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Viacomcbs Inc (VIAC) Q3 2021 Earnings Call Transcript
NASDAQ: PARA
VIAC earnings call for the period ending September 30, 2021.
Viacomcbs Inc (PARA 2.94%)
Nov 4, 2021, 8:30 a.m. ET
Good day, everyone, and welcome to the ViacomCBS conference call. At this time, I'd like to turn the call over to Executive Vice President of Investor Relations, Mr. Anthony DiClemente. Please go ahead, sir.
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Anthony DiClemente -- Executive Vice President of Investor Relations
Good morning, everyone. Thank you for taking the time to join us for our third quarter 2021 earnings call. Joining us for today's discussion are Bob Bakish, our President and CEO; and Naveen Chopra, our CFO. Please note that in addition to our earnings release, we have trending schedules containing supplemental information available on our website. We want to remind you that certain statements made on this call are forward-looking statements that involve risks and uncertainties. These risks and uncertainties are discussed in more detail in our filings with the SEC. Some of today's financial remarks will focus on adjusted results. Reconciliations of these non-GAAP financial measures can be found in our earnings release or in our trending schedules, which contain supplemental information and in each case, can be found in the Investor Relations section of our website. Now I will turn the call over to Bob.
Robert M. Bakish -- President, Chief Executive Officer
Good morning, and thank you for joining us. On today's call, I'll cover two key topics. First, I'll briefly discuss ViacomCBS' third quarter results. Then I'll talk about streaming, where we're executing against a global strategy that leans into our distinct competitive advantages, and where our strong momentum shows how we're uniquely positioned for success. Let me start with the company's third quarter results, where we achieved another quarter of strong performance as total company revenue grew 13% year-over-year, reflecting growth across all revenue streams. In affiliate, revenue grew as we continued to benefit from the expanded distribution of ViacomCBS' renowned brands. We also struck a series of distribution renewals, including with Charter, Cox and just last month, Altice. And despite a tough comparison against political advertising in the prior year quarter, we grew advertising revenue in Q3, benefiting from an improved marketplace. Turning to streaming. We had another fantastic quarter of growth.
The strength and momentum of both Paramount+ and Pluto TV are clearly evident, and demonstrate the power of the strategy we laid out at our investor event earlier this year. Overall, quarterly global streaming revenue surpassed one billion for the first time, driven by robust growth in both subscription and advertising, including the addition of 4.3 million global streaming subscribers. These strong streaming results reinforce our conviction that our strategy is working and that we're well positioned to capture the significant opportunity in the global streaming ecosystem. To that end, I want to remind you of three key enablers driving the ViacomCBS strategy, all of which we're seeing in action. First, an incredible breadth and depth of compelling content which is critical to attracting and retaining consumers globally; second, robust distribution and marketing, which ensures we can build the broadest reach and awareness; and third, a strong and flexible financial engine to enable streaming investment, drive ROI and maximize shareholder value.
First, content. ViacomCBS is uniquely positioned with a vast library and production capabilities across genres, demos and geographies, including world-class studios aligned with broadly recognized brands, which enables us to produce a diversity of compelling and engaging content on a global scale, content that's already fueling Paramount+'s growth. When we introduced Paramount+ nine months ago, we told you it would be a differentiated product with broad appeal, composed of a full range of content including news, sports, movies, kids and family, unscripted and original dramas. Our consumer data tells us the diversity of content on Paramount+ is a huge attraction, and it has served as a key tool for customer acquisition as well as for driving customer satisfaction, thus improving churn. As evidenced, just look at the third quarter.
Starting with kids and family content, which was the top genre on Paramount+ for both acquisition and engagement in the quarter. In fact, over half of our subscribers streamed kids and family content from our globally loved Nickelodeon brand. What's even more impressive is that content consumption was balanced across new, originals and library, both film and television, including enduring franchises like SpongeBob and PAW Patrol and young adult content, such as the new iCarly. Movies are also proving to be a key attraction to the service. And as we continue to experiment with different lease strategies, we're seeing success across all of them. This quarter, A Quiet Place Part II and PAW Patrol: The Movie were the top two titles for acquisition and engagement on Paramount+. And the results were impressive, both in theatrical and on Paramount+. And following the global success of PAW Patrol: The Movie, we're thrilled to announce the sequel, which will debut in 2023. In addition, a new PAW Patrol spin-off series for Nick and Paramount+ is in development.
This is ViacomCBS franchise management ratcheting up to the next level. Next week, we have another family film day and date theatrical and Paramount+ Premier with Clifford the Big Red Dog, which is tracking very well. And finally, as we told you, we're also creating films exclusively for Paramount+. Just this past weekend, the latest Paranormal Activity: Next Of Kin debuted, and we like how this model is working, too. So clearly, movies are a hit for Paramount+, and they'll continue to be because Paramount+ is only one of a handful of streaming services in the world that can draw from an established and legendary movie studio like Paramount Pictures to provide it with a steady supply of world-class films. And then there's live sports. This quarter, we welcomed back the highly anticipated return of the NFL and soccer, including UEFA and the fans came back in droves. Look across it, and you'll find that 1/3 of all active domestic Paramount+ subscribers watch sports.
And importantly, we're engaging with our sports fans after the game, too. Building out the content slates of those genres that we know sports fans love from our long history with broadcast and cable. This is critical to maximizing our ROI on sports. And our Paramount+ content lineup is only getting stronger. The fourth quarter will see our biggest scripted original lineup yet. First up, from Yellowstone creator and hit maker, Taylor Sheridan, is Mayor of Kingstown starring Jeremy Renner. Next is the Yellowstone prequel 1883, starting Tim McGraw and Faith Hill. We'll launch both of these shows behind the most popular show on cable television, Yellowstone, introducing them to a weekly audience of over seven million viewers to drive awareness and anticipation among the loyal fan base before they move exclusively to Paramount+.
These are amazing series and will no doubt be fan favorites when released. And on November 25, Kyle, Stan, Kenny and Cartman will make their highly anticipated debut on Paramount+ as we exclusively premiere the first of our South Park made for streaming movies titled South Park: Post COVID. And the second exclusive South Park made for streaming movie will stream in December. Moving from content to the second key enabler of our streaming success, which is leveraging ViacomCBS' robust distribution and marketing capabilities to build the broadest reach and awareness. We are benefiting from our broadcast, cable and social reach, driving consumers to Paramount+, with its both an efficient and effective way to promote our new and existing series, movies and events and streaming.
Of course, that includes running spots and leveraging the social followings of our franchises and talent, but it's much more than that. I already mentioned what we're doing with Taylor shows. We just moved SEAL Team exclusively to Paramount+ after four episodes ran on CBS. We moved Evil earlier in the year, and we're doing similar things outside the U.S. as well. In terms of streaming distribution, you'll see us continue to scale both new and traditional platforms. For example, we just announced a broad distribution agreement with T-Mobile to bring Paramount+ Essential to the carrier's large customer base across the U.S. Suffice to say, we're thrilled to have T-Mobile welcome more fans to Paramount+'s diverse and compelling content slate. But streaming is not just about the U.S. I really see our international footprint as a key accelerant for the company to unlock the very significant opportunity in streaming outside the United States. Here, we're rapidly making great strides. Last week, we launched Pluto TV in Italy, continuing its international expansion.
This week, we announced an agreement to acquire a majority stake in Fox TeleColombia and Estudios TeleMexico, which, when combined with our existing assets, including Chilevision and Telefe, solidifies ViacomCBS as one of the largest Spanish language content creators in the world. On our last call in August, we announced a strategic partnership with Sky to launch Paramount+ in key Western European countries next year, including the U.K., Germany and Italy, putting us on track to achieve 45 markets by the end of 2022. We have since announced Sky Showtime, a joint venture with Comcast, which will include premium and original content from both companies. Launching in 2022, Sky Showtime will reach an additional 20 European territories covering 90 million homes. The third enabler that positions us to win in streaming is our strong and flexible financial engine. Here, there are a number of elements to highlight. It starts with a streaming financial model based on multiple revenue streams, which enables us to monetize content, both through advertising and subscription.
Multi-revenue stream businesses have attractive characteristics when it comes to size and diversification. multiple revenue streams made the cable network business extremely attractive. They will do the same for streaming. And the total addressable market for streaming is even larger. Let me put our streaming ad business in context for you. As the leading free ad-supported streaming TV service on the market, Pluto TV is winning in both scale and engagement, and it will be a $1 billion revenue business this year. Add to that global expansion and significant upside from our ad-supported version of Paramount+, and you have a long runway of streaming advertising growth ahead. And then there's subscription. This is already a huge market. And while it's still early and in gloss, our ViacomCBS business is well ahead of our long-term growth plan, and we like what we see ahead.
Our financial strength and flexibility is also reinforced by our ability to leverage our streaming content investment across geographies and platforms. Global is obviously important for content ROI, and we are a global company, both as a content maker and as a network and streaming operator. Lastly, the combination of the strong cash flow of our legacy business, our aggressive approach to noncore asset dispositions and our capital raise earlier in the year has allowed us to build a substantial incremental capital base to invest in streaming. As we said we would, we began deploying that capital in the third quarter to accelerate our streaming growth. These investments have attractive returns and result in more original series and movies for streaming. As I mentioned earlier, we have a great content pipeline for Q4 and anticipate will have a positive effect on our subscriber growth, which will be larger than in Q3.
This will also be the case for Pluto MAUs in Q4. And as a reminder, we're also deploying this capital to drive our international expansion. Finally, I'm excited to tell you we will hold an investor event early next year to provide an update on our streaming business, including showcasing our content to come and providing more transparency around our plans and progress. With that, I'll hand it over to Naveen to share additional financial and operational highlights.
Naveen Chopra -- Executive Vice President & Chief Financial Officer
Thank you, Bob, and good morning, everyone. Our third quarter results were highlighted by continued growth in streaming, where we had another solid quarter of subscriber additions. Streaming revenue grew 62% year-over-year with solid growth in both the subscription and advertising components of our streaming business. Q3 also benefited from growth in traditional advertising, affiliate revenue and content licensing. Let me start by providing some additional granularity on our streaming results, beginning with our subscription business, and then moving to our ad-supported services. We added 4.3 million global streaming subscribers in the quarter, reaching nearly 47 million at quarter end.
Paramount+ continues to drive the significant majority of new subscribers with a mix of both domestic and international customers. We also saw continued improvement in Paramount+ engagement. The average monthly share of domestic pay subscribers active on the service, also known as our monthly active rate, grew in the quarter both sequentially and year-over-year. At the same time, average monthly hours per active domestic subscriber also improved quarter-over-quarter and year-over-year. And in terms of monetization, global streaming subscription ARPU increased 8% year-over-year. The combination of strong subscriber growth and increased engagement led to streaming subscription revenue growth of 79% to $548 million. Moving to our ad-supported streaming businesses. Pluto TV ended Q3 with 54.4 billion global MAUs and revenue grew 99% year-over-year.
Pluto's success continues to be driven by growth in users, engagement and sell-through, which translated to a 60% increase in Pluto TV domestic ARPU in the quarter. And while Pluto accounts for the majority of our streaming advertising revenue growth, we also saw strong growth at Paramount+, where domestic advertising revenue more than doubled in the quarter. All in, streaming advertising revenue grew 48% year-over-year to $531 million. Advertising revenue, which excludes streaming, grew one percent in Q3 to $1.9 billion as strong demand was somewhat offset by ratings pressure, political spend that benefited the prior year quarter as well as the sale of CNET. Taken together, the impact of political and the sale of CNET resulted in nearly 500 basis points of headwind to advertising growth in Q3.
Looking to Q4, advertising revenue will benefit from the start of new fall programming and improved upfront pricing with the new broadcast season. While supply chain issues do somewhat limit visibility, we expect to see year-over-year advertising growth in Q4. Affiliate revenue, which also excludes streaming, grew two percentyear-over-year to $2.1 billion as incremental distribution, contractual rate increases and growth in reverse comp more than offset the decline in pay TV subscribers. We expect these drivers to continue into Q4, resulting in another quarter of low single-digit affiliate revenue growth. Licensing and other revenue, which includes fees from the licensing of internally produced television and film programming to third-party platforms as well as fees generated from home entertainment, consumer products and live events, increased 18% to $1.5 billion. Q3 2021 reflects a higher volume of licensing deliveries in the year ago period, which was impacted by COVID-19 production shutdowns.
Total company revenue grew 13% year-over-year to $6.6 billion. Adjusted OIBDA fell three percent to one billion as we continue to ramp up programming and production spend coming out of COVID and increase our investment in streaming. Adjusted diluted EPS was $0.76. Adjusted free cash flow was a use of $187 million in the quarter, reflecting a ramp in programming spend, including our investment in streaming. Adjusted free cash flow in Q4 should reflect a continuation of this trend. And turning to the balance sheet. We finished the quarter with $4.8 billion of cash on hand and total debt of $17.7 billion. This translates to a 2.5 times net leverage ratio as of September 30. We continue to have significant financial flexibility, which will increase further with proceeds from asset sales, including Black Rock, which closed in October. Looking ahead, we expect total pay subscriber additions in Q4 to be higher than Q3, driven by the content we have coming to Paramount+, including the premier of some of our biggest new originals, as Bob just described. We're excited about the launch of our T-Mobile partnership, which will have a modest benefit in Q4, but should be a more significant contributor in 2022.
We also expect Q4 Pluto TV MAU additions to be greater than Q3, which, in combination with Paramount+ growth, will result in continued strong total streaming revenue growth rates in Q4. In fact, we expect streaming revenue to surpass a $5 billion annual run rate in the quarter. This places us ahead of the trajectory implied by the long-term streaming subscriber and revenue goals we provided earlier this year. We're encouraged by this momentum and are continuing to execute against our previously described growth and investment plans. As we've said before, this translates to streaming content expense more than doubling for the full year 2021 versus 2020. And given the cadence of content hitting Paramount+ Q4 streaming expense, including content and marketing to support the new programming, is expected to increase on the order of $350 million relative to streaming costs incurred in the third quarter of 2021.
As Bob said, ViacomCBS is well positioned to be successful in streaming, given the breadth and depth of content we have on the service, our robust distribution and marketing capabilities and our strong and flexible financial engine. As we scale, improving unit economics and continued TAM expansion will make streaming accretive to ViacomCBS earnings and cash flow over the long term. And as we invest against the streaming growth opportunity, we will evolve the way we manage and allocate resources in our business. With this in mind, we plan to change our segment reporting beginning with our first quarter 2022 results, which will help investors better understand ViacomCBS as the combination of three parts: a very profitable traditional media business, a world-class film studio and a portfolio of high-growth global direct-to-consumer streaming services.
Our direct-to-consumer segment will include Paramount+, Pluto TV, Showtime OTT and our other direct-to-consumer services. We will combine our TV entertainment and cable networks businesses into one TV media segment, and we will continue to have a Filmed Entertainment segment. Importantly, these changes reflect the increasing strategic focus we will be devoting to our direct-to-consumer business. Our new segment disclosure will provide additional information on the growth drivers and business performance of the services that comprise our B2C segment. And give shareholders even greater visibility to our streaming progress. We look forward to discussing the changes to our segment disclosure in further detail, al ong with updates on our direct-to-consumer growth and investment plans at the investor event Bob noted, and which we will host in the first quarter of 2022. With that, let's open the call for questions.
Thank you. [Operator Instructions] Our first question comes from the line of Brett Feldman with Goldman Sachs. Please proceed with your question.
Brett Feldman -- Goldman Sachs -- Analyst
Yes. Thanks for taking the question. It's actually a three-part question about the new T-Mobile deal, which looks pretty exciting. T-Mobile, they just reported earlier in the week, they had just under 27 million postpaid accounts. I just want to confirm that, that's sort of the addressable opportunity for you with T-Mobile. And then I'm curious why you're expecting the impact to be more early next year, even though it's going to start being offered in this quarter. The second part of the question is, typically, these are wholesale deals where all of these customers would be paid and in your paid subscriber count, but maybe at a lower ARPU. And I'm just curious if that's the arrangement here. And then the last one is a bigger one. This is now sort of your second big distribution deal following what you've done with Sky in Europe. I was hoping you can maybe give us some insights into what you think the opportunity is to continue adding more distribution partners, both domestically and in your international markets? Thanks.
Yes. Sure, Brett. Let me start and actually start in reverse order. So look, I believe in the power of partnership. It has been used effectively to create value, great value for this company in the past and will on a going-forward basis. Today, we talked about two partnerships: T-Mobile and Sky. I think they are great examples of creating value. And in all cases, when we think about partnership, what we're looking for is an ability to drive scale. We're looking for low subscriber acquisition costs. We're looking for deals which will drive subscriber stickiness. And we want to align with great brands. And again, those are examples of both. So let's talk about T-Mobile a little bit since that was at the core of your question. We're thrilled with the deal we announced this morning. It's an efficient way for us to acquire Paramount+ subscribers. It's a partnership with a great consumer brand, and it will be additive to Paramount+'s momentum. When I think about it, I'd highlight two things, big picture.
The first one is that the most important thing for Paramount+ now is exposing more consumers to the offering, particularly as we're ramping content. So this deal obviously does that. And unlike most wireless promotions, this deal will be available to all T-Mo users. The second thing I'd highlight is that the fit of Paramount+ and T-Mobile is excellent. Their un-carrier position speaks really to value and innovation that aligns with Paramount+. And the Essentials product that we're using is ideal. As you know, that product has content for the whole household. And it has an attractive price point of $4.99, which will really maximize downstream conversion after the promotional period. And the broader distribution of Paramount+ Essential fits well with driving our streaming ad business. So we think that all makes tremendous sense. And again, we're very happy with this deal. Naveen, maybe you comment a bit more on the economics.
Sure. Bob, happy to do that. we're definitely looking forward to showcasing all the new content we've got coming to Paramount in 2022 for all T-Mobile customers. So to your question about scope, yes, it -- we're excited to make this available to all the postpaid T-Mobile customers. We do think that the deal should accelerate sub-growth for Paramount+, but it will build over time. Some of the reason behind that is that the really big broad awareness marketing campaign will mostly kick in, in 2022. And between now and then, we're going to be doing some things to evolve and optimize the consumer sign-up experience. We like the economics of these deals. You asked about the impact on ARPU as is typically the case for these kinds of third-party bundles, they do come with slightly lower ARPU than what we would see on a direct basis.
But we really like the LTVs of the subs that we can acquire through these types of deals. Those subs have lower churn, and we get full access to all the relevant user data, which helps us further maximize lifetime value. And at the same time, SAC is very low. So that ratio between lifetime value and acquisition cost is really compelling. And given what we're seeing with our trial-to-pay conversion rates, I think we can really make some hay out of giving T-Mobile customers 12 months to experience all the great content that we are producing for Paramount+, and then having them roll to paid customers after that point in time.
Thanks, Brett, Operator will take our next question please.
Thank you. Our next question comes from the line of Michael Morris with Guggenheim Partners. Please proceed with your question.
Michael Morris -- Guggenheim Partners -- Analyst
Thank you. Good morning guys. I'll ask a couple quickly. First, kind of following up on the T-Mobile question, I'd ask the same thing about the Sky partnership for Paramount+. Whether at this point, you have any more insight into the timing of the Western European launch there and how to think about sort of the immediate impact of the partnership or what the sort of steps are to kind of penetrate the addressable market there, what the timing might be? And then second, if I could just ask maybe Naveen a little bit more on the composition of the 47 million global streaming subs. Could you help us at all at this point with how many of those are Paramount+ and maybe within Paramount+ the mix of Premium versus Essentials. As you look at the new sort of reporting that you just announced, is that something that maybe we work toward getting regular disclosure going forward? Thank you.
Yes, sure, Mike. So let me start and then I'll throw it to Naveen. On the Sky question, there's really two different kinds of partnerships with Sky that we've announced. The first one, you could think of as a bundle, and that's with Sky in the U.K., in Germany and Italy. It's a commercial deal where Sky will distribute Paramount+ to all their Sky Cinema subscribers. And we look at that as a compelling way to accelerate penetration but it's a commercial deal. So we preserve a 100% ownership of the business. Like Naveen talked about with T-Mo, we believe that has really attractive SAC and churn characteristics. And importantly, in that deal, we've preserved our right to go direct in those markets as well to pursue additional opportunity because obviously, O&O direct is an important part of the streaming business. The second deal we announced with Sky is the Sky Showtime joint venture, that's really a deal with Comcast, obviously, as well. That's 50-50 JV on an equity basis.
That's targeting 20 smaller, mostly Eastern European countries, which is additive to the 45 markets we've talked about for 2022 historically. We see that -- and that will be a single app combining ViacomCBS and Comcast product. And we look at that as a way for us to participate in these smaller markets while preserving investment capacity for the larger ones, which are more important strategically. Now in terms of timing of both of those, the Sky bundle will launch in the U.K. in the first half of 2022, and that will be followed by Germany, Austria and Italy also in 2022. Sky Showtime, we've yet to announce dates on that, but it will be in 2022. So that's the story, big picture. Naveen?
Yes. So to your questions about composition of the streaming subscriber base. First to, actually, I think, the last part of your question, we will be aiming to provide some incremental disclosure related to the breakdown of streaming subs as part of the changes in reporting for Q1 and beyond. So stay tuned for that. In terms of where we stand today, I can give you a little bit of color around some of what we've seen in terms of sub additions. I think I mentioned that a significant majority of additions in the quarter came from Paramount+. I'd also note that Paramount+ domestic ads were higher in Q3 than they were in Q2. So even though that's the case, we do still have a nice contribution from international. And in terms of the split between Premium and Essentials, we don't break that out specifically, but they're both important contributors to the subs that we added in the quarter.
Our next question comes from the line of Alexia Quadrani with JPMorgan.
Alexia Quadrani -- JPMorgan -- Analyst
It sounds like movies are some of the biggest drivers to new subscribers based on your opening comments, Bob. I'm wondering if that changes the way that you think about windowing. Are you less inclined to stay with a 45-day window? And my second question is just back to the investment in local language content. You've made several acquisitions to bolster that content. So going forward, I think you see outsized investment in content outside the U.S. versus domestic? Or is it kind of -- how should we think about it? Should be kind of even? Which markets do you see as sort of more competitive and maybe need more spending?
Yes, sure, Alexia. On the film windowing question, if you look at Paramount+ in the quarter, the third quarter, we actually deployed three different models. We deployed exclusive premiere. We deployed day and date. We deployed 45-day fast follow. And actually, we deployed the exclusive both in a -- what was planned for a theatrical release and in a true made for. So we're experimenting with a bunch of different models on the Paramount+ side based on what we think is best for a specific film, obviously, keeping in mind all the constituents involved in that. And the reality is we see them all work. So it's not a question of moving away from one or the other. We're going to continue to optimize on a per film basis, and we're definitely not moving off the 45-day fast follow. If you look at A Quiet Place Part II, that was a film that used that model, and it was very effective both in theatrical from a box office perspective, even with some of the COVID issues as well as a big sub-driver for Paramount+.
And by the way, we've got plenty of consumption of A Quiet Place Part I as well, which really points to the value of having a library to go along with, call it, a new release product on Paramount+. So we'll continue that. As I said in my remarks, the next film up this weekend is Clifford. That will be another day and date theatrical Paramount+ release. We think kids and families in this continued COVID time. Those films are ripe for day and date. Again, PAW Patrol worked very well, and we're excited about Clifford. Moving to the second part of your question, which is around "local content". People think of ViacomCBS as a massive English language content creator, and we obviously are. But for years, we've been creating content around the world to satisfy local consumers. You look at our company and you got hit originals coming out of Telefe, things like 100 Days to Fall in Love, To Catch a Thief.
These shows do like 40-plus shares in Latin America, certainly in Argentina. We also do a lot of format work all around the world, probably the best example of that, but not the only example is our Shores franchise, where we have many versions out there. And actually, when you look at that, what you see is our scale is not just in English. And I mentioned it, but in addition to English, we're also one of the largest Spanish language producers in the world, and that's not something people typically talk about. When you think of streaming, which is I'm sure at the core of your question, that provides an opportunity for us to leverage our experience in this ex-U.S. production as a real competitive advantage.
And that's both to serve specific markets and have that strong local relevance, again, through characters and story lines, et cetera. But it also in the streaming space is to supply a larger aggregate global slate where we also benefit from cost advantages. We're already using locally produced content to great effect in places like Latin America for streaming. I mentioned Shores, Acapulco Shore is a massive hit on Paramount+. And really, our next step is to exploit that content really the whole collection of content globally, where we integrate "international productions" into our global slate. That will start next month where the two Telefe shows I mentioned will become an Paramount+. That will be the first of many. And likewise, we're going to do some interesting things with formats, including cross-border for Paramount+. So local content is definitely core to our strategy, but it's about much more than the local market. It's about feeding the global Paramount+ pipeline as well.
Our next question comes from the line of Rich Greenfield with LightShed Partners.
Rich Greenfield -- LightShed Partners -- Analyst
Over the last several months, Warner Media moved away from Amazon channel. So you've seen essentially the biggest players in streaming: Disney, Netflix, Hulu, Apple TV, all sort of focus on D2C and a direct retail relationship with the consumer versus sort of wholesaling through Amazon. I think if I look at Viacom CBS, I think you're the largest now of the remaining players on Amazon channels, who are using Amazon channels. Bob, I'd love sort of your sort of high-level kind of view on the puts and takes of being on Amazon versus going and being in sort of a wholesale relationship with the consumer versus fully direct. And should we think about as you start to focus more and more on streaming, will you move away from Amazon and go fully direct? Or is this something you like and you think others are actually incorrect in not being on Amazon? And it would be great to -- if there's any way to frame how big Amazon is or things like Amazon are part of that 47 million, that would be great to understand as well.
Yes. Sure, Rich. Look, it's a great question. We continue to believe in broad and ubiquitous distribution really as a path to scale. And that includes wholesale relationships, including with the company you mentioned. Now look, there's obviously trade-offs in terms of a wholesale versus a direct relationship. Those trade-offs tend to be around requests for certain types of exclusivity, data access, margin. So it's not a black-and-white question. The real question is, do you have deals in place, which makes sense relative to those considerations. And we gave a lot of thought to that. And by the way, that means we passed on some deals and some deals take longer to get done than certain people would like because the deal has to be right.
But net-net, where we are in terms of balance, particularly as we're focused on scaling, we continue to believe in the benefit of these wholesale relationships in terms really of providing access to the largest total addressable market, which we strongly believe offsets some of the other considerations, again, assuming you have the appropriate deal structure. So we like the balance model. Of course, it's something we're going to continue to evaluate over time as we scale. But we see value to these distribution channels today.
Our next question comes from the line of John Hodulik with UBS. Please proceed with your question.
John Hodulik -- UBS -- Analyst
Two things. First on the D2C content. Naveen, thanks for the color there, ramping it to sounds like over two billion in 2021. Is the $5 billion in 2024 still the target? Any color on sort of how that ramps in 2022. And how much of that is incremental to the whole company? And then secondly, the licensing revenues look strong again this quarter, and I know you guys benefited from easier comps. But Bob, you're talking about the business continuing to be a multi-revenue stream business. Just your view on sort of the future of that licensing business you have and how that fits into the broader D2C strategy?
Yes, sure. John, I'll jump in there first on the content spend. The five billion, as you said, is our sort of where we're tracking on a long-term basis. I think I would remind you that, that is not entirely incremental to total company content spend. And so while we are expecting to see material increases in streaming content expense, I mentioned the doubling from 2020 to 2021 and then growing further to over five billion by 2024, not all of that is entirely incremental because as the linear business continues to evolve, there will be remixing between linear and streaming. I think you've heard me say before that there's a lot of content that does double duty for us on both linear and streaming platforms. And I think at the end of the day, we are very focused on the ROI of those content investments. We continue to see content investment as the single greatest way to continue to grow customer LTVs, both through increased engagement and lower churn. And we're already seeing evidence of that in our results since the launch of Paramount+. So it makes total sense for us to continue to invest behind it. And then I think the second question was on content licensing?
I'll take the licensing side. We've obviously been in the licensing business for a long time. As a reminder, content licensing revenue for ViacomCBS has a bunch of different components in it. As Naveen mentioned in his remarks, it includes home entertainment, includes TV syndication, it includes consumer products. And of course, it includes licensing of content more broadly. When you look at the -- so I'd say two things. One is we're in the licensing business, but two is, that business is, for sure, evolving. So when you look at the Q3 results, and yes, there was a whole bunch of growth there. The growth was heavily COVID related. We had many deliveries that were delayed due to production shutdowns. So there's definitely some catch-up in Q3. And then the other thing that's going on is, if you looked at the prior year quarter, particularly internationally, particularly in the ad-supported network space, you had many people that had hunkered -- many buyers that had hunkered down and were preserving cash given the uncertainty of the revenue situation.
As the ad market has rebounded, those companies have moved to refresh their content lineups so that they can satisfy their consumers with new product versus kind of running these brackets off what they had at the time. And that's certainly a driver of the growth. The third thing is there are a bunch of original series deliveries in there. What you need to understand about that is those are fulfillment of deals that were really predating the launch of Paramount+. So that might be a third season of a show we're doing for someone. It might be a first season of a show we're doing for someone that took two-plus years to create. So while our strategy has shifted to become much more focused on owned and operated streaming with our franchises, et cetera. There is a tail to the, call it, legacy deals we've done, and you do see that showing up in the third quarter.
Thanks John. Operator. Next question please.
Thank you. Our next question comes from the line of Jessica Reif Ehrlich with Bank of America Securities.Please proceed with your question.
Jessica Reif Ehrlich -- Bank of America Securities -- Analyst
Thanks. A content question. Could you talk about your evolving strategy for Paramount in context of the whole company growth, so both film and direct-to-consumer? And then, I guess, two short follow-ups. For the -- for Paramount+, what -- can you give us color on your ad lite ARPU? So what's the ARPU with advertising versus subscription only? And then you talked a little bit about asset sales, but in Simon & Schuster, given the government's response, where do you go from here?
Yes. So a bunch of stuff in there, Jessica. Let me start. On content and Paramount, presumably Paramount Pictures, we obviously made a management change there. I'm very excited to have Brian in the chair. Jim obviously got us to a better place financially and really stabilized the studio. But as we look at the next chapter, we need to lean in more into franchises. We need to lean more into a multifaceted model, including, of course, streaming. And I think Brian, as both a content creator and a collaborator is ideally suited to that. And is already moving quickly to prove that value. In terms of the evolution of the slate, Brian is working on that. I think the good news is we have a very well stocked slate as we enter 2022, for sure. Great pictures in the can, which hopefully the theatrical market will continue to improve. It has been improving, particularly at the younger end. And that slate will provide tremendous benefit theatrically. And we remain committed to theatrical but also in downstream windows, including the fast follow strategy we're using for Paramount+ and Pay1.
You did see us announce a PAW Patrol sequel which speaks to franchises. But I'm very excited about where Paramount Pictures is going to go. It clearly is an important part of the company as a content engine. And it's clearly in early days, but clearly benefiting Paramount+ as well. Let me take the last part of your question, too, which is the Simon & Schuster one, and then I'll throw it to Naveen. On Simon & Schuster, really, I just want to reiterate the statements that we and Penguin Random House made earlier in the week. We do believe the transaction will be beneficial for consumers, booksellers and authors. We think the DOJ's claims are without merit. I'm not going to get into any legal arguments here. But I will say, as we've disclosed, under our sale agreement, Penguin Random House has agreed to take all necessary steps to attain the required regulatory approval, including defending through -- defending any litigation. And so they and we will vigorously defend this lawsuit. Naveen?
Yes. So to the question on ARPU is between the Essential and Premium tiers for Paramount+. A couple of important points. Number one, the ARPUs between those tiers are really not as different as you might think because of the advertising contribution in the Essential tier. I think you've heard us comment about the fact that we see a lot of momentum in the digital advertising component, which is one of the things we really like about that plan. And in fact, in Q3, the delta between ARPU on the Essential tier and the Premium tier continue to narrow. And second major point is that ultimately, we're focused on making sure that our customers are in whichever tier is going to make them the most sticky. Meaning we're less focused on the ARPU because in the long run, the bigger determinant of lifetime value is actually the expected life of the customer. So it's all about getting them in the tier where they're going to stick around the longest.
Great. Thanks Jessica. Operator your next question.
Thank you.Next question comes from the line of Ben Swinburne with Morgan Stanley. Please proceed with your question.
Ben Swinburne -- Morgan Stanley -- Analyst
Good morning. Bob, you talked a lot about different content verticals for streaming. I wanted to ask you about sports. How is the NFL and sort of your sports lineup outperforming? Are you looking to add sports rights? And are there international strategies around adding sports to your streaming portfolio over time? And then I'll just ask my follow-up now to Naveen. On the new segments next year. I realize it's a ways out. But I'm assuming that includes EBITDA. So we're going to be getting a direct-to-consumer segment EBITDA number. And to your point earlier about content traveling, I guess you'll be using some sort of allocation between segments on programming that lives in both places. Just was wondering if you could give us some more color there. It's obviously an interesting addition to the sort of disclosures.
Yes, sure. So look, I think the best way to think about the sports question is to talk about how Paramount+ consumption has evolved since the transformation. So we obviously transformed it from CBS All Access nine months ago. And in doing so, made two really big moves, which is adding kids and family content and films really at scale. And that has dramatically changed the composition of subscriber acquisitions as well as engagement. Those categories were essentially zero in the CBS All Access days, and now they're very material. And they stand alongside, really, CBS, both entertainment and sports. So as you talk about sports, there's no question it continues to be a really important category for us. In my remarks, I mentioned the power of the NFL and UEFA. By the way, throw college football in there, too.
They have continued to perform for us. In fact, both the NFL and UEFA set in-house streaming records when they returned for Paramount+. So super happy with that. Again, part of -- versus being focused on deepening that collection of sports, what we're focusing on is getting really an ROI from that sports and taking advantage of what I'd call a conjoint analysis of what else does sports consumers watch. And by the way, the answer to that question tends to be, believe it or not, reality, adult animation and of course, scripted shows. So we're working on ensuring customer satisfaction of those sports fans and roughly 1/3 of people on Paramount+ have watched sports to go and make sure we're extending that lifetime value. So that's our principal focus today, certainly, in the U.S. Ex-U.S., we don't really have a significant sports component. We have some trials underway like in Australia with Australia -- Australian Football. But we don't really start with a cornerstone right. So we're evaluating where to go with that. Naveen?
Yes. Ben, to your question on what to expect in terms of the new segment reporting, let me share a couple of thoughts. We're obviously making those changes because we are really evolving the way that we're managing the business, and we're increasingly thinking about it as the three parts that we outlined, that traditional media business that combines broadcast and cable networks, which is sort of a lower growth, but a very healthy margin business. The movie studio, which, as you know, is a core source of content for both our theatrical and streaming platforms. And then that D2C segment, which is the portfolio of a bunch of high-growth businesses where we're still in investment mode, but very bullish about the future growth potential. So yes, we will have those as fully independent segments, meaning the presentation will allow you to see the earnings power of our traditional businesses independent from the investment and contribution from streaming. And I think that will reveal a couple of important things.
Number one, it will give you a holistic view of the direct-to-consumer business all the way through the P&L, to your question. And I think it will also demonstrate that earnings in our core business are relatively stable and materially higher than our consolidated OIBDA. So I think it will be helpful to investors to look at the business in that way and get a much more accurate picture of how the different parts are evolving.
Thanks Ben. Operator next question.
Thank you. Our next question comes from the line of Morgan Stanley with Credit Suisse. Please proceed with your question.
Morgan Stanley -- Credit Suisse -- Analyst
Thank you so much. I guess my question, my follow-up. Is the funnel from Pluto to Paramount+ sort of working as you hoped? And is there more to go there? And I think as part of that, you made the Paramount+ Showtime bundle permanent recently after sort of a trial period. Any early results from that and any long-term path to just merging those services? And my follow-up for Naveen is, could you give us a sense this year -- that over two billion for content spending, that's amortization, right? Can you give us a sense of the cash versus book difference for streaming content spend and how we should think about that going forward? Understanding that there might be linear content spending coming down, I would appreciate it. Thanks.
Yes, Doug. So look, we have a differentiated strategy and one we believe is right for our company and right for the times. And that strategy spans both free and pay, which gives us access to the largest total addressable market opportunity. As you know, there's many types of consumers out there. Some people don't want to pay on one extreme. And on the other extreme, there are heavy users that are fine with paying very significant, call it, monthly bills for entertainment content. Both of those segments or all the segments are of very material size. And the products we have in the space, in this case, Paramount+ on one hand and Pluto on the other, and I'll come to Showtime, are differentiated in their space because they're both broad products. We definitely believe there are synergies across this. As you noted, Pluto as a free top-of-the-funnel service using our Paramount+ Picks channel, as an example, which showcases Paramount+ shows.
Likewise, exhibiting Showtime originals, first episodes, et cetera, both are good for subscriber acquisition. And then in the context of Paramount+ and Showtime in the U.S., those are two services with very, very low overlap in sub base. And so we believe a bundled strategy to the consumer could create some value. And as you know, we launched that product. There are other synergies in this business, too, particularly on the ad side. When you look across Pluto and Paramount+, and you heard Naveen talk about the growth rates of both of those ad businesses, obviously, those ad businesses need to be fueled by impression growth, and both of those businesses are growing impression. So we like that combination. We believe there is early evidence of synergy across that combination, and we'll continue to push that. In terms of Showtime and Paramount+ combined, as you know, we're doing that outside the United States. We think that will be really interesting to get some kind of real data on.
But at the same time, they have very distinct brand positionings in the United States. Both are doing well, including Showtime OTT, that's really offsetting pressures in the linear business. And again, it has a very distinct positioning, has a great content slate whether it's shows like Billions or The L Word or The Chi, new hits like Your Honor. Dexter, I was at the red carpet premiere earlier in the week and the return of that. So Showtime continues to do very well, and we like this multifaceted configuration.
And real briefly on -- to your question on the content expense. Yes, the two billion is expense, not cash. We have not provided any specific color in terms of the long-term cash profile there. I can tell you that in terms of Q4, I spoke in my prepared remarks about the trend on that expense between Q3 and Q4. And I would note that from a cash perspective, the increase in Q4 will probably be more modest than what we're seeing from an expense perspective.
Thank you so much, Doug. Operator we come in final question.
Thank you. Our final question this morning comes from the line of Robert Fishman with MoffettNathanson. Please proceed with your question.
Robert Fishman -- MoffettNathanson -- Analyst
Thank you. Good morning. Yes, just one on the supply chain. So any impact that you can help share on auto or any other verticals on your portfolio, broadcast, cable networks, the local stations and even Pluto? And then more broadly, if you can discuss how the fourth quarter ad market is looking and any early cancellations you've seen for next quarter? Thank you.
Yes, sure. Happy to talk about it. Let me start by saying we were super happy with Q3 in our ad business. We delivered growth in our advertising line, which as a reminder, excludes streaming ad revenue, and really strong growth when you combine both the advertising line and the streaming advertising line, we're up about nine percent versus prior year, and we are up versus 2019 as well. But the meat of your question is really what's going on today. So looking at the fourth quarter, we see a combination of headwinds and tailwinds in the quarter. On the headwind side, we do have some record political comps that we're up against. And yes, some supply chain-driven softness as we sit here today. You mentioned the auto category. There's definitely some softness there. There's some softness in sort of physical tech-related products.
What I would say is that the softness translates into people wanting to shift spending out of it to better align with anticipated product availability, we're not seeing cancellations. So it's more of a shift to better meet when they think their product is going to be available to consumers. At the same time, there are some tailwinds in the quarter, which we're happy about. Obviously, strong upfront pricing kicking in from the last upfront benefit of new fall season, including live sports and live sports is a big scatter driver. When we look at the quarter, we do expect strong growth relative to prior year and 2019 on a combined advertising and streaming advertising basis. So despite some of these supply chain issues, we still see nice growth. If we look a little bit further out, we don't really know at the end of the day how this supply chain issue, the timing of it reverting.
But when it does come back, we do see the potential for upside as clients will now need to move product that's been stuck. We also have a great election cycle, I'm sure, coming in 2022, at least from an advertising perspective. And big picture, we really like our proposition, which combines linear and our EyeQ Digital as really being able to solve marketers' problems. And by the way, EyeQ is already 25% of our business. So we're tracking through it, but we're happy with our position in the ad market. Now with that, I just close by saying these are really exciting times for ViacomCBS. We are executing well. We do have tremendous momentum, including with Paramount+ and Pluto TV.
Both of those products are really delivering for us. And when we look forward, we have what it takes to succeed in streaming. We have this incredible breadth and depth of compelling content. We have robust distribution and marketing capabilities, and we have a strong and flexible financial engine. And that, in turn, represents a tremendous shareholder value creation opportunity. So we're really excited about the future. We look forward to telling you more about it, including at our investor event early next year. So thanks all for joining us and stay well.
Thanks, operator. That concludes our Q3 earnings call.
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Hi World! This is an ispiration post dedicated to really hot trend of this season: Sparkles!
So here there are some pictures of celebrities wearing sparkly dresses on the red carpet, do you like them?
Ciao mondo! Questo è un post di ispirazione dedicato ad un forte trend di questa stagione: Pailletes brillantini o come volete chiamarli :P )!
Quindi ecco alcune foto di celebrità che indossano abiti scintillanti sul tappeto rosso, vi piacciono?
Some of these dresses are gorgeous, don't you think so?
Alcuni fra questi abiti sono stupendi, non trovate?
I love this post! I think these dresses would be really nice to wear during the holidays. I like Jessica Alba's dress because it is very unique. Since I don't really have many places to wear a sparkly dress, I've been really wanting to paint my nails sparkly which is what I will do when I have more time! Thanks for the inspiration!
Sequin pieces are definitely in style ! Great post !
Oh really cool! I love sparkles, I need something like this for Christmas!
Wow!... Great outfits... We love these photos!
Nice inspiration! I love the last dress from taylor swift, it is very pretty!
Love it! I just got a new gold sequin dress and i can't wait to use it!
Pretty! Love all the sparkles.
love all the dresses. so pretty. really hoping i can find one for new years!
I adore sequins and pretty sparkles!


Easy Piano Classics is designed to supplement the Older Beginner Piano Course, Level 2. However, this volume may be used for study and enjoyment independently. This volume contains representative four-period literature, including educational descriptions of each period as well as photos and information about the keyboards played during each period.
Emporer Waltz Composed by Johann Strauss, Jr.


text:
Q: CSS width x less than width? I'd like to have a navigation bar that's centered on the top of the page, and I'd like the width to be 80px less than the screen width. Is there a way to do this with pure CSS, no javascript? I've seen this done before, but I didn't bother to check the source at the time.

A: Just use margin-left: 40px and margin-right: 40px on the navbar div.
Sample:

CONTENT YAY.

A: I know this is a really old question, but if I had to do this right now I'd use vh (viewport height) and vw (viewport width) units. They're like percentage units but based on the viewport size.
width: 80vw
sets your container width to 80% of the viewport width.

redpajama_set_name: RedPajamaStackExchange


text:
Saving a cultural monument for the European Memorial Site Stalag VIII A
A project from Meetingpoint Music Messiaen e.V.
in Zgorzelec, Poland
Barrack listed as a historical monument becomes modern educational site. A barrack from WW II to receive a new location in the Memorial Site of the Stalag VIII A prisoner-of-war camp. What makes it so special: the transfer is international.
Marta Wyspianska |
The Görlitz region, Germany, was the centre for production of military barracks during the Second World War. The company Christoph & Unmack in Niesky also designed and produced these barracks for concentration camps and prisoner-of-war camps.
One of these barracks of the type RLM 501 erected during WWII in the city centre of Görlitz now must make way for a construction project. In cooperation with German and Polish partners, museums, authorities and experts, it will be preserved and restored on the grounds of the Stalag VIII A memorial in Zgorzelec, Poland, for much-needed space for exhibitions and workshop rooms for educational work.
For this to happen, we need your support!
The site of the Polish national memorial to the former German prisoner-of-war camp Stalag VIII A is now home to the European Centre of Remembrance, Education, Culture, which is run by the Polish Fundacja Pamięć, Edukacja, Kultura and the German Meetingpoint Music Messiaen e.V.. The two entities have been close partners in various educational and historical projects for years.
The process of transferring and redesigning the barracks consists of three phases.
The first step in preserving the monument its dismantling, the transfer of the barrack parts to Zgorzelec and their securing on site.
This will be followed by the historical reconstruction of the barrack, including digital reconstruction and the creation of a haptic model of Stalag VIIIA, and registration as a monument in Poland.
This barrack must be dismantled professionally and transferred to the grounds of the Stalag VIII A memorial site to serve as a visualization as well as providing space for an extension of the permanent exhibition on Stalag VIII A and the prisoner of war system. Some space will be used as workshop rooms with appropriate media equipment for historical-political educational. There, both visitors and youth groups will have the opportunity to obtain information about the camp and its victim's fates using the latest forms of presentation, new media, haptic sources and work stations to deepen their knowledge.
https://youtu.be/6YWb_AmlWp4
As a thank you for your support, we will include your name on a plaque of all sponsors. Please indicate this in the comments field, if you do not wish to be named.
Find more information in PL/ITAL/FR/RU on www.meetingpoint-music-messiaen.net
Show all 8 photos
Education Culture
Updated at 10. June 2021

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Jennifer Markowski is a Partner located in the firm's Boston office. Her civil litigation trial practice focuses on the defense of employment and professional liability claims. In her employment practice, she represents clients before state and federal administrative agencies and in court. She also advises clients on various employment decisions and provides training and counseling on specific issues.
In the area of professional liability, Jennifer represents lawyers and law firms as well as accountants, brokers, appraisers, architects and engineers, and other professionals in malpractice and disciplinary cases. She works tirelessly to obtain the best possible resolution for her clients. Clients appreciate the focus and attention she gives to resolving every matter as well as her ability to address challenges head on. Although most cases resolve before trial, Jennifer has first-chaired several jury trials and has earned a reputation as an intelligent and compelling trial advocate. Jennifer's commitment to her clients and to striving for the best results at all levels engenders the trust and confidence of those who rely upon her.
In addition to her trial experience, Jennifer has appellate experience in both state and federal courts.
In her free time, Jennifer enjoys watching her daughter on the soccer fields as well as being outdoors and active with her family. She loves to run, practice yoga, and take family ski trips.
Janney Montgomery Scott LLC v. Tobin, 571 F.3d 162 (1st Cir. 2009)(attorney's fees awarded for successfully defending against motion to vacate arbitration award where arbitrators found a Chapter 93A violation).
Heller v. Cap Gemini Ernst & Young Welfare Plan, 396 F. Supp. 2d 10 (D. Mass. 2005)(ERISA).
Christensen v. Kingston School Committee, 360 F. Supp. 2d 212 (D. Mass. 2005)(employment).
HR Knowledge, Inc. v. Professional Ins. & Risk Brokerage, LLC, 71 Mass. App. Ct. 1127 (2008)(insurance coverage).
Marnerakis v. Lichten, 66 Mass. App. Ct. 1116 (2006)(legal malpractice).
Kaplan v. Benowitz, 65 Mass. App. Ct. 1106 (2005)(legal malpractice).
Obtained defense verdict in legal malpractice case after ten-day jury trial (2016).
Obtained defense verdict in jury trial against condominium association alleging fees had been overcharged (2014).
Obtained defense verdict in gender discrimination/sexual harassment case after seven-day trial (2013).


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text:
Уилям Сюард Бъроуз (, фамилното име се произнася //, 5 февруари 1914 – 2 август 1997), познат още със своя псевдоним Уилям Лий, е американски романист, поет, есеист и художник. Бъроуз е важна фигура в т. нар. Бийтпоколение.

Биография и творчество
Бъроуз е роден на 5 февруари 1914 г. в заможно семейство от Сейнт Луис, щата Мисури, където започва да пише есета и журнали в ранно юношество. След като напуска дома през 1932 г. за да учи в Харвард, Бъроуз е удивен и впечатлен от ъндърграунд обществата на наркоманите. Неговата първа творба като романист е "А хипопотамите се сварили в басейна си", върху която работи съвместно със своя приятел Джак Керуак, докато двамата живеят заедно с Алън Гинсбърг.

Като постмодернист оказва голямо влияние върху поп-културата и литературата. Смятан е от мнозина за "един от най-политически язвителните, културно влиятелни и оригинални творци на 20 век". Бъроуз пише 18 романа и новели, 6 сборника с разкази и 4 сборника с есета. Неговите интервюта и кореспонденции са събрани в 5 тома.

Работи по различни проекти с множество изпълнители и музиканти. Появява се и във филми.

Джон Уотърс описва Бъроуз като "първия човек, станал известен с неща, които по принцип се прикриват". Голяма част от творбите на Уилям са частично автобиографични, главно повлияни от живота му като пристрастен към опиати – състояние, което бележи последните 50 години от неговия живот. Първият му самостоятелен роман носи името "Дрога" (Junkie). В него често се срещат сатирични пасажи, в които е вплетен и черен хумор. Романът е изграден въз основа на авторските социални критични възгледи и "пожизнено подронване" на моралните, политически и икономически канони на тогавашното американско общество. В това отношение Бъроуз е може би най-прочут с третия си роман "Голият обяд" (Naked Lunch). В България добива популярност чрез станалата култова колекция "Америка ХХ" на издателство "Парадокс".

Бъроуз има само едно дете – Уилям Сюард Бъроуз Младши, което се ражда от втория му брак с Джоан Волмър (от 1946 до 1951 г.). Джоан умира, когато Бъроуз я прострелва в главата при опит да повтори популярната сцена с ябълката от "Вилхелм Тел" в нетрезво състояние. Писателят е бисексуален, което той ревниво пази в тайна докато е млад, но впоследствие става открито хомосексуален. В творбите му често се забелязва яростна критика против хомофобията.

Бъроуз умира в дома си в Лорънс, Канзас от сърдечен удар на 83 години на 2 август 1997 г.

Библиография
 А хипопотамите се сварили в басейна си, And the Hippos Were Boiled in Their Tanks (1945; публикуван ноември 2008) (заедно с Джак Керуак) (ISBN 978-1-84614-164-5)
 Дрога, Junkie (1953) (ISBN 0-14-200316-6)
 Сбъркан, Queer (написан 1951 – 3; публикуван 1985) (ISBN 0-14-008389-8)
 Голият обяд, Naked Lunch (1959) (ISBN 0-8021-3295-2)
 Softмашина, The Soft Machine (1961) (ISBN 0-8021-3329-0)
 The Ticket That Exploded (1962) (ISBN 0-8021-5150-7)
 Dead Fingers Talk (1963) – извадки от "Naked Lunch", "The Soft Machine" и "The Ticket That Exploded", свързани заедно, за да се създаде нов роман
 Nova Express (1964) (ISBN 0-8021-3330-4)
 The Last Words of Dutch Schultz (1969) (ISBN 1-55970-211-7)
 The Wild Boys: A Book Of The Dead (1971) (ISBN 0-8021-3331-2)
 Port of Saints (1973) (ISBN 0-912652-64-0)
 Cities of the Red Night (1981) (ISBN 0-03-053976-5)
 The Place of Dead Roads (1983) (ISBN 0-312-27865-9)
 The Western Lands (1987) (ISBN 0-14-009456-3)
 My Education: A Book of Dreams (1995) (ISBN 0-14-009454-7)

За него
 Ann Charters (редактор). The Portable Beat Reader. Penguin Books, New York, 1992. ISBN 0-670-83885-3; ISBN 0-14-015102-8
 John Gilmore. Laid Bare: A Memoir of Wrecked Lives and the Hollywood Death Trip. Searching for Rimbaud. Amok Books, 1997.
 Oliver Harris. William S. Burroughs and the Secret of Fascination. Southern Illinois University Press, Carbondale, IL, 2003.
 Barry Miles. William Burroughs: El Hombre Invisible, A Portrait. Hyperion, New York, 1992.
 Davis Schneiderman and Philip Walsh. Retaking the Universe: William S. Burroughs in the Age of Globalization. Pluto Press, London, 2004.
 Michael Stevens. The Road to Interzone: Reading William S. Burroughs Reading. Suicide press, Archer City, Texas, 2009.

Източници

Външни препратки

 Архив със записи на Уилям Бъроуз на сайта Ubuweb: Sound
 Архив на Уилям Бъроуз в Колумбийския университет
 RealityStudio – фен-сайт с различни текстове, коментари, критика и др.
 William S. Burroughs: A Man Within (видео) – документален филм за Бъроуз
 "Artist Malcolm McNeill: On Beat Writer William Burroughs, The Unspeakable Mr. Hart Comic Series, Ah Puch Is Here Graphic Novel, and London 1970s Art Scene", Interview by George Laughead, August 2007
 "Турският издател на Уилям Бъроуз отива на съд", lira.bg, 06.07.2011
 "Цензура в интернет, забрана на Бъроуз", в. "Монитор", 30.04.2011

Бийт поколение
Писатели постмодернисти
Американски автори на разкази
Американски романисти
Американски писатели фантасти
Американски поети
Звукова поезия
ЛГБТ писатели от САЩ
Бисексуални писатели
Американски художници
Анализанти на Паул Федерн
Бивши американски сциентолози
Американски общественици
Американски престъпници
Окултисти
Родени в Сейнт Луис
Починали в Канзас
Починали от инфаркт на миокарда

redpajama_set_name: RedPajamaWikipedia


text:
Latest Financial News and Investing Opportunites
Harvey Weinstein Is Said to Reach $44 Million Deal to Settle Lawsuits
2019-05-23 By Brooks Barnes and Jan Ransom
Harvey Weinstein and his former studio's board members have reached a tentative $44 million deal to resolve lawsuits filed by women who accused him of sexual misconduct and by the New York State attorney general, according to three people briefed on the matter.
The outcome of the settlement talks will be especially notable because the lawsuits are one of the main avenues by which Mr. Weinstein could be held responsible for his alleged actions.
He is facing criminal charges in New York for allegations of sexual violence against two women. But more than 80 women have accused him of wrongdoing, and many of those complaints involve sexual harassment, which is a civil violation, not a criminal one. So the details of any settlement — such as whether it includes an admission of wrongdoing by Mr. Weinstein — would carry significant symbolism.
The proposed sum is less than half of what was initially discussed as a victims' fund as part of conversations last year between an investor group that was interested in buying assets of the Weinstein Company and Eric T. Schneiderman, who was then New York's attorney general. That proposed deal, which fell apart at the last minute, included a victims' fund worth up to $90 million.
Under the proposed terms of the new deal, about $30 million would go to a pool of plaintiffs that includes alleged victims, creditors of Mr. Weinstein's former studio and some former employees, according to the people briefed on the matter, who spoke on the condition of anonymity because the agreement was private. The balance would go to
Keep reading this article on The New York Times Media & Advertising.
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text:
package com.cloudbees.sdk.cli;

import com.cloudbees.sdk.extensibility.Extension;
import com.cloudbees.sdk.extensibility.ExtensionPoint;
import com.google.inject.Module;

/**
 * Marker interface for {@link Module}s defined in CLI command plugins.
 *
 *

 * The <tt>bees</tt> command creates a child classloader and child Guice container for each command plugin.
 * When such a child container is created, any classes that implements this interface and is annotated with
 * {@link Extension} are discovered and added to the Guice container.
 *
 *

 * In other words, this is a way for CLI command plugins to customize the bindings.
 *
 * @author Kohsuke Kawaguchi
 */
@ExtensionPoint
public interface CLIModule extends Module {
}

redpajama_set_name: RedPajamaGithub


Cook had a big season as Oakland's go-to guy for Derek Carr, his best year as a receiver since he entered the league as a third-rounder in 2009. The Raiders don't seem interested in keeping him with three first-rounders giving them a good shot to tap into a strong early tight end draft class.
The Chiefs are following the Packers' suit by releasing Houston and trading Dee Ford. Wherever Matthews does not get good situational pass-rush work, Houston should be on the short list as an alternative, especially for a 3-4 team.
The Bengals went cheap for former Giant B.W. Webb to replace Dennard, leaving him as the most attractive slot option with Justin Coleman (Lions) and Bryce Callahan (Broncos) already landing homes. A reunion with Paul Guenther in Oakland now makes the most sense.
Philon produced well for Los Angeles. He has turned into a solid, consistent rotation regular with 4 1/2 and 4 sacks the past two seasons. The Chargers need to think about re-signing him.
Cobb is trying to find a new home working the slot, as the Packers can turn more to younger wide receivers to complement Davante Adams. His experience and relative youth are appealing, balancing out his recent durability issues.
Melvin followed his 2017 late-season breakout in Indianapolis that was cut short by a wrist injury by not getting much of a chance to continue his strong play in Oakland. He is best suited to play outside.


Evaluating the functional utility of congregate day treatment activities for adults with severe disabilities. Reid DH, Parsons MB, Green CW. Mental and chronological age as predictors of age-appropriate leisure activity in children with mental retardation. Evans DW, Hodapp RM, Zigler E. Teaching leisure skills to severely handicapped.
Oral hygiene often is neglected in adults with mental retardation,20 and obtaining access to good dental care can be difficult Periodontal disease is common and can be a source of discomfort.
Intellectual disability, formerly known as "mental retardation," is a disorder with onset during the developmental period. It includes intellectual deficits and difficulty functioning in daily. Virtual reality as a leisure activity for young adults with physical and intellectual disabilities. Author links open overlay panel the degree of participation in active leisure activities by people with severe cognitive and physical An examination of physical activity in adults with mental retardation. Mental Retardation, 43 (), pp.
The validity and reliability of the Leisure Assessment Inventory, a tool developed to measure leisure behavior as it applies to adults with mental retardation, was examined. Leisure behavior was assessed using four indexes: Leisure Activity Participation, Leisure Preference, Leisure Interest, and Leisure .
Spare instead of with the purpose of I manipulate About me this box is end. Is perched in relation to carry.
I pin down, with the aim of you are not fetching. I am destined. Let's hearsay it. Record en route for me chosen PM, we incentive lip.


text:
The CivVic Labs website located at https://civvic.org.au (the Site) is operated by LaunchVic Ltd (ACN 611 281 737) (LaunchVic, us, we, our).
Your access to and use of the Site and the data it contains (collectively, your Access) is conditional on your acceptance and compliance with the terms, conditions, notices and disclaimers contained on this page and elsewhere on the Site or the LaunchVic website (Terms of Use).
By using the Site, or the services, features or functionality offered through the Site (Services) you agree to be bound by these Terms of Use.
We may amend or update these Terms of Use. The revised Terms of Use will be notified on the Site and if you do not agree with the amendments you may discontinue using the Site.
By accepting these Terms of Use you agree to the collection, use and sharing of information in accordance with the LaunchVic Privacy Policy.
Further, you agree to comply with all applicable privacy and data protection laws in uploading any data to the Site and you warrant that all relevant consents have been obtained from any identifiable individuals.
Ownership of content
The materials displayed on the Site, including all information, text, materials, graphics, software, tools, results derived from the use of software and tools, advertisements, names, logos and trade marks on the Site (Content) are protected by copyright, trade mark and other intellectual property laws.
Except as otherwise expressly provided for in these Terms of Use, or as authorised by us in writing, you will not, and will not permit or authorise third parties to:
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create a derivative work, or reverse engineer or reverse assemble the Content.
You agree to provide an irrevocable, transferable, perpetual, royalty free licence to LaunchVic for the use of any intellectual property rights in all data, images, audio and video files uploaded by you to the Site (User Data) for the purposes of LaunchVic's business and the provision of the Services by LaunchVic.
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open in progress completed
How might we incorporate the health outcomes that matter to patients into clinical practice?
Western Health
View challenge
How might we reduce hospital acquired complications?
St. Vincent's Health Australia


text:
/**
 * This package defines Spring's core TaskExecutor abstraction,
 * and provides SyncTaskExecutor and SimpleAsyncTaskExecutor implementations.
 */
@NonNullApi
@NonNullFields
package org.springframework.core.task;

import org.springframework.lang.NonNullApi;
import org.springframework.lang.NonNullFields;


text:
Ultimate Astrology Resources
When people ask if there is a connection between the stars and the earth's movements, the answer is usually yes. The planets are believed to have lines of sight and conversations with one another. These lines of sight determine how they interact with one another's energies. In the same way, standing across the room from another person will produce very different energetics than standing next to that person. In this way, astrologers can be excused for making errors.
These days, the news is filled with a variety of stressful events that can impact anyone's health. Astrology can provide a sense of distance and help people deal with life's ups, downs, and challenges. Astrology teaches us that the world doesn't move in a linear fashion and that it moves in cycles. The actors in history are archetypes.
Astrology has a long history in Britain, the United States and elsewhere, despite widespread doubts and doubts about its benefits. R.H. Naylor was a well-known astrologer who worked with the high-society neoshaman Cheiro in the early 20th century. He was routinely tapped to read the palms of famous people, including Mark Twain, Grover Cleveland, and Winston Churchill. Likewise, he was hired by newspapers to predict the lives of famous people, including the prime ministers, and other celebrities.
The Babylonians had begun to divide the zodiac into 12 equal signs by 1500 BC. They also used familiar constellation names to incorporate them into Greek divination. This work led to the creation of the Tetrabiblos, the foundational book of Western astrology. But as the ancients adapted the ideas of astrology, the practice spread throughout the world and branched out into different countries. The most well-known of these forms are Vedic, Tibetan, and Chinese.
The Moon represents our emotions and the Sun our self-confidence. These two planets influence our sense of safety and security. Mercury, for example, is our planet of information and communication. Venus, on the contrary, shapes relationships, art and money. Mars, on the contrary, influences energy, sexual expression, courage, and energy. These differences are minor but there are common threads among the different zodiac signs.
Astrology is not a reliable method of divination, but it has a good reputation. Millennials may be more likely to live on the edge of skepticism than previous generations. It could be that their tendency to look to astrology is a reflection of how their lives have changed. We can't prove that these stars have the answers we need, but we can take comfort knowing they are real and not just projections of our hopes or fears.
Astrology is a vital tool in modern society. It can explain things like the earthquakes and the rise of social media. The rise of social media has been linked to the sun in the tenth house, which governs prestige and reputation. Psychological astrology, which is influenced by Carl Jung's work, uses the birth charts as a mirror of the soul. You can use your natal chart to give advice or make predictions.
Astrology's roots are in the ancient world. In ancient times, the signs and constellations of the stars were believed to correlate with the lives of their inhabitants. Later, astronomy, which is the study of the planets and stars, was a separate field. This science was established in the late 17th century. It is possible to predict future events by studying the stars and planets. It can even help people make important decisions about their health.
Although the Sun is the most important star in the sky, the other celestial bodies also play an important role. Mercury, Venus and Mars are all related to a specific house in the birth chart. These bodies move at different rates depending on where they were born and when they were born. The moon, for example, can spend almost two-and-a-half days in a sign, while Mercury can spend between fifteen and sixty days.
Astrology can be a powerful tool for understanding yourself or others. It requires knowledge of basic astrology, the sun, the moon, the planets, and the twelve houses of the horoscope. Once you have this knowledge, you can start to interpret the signs and understand their characteristics. You will begin to understand the world around and your fellow human beings. Understanding your signs and the symbols they represent is key to understanding others.
Astrology Reading 2016
Astrologic


text:
9 Apps Like TweakBox: Install Third Party Apps Without Jailbreak
Carson McQueen
Carson is an iOS and Android junkie. Tinkering with new apps and sites keeps her weekends busy.
What are the Best Alternatives to TweakBox?
Do you have a friend who keeps raving about jailbreaking his iOS device and installing all sorts of apps not found on the App Store? Jailbreaking has been around for years, but you might think it's reserved for tech geeks who find joy in tinkering with their smartphones and tablets. But since smartphone manufacturers advise against taking this route, many people choose to just be contented with the restrictions that come with their device.
Thankfully, a lot of smart people have found an excellent solution, one that's geared toward the majority of smartphone users who don't want to play around with their phones. TweakBox is essentially an unofficial Appstore. This app installer can help you get acquainted with the many benefits of jailbreaking your iOS device, without actually doing so.
TweakBox provides access to a massive library of tweaked apps. For instance, you can find and install paid versions of certain apps, hacked games, and a ton of other apps that increase your smartphone's functionality.
Without question, TweakBox has emerged as the best alternative to Cydia, another third-party app installer that has since shut down.
You wouldn't have to limit yourself to TweakBox, though. There are plenty of apps like TweakBox that promise to do the same thing. And if you're an Android user, the good news is that some of the alternatives on this list will work on your device as well.
Apps Similar to TweakBox
1. AppDB
2. AppValley
3. AppEven
4. Zestia Step
5. Panda Helper
6. TutuApp
7. Mojo Installer
8. iPABOX
9. CokernutX
AppDB is one of the most recommended alternatives to TweakBox. Just take a loot at its subreddit and you'll see a ton of fans who can't say enough good things about the platform. What sets AppDB apart is its enormous app library. It isn't farfetched to say that it gives you access to more apps than any other alternatives on this list.
One thing to note is that you might see ads on some apps you install using AppDB. This isn't uncommon in signing services because that's how they make money. If you want to get rid of ads entirely, then you should definitely upgrade to AppDB Pro. Sure, it costs you a bit of money for a 1-year subscription. But it provides a much more seamless experience. With the ability to sideload unlimited apps, upload your own IPA, and quickly reinstall apps that get revoked, AppDB is definitely worth a serious look.
When it comes to free apps like TweakBox, one of the names you'll often hear is AppValley. It's a popular third-party app installer for iOS devices, enabling you to download modified versions of your favorite apps, such as YouTube, Spotify, and WhatsApp. Note that ++apps offer a more robust feature set than their stock versions, which would make you wonder why the app developers don't offer them in the first place.
As mentioned, you wouldn't have to spend a single penny when using AppValley. The downside is that you'll see quite a bit of ads, which might make for less-than-stellar user experience. If you can live with them, however, this might be the best option for you.
AppValley
AppEven has what it takes to go head-to-head against TweakBox. In fact, it has risen in popularity over the past few years, thanks to the commitment of the developers in updating their platform to guarantee that users get access to the most stable versions of modified apps.
Whether you're looking for premium apps, modified games, or quality-of-life apps, AppEven has got you covered. It's an iOS exclusive, however, so Android users wouldn't be able to enjoy this excellent alternative.
AppEven
Zestia Step is the go-to off-market apps installer by many iOS users. It has earned the trust of users because of how frequently it updates its app store. When you install something that gets revoked by iOS, you can expect Zestia Step to resolve the problem quickly.
Another reason why this app has so many users is that it allows you to get started without connecting your iOS device to a PC or Mac. It's as simple as installing Zestia Step on your phone, launching the app store, and choosing from its huge app inventory.
Zestia Step
Panda Helper is relatively new to the scene, but despite its age, it proves to be a fantastic alternative to TweakBox. It has all the features you'd expect from similar apps, but where it shines is in offering modified versions of games. If you've always wanted to feel what it's like to get unlimited lives, bottomless in-game resources, and infinite ammo, then be sure to check out the games found on Panda Helper. Of course, you must play these games at your own risk.
Panda Helper
Android users, rejoice! This is what you've been waiting for. TutuApp is an app similar to TweakBox that can be used both on iOS and Android devices. It offers a decent library of games and apps. Although it doesn't give you the biggest selection of off-market apps, it still has more than enough for most users.
TutuApp allows you to install ++apps without any fuss. This might be your best bet if you've always wanted to try out the premium version of a certain app but you don't want to spend any money. The platform has grown so much that it's now available on PC as well.
Mojo Installer has been around for a while. It's known for its library of modified apps, Cydia apps, and premium versions of apps found on the App Store. The user interface is intuitive, making it an excellent choice for complete beginners.
It doesn't differ much from the rest of the apps on this list. So why should you use it? The biggest reason is that Mojo Installer is a trusted name among iOS users. It provides a solid signing service despite its limited collection of apps.
Mojo Installer
iPABOX may not be as popular as the rest of the TweakBox alternatives you can find here, but you shouldn't ignore it right away. As soon as you launch this app installer, you'll be amazed by its clean and awesome user interface. Everything's clearly laid out, enabling you to perform your desired actions without any confusion. Each app is placed in its appropriate category so you know exactly where to go.
Of course, you wouldn't have to jailbreak your device to start using iPABOX. But to make things even simpler, the developer has ensured that you wouldn't have to use developer tools to install any app. This gives you peace of mind knowing that you can simply hit the install button and expect it to be available on your device in a matter of seconds.
iPABOX
If you haven't heard of CokernutX before, then this is the best time to check it out. This platform comes with so many features that make it a favorite among iOS users, with some even saying that it's worthy for being the replacement for Cydia and TweakBox.
CokernutX refuses to lag behind in terms of the volume of apps available on its third-party installer. From popular games and apps to ++apps and themes, you can find virtually anything on this platform. You also don't have to go through the trouble of using Xcode or other developer tools to install CokernutX.
CokernutX
9 Apps Like Klarna: Best Buy Now Pay Later Apps
By Carson McQueen
Top 10 Apps Like TutuApp: App Store Alternatives
Top 10 Apps Like Moneylion: Boost Your Financial Health
8 Apps Like Dave—The Best Cash Advance Apps
6 Apps Like Uber: The Best Ride-Hailing Apps 2021
10 Apps Like OfferUp: Best Buy and Sell Apps
10 Apps Like Kik – Best Messaging Apps of 2021
10 Apps Like Ibotta: Enjoy Cashback When Shopping
By Caleb Melvern
By Jade Griffin
10 PayPal Alternatives: The Best Online Payment Solutions for 2021
10 Apps Like "Earnin"—Cash Advance Made Easy
10 Apps Like Wish: Shop at the Cheapest Online Stores
10 Apps Like "Brigit": Most Reliable Loan Apps
10 Apps Like Pluto TV: Free TV Streaming Apps and Websites
10 Apps Like Showbox: Watch the Latest Movies and Tv Shows


China's Ministry of Health banned surrogacy in 2001, stipulating that medical institutions would be warned and fined for illegal conducting of surrogacy procedures, that made it impossible for women struggling with infertility to legally pursue building their family with a help of surrogate mother. The regulations were discussed by eight sessions of experts, specializing in various fields, who have been trying to match this method of Assisted Reproduction Technology with social ethics, morality and laws of China. In effect, gestational surrogacy was found as a technique that embodies unavoidable social and ethical issues, since the newborn baby belongs to the individuals who provided their gametal sells, from genetic point of view, but it is deemed to be very difficult to judge who the real legal mother of the child is.
Despite this regulation, mass media report that illegal surrogacy "black market" is still flourishing in China.
At the end of 2011, surrogacy was brought to special public's attention by a wealthy couple from Guangdong Province on the south of China. The couple has failed to conceive a baby after several years of marriage, whereupon they took a decision to revert to medically assisted reproduction. Eight embryos were cultivated in fertility clinic, and all of them survived. Guided by the desire to keep all of them, the couple had five embryos carried by two surrogate mothers and three by the wife. This adventure resulted in the birth of eight (!) babies – four boys and four girls, which happened between September and October 2010.
Nowadays there are approximately 500 surrogacy agencies across China, and many of them are recruiting surrogate mothers and reaching the Intended Parents just online. Some of the agencies even have a comprehensive range of packages from "economic" to "luxury". The Southern Daily recently found out that more than 180 QQ groups (Chinese instant chat communities) are registered in worldwide web, having about 30,000 members in their lines looking for surrogacy services. In order to avoid inspections, some of the agencies send their surrogates to other countries such as Thailand or India for in vitro fertilization and embryo transfer, and have them return to China for delivery.
Currently, the cost of surrogacy procedures is rather high in China. The rich couple from Gungdong Province spent reportedly near one million yuan (about 158,692 USD) for the services of two surrogate mothers and costs associated with medical procedures.
Interestingly, while some couples choose surrogacy for medical reasons, there are a lot of women who use surrogacy as bypass of one-child policy, adopted by China in the mid-1970ies to slow population growth. This legislation allows most urban couples to have only one child.
Anxious about such situation, two deputies to the National People's Congress, Qin Xiyan and Wu Donglan, suggested in March 2012 that a strict legislation should be enacted to ban and punish illegal activities of surrogacy agencies. They find that the existing laws on surrogacy are not an effective means to ban the criminal practice. "The child becomes a commodity and the body of a woman becomes a tool for production, which is against traditions, customs and ethics. It will also cause legal disputes concerning fostering, parental support and inheritance", says Wu Donglan.
It is therefore proposed by the deputies to ban surrogacy in China in both legal and administrative aspects, including penalties for offenders under Criminal Law, whereas the Population and Family Planning Law should clarify which government should supervise the issue.


text:
Rainbow Rising In Resistance at the Pride Parade
The Tide Is Rising
The excitement was already noticeable on the parade route on 5th Ave. well before the 47th annual Pride March got under way. Parade organizers made this year's theme "We Are Proud" as the well over 1 million revelers were ready for one of the biggest parties of its kind in the nation. For the first time, the annual event was televised on a national network, WABC, to millions of viewers across the country. An estimated 40,000 marchers were on hand surpassing last years effort and making this parade one of the biggest in the city this year. As usual kicking off the parade was the thunderous roar of hundreds of motorcycles from the Sirens MC, sending the crowd into a frenzy into what would be an amazing event. The crowd was treated to some parade VIPs that have an outstanding impact on the lives they touch. Grand Marshall ACLU members with Gavin Grimm, a transgender student fighting for the right to use the restroom with the gender most identified with were waving to the crowd. Right behind them was truly one of NYs Bravest, Brooke Guinan, the first transgender firefighter in NYC. GMHC Asst Director, Krishna Stone and Asian online dating founder of Blued, Geng Le made the start of the parade of immeasurable importance.
FDNY Bravest Brooke Guinan
Proud to Resist
As usual, local politicians walk down the parade route to the cheers of the excited crowd. The cheers were loudest for NYS Governor Andrew Cuomo for his leadership in getting same sex marriage and rights pushed through in NY in 2011. But the work can't stop there. Gov. Cuomo did boycott state sponsored travel North Carolina over that states anti-LGBT stance. With the current climate in Washington DC bent on having important policies reverting to States discretion, the battleground for LGBT rights could start to erode if left up to some State legislatures. There was a loud and clear message sent by activists all throughout the parade that they will not back down without a fight. Issues from healthcare, to police brutality to trans discrimination to climate change were all on the agenda and this helped to raise awareness. The tide is definitely rising and the Resistance movement is in full force and gaining more momentum.
Big Band Swinging It
Flaggots Doing Their Thing
Corporate sponsorship was huge in the parade and Delta and T-Mobile had some of the biggest crowds. Even conservative leaning Disney got in on the action. In this parade, a few contest judges stationed over on 6th Ave. and 8th St. got a chance to review the many floats, bands, and performers. The choices were tough since there was so much talent to pick from. A perennial favorite are the Flaggots with their precision flag tossing. They really got a huge ovation from the crowd especially as they headed right past the Stonewall Inn. Sometimes big surprises come from the least expected places. A float from the Metropolitan Community Church of NY had a nice rap about love and Jesus. A growing favorite is PFLAG group with groups from all over the Tri-state area. They got a huge ovation from the exuberant crowd. Another crowd favorite is the Lesbian and Gay Big Apple Corps. They really got the crowd worked up. Growing in vast numbers is the international contingency. Groups representing all parts of the world marched in some stunning costumes. It was especially inspirational to see groups from the Middle Eastern countries representing. A spirited group from Korea played traditional drum beats with Resist signs all over.
PFLAG Getting Much Love
International Groove
Mouse Ears in Tune
This was one of the best parades the city has seen this year. Pride was evident everywhere you looked. From the seniors to the kids, people were all caught up in a the biggest party and love fest to date. Love is Love is Love.
Photos contributed by: Albert J Terc
Tags: lgbtq, photography, resist, stonewall inn
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