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Using Instream YouTube Ads to Grow Channel Subscribers
Our guest, Drew Gallagher, reveals how to use YouTube Ads to grow a music channel and its subscribers.
How to use Instream YouTube ads to grow your channel
Brady Snow: Hi everyone. This is Brady Snow, Director of Content at TubeSift, and today we have a special interview lined up with Drew Gallagher, and this is Drew here and he lives in Boston where they're having a heat wave recently. But yeah, he discovered YouTube ads and he's been using it for a few different things so we wanted to talk to him about that and bring him on to hear about how he's been using instream YouTube ads to grow his channel and what he's been finding out and share some strategies.
Drew, could you just give us a little intro about how you discovered YouTube ads, and what attracted you to them?
Drew Gallagher: Sure. Yeah, so I started about a year ago just diving into digital marketing, I was really interested in my music and promoting it, but I didn't know how to do that. I play pop punk music and that genre is slowly coming back, but it hasn't been popular for a while so blowing up organically is really hard on a lot of the platforms with that genre. So I wanted to look into a predictable way to grow that.
And so I took some marketing courses, took some high ticket stuff, and I started promoting affiliate products as well as digital agency services, just to learn how to do it and make some money on the side, I'm still doing some of that. But now I primarily use YouTube ads to promote my music and I drive people to my channel and try to build an email list because one day I want to be able to tour so if I can have a bunch of people on my list that I can send announcements to and drive people to my music, I can have the success I've always dreamed of.
Build your email list
Brady Snow: Cool. Yeah, that's awesome to hear that you've been using it for music. And have you seen kind of your email list growing since you've been using YouTube ads?
Drew Gallagher: Yeah, for sure. So I started last year in November and I had nobody on my list and I knew how to build a list or still learning how to build a list. But I started running ads, I did a little bit on Pinterest and then dove deep on YouTube ads, and now I'm at about 700 people on my list, and I was running those ads probably at like, I don't know, between 10 and $20 a day, which is really cheap. And so to be able to grow it that far, now I have almost 700 people that are subscribed to my channel and I'm driving people straight to my channel too with in stream ads, and it's growing, the last couple months it's been about 40 subscribers a month, which is actually pretty good for me considering my channels so small. So the rate that it's growing, I'm going to be able to monetize it soon, and I've created this really big community of people that respond to my emails, join my Discord, listen to my music, and just give me feedback, and it's really awesome.
Structure your ad to resonate with your audience and make them click your video. (Credits: Michael Burrows, Pexels License, Pexels)
Design a script that resonates in your niche
Brady Snow: That's awesome to hear, yeah. Can you tell us a little bit about the creative? So what are your ads that you're running, kind of what's their structure formula, or what's your main goal with those?
Drew Gallagher: Yeah, sure. So a lot of people in my niche and genre of music, they like Green Day and Blink 182, which are two of my favorite bands, and so what I try to do is I try to use those audiences, and I try to structure the ad around that so it's relevant and it gets people going to the right spot. So I say, "Hey." The thing I'm doing recently is like, "Have you ever heard of Good Riddance by Green Day? Well, what if it was written by Blink 182?" And so I'm making an offer that's kind of a twist on a popular song that they already like most likely, and then I'm saying, "Come check it out, you don't want to miss out, click the ad right now, click the button below, and grab my free song, join my exclusive community." So it's all about giving them an experience that's going to get them excited about pop punk music and to help me bring it back with my brand.
So I just them to my landing page from there. And I mix it up a little bit so sometimes I'll tease the song, sometimes it's just a talking head video, sometimes it's just the song and a animated background. I try different creatives, I think the best is just my face in front of the screen and just saying, "Hey, I got this song for you. I think you'll really like it, and you can join this awesome pop punk community. So click the button and join up." And it's been working really good.
Brady Snow: Awesome. Yeah. That's good to hear it. It sounds like a lot of people say that every time no matter what their niche is, that the talking head video is the best one, I think because it's just… It's relatable and it's really personable right away. And if you get too fancy with your video it's almost like people maybe skip. But then if you're like being sincere and talking to them and you're targeting the right audience, that's really important too, but if you are then they'll be interested and will go check out your offer, or your landing page, whatever.
Why is YouTube better to advertise on than other social media?
Drew Gallagher: Yeah. And the behavior on YouTube is a little bit different. You're not necessarily scrolling, you're watching content that's long form, you're used to people presenting as if they're a teacher or something like that, and a lot of people are teachers on the platform. Whereas if you're on Facebook, Instagram, Twitter, all the social platforms, it's a lot of scrolling. So those videos, you kind of need to pull people out of that type of traditional talking, whereas on YouTube, it almost seems like they want to see that because it's so familiar.
Brady Snow: For sure. Yeah, that makes sense. That's a really good point too because any other social media platform I can think of when I'm on it, I'm just scrolling.
Drew Gallagher: Right.
Brady Snow: It's almost like it's just automating you're scrolling until you see something you're interested in. So on those platforms, if you want to get someone's attention, you have to really stand out and that's hard to do, but with YouTube, yeah, it sounds like you can get your message and if you get it in front of the right people it's going to be the only thing that they see and they're going to engage with it more.
Drew Gallagher: Mm-hmm (affirmative).
With Tubesift, you can target your specific audience for your creative channel and make sure your ad is seen by the right people. (Credit: Polina Tankilevitch, Pexels License, Pexels)
You can also use Tubesift for any creative niche
Brady Snow: Yeah. That's cool. Yes. I don't think we've had anyone on that uses it for music before. Do you think that's something that could work for any kind of creative niche, or artists, or maybe a photography site or anything like that, you think this same kind of strategy would work?
Drew Gallagher: Yeah, for sure. One of the challenges with music, a lot of people discover music on YouTube, and it's usually on placements and stuff, but it's not easy to come up with audiences and tailor necessarily all the time just because it's keyword based and people are usually… They know who their band is, they're not necessarily… If you look up Green Day it's such a massive audience, or Blink 182, it's such a massive audience because they're big bands. So you might get a broader audience, but whereas you pick something like how to do acrylic art, or how to take photos outside with good lighting, those are very specific searches, and so as a result, you can gather those audiences through intent audiences or affinities a lot easier, I think, and you can actually potentially deliver better results right away. And so, yeah, I think the arts is huge, it's very visual. And really any niche that people are consuming content and long form that is visual I think can succeed on YouTube, and that's why so many people use things like TubeSift and YouTube ads because it works.
Brady Snow: For sure, yeah, so you use TubeSift when you run your ads. Can you tell us like a little bit about that and how you found it?
Drew Gallagher: Yeah, so I've used it before, I don't use it currently and it's not that I don't like the tool, it's just I've gone away from using placements as much recently. But when I was using it heavily I took the training course, I tried to learn about YouTube ads, I had somebody that was a mentor that shared it with me and said he was using it for his so I wanted to gather placements. I was actually running an affiliate marketing offer for a make money online product, and a lot of people do that, and one of the ways that you get really hyper targeted traffic is by using a tool like TubeSift, you can find a video that's like how to make $500 a day with affiliate marketing. And if I'm selling a product or promoting somebody else's that's affiliate marketing based, it doesn't get any better than that unless you're doing like a search ad, and you can't do that with video and search, or at least not yet, then that's what YouTube is there for.
So yeah, it works really well, TubeSift's able to sift through all the videos and get you everything you need really quick so you don't have to worry about going through each video because I've tried that and that's not very fun.
Brady Snow: [inaudible 00:08:32].
Drew Gallagher: Yeah. But it's a great tool. It's a great tool. It's got a great community. I've learned so much from the community and some of the trainings and I wouldn't be surprised if I was a customer again.
Make plans to achieve your goals
Brady Snow: Cool, good to hear. Yeah, so we're end of June here so we're for sure halfway through the year, but do you have any just big plans for your channel or anything, I know you said you were trying to get to 1,000 subscribers, or what are you working on right now?
Drew Gallagher: Yeah, I'm always working on a lot of stuff. And so my big goal by the end of this year, which I think it's very optimistic on my end at least, that I should be able to reach 1,000 subscribers, and my goal is to get my email list up to 1,000 subscribers and to start creating more offers, trying to do more live streams and create live experiences. With COVID things are opening up again, but people are now getting accustomed to online experiences and offline, and I'm such a small musician that it's almost to my benefit to try to just do my stuff online until I build up an audience.
So my biggest goal is to really turn the corner on that channel, and once I hit 1,000 subscribers see like, "Okay, how can I ramp up my ad budget? How can I start monetizing this channel, getting more views, and building this community?" Because something special happens when you get your YouTube to a certain point, it just starts to grow itself, and hopefully that happens with me, but I'm just going to continue running ads and getting more people to join my community.
Visit Drew's Channels for Inspiration
Brady Snow: Awesome. Yeah, good to hear. That was about all the questions I have, but I just want to give you a chance [inaudible 00:10:14] if people want to check out your website or your YouTube channel, where can they go? What's it called?
Drew Gallagher: Yeah. So it's just Drew Gallagher Music. So I played pop punk, punk rock music, and I also have a business channel it's called Drew's Business Accelerator, and I actually teach people the stuff I'm using currently with my music and other affiliates trainings and different things. So, if you want to learn how I use YouTube ads to grow my music or different things and build an email list, whatever, you can go to Drew's Business Accelerator on YouTube. And then if you want to listen to some pop punk jams and jump up and down you can go to Drew Gallagher Music.
Brady Snow: Awesome. Thanks. Yeah, we'll be sure to link to both of those on this blog post so those will be in the links below, everyone that's watching. But yeah, that was all the questions that I had. Was there any questions you had or anything else you wanted to talk about?
Drew Gallagher: I just wanted to say, if you're a creator out there, big or small, and you have doubts about YouTube ads, or being able to grow something on your own, tools like TubeSift and platforms like YouTube ads allow somebody like me, just somebody who, I still have a job, I'm by myself, I don't have a big team, I don't even have any VA's, or anything like that, I'm able to grow my list and monetize things, and it's just so powerful that you can reach consumers directly like that. So if you have a big dream and you want to go for it, it's totally possible and trackable, and just go for it, and use tools like TubeSift and ads to get there.
Brady Snow: Awesome. Thanks. Yeah, it's a really good message, thanks for sharing that.
Brady Snow: Cool. Well, yeah, thanks for coming on and, yeah, we'll be in touch again.
Drew Gallagher: Awesome. Sounds great. Thank you.
Drew Gallagher on YouTube
Drew's Business Accelerator
Drew Gallagher Music
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These Two Lucky Dogs Repped Colossal in France
Published on July 23, 2018 by Julie Pry in Above and Beyond,Partners
About once a year we find a way to cram a public art project into our schedule. It's tough — rigging new walls is tricky and recreating another artist's work is one of the hardest jobs for a painter to take on — but these projects are important to us.
Our latest was with Fondation Carmignac. The French organization asked us to recreate Ed Ruscha's 1984 piece, Sea of Desire, at a museum and sculpture park on Île de Porquerolles. The island is 10 minutes off the coast of the French Riviera, between Marseille and Cannes. You can bet everyone was on their best behavior before the crew was assigned.
Coatney and Chucky were the lucky two who packed their brushes and flew to France. We got them to tell us how it all went down.
COATNEY
Coatney:
First off, I do not speak French. If there were subtitles I would do alright, but the way the verb comes before the adjective is hard to understand on the spot.
We flew into Paris. The train from Paris to Toulon was hectic, but it was the best way to see the land and give ourselves some time to adjust. It had been an exceptionally long winter for us and it was a nice shock to be in that warm Mediterranean weather!
We took a 15 min ferry ride over to the island. It was much more rural and laid back than I'd imagined. Also there were no old nude dudes, so that was a relief.
Chucky:
Porquerolles is gorgeous. I was scheming on never leaving but the island already had a sign painter and I would've run out of money really fast.
The job site was a 15 minute hike up a windy dirt road past an ocean vista and into the woods at an abandoned tennis court. It was without a doubt the best commute I've ever had to work.
The site was beautiful and eerie at the same time. It was super quiet except for these crazy wild chickens constantly squawking — the solitude was distracting after a while.
For me it was also hard to slow down and enjoy the opportunity because I came in so high-strung and focused. Working at our New York pace on this island would have made us look like we were smoking crack!
We had fun trying to achieve the canvas texture on a super smooth surface but it was definitely a challenge. We spent three days glazing to get the right light and texture — that was pretty tricky. The light changed constantly and the shadows from the trees threw us off, and then there was the huge volume of bugs that were sticking to the wall every day. Every morning we'd spend an hour clearing off hundreds of bugs that got stuck the night before.
Working abroad presents so many challenges and requires quick problem solving from the moment you arrive. The second day on the island we discovered we didn't have any white paint. I had to go to the mainland to get it, and I would have been stranded there, without money or a ferry ticket, if I hadn't made friends with a crazy Portuguese taxi driver. He ended up driving me around to paint shops and ATMs on a wild goose chase for money and white oil enamel. We raced back to the ferry dock and got there right before the last boat left for the island.
We did find a little time to explore. We were the only people on the island brave enough to swim in the cold water — felt fucking good to us! We also rented bikes and rode all over the island, which is covered in trails… that was the highlight for me.
It was nice being surrounded by trees and fresh air, but I also kind of missed the chaos of NYC. Despite the island's beauty, it felt good to leave when it was time.
Nothing beats painting a whiskey ad, but these art projects are pretty cool. It's dope to paint something that will last a long time and is truly unique, and in such a beautiful place.
I feel like trips like this one make up for all the other bad ones (there are too many to name) and invigorate a wall dog.
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Lineup: Beastie Boys & Money Mark
Performance Date: 11 Aug 1998
&nbsp10 Aug 1998 | 12 Aug 1998
City: Milwaukee, WI
Venue: Mecca Arena
In the Round Tour
1. Super Disco Breakin'
2. Sure Shot
3. Skills to Pay the Bills
5. Time to Get Ill
6. Egg Raid on Mojo
7. Tough Guy
9. Remote Control
10. The Move
11. Flute Loop
12. Slow and Low
13. Three MC's and One DJ
15. Song for the Man
16. Believe Me
17. Time for Livin'
19. Paul Revere
20. Egg Man
21. Shake Your Rump
23. Gratitude
24. Heart Attack Man
25. Alright Hear This
26. Unite
28. Get It Together
29. Intergalactic
30. Sabotage
Fan Review by Billy at Music-Critic.com:
This was my first concert that was even close to a hip-hop nature. I need to get that out in the beginning so you know where I am coming from. Most of the shows I have seen are either alternative or rock: Pearl Jam, Everclear, Our Lady Peace, Tori Amos, etc... So as you can see, A Tribe Called Quest was not in that genre. But let's start at the beginning and go on from there.
Money Mark opened the show up around 7:30. An interesting musical style. His set began with a mixing jam, samplers, turntables -- all that shit. This intro was very kickin'. It got the crowd moving and I was grooving to it. However, then he went into what I was not hoping for: basic guitar/alternative rock music. Most of his set was this style music -- kind of like a slower Space Monkeys or Oasis; it sounded very brit-pop/rock to me. He wasn't bad at it, the band did a good job and the vocals were good as well. The problem I did have was that it did not fit my mindset for the show. The best part of his set was in the middle when they went all-out improv jamming on the synths and turntables again. Oh well, on to the next band then.
While I am not a HUGE rap/hip-hop fan, I do get into some of it. When it comes to my preference, I get into the East-Coast style. This is cool, seeing as how A Tribe Called Quest are about as East-Coast as there is. The guys did an EXCELLENT job of getting the crowd going. As soon as they told the audience to start jumping, compliance was reached. I didn't think I could have so much fun with a pure hip-hop act. I guess I can be wrong sometimes. They did a lot of new music from the new album coming out September 29th. (Sadly they stated this new album will be their final A Tribe Called Quest release). It was Ali's (the guy on turntables) birthday, and they got the whole crowd singing Happy Birthday - very cool. Their set ended with "Scenario".
Unfortunately, by this time I was dripping with sweat. This had to be the hottest concert I had been to in a long time. There was no room to move whatsoever - when there was movement it was movement in the crowd as a whole. I figured, what the hell, I will just deal with it and go on to the Beasties. Oh damn - I could hardly wait.
After sitting for a while, the lights go down and what do I hear, but Rush's "Tom Sawyer" being sampled. Mix Master Mike was onstage, and he started the show by just ripping it up. Next thing I know, "Super Disco Breakin'" is going, and so does the crowd. I have never seen a crowd with so much energy before. I got tossed to God-knows-where and never saw the people I came with again throughout the show. This didn't matter much though, since the show was so great. A lot of the music was from the last two albums, including "Shame in Your Game", "Sabotage", and of course, "Intergalactic." The closer before the encore was excellent, as they had Q-Tip come on out for the song. The band was excellent, even though MCA, Ad-Rock, and Mike D are looking old. It didn't matter. They still have it in them - anyone who says differently is whack.
Overall, I loved the concert. I hated the venue. I have been to concerts there before - and nothing was as bad as how they handled the show. There were too many people on the floor -- either overselling of tickets, or just plain letting people on the floor who shouldn't have been there. The crowd was great - they loved the music. However, I have a quick comment. This was the first time I ever saw someone smoke a bowl in the middle of a moshpit. The last complaint I have about the venue was from after the show. Here I am, sitting in line to get me a hat - and what happens? Well the damn security guards come around kicking everyone out. I mean, come on - the show just got out ten minutes ago. We were there for four hours watching those acts and all the security guards can do is kick the fans out as soon as the show is over? What the hell was with that... well enough venting. If you do get the chance to see them - do it. One of the coolest shows I have seen in a long time. Hell, the stage even rotated.
Fan Review by Jennifer at Music-Critic.com:
Alright, before I get going, I want to inform you all that, like Billy, this was on my first experiences with a hip-hop kind of show, although not exactly my first. I also am more used to shows to the likes of swing, ska, rock, and alternative. However, I must say I had a rockin' time at this show.
The first band to take the stage, Money Mark, I was completely unfamiliar with. Previous to the start of the show, my friend and I were talking about what we thought Money Mark would be like, etc., etc., and when they whipped out their first song, we looked at each other with approval. However, the next song was nothing like the first, and to put it bluntly, sucked. As their set went on, I could not wait for them to be over. I'm not saying they are a bad band or anything, they simply did not fit in my liking and I did not find them worthy to be touring with the almighty Beasties. After some time, I had no choice but visit the restroom and then go find the t-shirt stand to get my souvenir of the night -- a lovely yellow Beastie Boys tee. By the time I got back in the arena, to my delight Money Mark was just finishing up their set.
Next out was A Tribe Called Quest. I am not going to lie to you and tell you that I was much of a fan of Tribe before the show. I suppose I have never really heard much of their stuff before the show and had never had the fine opportunity of seeing the boys do their stuff up on the stage. I must admit I was quite impressed and I plan on heading out to the nearest Best Buy one of these days and picking up a CD or theirs. Tribe did an awesome job of getting the crowd going. Instead of being down on the floor, I was up in the seats (me being a mere 5'2", being down on the floor never works for me.) From my seat, I could see most of the people in the smoky, crowded Milwaukee Auditorium, and they were quite into Tribe. Everyone seemed to be dancing and having a good time, like it was "One big party," as on the guys from Tribe described it. And yes, I too was dancing up a storm. One of the highlights of the show, as Billy mentioned, was getting to sing "Happy Birthday" to Ali; thousands of people in the place singing "Happy Birthday"-- interesting. When they finished up their set, I was sad it was over, but I was all too eager to see the Boys.
Then, after much anticipation, the lights dimmed again and the crowd went nuts. The Beasties were about to come out! The place was so loud and everyone was going crazy. I, myself, could not grasp the fact I was going to see the Beastie Boys. My only fear was that the show wouldn't be as good as I would expect out of my Boys. However, I soon found out I had nothing to fear. Before I know it, MCA, AdRock, and Mike D. were out on the circular stage doing their thing. Mix Master Mike started the show out by sampling Rush's "Tom Sawyer" which I thought was just too awesome -- I mean, who but the Beasties would start a show sampling some Rush? "Super Disco Breakin" was the first song they did, and a good choice I must say. They did more rock and punk songs than I expected, but I suppose that's ok. I would have preferred more raps, but I still had a great time and it was quite clear that everyone else at the show had a great time as well.
A highlight of the show was "Paul Revere" (which is on my cd played as I type) when the crowd had the honor of spitting out the lyrics, as opposed to the Boys. You could tell the audience was lovin' that. My favorite part of the show was the last song before the encore when they brought out Q-Tip and did my favorite: "Get it Together." I was lovin' it and dancing away, sweat just pouring down my face, but I didn't seem to mind, as I felt like I had died on gone to heaven. Then the boys climbed down below the stage through some "trap doors" until the encore, in which Mix Master sampled the line "Welcome to my underground lair" from Austin Powers. The boys then performed "Intergalactic" and closed with "Sabotage."
Overall, in case you didn't notice, I truly enjoyed the show and am eagerly anticipating the next time the Beastie Boys come through--if they do. My only complaints were how crowded the show was and how hot and smoky the place was, but it was by far worth it. I have never seen a crowd so into a group before and having such a good time. This was definitely one of the best concerts I have ever gone to, and I've been to quite a few, despite my younger age.
Fan Review by Tom at Music-Critic.com:
Well, I think you've been held in anticipation long enough for Part III of the Beastie Boys concert review. The first part, from Bill, had an alternative background. Jenny, who did the second part, has a somewhat mixed background in music. Now I add the third part, coming from a hip-hop background.
I found out first hand why people like MTV are saying Milwaukee was the best stop on the tour. I feel sorry for any of ya'll that were gonna go and didn't or couldn't, cuz you missed one of the best concerts to ever hit Brewtown....
I was able to view it from a different vantage point then that of Billy and Jenny. I was down in the front standing up against the barrier around the stage. Damn it was hot, but damn it was fun!!
The opening act, Money Mark, was ok. I guess I expected something a little more exciting. Although that doesn't mean he wasn't good. Money Mark is a very talented musician. He can play several instruments and can sing very good too. His music is primarily instrumental, and a lot of it is improvised. He was a decent act to get the crowd kinda warmed up.
After a brief set change (props to the stage designers for making this easy for the crew so it went quick!), one of my favorite rap groups took stage, A Tribe Called Quest. I had seen them in concert once before and thought they were ok, so I wasn't sure what to expect. But I was soon to realize I was in for a surprise! They were quick to pump up the crowd and get everybody into it. They did all their classic jams from back in the day, from "Bonita Applebum" to "Award Tour." They had two guests along, Jerobi, and I'm not totally sure who the second one was....maybe Consequence (although it didn't sound like it). But having them along enabled them to do my favorite song of all time, "Scenario." The guest picked up the parts of Charlie Brown and Busta Rhymes, who were then a part of Leaders of The New School. The Tribe stayed on stage for almost an hour! Many people who are not big fans of hip-hop have said that they loved the Tribe's performance. One of the things that I really like was that they had a clean sound system, so you could actually hear the music and understand the lyrics, which is essential for rap. The only bad part was that they announced that after 10 years of puttin out their unique style, "The Love Movement" would be their last album. As a long time fan, I hope the hell not!! (Editor's note: It was stated on MTV News that this Milwaukee show was actually to be their last show as A Tribe Called Quest).
After a break for stage setup, it was time for the Beasties to perform. Their set opened with Mix Master Mike on stage by himself workin it on the turntables. After his brief solo intro, the Beastie Boys emerged. Immediately the crowd came alive, and the whole mass of people started movin' n' jumpin'. This is when I was able to make it to the front row. The only problem with being up there was that it was tighter then a mo fo. But it was awesome cuz you could see the Beastie Boys just feeding off the excitement of the crowd in their expressions. When you would look up at the people in the seats, it was just this mass of people all waving their arms, dancin and partyin.
I thought the way the music was arranged was perfect. They'd piece some of their more popular high engergy songs together for awhile. Then, just when you started to think you're getting tired, they slow it down and go into some of their instrumentals. This provided a nice break. Then the Beasties would pick it up again with some of their punk/thrash material. I like their newer material a lot. It kinda reaches back to their older style of rapping, yet combines it with cutting edge samples, Groovebox generated music, and fat ass beats. Occasionally, they would have a couple back-up players come on to play a couple instruments. Mix Master Mike was on stage all night, showin off his talent on the the tables.
Even the stage was kickass! The center of it, where all the instruments were, would rotate every now and then. So nobody remained in the back or side of the stage for long. The also had strategically placed digital video cameras. The images they picked up were displayed on video walls and hanging monitors. They added digital effects for that Beastie look. Q-Tip also came on stage so they could do "Get It Together." We all knew that they weren't done yet when they left the stage because they hadn't played "Intergalactic," their newest hit. And sure enough, after a minute or two, they reappeared and performed it. In all, they were on stage for two hours, by the end of which I was soaked in sweat from head to toe and tired as hell. We were made to leave right away, and I picked up new t-shirt. When Bill and I walked out the doors, there was someone from MTV news conducting an interview. We stood in the background for a bit, but left cuz we didn't think it would get aired cuz it was only Milwaukee. Little did we know it would, since this show is being dubbed the best on the tour. A friend of ours spotted us when he was watching it one morning, kickass!
Words can't describe the overall thoughts and feelings of this concert. All I can say is that for any of ya'll that didn't go, you missed your one chance in a lifetime to see a show this good!!!
&nbsp10 Aug 1998 - Beastie Boys
&nbsp10 Aug 1998 - Money Mark
Beastie Boys - 12 Aug 1998
Money Mark - 12 Aug 1998


Turn the clock back fifty years and we would not be engaged in a debate about green-washing. At that time most people didn't think about reducing their green-house gas emissions, conserving water or implementing "sustainable" practices on their working lands.
It is fair to say that the times have changed. Now sustainable is the buzz word: we are all rushing to purchase green cars, construct green buildings and talk about our sustainable farm practices. While farmers did not use the word "sustainable" fifty years ago, the concept was very familiar. Our livelihoods throughout history have depended upon nurturing the soil and wisely protecting our natural resources so that the soil would yield crops for decades into the future.
That brings us to the local, and rather unfriendly, dialogue that is occurring today. Some individuals are making claims that wine community is green-washing. In fact these same people have been so bold as to liken wine to corporately owned "big oil". These individuals ignore, or perhaps are completely ignorant of, the facts. Sonoma County farmers, which include vintners, are overwhelming multi-generational family farmers, with the bulk (80%) farming less than 100 acres. Even given the fact that Sonoma County has over 1,800 grape growers, the community has collectively made a commitment to continue and document their decade's worth of sustainable practices, building upon those practices to adapt to climate changes, drought, and air quality issues. The grape growing community has pledged to become 100% sustainable by 2020!
Anyone who has participated in these sustainable programs knows just how rigorous they can be. Documenting and monitoring sustainability practices is a time-consuming and expensive process. The expense is largely related to the third-party certification process. That is why the Sonoma County Winegrape Commission committed up to $100,000 in funding to help support grower's sustainability certification. Some wineries are offering a premium price on grapes that are certified sustainable. For instance Jackson Family Wines is paying their growers an additional $20 per ton for third-party certified grapes and they are not alone.
It is worth sharing just a few components of the sustainable practices farmers are adopting. While programs may vary slightly, information on practices and commitments are tracked and confirmed in each. The Code of Sustainable Winegrowing (one example of the numerous sustainable programs available to grape growers) requires continual progress in adopting 138 sustainable practices in the vineyards and 103 sustainable practices in the winery. Practices include water management to reduce erosion and conserve water, soil and plant management to reduce use of pesticides and fertilizers, ecosystem management practices that aid in maintaining or enhancing the ecological integrity of the ranch or winery site, and practices to achieve energy efficiencies that reduce greenhouse gas emissions. If time and space allowed, I could continue on about the many other practices, of which the reuse of waste water, solid waste reduction practices and environmentally preferable purchasing practices are just a few.
The point is – people who claim that the agriculture community is green-washing have no understanding of what is really happening on the local ranches. I would agree with our critics that "sustainability is not all economics: it must include ethics and truth-telling" (Shepherd Bliss). So anytime our neighbors in the community want a public discussion on sustainability we would welcome the opportunity. Farmers wake up every day, till their fields and grow their crops with sustainability in mind. I doubt very many professions – or for that matter people – can honestly make that claim.


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Arts FestivalTAPInternshipsPartners & FriendsAbout Us
We cherish our partners and friends who share our vision and collaborate with us in spaces of the arts we have created. We are grateful for the opportunity to work with different ones who have come alongside us with their imagination and inspiration.
National Arts Council Singapore
The National Arts Council is a statutory board of Singapore that champions and oversee the development arts in Singapore. Their support for the arts is comprehensive – from grants and partnerships to industry facilitation and arts housing. We are thankful for the continuous support of the National Arts Council Singapore in our bi-annual arts festival at the Lower Seletar Reservoir since 2014.
National Parks Board
The National Parks Board is a statutory board of Singapore that dedicates to transforming Singapore into a "City in a Garden." We are grateful for NParks in granting us the usage of the beautiful Lower Seletar Reservoir Park for our Arts Festival.
The Singing Loft
The Singing Loft is a professional vocal training institute that partners Yellowren through its qualified and passionate instructors to impart quality vocal techniques to our students in our vocal and singing programme.
Jessica Tea from The Singing Loft is currently our resident instructor for the vocal and singing programme. Jessica obtained Grade 8 Distinction in Popular Music Vocals, a full certificate in CCM Pedagogy Music Conservatory– Level III Certified Somatic VoiceworkTM (United States, Winchester) from Shenandoah University. She has also sharpened her skills by learning from industry veterans including Marcelle Gauvin (Somatic VoiceworkTM Vocal Trainer), Lawrence Goldberg (Broadway Vocals Trainer, New York, USA) among many notable others.
EV Dance
Established in 2009, EV dance is one of Singapore's leading dance company. Their mission is to educate and inspire by providing opportunities for creative exchange between artists, audiences and academia. JJ Chan, founder of EV Dance was the judge for our Interschool Dance Competition and their Elite Team was featured in a dance showcase at Yellowren Arts Festival. EV Dance has also partnered Yellowren in our certification dance programmes for kids and youths.
SAM Health
SAMH's (The Singapore Association for Mental Health) Creative Services is a platform that engages visual arts, writing, music and dance as a form of therapy and to promote psychological wellness and mental health. Our partnership with SAM Health includes a showcase by their artists at Yellowren Arts Festival and the facilitation of a workshop session under our Transformative Arts Programme.
All Saints Home
All Saints Home is a nursing home in Singapore that cares for the elderly. Yellowren together with its volunteers have been coming alongside to bring cheer to the elderly residents through our arts workshops specially designed for them.
Nanyang Polytechnic (Mass Media Management)
In conjunction with our 2018 arts festival, we collaborated with Nanyang Polytechnic in "Make Film x Nanyang Polytechnic" to organize a short film competition for the students from DMMM to encourage and inspire a generation of new and aspiring film makers in Singapore. The Diploma in Mass Media Management (DMMM) at the School of Business Management, Nanyang Polytechnic, is a course that allows students to gain the right balance of business knowledge and media skills.
Dave Gibbons is a friend and the Founder & CEO of XEALOTS. Dave was invited as our guest speaker at Yellowren Japan. Dave and XEALOTS have provided consultation to some of the leading organisations and companies, helping creatives, entrepreneurs, activists, innovators and artists discover their destiny and equip them to live it out.
Makoto Fujimura
Makoto Fujimura is a friend, a painter and a visual artist who was invited a guest speaker at our Christmas events. Yellowren Japan was also honoured to host Makoto and his team in his discussion on Silence. Makoto is a Japanese American born in Boston in 1960. From 1985 to 1992, he was enrolled in the doctoral program at Tokyo University of the Arts as an international scholarship student. Learn Japanese painting from Kazuho Hieda and Matazuzo Kayama. In 2003, he was appointed as the White House Cultural Counselor for the first time as a Nikkei (residing until 2009). Since 2015, he has been appointed as the director of the Brem Center, a cultural facility of Fuller Theological Seminary in Los Angeles. He has been awarded an honorary doctorate of art from the University of Belhaven (2011), the University of Biola (2012) and Roanoke College (2015). Published "Silence and Beauty" (Akibunsha) in February 2017. Special adviser for Scorsese's "Silence-Silence". In August, held a solo exhibition at Nagasaki City Shusaku Literature Museum. Lives in Princeton, USA.
Ian Mutch
Ian Mutch is a friend, an artist and a storyteller who had collaborated with us through a live mural painting that is now a main feature at our Yellowren Arts Space in Japan. Hailing from Australia, Ian draws his inspiration from landscapes, animals, traveling, stories and patterns. His artwork ranging from small illustrations to large scale murals has won awards, given life to public spaces and featured in well-known publications. His works had been showcased in Perth, Sydney, Melbourne, Byron Bay, Singapore, Bangkok, New York and London. He has recently written and illustrated the book, "More and More and More" published by Fremantle Press, shortlisted for the Wilderness Society Environment Award for Children's Literature.
Kei Morita
Kei Morita is a friend of Yellowren and has over 20 years of experience working in Fortune 500 companies and start-ups. He was invited as a guest speaker to share his story at Yellowren Japan. He is a visionary Design Director responsible for all phases of product design, brand identity, product strategies, and the visual language of apparel and related product categories. Kei has worked in and designed for some of the following companies: Nike, Diesel, Vans, Banana Republic, Barneys NY, Fred Segals, Nordstrom and Urban Outfitters.
Andrew Nemr
Andrew Nemr is considered one of the most diverse tap dance artists today. Andrew is a friend and a guest artist who gave an amazing tap dance performance at our Yellowren Arts Space in Japan. An international performer, choreographer, educator and speaker, Andrew's work explores tap dance as a vehicle for storytelling and community building. Nemr has performed nationally and internationally. He was featured alongside Jazz greats Clark Terry, Jimmy Heath, Hank Jones, James Carter, and John Faddis in A Great Night in Harlem at New York's Apollo Theater, in support of the Jazz Foundation of America; in Harry Connick Jr.'s Only You tour at Proctors Theatre, Schenectady, New York; and with the Duke Ellington Orchestra's presentation of Ellington's Sacred Concert.
Nina Neo
Nina Neo is an aspiring junior art director, currently studying in SIT Glasgow School of Arts in Singapore. She loves exploring and experimenting on new ideas in the arts and design scene. She's also into illustration and advertising. Nina has participated as our guest artist in our arts festival both in Singapore and Japan, and has also facilitated the arts workshop in Yellowren Arts Space in Nakameguro.
September Penn
September Penn is a singer, songwriter and recording artist who has performed across the United States, Africa, China, Japan, Israel and Palestine. She is CEO/artistic director and co-founder of The Power of Song Inc., a 501c3 nonprofit organization that mentors youth while educating them about social justice issues through song, theater and art. Penn currently serves as a worship leader at Montrose Church in Southern California and director of the Kaleo Choir at Fuller. September has performed at our Christmas events at Yellowren Japan.
Mohd Farid Salim
Farid is a hip-hop dance instructor at Movement Flow. Farid has been dancing over 14 years and through his art, he discovered his true passion in developing and mentoring the youth. Some of his notable achievements include two times Super 24 Champions (Open Category), 8 SYF Distinction Awards and Director for Carnival Act Dance Production (Tertiary). He has made a positive impact in the schools that he's been coaching. Farid partners Yellowren in the dance choreography and coaching our kids and youths for various performances.
Tim Ong
An Aussie at heart, chef Tim Ong has opened a slew of great restaurants in his time including Jaxs Bistro & Pizzeria nestled at the Hollandse Club. He is no stranger to cooking with kids, running one of the largest culinary programs, voted as 9 of the best cooking classes around the world by SilverKris – Singapore Airlines Travel Guide. Tim has also made his way through the media circuit in Asia, with shows on Asian Food Channel and Mediacorp. Chef Tim Ong is a friend and has partner us an artist in our Arts Festival and also hosted fun culinary workshop for kids from our community.
Alvin Lee is a graphic designer with Pico Art International and a visual artist based in Singapore. He graduated with a BFA in Visual Communication at the School of Art, Design and Media at Nanyang Technological University. Alvin is one of the recipients for Noise Singapore Award 2015, presented by National Arts Council Singapore. Alvin has showcased his works at both our arts festival in Singapore and Japan.
Keiko Yanaka
Keiko Yanaka is a Japanese creative catalyst affiliated with the International Arts Movement–Japan, and brings an intimate understanding of Japanese tea rituals. Keiko is a friend and has partner Yellowren in performing the Japanese Tea Ceremony at our arts festival in Japan.
Web Design by Gage Hunt Creative
Yellowren JapanContact


Additional Info: Roy C. Brewer, Ph.D.
Echoes of Elvis: Elvis Symposium, Smithsonian Institute, Washington, D.C., 2010.
Fees: private lessons: $35 for 30 mins or $50 for 1hr I am currently teaching Violin Improv at Rhodes College, Memphis, and private lessons at Circle Music in Memphis. My fees for live performances vary.


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Do you know that an Anti Gravity Chair Can Alleviate Your Back Pain Problems?
KenWu
Back pain is quite a common problem faced by thousands of people across the country. There are many different kinds of back pains; some are mild while some other could be very hard to bear with. There are many ways and methods to deal with this problem and you can read more about this at 'How to cure Back Pain Naturally'.
One of the more recent inventions that has been proven to alleviate back pain effectively is the anti gravity chair. Also known as zero gravity chair or recliner, this ergonomic furniture is specially designed to be as comfortable as possible, thus allowing the users to sit and relax while forgetting about their back problems.
Woman resting on an anti gravity chair
Amazon Health & Personal Care Choice
Anti Gravity Chair
The concept for anti gravity chair was actually come from or inspired by Nasa. When astronauts are launching into space, they will sit in a reclined position, where their feet will be above their hearts. This position has been known to put very little stress on the body and this is very essential when counteract the force of gravity during the launching.
Moreover, sitting in an upright position could do a lot of damage to the astronauts bones and internal organs. Scientists who studied this sitting position believe that it could also be adapted into the design of furniture.
By making the chair that leaned back far enough while alleviated the feet above the heart level, it can relieve the stress on the spinal cord while providing a level of comfort that never experienced before. The pressure onto the heart is also lowered significantly. These features help in alleviating the effects of back pains.
The anti gravity chair is also designed to be very adjustable and accustomed to every user individual needs. This means you don't have to worry if this recliner is shared among the different members in the family.
This ergonomically designed chair come with quite a number of locks, adjustment knobs and levers that allow the users to access to numerous settings and seating positions.
You can fiddle with the adjustments until you reach to a position where you are totally comfortable and relaxed.
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On top of that, many premium anti gravity chairs (normally cost over a thousand dollar) also come with automatic massagers that could even enhance your relaxation experience.
When a person relaxes on the anti gravity chair, the muscles on the back will automatically decompress and release. In which, this also means that there will be less pressure laid on the spine and thus, allowing you to relax even more.
As the spine is freed from tension in the back muscles, the back pains that you have will subside slowly and gradually. Blood circulation in the back is also improved in such position.
This chair can also help in dealing with spinal disc problems, as well as mitigating the effects of other painful back conditions. For solely relaxation purpose, your body will be able to destress and regenerate faster.
Anti Gravity Gaming Chair (best for gamers)
Besides back pain, the anti gravity chair can also deal with your posture problems, should you have any. Bad body pressure can lead to some serious health problems should the tension builds up over time.
By using an ergonomically designed chair will allow you to relax your muscles and release the tension gradually.
As you continue using the zero gravity chair, your back muscles will get used to being in a relaxed position and thus, improving your overall body posture.
Now can you imagine sitting on an anti gravity chair that specially built for gamer as shown on the right?
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Accurist was founded by Mr. Leslie Chow in 1980 as an OEM and ODM manufacturer. The company has grown through the years, through keen innovation, putting forward new products in the electrical appliance, office supplies and gardening arena. Facilities were expanded to Panyu, Guangzhou in 1990 and are equipped to design, manufacture and test products in house through its full-fledged of production equipment and UL/GB testing facilities. Our manufacturing facilities and quality control are ISO certified.
With strong demand overseas, Accurist invented and patented the fire insulation material in 1996 and developed a successful fire-proof chest that meet the stringent UL fire rating standards, exported under licence production with the BRINKS brand. With continuous innovation, Accurist has since design and manufactured a line of UL rated fire-proof water resistant chests, fire proof media safes, and the world's first poly shell cabinet style fire-proof water resistant safe.
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Gregory Allen Howard Tapped to Write WWII Drama 'Night Witches'
Antonella Recchia
Gregory Allen Howard was brought on to write the drama Night Witches for Boris Yeltsin's Timedale Entertainment banner. The movie, based on a true story, brings a twist to the World War II topic because it focuses on the female flying unit that fought in the battle of Moscow. The story follows the team of fierce females, nicknamed "Night Witches" by the German soldiers because of their lethal stealth while operating the planes.
Mr. Howard is best known for his fact-based films Remember the Titans and Ali. His upcoming features include Better Angels, Brothers Ivanov, and Knockout.


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Client: The New York Foundling Region: Americas Industry: NGO
Nonprofit, The New York Foundling, Saves 100,000 hours in Manual Work Annually with UiPath
Client Overview
The New York Foundling is one of the oldest social service organizations in the state
Process Type
Front office: Support and servicing
The New York Foundling looked to update its antiquated, paper-based processes with the help of robotic process automation (RPA), supported by UiPath employees donating their own time to the initiative.
As one of the oldest social service organizations in the state, The New York Foundling is no stranger to paper-based, manual processes. As Chief Information Officer, Arik Hill, pointed out, it's certainly not uncommon to see NY Foundling employees engaged in manual work.
"Agile work is unprecedented in social services," Hill explained. "{Our clinicians} are carrying around clipboards and paper — stacks of case notes are what we live and breathe every day."
In addition to these paper-based processes, staff members also had to navigate the use of at least five different systems to catalog and maintain data related to the families the organization serves. This created numerous issues, not the least of which involved time-consuming data entry and high staff turnover rates.
To address these problems and support transformative improvements, the NY Foundling turned to RPA. However, the partnership between the social service organization and UiPath didn't come together in a traditional way.
An UiPath employee's idea makes RPA possible for the NGO
As opposed to the NY Foundling reaching out to UiPath for its industry-leading software robots, it was a UiPath employee, Shashank Pancharpula, who brought the organization to the attention of the software solution provider. As Hill explained, NY Foundling was the grateful benefactor of UiPath's charity-focused initiative, the UiPath Bridge program.
As part of the Bridge program's pilot, Shashank supported the RPA initiative at NY Foundling, donating his own time and experience as a Customer Success Manager alongside innovative UiPath software robots to reduce manual processes and improve efficiency at The Foundling.
"This initiative that started from one of our own employees really made me proud," noted UiPath Co-Founder and Chief Executive Officer Daniel Dines. "They wanted to donate their own time to help NY Foundling progress faster with the automation plans."
Pinpointing inefficiencies and decreasing employee turnover
Through the donation of time and support from UiPath Bridge, the NY Foundling team was able to take a close examination of its internal processes to identify work that would be best suited for robotic process automation. The NY Foundling team particularly wanted to pinpoint the workflows that were contributing to the high turnover rates seen with their internal staff.
"We have always believed that everyone deserves a chance at exercising their potential and their possibilities, but we have not always been able to accomplish that because of antiquated systems," explained Dr. Sylvia Rowlands, NY Foundling Senior Vice President, Evidence-Based Community of Programs. "The child welfare and social service system is still a paper-and-pencil, spreadsheet-driven system. We had clinicians that would turnover regularly."
In 2017, the organization's turnover rate reached 40%. This is a difficult challenge, as the team was spending considerable time and resources to educate and train employees, only to have them leave the organization a few months later.
"Within that problem, we identified the need for transformation. We identified a need for a culture change with a bold new vision," Rowlands said. "And that's where UiPath joined the Foundling story."
"Agile work is unprecedented in social services," Hill explained. "{Our clinicians} are carrying around clip boards and paper—stacks of case notes are what we live and breathe every day."
Arik HillNew York Foundling Chief Information Officer
The NY Foundling team and UiPath embarked on an RPA pilot program. The initiative centered around automating the data entry for one of NY Foundling's five systems. Previously, employees spent up to four hours per week copying and pasting data between these systems. Hill, Rowlands, and UiPath wanted to find a more efficient and accurate way to approach this transfer of data from one system to another.
The New York Foundling gets back close to 100,000 hours in manual work annually
As a result of introducing software robots to its manual data entry processes, NY Foundling clinicians no longer have to spend hours per week copying and pasting data into the appropriate systems. Instead, UiPath robots handle this activity, enabling clinicians to save four hours per week, or 16 hours per month in manual data entry.
4hrs or 16 hours per week — in manual data entry for each staff clinician.
100k hrs saved annually in total for NY Foundling staff.
<42% Reduced the previous 42% staff turnover rate through more efficient, RPA-supported workflows.
"We asked our clinicians what they'll do with the extra 16 hours per month they have," Rowlands said. "Some said they want to participate in committees that they weren't able to in the past due to their jobs being so busy; others said they want to complete advanced licensing education. But most said they want to be able to spend more time with the families the Foundling works with, especially those that are difficult to engage with or are at an acute point in their treatment."
Learn more about the UiPath Bridge Program here.
Ready for your own success story?
Speak to our team of knowledgeable RPA experts and learn how you can benefit from RPA.


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Contentious Probate Solicitors in Derby & Birmingham
The period after losing a loved one is a difficult and emotional time and can be made worse if there is a will dispute or uncertainty over an estate. Seeking specialist contentious probate legal advice at an early stage can be vital in resolving an estate dispute, avoiding costly litigation proceedings and attempting to preserve relationships.
Contentious probate solicitors
How our contentious probate solicitors can help
Our specialist contentious probate lawyers can help you with contesting a will, Inheritance Act claims, and probate and trust disputes.
Whether you are a trustee, an executor or a beneficiary, we will carefully guide you through the entire estate dispute process. We tailor our approach for every claim or potential claim, based on its specific and unique circumstances and will provide a balance of understanding and practical advice to ensure matters are dealt with as smoothly as possible to reach the best resolution.
Appreciating that taking a claim to court can be costly, we focus on resolving matters without the need for court intervention where possible, using alternative dispute resolution methods to bring estate dispute claims to a successful conclusion whilst minimising costs, risk and stress.
However, if court intervention is necessary, you can rest assured that we have some of the best litigation lawyers in the country.
Highly experienced will dispute solicitors
Our team of experts are highly experienced and regularly deal with all types of will and estate disputes arising from a variety of situations.
We frequently advise on cases such as dealing with invalid wills, issues arising from negligent will drafting, undue influence, losses arising from probate fraud or forgery, issues relating to lack of mental capacity and problems arising from executors failing to carry out their duties properly or effectively.
We also have considerable experience in dealing with large and complex estates, particularly where rural and agricultural property is involved or assets are held in different countries.
What is contentious probate?
Contentious probate is a dispute involving inheritance or the validity of a will, usually over a disagreement after someone has passed away relating to the distribution of their estate.
Contentious probate disputes may arise in a variety of situations where there are:
Invalid wills and/or negligent drafting
Issues of undue influence i.e. being put under pressure to leave items to others
Issues of lack of mental capacity i.e. not being of sound mind
Circumstances of fraud or forgery
Executors failing to properly carry out their duties and deal with the estate
Rectification of mistakes
Other issues arising between beneficiaries and executors
Do I have to go to court to contest probate?
No, you do not necessarily need to issue court proceedings to contest a will or make a claim against an estate.
The costs involved in taking a contentious probate claim to court can be high but we regularly use alternative dispute resolution as a means of bringing claims to a successful resolution whilst minimising costs and risk. Alternative dispute resolution can be a less stressful and emotional way of settling claims. Of course, however, we can take a dispute to court if that is a necessary and appropriate way of bringing a claim to a conclusion.
When can I contest a will and how long do I have to do so?
It is vitally important to act quickly if you believe there may be grounds for contesting a will.
Time limits can vary depending on the type of claim, however, below provides a general guide:
Claims for reasonable financial provision made under the Inheritance Act: within six months from the issue of the grant of probate or letters of administration.
Rectification claimse. where there has been a clerical error in drafting: within six months from the grant of probate
Claims against an estate: these are governed by the rules under s.22 of the Limitation Act, which allows for a period of 12 years from the date of death. Where there is an action to recover trust property, the limit is six years from the date on which the right of action accrued.
Fraud: no time limit.
In cases where there may be grounds to contest a will, the person challenging the will can enter a caveat to prevent the grant of probate being issued. You can still contest a will after probate has been issued, however, it is generally easier to recover estate assets if they have not yet been disposed of.
You should speak to a legal expert as soon as possible for advice.
On what basis can I challenge the validity of a will?
You may be able to argue that a will is invalid if you can show that one or more of the following apply:
The will was not correctly executed in accordance with the Wills Act 1837;
The deceased lacked testamentary capacity;
The deceased was unduly influenced or pressurised into making their will
There are issues over the lack of knowledge and approval – the deceased did not understand the extent of their estate, or the effect of making a Will; or
There are issues over forgery or fraud concerning the Will.
You will need sufficient interest in order to bring a claim. If you think a will is invalid, you should speak to a solicitor as soon as possible for advice.
What are the requirements for valid execution of a will?
For a will to be validly executed, it must comply with section 9 of The Wills Act 1837. There are four elements to show:
It must be in writing and signed by the testator;
The testator must have intended by his signature for the will to be valid;
The signature must be acknowledged by the testator in the presence of two or more witnesses present at the same time; and
Each witness either:
attests and signs the will; or
acknowledges his signature, in the presence of the testator.
What can I do if I think the testator lacked mental capacity when they made their will?
When making a will, the testator must be of 'sound mind'. There is a legal presumption that an individual has capacity unless it is established that they do not have so. The person making the will must:
Understand the nature of what they are doing and the effects of that;
Understand the full extent of what is being given away by them – there would not be a need to be able to compile a mental inventory of all assets, but have a general idea of the assets being disposed by the will;
Be able to comprehend and appreciate the claims which may arise – there is the need to be able to recall those who have claims upon estate to consider whether to benefit them in the will or not; and
Must not be affected by any disorder of the mind.
If you believe that the deceased lacked capacity when they made their will, you should contact the legal representative who acted for the testator at the time to ask for evidence to show that the testator did have the mental capacity when the will was made.
What can I do I if I think the testator was influenced when they made their will?
If you believe a testator was placed under undue influence or coerced when they made their will, you may be able to contest the will. Undue influence is when pressure is placed on the testator by a third party i.e. to make certain gifts etc.
This is an extremely difficult claim to prove, as the deceased is unable to assist the court. There are no legal presumptions, and it is on the person claiming to provide substantial evidence for the claim.
What can I do if the deceased did not have sufficient knowledge and approval?
The court must be satisfied that the testator understood and approved the contents of the will.
Where a will has been executed correctly and the testator had the necessary testamentary capacity, then knowledge and approval are usually presumed.
Relevant questions that the court would consider are whether:
The circumstances of the will are suspicious; and
Has scrutiny of those circumstances dispelled those suspicions?
Certain circumstances where it must be proved that the testator had necessary knowledge to understand the content of their will and that they approved the content:
If they cannot speak, write, or are paralysed;
They are blind or illiterate; or
The will is alleged to have been signed by another person for the deceased at his discretion.
I am concerned that the will is a forgery or is fraudulent.
If it can be proved that the will has been forged or fraud was involved, then it will be set aside by the court and held to be invalid.
Fraud is defined as a criminal act being "an intentional deception made for personal gain or to damage another individual".
Common forms of fraud
Forgery, i.e. testator's signature on the will, dishonestly concealing or destroying a will.
Fraudulent calumny, i.e. this is the poisoning of the testator's mind against a third party who would benefit from the will by making a dishonest misrepresentation.
There is a high degree of proof required to prove allegations of fraud or forgery.
I was promised something that I did not receive in the will. What can I do?
You may have a claim for proprietary estoppel. Proprietary estoppel is a legal remedy to enforce a broken promise. The following factors must be established to bring such a claim:
There was a promise, representation or assurance made by the deceased that a person would acquire a right or interest in specified property.
When such a promise has been made, it was relied upon with the belief that it was effective.
Detriment
There needs to have been some detriment suffered by relying on that promise. It must be shown that there is a link between reliance on the promise and the detriment suffered.
Encouragement by the person making the promise.
If the factors are demonstrated and that it would be unconscionable for no remedy to be given all, the court will consider what remedy to provide. This will be ultimately dependant on the facts of each case , but the powers of the court are wide ranging in this area.
Example case: In Habberfield -v- Habberfield, the daughter of Mr Habberfield, made a claim for proprietary estoppel. She had worked in the family farming business and claimed that her father had made various assurances and promises to her during his lifetime relating to ownership of the farm. She brought a claim that she had acted to her detriment by working at the farm throughout her lifetime for little financial remuneration. The court agreed and made a monetary award to her.
What is the Inheritance (Provision for Family and Dependants) Act 1975?
The Inheritance (Provision for Family and Dependants) Act 1975 ("the Act") enables certain categories of people to seek reasonable financial provision from an estate. They will need to be able to demonstrate that they were financially dependent on the deceased and that there was a failure to make adequate financial provision for them.
Who can bring a claim under the Inheritance (Provision for Family and Dependants) Act 1975?
The Act stipulates that the following categories of application can bring a claim:
A surviving spouse
A former spouse who has not remarried
A person who had cohabited with the deceased for at least two years immediately prior to their death
A child of the deceased
A child of the family
Any other person treated as a dependent provided that:
The deceased died domiciled in England or Wales;
The application for the order was made within six months of the grant of representation;
The applicant does not fall into one of the categories detailed in (i) – (v); and
The deceased did not make reasonable financial provision for the applicant.
What is taken into account by the court when a claim is brought under the Inheritance (Provision for Family and Dependants) Act 1975?
The Act requires the court to consider whether reasonable financial provision has been made for the applicant and if not, what provision should be made. The following factors are considered:
The financial resources and financial needs that the applicant has, or is likely to have, in the foreseeable future.
The financial resources and financial needs that any other applicant has, or is likely to have, in the foreseeable future.
The financial resources and financial needs that any beneficiary of the estate of the deceased has, or is likely to have, in the foreseeable future.
Any obligations and responsibilities that the deceased had towards any applicant for an order or towards any beneficiary of the estate of the deceased.
The size and nature of the net estate.
Any physical or mental disability of any applicant or any beneficiary of the estate of the deceased.
Any other matter, including the conduct of the applicant or any other person, which in the circumstances of the case, the court may consider relevant.
Any order made by the court will take into account any other applicants, other beneficiaries and the size of the estate, to ensure that the order of financial provision does not cause significant detriment to another party.
If I challenge a will, will I incur costs?
It is a common misconception that the costs of all parties to trust or estate litigation come out of the trust fund or the estate. They do not.
The main principles relating to costs are as follows:
The overriding principle that costs are at the discretion of the court.
Subject to this, the normal order is that costs follow the event. The losing party is ordered to pay the winning party's costs.
Exceptions to the rule – where the deceased has in effect caused the litigation e.g. failed to give consideration to all claims against the estate.
Beneficiaries are those who benefit from an inheritance (money or assets) under the will.
Estate is the general term to describe all that the deceased owned, which might include cash in the bank, shares, stock, assets, and property etc.
Executors are those appointed in the will to carry out the instructions in the will and ensure the beneficiaries receive their inheritance.
Grant of probate is the certificate provided by the Probate Registry confirming that the executors named in the will have the authority to deal with the estate of the deceased.
A testator is the person who has made the Will.
"The firm was very professional and supportive in a very sensitive issue. They gave realistic advice on what could be achieved. All the team have been very friendly and helpful whether it be face to face, by telephone or by email usually responding very quickly."
"Flint Bishop routinely acts on tax planning for high-net-worth individuals, and it also covers wills, estate administration, probate, trusts, Court of Protection and elderly client matters. Led by Claire Rudkin, the practice is increasingly active in cross-border matters and represents business owners, entrepreneurs and farmers, among others."
"Flint Bishop was recommended to me to assist me in dealing with a contentious will issue. I found the firm to be very helpful, experienced and at the top of their respective professional disciplines. I could not have achieved the final outcome without them going that extra mile to deliver a satisfactory outcome. I have been very satisfied and would not hesitate to recommend the firm in the future."
Mr Solari
For more information and advice on contentious probate, please contact us on 01332 226 480 or complete the form below.
Probate fees hike and forms reform confirmed for January 2022
There has recently been a rule change for disclosure of assets and liabilities to HMRC, alongside an upcoming increase in the fees paid for probate applications
A guide to will and estate disputes
Losing a loved one is a difficult and emotional time. This period of grieving can be made worse if there is a dispute or uncertainty over a will or an estate.
Residential nil rate band: how to use the value of your home to save on inheritance tax
This article helps you to understand how to use the residential nil rate band to minimise your inheritance tax liability.
The importance of time limits when making an Inheritance Act claim
There are strict time limits you must adhere to when pursuing an Inheritance Act claim.
Simultaneous death: who gets the family home?
A situation where two or more people die at the same time, without it being clear who died first, can have significant legal consequences.
Does the testator need to have died before a beneficiary can dispute a will?
A Court of Appeal case considered whether a will could be disputed before the testator died.
Will and estate disputes affect everybody; even celebrities!
The late George Michael, Nelson Mandela and Jimi Hendrix, to name a few, all hit the headlines because of their will and estate disputes.
Who pays the costs to dispute a will?
Discovering that a loved one's will is not as it was expected to be can cause even more strain at an already difficult time.
Prevent a common estate disaster with a disaster clause in your will
What is a disaster clause and how useful are they?
Broken promises and proprietary estoppel
Many people rely on 'promises' made to them by family and close friends and as a result, alter their lives based upon them.
A guide to probate
A Grant of Probate is a document from the court when the deceased left a valid will and the executors appointed need evidence.
A guide on what to do when a loved one dies
This easy-to-understand guide gives you information on everything from registering the death and funeral arrangements to settling finances.
Court of Protection applications Inheritance tax planning Powers of attorney Probate Trusts Will writing


Description: UP 7268 and 7384.....................Still there?
Description: Another Flood Detour is headed by one of the ex-GECX Warranty Protection Units, this one the ex-4000 was leading a Flood Detoured UP Train CCLJR9 29 as it paused at Dudley.
Description: CSX Ethanol Train power. 1116 hours.
Description: Two UP GE's leads a westbound coal through Washington's scenic riverfront on UP's Jeff City Sub. Would anybody have an idea why a loaded coal train would be heading west on this line?
Title: Coal and more coal heads into Kc Mo.
Description: EB up coal load bound for Saint Louis Mo and points East.
Description: Eastbound coal approaching Acker Rd.
Description: A wb coal train rumbles across the old Osage River bridge.
Description: UP 8761 & 7268 lead an eastbound mixed freight at Rochelle, IL.


Re: Austin O'Laughlin Holyoke/Springfield, Mass.
In reply to: Austin O'Laughlin Holyoke/Springfield, Mass.
Source Citation: Year: 1900; Census Place: Springfield Ward 2, Hampden, Massachusetts; Roll: T623 652; Page: 15B; Enumeration District: 574.
Source Citation: Year: 1910; Census Place: Springfield Ward 2, Hampden, Massachusetts; Roll: T624_592; Page: 8A; Enumeration District: 604; Image: 41.
Source Citation: Year: 1920;Census Place: Springfield Ward 2, Hampden, Massachusetts; Roll: T625_702; Page: 11B; Enumeration District: 104; Image: 562.


text:
Q: Parse error: syntax error, unexpected ';' in C:\xampp\htdocs\webdev\auto-parts-db\submit_processor.php on line 6 I'm sure this is a dumb question, but I'm somewhat new to hard coding queries into php files and I cannot figure out why I'm getting this error.
What I'm trying to do is add text input in a form into columns on a database table. Here's what I have:
form.php
<form action="submit_processor.php" method="post">

Add Auto Part

Part Name:

<input type="text" name="available_parts">

SKU:

<input type="text" name="partSKU">

Vehicle Make:

<input type="text" name="vehicle_make">

Vehicle Model:

<input type="text" name="vehicle_model">

Vehicle Year:

<input type="text" name="vehicle_year">

<input type="submit">
</form>

submit_processor.php
<?php
//Connecting to sql db.
$connect = mysqli_connect("my host","my user","my password","my db");
//Sending form data to sql db.
mysqli_query($connect,"INSERT INTO auto_parts (available_parts, partSKU,     vehicle_make, vehicle_model, vehicle_year)
VALUES ('$_POST[available_parts]', '$_POST[partSKU]',     '$_POST[vehicle_make]', '$_POST[vehicle_model]', '$_POST[vehicle_year]')";
?>

Any help would be great!

A: Missing ) at last
mysqli_query($connect,"INSERT INTO auto_parts (available_parts, partSKU,     vehicle_make, vehicle_model, vehicle_year)
VALUES ('$_POST[available_parts]', "
    . "'$_POST[partSKU]',"
    . "'$_POST[vehicle_make]', "
    . "'$_POST[vehicle_model]', '$_POST[vehicle_year]')");
                                                        ^//missing )

redpajama_set_name: RedPajamaStackExchange


text:
P. S. Hurst, W. C. Noblett
In dentistry, as in medicine, geriatrics has become an increasingly important topic during the last decade. The increased incidence of chronic disease and concomitant polypharmacy in the geriatric population and their impact (direct or indirect) on oral health has a significant influence on dental treatment. Consideration of the disease trends and disease manifestations allows the dentist to modify traditional dental procedures to treat affected patients in the optimal manner. Consultation between the dentist and physician will help to safeguard and possibly to improve the systemic health of the patient.
Otolaryngologic Clinics of North America
Fingerprint Dive into the research topics of 'Geriatric dentistry'. Together they form a unique fingerprint.
Geriatric Dentistry Medicine & Life Sciences
Dentists Medicine & Life Sciences
Geriatrics Medicine & Life Sciences
Polypharmacy Medicine & Life Sciences
Dentistry Medicine & Life Sciences
Oral Health Medicine & Life Sciences
Chronic Disease Medicine & Life Sciences
Hurst, P. S., & Noblett, W. C. (1990). Geriatric dentistry. Otolaryngologic Clinics of North America, 23(6), 1097-1107.
Geriatric dentistry. / Hurst, P. S.; Noblett, W. C.
In: Otolaryngologic Clinics of North America, Vol. 23, No. 6, 1990, p. 1097-1107.
Hurst, PS & Noblett, WC 1990, 'Geriatric dentistry', Otolaryngologic Clinics of North America, vol. 23, no. 6, pp. 1097-1107.
Hurst PS, Noblett WC. Geriatric dentistry. Otolaryngologic Clinics of North America. 1990;23(6):1097-1107.
Hurst, P. S. ; Noblett, W. C. / Geriatric dentistry. In: Otolaryngologic Clinics of North America. 1990 ; Vol. 23, No. 6. pp. 1097-1107.
@article{3db15d0c91f54eb68d2b36b69a74d64d,
title = "Geriatric dentistry",
abstract = "In dentistry, as in medicine, geriatrics has become an increasingly important topic during the last decade. The increased incidence of chronic disease and concomitant polypharmacy in the geriatric population and their impact (direct or indirect) on oral health has a significant influence on dental treatment. Consideration of the disease trends and disease manifestations allows the dentist to modify traditional dental procedures to treat affected patients in the optimal manner. Consultation between the dentist and physician will help to safeguard and possibly to improve the systemic health of the patient.",
author = "Hurst, {P. S.} and Noblett, {W. C.}",
journal = "Otolaryngologic Clinics of North America",
T1 - Geriatric dentistry
AU - Hurst, P. S.
AU - Noblett, W. C.
N2 - In dentistry, as in medicine, geriatrics has become an increasingly important topic during the last decade. The increased incidence of chronic disease and concomitant polypharmacy in the geriatric population and their impact (direct or indirect) on oral health has a significant influence on dental treatment. Consideration of the disease trends and disease manifestations allows the dentist to modify traditional dental procedures to treat affected patients in the optimal manner. Consultation between the dentist and physician will help to safeguard and possibly to improve the systemic health of the patient.
AB - In dentistry, as in medicine, geriatrics has become an increasingly important topic during the last decade. The increased incidence of chronic disease and concomitant polypharmacy in the geriatric population and their impact (direct or indirect) on oral health has a significant influence on dental treatment. Consideration of the disease trends and disease manifestations allows the dentist to modify traditional dental procedures to treat affected patients in the optimal manner. Consultation between the dentist and physician will help to safeguard and possibly to improve the systemic health of the patient.
JO - Otolaryngologic Clinics of North America
JF - Otolaryngologic Clinics of North America


text:
Xiazhou (kinesiska: 硖洲, 硖洲乡) är en socken i Kina. Den ligger i provinsen Hunan, i den södra delen av landet, omkring 290 kilometer väster om provinshuvudstaden Changsha.

Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är maj, med i genomsnitt  mm nederbörd, och den torraste är december, med  mm nederbörd.

Källor

Indelningar i Hunan
WP:Projekt Kina

redpajama_set_name: RedPajamaWikipedia


text:
<?php

/**
 * Tests for \Magento\Framework\Data\Form\Element\Date
 */
namespace Magento\Framework\Data\Form\Element;

class DateTest extends \PHPUnit_Framework_TestCase
{
    /**
     * @var \Magento\Framework\Data\Form\Element\Date
     */
    protected $model;

    /**
     * @var \Magento\Framework\Data\Form\Element\Factory|\PHPUnit_Framework_MockObject_MockObject
     */
    protected $factoryMock;

    /**
     * @var \Magento\Framework\Data\Form\Element\CollectionFactory|\PHPUnit_Framework_MockObject_MockObject
     */
    protected $collectionFactoryMock;

    /**
     * @var \Magento\Framework\Escaper|\PHPUnit_Framework_MockObject_MockObject
     */
    protected $escaperMock;

    protected function setUp()
    {
        $this->factoryMock = $this->getMock('Magento\Framework\Data\Form\Element\Factory', [], [], '', false);
        $this->collectionFactoryMock = $this->getMock(
            'Magento\Framework\Data\Form\Element\CollectionFactory',
            [],
            [],
            '',
            false
        );
        $this->escaperMock = $this->getMock('Magento\Framework\Escaper', [], [], '', false);
        $this->model = new Date(
            $this->factoryMock,
            $this->collectionFactoryMock,
            $this->escaperMock
        );
    }

    public function testGetElementHtmlException()
    {
        $this->setExpectedException(
            'Exception',
            'Output format is not specified. Please, specify "format" key in constructor, or set it using setFormat().'
        );
        $formMock = $this->getFormMock('never');
        $this->model->setForm($formMock);
        $this->model->getElementHtml();
    }

    /**
     * @param $fieldName
     * @dataProvider providerGetElementHtmlDateFormat
     */
    public function testGetElementHtmlDateFormat($fieldName)
    {
        $formMock = $this->getFormMock('once');
        $this->model->setForm($formMock);

        $this->model->setData([
                $fieldName => 'yyyy-MM-dd',
                'name' => 'test_name',
                'html_id' => 'test_name',
            ]);
        $this->model->getElementHtml();
    }

    public function providerGetElementHtmlDateFormat()
    {
        return [
            ['date_format'],
            ['format'],
        ];
    }

    protected function getFormMock($exactly)
    {
        $functions = ['getFieldNameSuffix', 'getHtmlIdPrefix', 'getHtmlIdSuffix'];
        $formMock = $this->getMock('stdClass', $functions);
        foreach ($functions as $method) {
            switch ($exactly) {
                case 'once':
                    $count = $this->once();
                    break;
                case 'never':
                default:
                    $count = $this->never();
            }
            $formMock->expects($count)->method($method);
        }

        return $formMock;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Operating profit at Irish Times climbs to €8.3m after surge in paid subscribers
'Excellent year in extremely difficult circumstances' prompts repayment of subsidies
The Irish Times clock at the company's office on Tara Street in Dublin. Photograph: David Sleator
The group behind The Irish Times made an operating profit of €8.3 million before exceptional costs in 2020, more than double the €3.8 million figure recorded the previous year.
Consumer revenues at the group rose 10 per cent as growth in paid subscribers accelerated in the early months of the Covid-19 crisis, and helped mitigate the impact of other declines, including a 20 per cent drop in pandemic-hit advertising revenues.
Turnover fell 8.2 per cent to €101 million, accounts for The Irish Times DAC show, but costs fell by a greater sum.
The media group availed of two Government wage subsidy schemes, receiving a total of €3 million, but it has since reviewed the "strong" trading performance for the year as a whole and decided to repay this sum to the exchequer.
'Huge bounceback'
Liam Kavanagh, the group's managing director, said this was the right thing to do as the subsidies were designed for companies in financial distress. While the group had been in distress in the first phase of the crisis, conditions subsequently improved, with the media sector seeing a "huge bounceback" in advertising revenues later in 2020.
The group's pre-tax operating profit would have arrived at €5.2 million had the €3 million repayment been reflected in the 2020 financial statements.
As of the end of 2020, the group had a total of 126,656 digital and home delivery subscribers, including students. This was up from 89,688 a year earlier.
"It was an excellent year in extremely difficult circumstances. We found a new level in paid subscribers, which was very heartening for us," Mr Kavanagh said. "You can't get a better compliment than a reader paying for your product."
Total subscriber number had grown to 135,561 by the end of June 2021, with this tally boosted by the launch of digital-only subscriptions at the Irish Examiner in March. The Cork-based title now has 7,000 subscribers.
While sales of printed newspapers have "done well" at the weekend, Monday to Friday circulation remains "under pressure", Mr Kavanagh added. However, they are "much more stable" now that lockdown restrictions have been lifted.
Advertising revenues, meanwhile, have continued to improve month by month in 2021 and the group is "reasonably optimistic" about the second half, he said.
The Irish Times is making an investment of €1.5 million in technology this year and its adoption of the Arc content management system is expected to lead to a refreshed app and website.
The accounts show operating profit after exceptional items and amortisation of goodwill on investments arrived at €7.2 million last year, up from €1.3 million. Exceptional items of almost €500,000 compared to €1.2 million in 2019 and mainly reflected restructuring costs.
The group employed an average of 797 employees across printing, publishing, broadcasting, distribution and administration in 2020, down from 818 the previous year. It finished the period with net cash of €24 million, up from €16.6 million.
As well as The Irish Times and Irish Examiner, the group owns Cork daily the Echo, six weekly regional titles, majority stakes in radio stations WLR and Beat 102-103 and a minority stake in Cork's Red FM.
Other subsidiaries include property business MyHome.ie, training company Itronics and web publisher DigitalworX, while the group also owns a 50 per cent interest in magazine publisher Gloss Publications.
'To get world's best bar in Belfast is one thing, but in New York is another'
Gerry Thornley: Erasmus's unprecedented rant does the game a grave disservice
Hungary and Poland hold up EU decisions on oil and corporate tax
Davos: Citigroup chief executive convinced Europe sliding into recession
Who pays more income tax, workers in Republic or in North?
Consumer giant Procter & Gamble sells last Irish manufacturing plant


Hey, first hi to everybody.
I?m totally new at this bussines with pda programing, and i?m unable to run a small visual.net application on my winCE pda.
I?m running windows ce 5.0 had installed the compactnetframework 2.0.6 and still i?m unable to run hello world aplication.
Visual Studio .NET 2003 targets .NET 1.1. Your device may not have this version installed, as it does not claim to be Windows Mobile, but CE.
Visual Studio .NET should let you directly target the device, and let you debug right on it. In this case, it should download the correct version of .NET directly to the device as well if it is not present.