausse + 4,9%
Avec une situation financière désormais particulièrement solide,…

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Single Mom Disrupting the Recruiting Industry Makes Elite Mogul Magazine Innovators List

Ingrid Johnson is a 35-year-old single mom and CEO and founder of Talent Savant.SEATTLE, Feb. 2, 2018 /PRNewswire/ — Talent Savant is a three-month-old company that is disrupting the multi-billion dollar agency recruiting industry. Their model slashes fees in half, compensates the employee more per deal than the big dogs and operates with radical transparency for…

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Utopya Innovations Inc., a Wholly-Owned Subsidiary of Andiamo (OTCPK: ANDI), Announces Plans for Ticker Change and More

TORONTO, Feb. 2, 2018 /PRNewswire/ — Utopya Innovations Inc., a wholly-owned subsidiary of Andiamo Corp., is taking another significant leap forward today as it announces plans to shed its current ticker symbol (OTCPK: ANDI) in favor of a symbol that better reflects the company’s…

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Hear Busta Rhymes' Pulsating New Song 'Get It' With Missy Elliott

Busta Rhymes has released new song “Get It,” which features Missy Elliott and Kelly Rowland.

The track’s beats are propelled by Kelly Rowland’s sampled rhythmic hook, which buoys Busta Rhymes and Elliott’s verses. Rowland’s “Get it, get it, flip it, tip it, dip it” chant appears to hail from an unreleased track of hers called “Smooches,” which leaked a few years back.

Over the melodic Rowland hook and building claps, Busta Rhymes fires off speedy, club-ready lines. “Get on your mark/ And get set, ready go,” he raps before declaring and demonstrating his “miraculous flow.” Elliott’s rhymes are equally fiery. “Everybody know Misdemeanor don’t stop,” she raps. “And my records don’t flop/ Got the game on lock.”

This weekend, Busta Rhymes and Elliott will appear in a Super Bowl commercial with Peter Dinklage and Morgan Freeman. In January, they teased the ad with a clip that features Elliott training Freeman and Busta Rhymes training Dinklage for what appears to be an epic, forthcoming rap battle that will go down during the Super Bowl commercial.

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ZTE prevede una crescita del 293% nei profitti netti per l'intero 2017

Previsione di profitti netti totali di 4,55 miliardi di RMB per l’intero anno
SHENZHEN, Cina, 2 febbraio 2018 /PRNewswire/ — ZTE Corporation (0763.HK / 000063.SZ), uno dei principali fornitori internazionali di soluzioni tecnologiche aziendali, al consumo e per le telecomunicazioni…

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Review: Justin Timberlake Heads for the Country (Sort of) on 'Man of the Woods'

On his fifth album, Justin Timberlake continues to stay dedicated to Timbaland/Neptunes futuresex beats and his familiar lovesound come-ons that have made him the biggest male pop star of his generation. But, as its title implies, much of Man of the Woods also comes with the moonshine-and-mason-jar glisten of country, blues and folk. You might expect a smooth guy like JT to use this backdrop for a pickup-truck cruise across the Florida-Georgia line. Instead, he has something more timely in mind for our new dark age: It’s the end of the world as we know it, and Justin Timberlake wants to have you naked for the apocalypse.

To Timberlake, “rustic” means “survivalist,” as opposed to “downhome,” and he sounds like he has the warmest, coziest doomsday bunker on the prairie. “Some shit’s ’bout to go down, I’ll be the one with the level head,” he croons in “Supplies,” a song where he compares his love to light, firewood and emergency generators. “The world could end now, baby, we’ll be living in The Walking Dead.”

A happy husband and – as of 2015 – a proud papa, Timberlake moves from lothario to white knight, trades his suit and tie for some overalls, and sings about Ron Swansonian ideals like protection, pride and elbow grease. “Livin’ Off the Land,” which starts by sampling a commercial for the History Channel wilderness survival show Mountain Men, mixes stuttering beats with strummed guitars for a working man’s lament about paying off credit card debt to save your relationship. The whining steel guitar and cavernous 808s of the minimalist title track offer a country-rap whisper somewhere between Sturgill Simpson and Ying Yang Twinz. “The Hard Stuff” would be a straight “for better or worse” country radio ballad with Timberlake promising “I’ll be there when the storm comes” if not for its electronic wagon-wheel beat.

Wife Jessica Biel stops by to wax romantic about wearing her hubby’s shirt (“It makes me feel like a woman, it makes me feel sexy it makes me feel … it makes me feel like I’m his”) before the log cabin cuddle “Flannel.” There, Timberlake sings “It’s been with me many winters, it will keep you warm” on a song that sounds like Fleet Foxes’ indie-folk swoon “White Winter Hymnal” with a drum machine. Shortly after Timberlake began dating actress Biel in 2007, that band of indie beardos broke out, and it’s hard not to hear Timberlake similarly seeing love with the same calm, paternal, somewhat retrograde tone of the Fleet Foxes, who once sang “Your protector’s coming home, coming home.”

Man of the Woods takes a while to settle into a rural core. Most of the album’s first half is cosmopolitan future-funk of the highest caliber. It’s hard to call opening track “Filthy” “pop” since the production is so avant-garde. Timbaland and Danja conjure a testosterone electronic chainsaw grind and match it with vintage Larry Graham-style slap bass: The fact that the two musical elements don’t exactly match groovewise creates a beautiful and disorienting tension unlike anything on the radio. “Midnight Summer Jam” is like an update of Earth, Wind and Fire’s “Shining Star” where the hooks are more wine-splashed than sugar-coated. “Sauce” sounds like Primus doing War’s “Slippin’ Into Darkness” – the Chili Peppers need to cover it on their next tour.

All that’s really missing from this part of the LP is Justin Timberlake the pop icon. Instead, JT the co-producer seems more than happy to playing giddy cheerleader and hypeman to these wild beats – adding lines like “Act like the South ain’t the shit!” and “Go ahead, say I won’t!” and “I don’t like it, I love it!” – with his voice pushed a little to the background with no giant hooks to speak of. Some would consider this a waste of one of pop’s greatest showmen, but free your mind and let your ass follow: These are some uptown-funky jams, rare in the hot minute since pop turned narcotic and club-centric.

Of course, by playing so fast and loose with genre, Timberlake fails to see the forest for the trees. Man of the Woods is easily the least cohesive listen from the man who gave us a post-millennial robo-Thriller (2002’s Justified), an EDM-anticipating collection of extended art-pop (2006’s Futuresex/Lovesounds) and two discs of impossibly bloated yet stylistically confident grooves (2013’s 20/20 Experience). Here, Timberlake freely switches between the autobahn and the dirt road, and it’s hard to follow him down every detour. The windswept rural titles of “Montana” and “Breeze Off the Pond” belie the fact that they are basically weakened, post-Weeknd retro-pop. A soulful duet with Alicia Keys that recalls fellow Memphis soul man Al Green’s “Love and Happiness” is nice but inconsequential. On “Waves” he takes a flight to an island and it’s hard to even tell what the cheap-sounding guitars are supposed to evoke. Even standout “Man of the Woods,” gorgeously matching back-porch croon with hip-hop boom, feels a little off when he goes full Trey Songz (“But then your hands talking, fingers walking, down your legs/Hey, there’s the faucet”).

Still, parts of Man of the Woods are his most exploratory music in years, whether it’s the skippy, juddering avant-funk or making meaningful modern countrypolitan without sounding like a disco ball in a Solo cup. It’s not perfect, but you can’t raise a barn without getting your hands dirty.

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Grammys Announce Task Force for 'Female Advancement'

Recording Academy president Neil Portnow has announced the formation of a task force following criticism of comments he made as well as accusations of sexism during the Grammy awards ceremony, Variety reports. A call for Portnow’s resignation from female industry executives closely followed his announcement.

This year’s Grammys have been under scrutiny for the apparent lack of female nominees and winners during the awards ceremony, which included Lorde not performing (she was the only female nominee in the Album of the Year category and was reportedly the only one in the category to not be offered a solo performance slot). Of the eight awards broadcasted on television, Alessia Cara (Best New Artist) was the only woman to receive an award.

Following the ceremony, Variety queried Portnow about the gender inequity. His response included a remark that women in music need to “step up.” While he has expressed regret for the word choice, a number of artists have criticized his remarks, including Sheryl Crow, Charli XCX and Pink, who performed during the ceremony. “Women in music don’t need to ‘step up,'” Pink wrote on Twitter. “Women have been stepping up since the beginning of time. Stepping up, and also stepping aside … When we celebrate and honor the talent and accomplishments of women, and how much women step up every year, against all odds, we show the next generation of women and girls and boys and men what it means to be equal.”

On Thursday, Portnow wrote a letter to address the issue, where he acknowledged his “poor choice of words” and the hurt that they caused.

“I also now realize that it’s about more than just my words. Because those words, while not reflective of my beliefs, echo the real experience of too many women. I’d like to help make that right,” he wrote via Variety. “The Recording Academy is establishing an independent task force to review every aspect of what we do as an organization and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community. We will also place ourselves under a microscope and tackle whatever truths are revealed.”

Meanwhile, a group of female music senior executives – comprising agents, attorneys, promoters and band managers for acts such as Pharrell Williams and John Legend – composed a letter calling for Portnow’s resignation. “We step up every single day and have been doing so for a long time,” the group said in a joint letter via Variety. “The fact that you don’t realize this means it’s time for you to step down.”

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Highland Floating Rate Opportunities Fund Announces the Regular Monthly Dividend

Highland Capital Management logo (PRNewsFoto/Highland Capital Management)DALLAS, Feb. 1, 2018 /PRNewswire/ — Highland Floating Rate Opportunities Fund (NYSE: HFRO) (“HFRO” or the “Fund”) today announced its regular monthly dividend on its common stock of $.0770 per share. The dividend will be payable on Feb 28, 2018 to shareholders of record at the close of bu…

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