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OIG Group
OIG AMA with Corite
Spicey | OIG:
Welcome back, OIG family to another exciting episode in our AMA series. Today we had the privilege of speaking with Mattias, who is the founder and CEO of Corite. Corite aims to revolutionise the music industry by integrating blockchain elements such as fan base marketing, fan base funding, a robust native token, and unique NFT elements. Mattias, could you tell us a little bit about how you got started with Corite?
Mattias | Corite:
Yes, that's a good question. I can talk for hours. But I really try to keep myself brief. But yeah, the background long background is I'm a music guy. From the get-go, I started off as a musician a pretty long time ago, you can see on my hair colour that I'm not in my 20s anymore. But I was playing a lot. And during the 90s I made some records but I was like in the kind of you know, in the independent field, never got rich on my music, but I loved it. But then I ended up as a management consultant for several years and all of a sudden, I got my dream job which was at the biggest label on the planet, Universal Music. So I was heading up the commercial distances for Universal Music in Scandinavia during a very, very exciting time in the industry because it was when Spotify was launching and the whole revolution of streaming was happening. So we are basically I was in the middle of the of everything. Changing the model of how Universal Music worked in Sweden from being like this CD sales organisation to becoming this streaming marketing organisation that basically the labels are today. So with that revolution, I got to gain a lot of insights. And then after Universal, I also spent a couple of other years at the big media House working primarily with eSports And I realised that in the gaming industry, there were so much better in making business model that sort of combined the power of the artists in that case gamers or hosts, but with the fans, so like services like Twitch and emerged, and all of a sudden, there was like a fan economy built, which never had happened actually in the music industry, except in spite the fact that the music industry has always been about fan relations like you should have your fan base, and it's always the fans that drive your success, etc. So that is like the thinking behind Corite, I would say We saw the trend that with the streaming came like a huge amount of music that every day today 70,000 songs are released on Spotify and other services, which is crazy, it's really cool. But also a hassle. If you're an artist, it's a tough competition to sort of cut through the noise out of 70,000 songs. And we thought that the old model where we came from, like the record label deal, where you signed to a label and you get a piece of the royalty, but the label takes the most of it. And then the label gives you some money for production and they give you some marketing support, we thought that that is an old model. So that's basically the reasoning behind copyright is to find a power that is big enough to support a much bigger number of other professional artists, which is the independent artist's community out there. And the only problem we thought was big enough was the power of the fans. So that's the mantra that drives us and is behind Corite, we tried to build the platform that unleashes the fan power. So we can, the artists can get help from their fans to get funded, but also to get promoted and to grow together. And that's what makes Corite unique. I would say it's the fan power element.
For sure. And you mentioned, you know, the revolution of the streaming music service. And I think that has played a huge role in how we actually view the actual art, and how we view music in general or listen to music in general. And that number is staggering. You said 60 or 70,000 new songs on Spotify daily. Yeah. And so that obviously shows that the market is huge, right? And that a lot. There's a lot of potential here. So let's jump straight into it. Um, could you tell us how can the average user make money let's say, or become profitable at Corite. You mentioned obviously, the fan base is a huge integral part of this aspect. But let's dive into a little more detail there.
Yeah, sure. So the two target groups of Coritet are obviously the artists and the fans. And what we want to do is help the artists turn their fans into backers. And that is what also could make some money for the fans. So the project that we have launched today, which is a platform that's on BNB chain, We just launched our beta version of the blockchain product just a couple of weeks ago when we had our first big campaign with Alan Walker this weekend. But the way that we make it possible today is basically the artists put up a campaign. And the artist then sets a target for how much money they want to raise. And then they also set the percentage, how much they're prepared to share with the backers. So here comes the sort of twofold earning. And then the backers, invest in the project, not only with money, they will also invest with their activities. So they will do missions, and they will help the artists by sharing the music and all these things. And for that investment, they get a piece of the royalty, when the song is streamed on Spotify and Apple Music and all this stuff and Corite, we make sure that this is possible. So we handle the whole sort of the fundraising process. But then we also help the artists distribute a song to Spotify and the others, and we bring back the money, and we give it back to the backers. So the backers can make money when they pick songs that they like, which then potentially become hits. And the artist could make money now they could raise money to fund their project. But of course, they also will make money when the song is streamed on Spotify and the others. So that's the baseline model and what we have today, tomorrow and into the future, we're working now to sort of launch a very unique it, we call it like listen and earn model, which is the more gamified model where we play with more elements. So for instance, these missions, when they, let's say, the artists tell the fans, now it's time to share the song even further, then they can put up a list of missions that the fans need to perform. And for that performance, they will earn fan power points on our platform. And then with the fan power points, they will give the get to get different kinds of rewards. And eventually also share of the token which is which are token that we're about to launch shortly. So we have two elements. One is like investing in the song shares, and the other is like listen and earn model.
Yeah, really cool. I mean, to have a fan base, that's actually pretty much your investor base as well, by turning your fans into backers. That's very interesting. And you know, the activities you mentioned, really, it solves a social aspect of promoting and getting the word out there. And it also engages the community to do the same. It's a win-win for everybody involved. Right. So very, very cool stuff. So on the topic of marketing as well, what about it and your partners? How do they involve themselves in that aspect?
Yeah, so it's marketing, as you know, in the crypto space is an essential part of success. And you need to have a lot of partners within the crypto community, which we have right now. So we managed to raise some funds during the last six months. So we have a lot of investors, and we have a lot of key opinion leaders connected to the product within the crypto field. But also in our case, it's so important to connect to the music community, because that's where the artists are, and we need to sort of bringing them on board. So with that, we of course come from the music industry. So we have a good network on our own, like in the Scandinavian territory. We also hooked up with a great American company called HITCO, which is run by LA Reed, who is like a legend in the American music industry, and also Charles Goldstuck. And these two fellas started RCA Records in the 90s. And they have been signing pretty much all big household names on the US market over the years. So these are important partnerships for us as well. But then also, of course, the artists we have already in our Fiat pilot released around 200, different campaigns with different artists of different sizes. But most recently, we did the first out of many campaigns with a huge DJ Alan Walker, which is a super cool concept we launched it this Friday, but it's already fully funded. And we got ourselves more than 3000 backers to that particular campaign only. So that's a really proof point that also not only the small independent group up and coming artists can use our platform, but also very established huge artists with a huge community. So that's the trick. I think that's what one in the marketing going forward, we will basically use these hero projects with huge artists to show anexample, this is what could be done. And then we hope that that will bring more of the sort of mid-sized independent professionals to join the platform, but simultaneously also the bigger artists like Alan, he drives a lot of traffic and drives a lot of backers. So that's how we get more users in general to the system. So I think it's a combination of traditional music marketing and crypto marketing. That's what we're trying to accomplish
Ultimately, for mass adoption to become reality with regards to the music industry and blockchain industry, we will need the, you know, the kings and queens of the music industry to start, you know, venturing into, into this side of the industry. And that's, that's a very good point you make there. Let's go into a little more detail about the key features that core eight brings to the industry, you know, and how does that differentiate you from the competition? And also, on top of that, who, who is your competition really?
Well, I would say there are a lot of music projects out there in the crypto space, I would consider them all as partners and potential partners or like collaborators, rather than competitors at this stage, because the web three music industry is so small as we speak, and it will be grow growing much more. And I think there are a lot of ideas that need to sort of meld together to sort of create a perfect ecosystem. So our main competitor, I would say, is not a company, it's the old-school way of doing record deals. So it's the model we're competing against. That's what we want to disrupt. So historically, for you guys who don't know the music industry, an artist signed a record deal with a record company, which basically gives away either forever or for a very long period of time, all the rights to the recording that they do. And then the record label gives back a tiny piece of royalty to the artist. And they normally, the label is not bad guys, they just do this, because it's a good business model for them, particularly in the history. So what they do, is they invest in the artists, both with the money and marketing support, so they tried to break the artists through the noise. So what we're trying to solve is basically these problems, we're trying to give the artists the funds, they need to sort of get their product going, but also the market, it can promotional support, they need to cut through the noise. But instead of being like a traditional label, we use the power of the fans. So we use them for both purposes, basically bringing in the money and getting the sort of buzz out there. So that is what makes Colrite different, I would say and that's what we believe could make us compete with these traditional models because we will have, we will not only offer the artists better terms, we will also offer the backers an opportunity to actually participate, which they don't have in the traditional space. And we believe that strength is, is the thing that will make us successful and get more and more of these artists to sort of join our model rather than the one.
And, you know, on the topic of the traditional record label business model, like you said, it's not that they're bad, It's just it's very lucrative and it's in their best interest to structure their contracts this way, and it just hasn't changed. And just like, you know, other parts that the blockchain industry is touching, it's pretty much revolutionising an evolving key aspects to bring traditional industries into the future. And on that topic, how is Corite changing its business model? To match that energy? Because you went into it with regards to the backers and the fans, but also within Corite how's that going to make a difference for your business model?
Yeah, but I think it's in the history, the record labels, they had basically a monopoly on all aspects of the value chain from like production to distribution to marketing and funding. And that has, over this revolution over the 20 years, first game production, so everybody can do a song on their laptop. Right now, you don't have to hire a studio with label money. And then comes distribution, Spotify, and the others just take away the hassle of making CDs and put them into stores. And then what's left for the record label is basically funding and marketing support. And they do that and they're doing pretty good. But as you know, marketing changed a lot. For the last 10 years now, with social media, you need to build your own audiences, you need to have your own communities. And the artists that are most likely to break today are the guys that already made themselves famous on platforms like Tiktok, and others. And that's what the that's the artists the like labels are signing right now. They already have to sort of, on your own, take yourself to that kind of level. And what we think is that then you basically don't need the label anymore because you already did the work. And then why not use your community instead, to solve your problems. So I think that it's kind of natural for us, by doing so we don't need that kind of percentages that the record labels normally took because they did a lot of work 20 years ago, nowadays, they don't do that much work, but they still have the kind of same deal structure. So I think we will compete by just offering the artists better margins and offering both the artists the better margins and also the fans to participate. That are the key components that make us different. And then looking at the other players out there in the blockchain space, I think most, most of them are focusing right now on creating new revenue streams on top of the streaming, which is about selling NF T's and other types of stuff, I believe, I truly believe that's a very good idea as well. So this is on top of this, this is what Corite will be doing as well like launching products, which is not only about streaming revenues, but actually adding value to the backers, and the artists, of course, over time, which could be different types of NFT's in the shape of you know, digital merchandise, special community features, or whatever you can come up with. But that's also where we want to play with this listen-to-earn model because that will be an entirely NFT-based project more gamified which makes it our platform in the future will be like a combination of reality, which is the streaming and the actual music, but also playfulness where people can play with the music and they can use it in different ways and maybe bring it with these NFT's into other places like we're doing the partnership we announced yesterday with a new Metaverse called Ultiverse. They have this idea of avatars running around in their Metaverse and they need attributes. So one of them being in the first NFT launch they added like in 300 NFT's they will have like boombox, you know this old school tape recorder. And what we do in the first place, we will just fill that boombox with some music. So you can take music from the Corite platform, bring it into the next Metaverse and the artists instead of going to a radio station, they will have listeners in that meta space, which is pretty cool. And I think a bit more sophisticated version of that would be like think about it like a tape. Maybe you do with tape in Corite writes where you can stake all your song shares. And then all of a sudden you have a mixtape with all your music that you have shared interest with. And then you can bring that tape into whatever kind of Metaverse and you can play it and maybe get it into some club somewhere. And which is like taking the old school kind of features of the music industry into the new web three world because I think that is it's the same thing as doing like, let's STEPN is doing with the sneakers, right? Of course, you want to buy cool sneakers in the physical space, but now you can actually run and make money on STEPN and you can you want to have sneakers in that environment as well. So I think there are a lot of similarities that we try to look at both within the music space, but also in the gaming space. And whatever happens in the blockchain space to sort of create this kind of mixed models going forward.
For sure. And you know, mentioning the comparison of tapes, which I wonder how much of our users will actually remember a cassette tape, which is just, you know, a funny thing. But you know, the fact that you can validate it on the blockchain, and then you can, you know, have this added security and confirmation of, that artist's work being played at that specific time, really creates a world of possibilities. And then involving the creation and the NFT is, like you mentioned, that's going to totally revolutionise how we look at music and how we purchase and exchange and do all those sorts of things. So very cool that you have a vision that involves that and that you're welcoming to that feature. And really cool to see, and I can't wait to see what you're gonna do with that.
Pretty soon we will announce a couple of cool features in that sort of field, what you're trying to do is basically engage that audience out there, of course, from an artist's perspective is protected by more stuff from the artist, because it's about creating more revenues to the artist's community. But we need to do that with products that somebody wants to have. So it could be cool NFT's but also we believe this activation, the fandom aspect of music has always been it's fun to be part of a club that sort of tried to build an artist's career. And if you could make some money during the way during so that never happened before. Because in the history you were always just following and you bought merchandise and you bought special boxes signed by the artist, all these things, could you make parallels into a web three environment, but in that space, if you bought the right box at the right time, maybe that box will be worth something in the end as well, which is, which is actually the case in the physical world as well. If you had like, if you're really old, older than me, you would have been able to buy like a limited edition of The Beatles White Album, signed by Paul McCartney in mint condition 100 pieces, that piece will be worth a fortune today. So it's not an NFT but it's a physical element. And if that was done in an NFT today, let's imagine that you bought your first song share from Ed Sheeran when he was like a street musician and you had one out of 100 NFTs based on that first performance on the street corner. At that point, it wasn't worth anything it was probably you just give him some money because you feel felt sorry for the owner. And then all of a sudden 10 years later you're one out of 100 people owning their First piece of Ed Sheeran, these things will happen. Because I think a lot of young artists on our platform and other platforms will create these kinds of things at a very early stage, and then all of a sudden, some of them will be huge. I love that kind of world. If you look on like 10 years from now, where everything is in the metaverse and the games and like people really buy stuff to where they're to listen to their music, I would say it needs to become like a very important part in that environment. Because it's like the background sound and your sort of soundtrack for everything. It describes who you are as a person that you can brag about it. And you can, you can basically use it for a different sort of personality, just like a profile picture, or today, I think music will be that kind of ingredient in this space going forward.
Twitter Community Questions
Amazing. Can't wait to see it. So let's switch gears here and move over to our Twitter questions. These are questions that were asked to our community a week ago, and we've collected some of the answers from our Twitter posts. And we're going to ask these questions now. So we come here to question number one. And this person asks, one of the determining factors in the success of a project is the existence of a robust native token, what utility will Corite's native token bring to its users?
That was a precise and great question. I would say, our token together with the fan Power is the core of the entire system ecosystem that we want to build. The first very natural utility that will come with a token when we get it listed is the possibility to stake it to get early access to all artist's campaigns on the platform, the same kind of way that you know, typical feature that American Express credit card uses for a live concert. So if you have a great campaign, and people were willing to get to it, if you have the Co Token and you always are secure, like fast access and first access for it, then the CO token will be a very integrative part in the listen to earn model going forward, it will be needed to sort of upgrade and mint NFTs, it will be needed to get certain VIP access is access to content and stuff. And most importantly, we will reward the most active fans and artists on the platform in a pro-rata-based model with the CO token. But the CO token will also need the fan power point system, which is the sort of the gaming point system that we will use to measure all activity on the platform. As I mentioned before, we will use a lot of missions and stuff like that to make sure that the fans are engaged. It could be simple stuff like following artists on Spotify, or other services, it could be listening to music on our platform or attending events on our platform. It could be sharing music on the fan social media, it could be creating or sharing playlists on streaming services, it could be purchasing NFTs, reviewing songs, or as in the ALAN Walkers case, the Unity campaign we did that could have been a great example. Because in that case, the fans were actually part of the music creation. So they did the whole song together with artists, all these activities will generate fan power, which will be handed out by the platform and the people and the advance that gains the most fan power will be into this kind of drops of CO token where we always will try to sort of incentivize the best backers to perform even better and, and play with us basically in this model to both grow the artist's careers, but also make sure that the music streams a lot and build a platform together. And finally building a platform together, it's what we think is the cool thing with the whole blockchain idea. And I believe that the music business, it's the true creators business where you have the greater significance of artists and the ones that love the music, which is the fence and we want to build a platform that is where all these guys are a part of the governance and have voting power. So of course, you will need CO tokens to get into that game and actually build the platform together with us. But these are the fundamentals I would say. And of course, we will add utility as we go along. And the more features, the platform will hold.
A truly remarkable amount of utility within that token, as you mentioned, it really is the basis of which users will use to interact with the platform. So very cool, very cool stuff. So Twitter, question number two, and this person asks, I saw that Corite offers users to create their own NFTs. Is it necessary to have any kind of deeper technical knowledge to create and design NFTs in your platform? or can any average user do it easily?
Very good question as well. I think before I get to it, I think it's it touches upon one of the most important aspects of the whole platform because we're in the music space and not that Many musicians nowadays know that much about crypto, which has been a lot of other questions around as well. And I think so every kind of feature we build, we always need to consider the fact that not that many people on our platform actually come from the crypto space, we need to sort of bring them on board and sort of, yeah, embrace them into the crypto family so to speak. But in regards to the things you can create on our platform today, actually, the only thing you can create is a campaign with song shares in the respect of blockchain, and that is super simple, everyone can do that. Of course, you need to have a song and you need to have a title. And you need to add some pictures and some ideas of what you want to use the money for. But if you have that, it's super simple to set up a campaign and get it going. And then the backers can get their song shares onto the chain. And we believe when we launched these features around the lesson to earn, it will be the same kind of idea when you create NFTS on the platform. But of course, we will also in some cases, when we work with bigger artists, we will also help artists create more complex systems, like if you want to have like, yeah, great utilities and different kind of mechanics that that's sort of super bespoke for each NFT. That's something that we will help but general basis, we believe that you should be able to create as easy as it is today to distribute a song. That easy it needs to be to create an NFT over the time,
For sure. And you know, obviously having the platform provide help to those users will definitely streamline, that process for them. So very cool stuff. And Matias, did you have a couple of questions that you selected from Twitter as well? Yeah,
I thought it was a lot of brilliant questions, actually. So let me bring up some of them. Yeah, one… I'm so proud of this, I need to and when somebody asked about it, I need to talk about it. The question is: I'm very, very excited to hear about the Alan Walker fan campaign on Corite. What is this? Could you please tell me some more. And yeah, unfortunately, I would say when this is recorded, the Alan Walker campaign, the first Alan Walker campaign is already fully funded, it went pretty fast. So we got ourselves around 3000 backers in a very short amount of time that supported this campaign. And of course, that's because Alan Walker is a huge artist with a huge community and attracted a lot of attention. But where you don't have to be sorry, you can come back, because we will do more stuff with Alan in the near future. So just sort of follow us on social and all the announcement channels, and we'll tell you all about it. But in this campaign, I just it was a pretty straightforward Corite campaign where the artists set up this campaign. But in this case, it was all about generosity from Alan. And as you know, Alan probably doesn't need that much money. Instead, he wanted to give back to his community. So what it did was, that you could only invest one up to $10, to participate in the song unity, which is a song that Alan created together with his workers, as he called these backers. So now, not only a couple of 100 workers have been part of the creation of the song. Also, now we have a couple of 1000 people that as part of the financing and the marketing, sort of an army to get this song, on to the streaming platform. So this is the first time Unity will be released commercially. And that will happen. But stay there, we will get back to you with more Alan Walker comm campaigns shortly.
I mean, Alan Walker, like just to, you know, touch briefly on that he is a huge artist, so to have him, you know, it will be an integral part too, you know, growing your, your, you know, core rights fan base as well and providing visibility on the platform as well. So very good to see that we have big names that are already participating with Corite.
Yeah, that's true. So I think that's the way for us to both attract a lot of new backers to the platform, of course, but also show an example, because if an artist like Alan, with his background and his success, is willing to use our service to engage his audience, I hope and I truly believe that a lot of other artists will follow his lead, basically. So that's, these are the type of campaigns you will not see every day on Corite. But we will do this kind of hero project to show and sort of tell a bit more about the future and what we can help with. It's super important. And yeah, and I'm very proud of that one. So we'll get to that. To that point. There's another question here And the question is, I read Corite aims to become a music platform for a large global audience with millions of artists and fans. However, the vast majority of artists and music lovers don't really understand blockchain. May I know how you intend to bridge that gap for such people or users? And I think that's the key quick question, I recently read that 5% of the total population has a crypto wallet, which on one end is pretty impressive. But with that number, if you look at a traditional like product development curve, it will take probably in this fast space is in one year or so it's probably 10%. And then after that, it will be mass market. So I think we have the time will work in our favour. But still being pretty early stage, we need to make sure that we bring on these people from the Fiat world into the crypto space. And our strategy is to offer both solutions right now. So you can today you can go into Corite. And you can invest with normal dollars using PayPal or any credit card or whatever. And we believe it's important because then you bring them into the sort of core functionality. And then when we launch features that really need blockchain technology on top of that, then it becomes obvious even for these guys to sort of create their first wallet and just join the ride. And we also will try to make it as simple as possible. So for instance, we're integrating like custodial wallets and all these kinds of features that will make it total hassle-free to join the ride and get to go in and basically what I believe we need to show for these people that not, that's not into crypto yet, we need to show why they should, because they're they haven't been joined so far. But with new features and new opportunities, they will and we're betting on a long term here. So it's not important for us basically what happens, of course, it's important what happens in the short term. But this idea is a long-term vision. And I believe these kinds of features will be the features, products and platforms that run this music business within like five to 10 years. So it's a long kind of process. But I think from our end, we're really keen on bringing a lot more people on board to this blockchain drain.
For sure. And you know, as you mentioned, it's a long-term play, you know, it's gonna take a lot of time, especially, to really what we're doing is we're disrupting the status quo. And you know, for many years that nobody has attempted, while many have attempted to disrupt the status quo, and many have failed. And now we've come to a point where it's truly happening. And we have a real good shot of revolutionising the space and evolving into the future of music and an artist's recognition. So very, very cool stuff. Did you have another question there from Twitter?
I think this is this AMA session is supposed to be like sales presentations from products. But I really want to touch upon a tougher question that I got: I understand that once an artist runs a campaign and raises the funds, a song by the artist will be released and the sponsor will make a profit. But if the song doesn't get enough attention and doesn't generate revenue, does that mean that the sponsor will not make any profit? Like, yes, that is the brutal truth? Of course. Yeah, the rule of thumb in the record industry is basically one out of 10 songs, or even 20 songs will make the make it and that needs to cover for the rest. So it's kind of tough business music is high risk. It's like crypto investments like sometimes you win, sometimes you lose. What we believe, with our platform is that correct is not the platform where you should put your money to sort of invest for your next swimming pool. This is a platform where you should put your money to play with them for the fun of it. And sometimes if, as you said, it takes the Ed Sheeran example, if you find that guy, and you have the ear to listen to that song, yeah, this is really great, that has potential and it actually cut through the noise and make a fortune, of course, you will make money on that. But it will be cases where you pick a song that you like, and for some reason, it doesn't make it to the top and then you will always get some money back because for every stream that streams on Spotify, there will be some sort of fraction of $1 coming back but maybe you will not make the fortune or maybe even not will make pay back but what we have learned during our pilot period is that even when they don't make all the money back, they take the money they got and they put it into another one because they liked the fact that they're part of the project and they part of the industry. And so so that's it's a kind of tough question, but you shouldn't believe that music is like everything else. Some win some lose. That is the case but we believe it We make it fun enough, it shouldn't be worth these, like, if you put in like $30 to be part of the project, potentially you can, you can gain five times the money, but also, you would be prepared to lose it. But you should have been having a fun ride all the way and played with it. So that is the brutal truth to answer that question.
Yeah, and you know, having that brutal truth is necessary to understand the playing field that you users and as well as artists will be on. And it's not to say that it's a bad thing. I mean, like you said because it has a gamified aspect to it. The point is to make it so that you want to keep jumping in. And to continue and to become consistent with your attempts, for example, at creating good music the from the artist's perspective, as well as it's in the best interest of the fans to provide that support and jump in on those up-and-coming artists because you just don't know which one out of that one out of 20 will be a hit. Right. So it's I think it provides a lot of utility to all parties involved. And that's great, that's a great way to put it. So, Mattias as we wrap up here, could you tell us a little more about your roadmap and your achievements to date? What are you most proud of? And then also looking to the future? What are you most excited about?
Yeah, that's good questions. Yeah, well, what I'm most proud of so far, I think we're I'm proud of the team that we managed to both build this platform to what it is today, we managed to release over 250 campaigns with artists already. And basically, all sizes from Alan Walker down to the smallest up-and-coming. I think we have pretty much concluded that this fan-funding model works. So we are able to raise money for every artist that has great music. So every artist out there, please join the platform, because this is a great opportunity. I'm super proud about that. And also proud that we managed during the last year to get this blockchain project up and running. So just two weeks, three weeks ago, we launched our first beta version onto blockchain, meaning that these song shares now ended up and it's up on chain. So it will be there forever and ever. And it's also possible from a couple of weeks ago to invest with cryptocurrency. And this is the first step of our journey into this space of blockchain. And of course, yeah, once again, I'm so proud of this collaboration with Alan Walker. And I think that definitely will lead to both more projects together with him, but also to other bigger projects. For us going forward. What I'm looking forward to is, it's a bunch of things, I would say, Yeah, mostly to help more artists, them and backers to sort of get along with each other and engage in different campaigns. But we have a token listing, hopefully in the very near future, but the market situation right now is pretty tough. So we're really, we want to sort of make sure that we don't do any stupid things here. But that is important for us. Because with the listing, the opportunity comes with a CO token and what we talked about earlier, and all these gamified features that we're currently working on. So these are things that over this year, in the next 12 months, we will just add on features to this play, listen to earn model that we're engaged in. And yeah, and we will do a bunch of other cool projects in the near future as well. We have very interesting AI-driven NFT projects around music festivals, which will be launched in the Scandinavian very, very soon with a big partner. And yeah, we have some other artists' products as well. And also, we will do some initial steps toward this gamification model in the near future as well. So yeah, as you all know, who have been involved in crypto, things are moving very fast. So you need to sort of stay sharp and have the head on the road and run fast. So, but that will happen. So we have a lot of cool things coming in, in the near future.
For sure, you know, and as you said, things move fast. So, you know, for all our viewers today, where can they find out more about Colruyt?
Yeah, they think they should start with just sort of Corite.com, which is our service. And now, when we are live with the beta crypto beta, you can sign up with your Metamask wallet as well. And then you can get started and try your first fan investment and fan backing. I think that's the best way forward. And doing so you will be part of the community and you will get all the information needed to move on further. Of course, you should follow us on Twitter, follow us on telegram, we're doing all these announcements all the time and these kinds of sessions happen frequently as well. So we're trying to sort of spread the brand, grow the community, but it's easiest is just sign up and join the right
Awesome and to all our viewers today all the official links to Corite as well as OIG will be in the links In the description below, so be sure to check them out. And be sure to, you know, participate with corporate in the new age of streaming and, you know, supporting your artists within the music industry. I'm very happy to have you today, Mattias. And it was a pleasure speaking to you about Corite. We can't wait to see what you guys do. And, you know, and we hope to have you on again.
Thank you so much. It was a pleasure. Thanks for having me.
Corite:
Website: corite.com
Twitter: https://twitter.com/Coritecom
Telegram: https://t.me/corite_announcements
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text:
TSX.V: PGZ
OTC: PGNRF
ABOUT PAN GLOBAL
Why Invest in PGZ
Stock Chart I Share Info
Financials 2021
ÁGUILAS PROJECT
ESCACENA PROJECT
Current Exploration
NEWS : 2021
Pan Global Resources Announces Exercise of Warrants
VANCOUVER, BRITISH COLUMBIA – (December 16, 2021) – Pan Global Resources Inc. ("Pan Global" or the "Company") (TSX-V: PGZ; OTC: PGNRF) today announced all outstanding investor and broker warrants issued as part of the December 16, 2019 private placement have been exercised, for gross proceeds to the Company of $3.55 million.
Pan Global Intersects Up To 16.8% Copper At Escacena Project, Southern Spain And Extends Mineralization
VANCOUVER, BRITISH COLUMBIA – (November 30, 2021) – Pan Global Resources Inc. ("Pan Global" or the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce new high-grade copper and tin intercepts as drilling continues at the La Romana open pit copper target at the Escacena Project in the Iberian Pyrite Belt, southern Spain.
Pan Global Granted "Al Andaluz" Mineral Rights, Southern Spain
VANCOUVER, BRITISH COLUMBIA – (November 22, 2021) – Pan Global Resources Inc. ("Pan Global" or the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce that the Regional Government of Andalusia (Junta de Andalucia) has authorised the "Al Andaluz" Investigation Permit at the Escacena Project.
Pan Global Continues Intersecting Near Surface Copper-Tin Mineralization at the Escacena Project, Southern Spain and Expands Mineralized Footprint
VANCOUVER, BRITISH COLUMBIA - (October 7, 2021) – Pan Global Resources Inc. ("Pan Global" or the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce new high-grade copper and tin intercepts as drilling continues at the La Romana copper/tin target at the Escacena Project.
Pan Global Continues to Expand the Near Surface Copper-Tin Discovery at the Escacena Project, Southern Spain
VANCOUVER, BRITISH COLUMBIA - (September 16, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce that drilling continues to expand the La Romana copper target at the Escacena Project with new high-grade down-dip and near surface copper and tin intercepts.
Pan Global Resources Announces Exercise of Warrants
VANCOUVER, BRITISH COLUMBIA - (September 6, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) today announced that as of August 20, 2021, all outstanding investor and broker warrants issued as part of the August 20, 2019 private placement have been exercised, for gross proceeds to the Company of $2.73 million.
Pan Global Drills Further Wide Copper-Tin Intercepts With High Grades From Near Surface At Escacena Project, Southern Spain
VANCOUVER, BRITISH COLUMBIA - (July 6, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is very pleased to announce that drilling continues to expand the La Romana copper target at the Escacena Project with significant near surface high grade intercepts of copper and tin mineralization.
Pan Global Announces Closing of $14.95 Million Underwritten Financing
VANCOUVER, BRITISH COLUMBIA - (Newsfile Corp. – June 8, 2021) – Pan Global Resources Inc. (TSXV: PGZ) (OTC Pink: PGNRF) (the "Company") today announced the closing of an underwritten private placement financing (the "Offering") arranged by a syndicate of underwriters co-led by Canaccord Genuity Corp. & Sprott Capital Partners LP and Echelon Wealth Partners Inc. (collectively, the "Underwriters").
Pan Global Announces Increase to Bought Deal Private Placement
VANCOUVER, BRITISH COLUMBIA – (May 25, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) today announced that due to strong demand, its previously announced C$10 million "bought deal" private placement financing has been increased further from C$12 million to C$13 million.
VANCOUVER, BRITISH COLUMBIA – (May 21, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) today announced that due to strong demand, its previously announced "bought deal" private placement financing has been increased from C$10 million to C$12 million.
Pan Global Announces $10 Million Bought Deal Private Placement
VANCOUVER, BRITISH COLUMBIA – (May 20, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce that the Company has entered into an engagement letter with a syndicate of underwriters co-lead by Canaccord Genuity Corp. & Sprott Inc., and Echelon Wealth Partners Inc....
Pan Global Drills 52.6m of 1.0% CuEq from Near Surface at Escacena Project, Southern Spain
VANCOUVER, BRITISH COLUMBIA – (May 19, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce that drilling continues to expand the La Romana copper target at the Escacena Project with significant intercepts of near surface high grade results.
Pan Global Reports New Drill Results and Extends Near Surface High Grade Copper at Escacena Project, Southern Spain
VANCOUVER, BRITISH COLUMBIA – (April 13, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to report results for an additional eleven drill holes (LRD26 and LRD28 to LRD37) at the La Romana target, in the Escacena Project. Drilling is ongoing with results pending for eight additional completed holes.
Pan Global Reports New Drill Results and Extends High Grade Copper at La Romana, Southern Spain
VANCOUVER, BRITISH COLUMBIA – (February 23, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to report results for an additional five drill holes (LRD21, LRD22, LRD24, LRD25 and LRD27) from the Phase 3 drill program completed in 2020 at the La Romana target, in the Escacena Project.
Pan Global Resources Director Robert Baxter Passes Away
VANCOUVER, BRITISH COLUMBIA – (February 11, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is deeply saddened to announce that after a short illness Bob Baxter has passed away at the age of 60.
"We are deeply saddened by the passing of our dear friend and colleague", said Tim Moody, President and CEO. "Bob was one of the finest geologists I've had the privilege to work with. He was energetic, smart and always filled the room with his joyous laughter. He will be deeply missed by all who knew him".
Pan Global Resources Announces Accelerated 2021 Drill Program at Escacena Copper Project, Spain
VANCOUVER, BRITISH COLUMBIA – (January 27, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to announce the next stage (Phase 4) expanded drill program has commenced in the Escacena Project, Iberian Pyrite Belt, southern Spain.
Pan Global Reports Further New Significant Drill Results at La Romana, Southern Spain
VANCOUVER, BRITISH COLUMBIA – (January 6, 2021) – Pan Global Resources Inc. (the "Company") (TSX-V: PGZ; OTC: PGNRF) is pleased to report excellent results for an additional three drill holes (LRD19, LRD20 and LRD23) from the Phase 3 drill program at the La Romana target, in the Escacena Project. Results are pending for a further seven drill holes.
AGUILAS PROJECT
Canada, V6E 3T5
investors@panglobalresources.com
Copyright © PAN GLOBAL RESOURCES INC 2022. All Rights Reserved I Disclaimer

redpajama_set_name: RedPajamaCommonCrawl


text:
Name: Daniel Pedrosa
Birthplace: Sabadell, Spain
Birthdate: 29 September 1985
Siblings: Eric
Residence: London
Hobbies: bicycle riding, motocross, computer games
Favorite rider: Mick Doohan
Dani Pedrosa was born on Sabadell, Barcelona. His first motorbike was a motocross Italjet 50, with sidewheels, when he was 4 years old. On a very early age of six, he began racing on minibikes.
But his racing carreer began when he was 10. He entered the Spanish Minibike Championship and finished second in overall championship. It only took him 3 years to finally got the title in 1998. Fortunately, his family heard that the Movistar Activa Cup, a promotion cup with competition
bikes, was being organised. In 1999, Dani Pedrosa rode racing bikes for the first time. He was not
only nervous; the bike was so high that his feet didn't reach the
Despite everything, 13-year-old Pedrosa passed the trials and took part in the Movistar Activa Cup that year finishing on impressive eighth position. His abilities came to Alberto Puig's attention, who decided to include him among the chosen, with Joan Olivé and Raúl Jara in his team.
In 2000, he took part in the Spanish Championship with the Movistar Junior Team. He only finished four of the six races, but he took four poles, finishing fourth overall. Then Alberto Puig broke the news, told him that he was going to take part in the 125cc Motorcycle World Championship.
Pedrosa, who was already 14 couldn't believe it; his dream was coming true. In the first race held in Suzuka, he was among the last riders of the grid and he had never seen so many riders racing together and especially in such competitive class. He still remembers that he got scared in the first corner, something that never happened again
2001 was a learning year for Dani Pedrosa, but even though he managed to take two podiums finishes, a third place in Valencia and another in Motegi. He finished eighth overall in the Championship.
On his second year in 125 cc class, he managed to be serious threat for Poggiali and Vincent as a title candidate. Dani finished third in the rider championship. His moment finally came in 2003 when he got five victories and six podium. Dani had the 250 cc world champion title after Malaysian grand prix, with two races left. Unfortunately, he broke both of his ankles on practice session of Australian GP.
In 2004, he debuted in 250 cc class. Despite a lot of doubts about his recovery and his ability to adapt on the new class, he managed to impress many people. Dani won his first 250 cc race in South Africa and won another six races. He was very consistent, the only race he didn't finish was Jerez when he crashed during heavy rain. He became 250cc World Champion in Australia, in his rookie season in the class, at the age of 19, the youngest in history, fifteen years after Sito Pons.
The 2005 season was more difficult for Dani as he got serious title threats from both Dovizioso and Casey Stoner. Despite everything, he secured the world champion title with two races left.
The three-times world champion finally promoted to MotoGP class in 2006. Many people doubt him because of his physical stats. He has to ride a bike three-times his weight. The hard physical preparation carried out during the winter an a consistent progression during the preseason tests were the prelude to the extraordinary debut in the class, becoming Rookie of the Year thanks to his two victories, six podium finishes and the fifth overall place in the championship. He even managed to become a threat to his teammate Nicky Hayden and Valentino Rossi for the world champion title.
Dani Pedrosa is now residing in London. Among his hobbies are bicycle riding, something he still enjoys a lot, as well as supermotard, motocross or trial. Outside the world of sports he enjoys going to the movies or spending time with friends. Sometimes he joins them at the disco, but he prefers to amuse himself playing computer games, because, as Dani says those with motorbikes and cars are very realistic, the behaviour of the bike is very similar to that of a real one. A curious
fact: Dani learned the circuits on which he races now by heart watching
videotapes of 500cc races with Rainey or Lawson. However, his favourite rider has always been Mick Doohan.


At the United Nations General Assembly (UNGA) in 2015, countries committed to Sustainable Development Goal Target, calling for the world to reduce the food loss and waste by 2030. A global association of sustainable food champions is making progress toward this fast-approaching target and finding that the private sector has seized the opportunity to tackle food loss and waste.
Companies are embracing food loss and waste reductions consistent with SDG Target 12.3, with nearly two-thirds of the world's 50 largest food companies now participating in programs with a food loss and waste reduction target Also companies and countries are measuring their loss and waste and publishing their results, and acting to put new policies and programs in place.
In a world where a lot of people go hungry, it is a very bad thing that a third of all food is lost or wasted. Great progress has been made but we need more countries and companies to step up.


text:
Further progress towards packaging reform
Packaging | Ecosurety
This year has been full of heartening news for the resources and waste industry, with public pressure to resolve the issue of plastic misuse turning into political action.
This action was evidenced this week by letters published by Defra (Department for Environment, Food and Rural Affairs) and WRAP (Waste and Resource Action Programme).
We were asked by WRAP to provide insight into reforming producer responsibility for packaging, along with our counterparts across industry, in order to inform the Secretary of State, Michael Gove. As a leading voice for reform in the last few years, many of the ideas we championed directly to WRAP found their way into the final recommendations published today.
While the devil is always in the detail when it comes to final government policy, the general direction of travel is encouraging. Mr Gove's response seems genuine in the intent to make a difference by seriously considering radical changes.
Peter Maddox at WRAP and Paul Vanston at INCPEN (Industry Council on Packaging and the Environment) have done an excellent job of representing wide-ranging industry views to flesh out the principles established earlier this year. Now the focus turns to the Advisory Council on Packaging (ACP) who have been charged with providing the detail on how the current regulations could be changed.
Too much power for one organisation?
Many sensible suggestions were put forward by the ACP group in their paper last year. However, the issue of creating an "independent arbiter" will set hares running across industry, which already questions how the ACP group is selected.
It seems that Mr Gove is interested to know if the government has a role to play. Clearly the knowledge and expertise required lies within industry rather than the civil service. Could it be too much power for one organisation to hold? True independence will be vital to ensure this industry does not require further scrutiny once the National Audit Office publish their findings.
Robbie Staniforth
Innovation and policy director
Robbie is innovation and policy director at Ecosurety. Having spent years building an intimate understanding of the industry's policies and politics, he uses this knowledge to help shape new legislation and oversees Ecosurety's growing portfolio of cross-industry innovation projects including Podback and the Flexible Plastic Fund. He has worked closely with Defra during the most recent packaging consultations, outlining the impacts and required transitional arrangements of the UK's new EPR system and is a member of the government's Advisory Committee on Packaging (ACP). He is also a spokesperson for the company and regularly uses his influence to communicate the importance of environmental responsibility to external stakeholders.
Written by Robbie Staniforth Published 15/05/2018 Topics Ecosurety
The DRS consultation response explained: summary and key insights
In this live webinar on 6 February at 1.30pm, Ecosurety and environmental consultancy Resources Futures will run through the key decisions from the recent government response to the Deposit Return Scheme (DRS) for England, Wales and Northern Ireland consultation.
The DRS is set to be implemented in Scotland in 2023 with England following in 2025. All producers of in-scope drink containers will be required to meet a collection target set by government. Are you affected?
All businesses manufacturing or importing plastic packaging must keep records and notify liability when certain conditions are met.
View all Useful Links >>


text:
Despite series of presidential pardons, Egypt still holding 21 journalists
Youm 7
Reporters Without Borders (RSF) welcomes the release of five journalists in recent months in Egypt but points out that the entire country is an open prison for media personnel and that 21 journalists are still jailed, including Alaa Abdel Fattah, who completed his fourth month on hunger strike yesterday.
"We hail the release of journalists and we take note of this gesture by the authorities," RSF's Middle East desk said. "But the releases are being made piecemeal and are insufficient. The Egyptian authorities continue to hold around 20 journalists and seem to want to make no concessions on some of the most emblematic cases."
Seven prisoners – including freelance journalist Hisham Fouad – were freed at the end of July (prior to the Muslim New Year), in the latest batch of presidential pardons since the start of the year. He was preceded by Al-Karama reporter Hossam Moanis, who was one of the more than 3,000 prisoners pardoned on 25 April, Sinai Liberation Day. These two journalists were arrested on the same day in June 2019 and were convicted in the same case in November 2021.
Superkoora editorial director Hany Grisha (held since August 2020) and Amer Abdel Monaem, the editor of the newspaper El-Shaab (held since December 2020) were released at the end of April under a pardon for more than 980 prisoners for Eid al-Fitr, the festivity marking the end of Ramadan.
Khaled Ghoneim, a Masr Alhayah TV presenter held since April 2020, was released at the end of May as a result of a judicial decision unrelated to any presidential pardon.
Bogus "National Strategy for Human Rights"
These mass releases are part of a five-year "National Strategy for Human Rights" launched by the government in September 2021, which is supposed to result in reforms that give Egyptians more freedoms, including press freedom. The authorities aim to get civil society to participate in "national dialogue" consultations that began in July and are supposed to produce proposals.
Joe Biden's arrival in the White House has prodded Egypt into good conduct gestures. The United States provides Egypt with $1.3 billion in military aid each year and the disbursement of another $130 million is now conditioned on respect for human rights.
So, at the end of April, President Abdel Fattah el-Sisi announced the reactivation of the Presidential Pardons Committee, a mechanism initially created in October 2016 to examine requests for pardons from detainees and to issue release decrees in his name. National festivities and public holidays such as the 70th anniversary of the "July 23 Revolution" (the military coup by the Free Officers Movement) and Eid al-Adha are typically regarded as
appropriate occasions for pardons.
Nonetheless, a total of 21 journalists continue to the detained in Egypt. They include the bloggers "Mohamed Oxygen" and Alaa Abdel Fattah, who were sentenced in December 2021 to four years and five years in prison, respectively, on charges of "membership of a terrorist group" and "spreading fake news." Fattah has been on a hunger strike since 2 April and, according to his sister, Mona Seif, several of his fellow detainees were considering a "group suicide" after learning they were not on the list of prisoners to be pardoned.
Those detained also include Alia Awad, a freelance photographer sentenced in late June to 15 years in prison on terrorism charges dating back to 2013, and four Al Jazeera journalists – Rabie El-Sheikh, Ahmed El-Nagdy, Bahaa Ed-Din Ibrahim and Hesham Abdel Aziz – who have been held preventively for periods ranging from one to three years on charges of "membership of a terrorist group" and "spreading fake news."
Online access to Al-Manassa, an independent Egyptian news website, has been blocked in Egypt since last month. More than 500 websites have been made inaccessible since 2017, including RSF's.
Découvrir le pays
Score : 30.23
Arbitrary detention


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text:
Siergiej Jewgienjewicz Cywilow, ros. Сергей Евгеньевич Цивилёв (ur. 21 września 1961 w Żdanowie) – rosyjski polityk, ekonomista i były wojskowy. Trzeci gubernator obwodu kemerowskiego od 17 września 2018 roku.

Życiorys
Urodził się w Żdanowie (obecnie Mariupol), w Ukraińskiej SRR. Tuż po narodzinach Siergieja jego rodzina przeprowadziła się do miasta Kotłas w obwodzie archangielskim. Dziesięć lat później powrócili oni do Ukraińskiej SRR i zamieszkali w mieście Czuhujew, w obwodzie charkowskim.

Edukacja
Uczęszczał do Akademii Marynarki Wojennej im. Pawła Nachimowa w Sewastopolu. Po zakończeniu nauki w 1983 rozpoczął służbę we Flocie Północnej.

W 1999 ukończył Petersburski Państwowy Uniwersytet Ekonomiczny.

Kariera
Do 1994 służył w siłach zbrojnych ZSRR i Federacji Rosyjskiej. Posiada stopień kapitana III rangi.

Od 2010 roku inwestuje w sektor wydobywczy.

W latach 2012 - 2013 był wiceprzewodniczącym zarządu firmy górniczej "Kołmar".

W 2014 został prezesem "Kołmaru" i właścicielem 70% udziałów firmy.

2 marca 2018 roku Cywilow został zastępcą gubernatora obwodu kemerowskiego ds. przemysłu, transportu i rynku konsumenckiego.

Po tragicznym pożarze w centrum handlowym w Kemerowie, mieszkańcy miasta zażądali dymisji urzędującego gubernatora obwodu - Amana Tulejewa, administracji miasta Kemerowo, oraz odnalezienia i pociągnięcia do odpowiedzialności wszystkich winnych tragedii. Podczas rozmowy z mieszkańcami Cywilow oskarżył ich o przedstawianie go w złym świetle, na co jeden z uczestników zgromadzenia - Igor Wotrikow - odpowiedział "Straciłem w pożarze pięć osób, trójka z nich to dzieci". Cywilow poprosił krewnych ofiar o przebaczenie na tym samym zgromadzeniu.

Gubernator obwodu kemerowskiego
Po rezygnacji Tulejewa ze stanowiska, Cywilow został pełniącym obowiązki gubernatora obwodu kemerowskiego.

9 września 2018 został wybrany na gubernatora obwodu kemerowskiego (urząd objął 21 września).

29 kwietnia 2019 zagroził pielęgniarkom ze szpitala w Anżero-Sudżensku, biorącym udział w strajku głodowym i oskarżył je o zniesławienie. Stwierdził też "niedopuszczalność organizowania wieców i strajków". Zwrócił się także policji i prokuratury o podjęcie surowych działań wobec uczestniczek strajku.

Od maja 2021 roku krążyły pogłoski o mianowaniu Cywilowa na pełnomocnika prezydenta Federacji Rosyjskiej w obwodzie kemerowskim i o jego rezygnacji z funkcji gubernatora. Sam Cywilow stwierdził, że o niczym nie wie.

Przypisy

Rosyjscy politycy
Rosyjscy ekonomiści
Rosyjscy wojskowi
Ludzie urodzeni w Mariupolu

redpajama_set_name: RedPajamaWikipedia


The Rice Hotel, on Texas Avenue and Main Street, c. early 193os.
to be pressured by a minority of property owners.
Houston Post-Dispatch, Jan. 8, 1930o (quotation).
lSNeighborhood Improvement Council, Zoning Fact Book, 1.
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 84, July 1980 - April, 1981, periodical, 1980/1981; Austin, Texas. (https://texashistory.unt.edu/ark:/67531/metapth101225/m1/178/: accessed April 21, 2019), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas State Historical Association.


text:
Q: Solution to linear regression lies in the space of training examples - why? In the slides at https://www.cs.cmu.edu/~tom/10701_sp11/slides/Kernels_SVM_04_7_2011-ann.pdf, the author claims that w lies in the space spanned by the rows of X (see image). I don't see why this is true. Is it obvious? For this to be true, w should be expressible as $w=X^T a$.

A: You were right, my previous answer was void. I am sorry about that.
Here is a correct proof:
Firstly remark that $(X^TX+\lambda I)^{-1}X^T=X^T(XX^T+\lambda I)^{-1}$,
secondly let $z:=(XX^T+\lambda I)^{-1}Y$
Conclude that $w=X^Tz$.

A: Here is how I am able to prove it. Let $X = UDV^T$.
$$w = (X^TX)^{-1}X^Tb = VD^{-1}U^T b$$
Now, the columns of V lie in the row-space of X. Hence w lies in the row-space of X.

redpajama_set_name: RedPajamaStackExchange


text:
Rose Gerspacher looks over the some of the titles available at her new store
Sicamous store finds new homes for loved books
The Painted Bird Bookshop in process of opening at Parkland Mall.
Lachlan Labere
Local book lovers who take pleasure in perusing used paperbacks, or who seek to become re-acquainted with a favourite hardcover are in luck.
Rose Gerspacher is in the process of opening the Painted Bird Bookshop in the Parkland Mall. She's currently bringing order to a collection of around 20,000 titles that she's picked up over the past five years in the Okanagan Valley.
"A lot of the books I have, because I worked in used books, 'I went oh, I know that people look for that, I'm buying that,'" said Gerspacher.
Gerspacher says the Painted Bird will primarily deal in used books, but will also have new books available too. She explains, however, that there's an allure to used books, especially when they're gathered together in a used book shop, where one can hunt down an elusive title, find something that appeals to one's sense of nostalgia, or simply pick up an armful of reading entertainment.
Gerspacher says used books will be accepted on trade-in depending on whether or not she can use them.
"I'll have a look at them and, if I can use them in the store, I'll give you a dollar amount based on half of what I can sell it for," said Gerspacher. "And when you're buying, you can use your trade credit towards half the price of purchase."
Asked what books she likes to collect for herself, Gerspacher said she had particular affinity for Canadian classics published by McClelland and Stewart.
"I would love to be able to read all of these early Canadian books from the 1950s, '60s and '70s," said Gerspacher.
In addition to the commercial side of the bookshop, Gerspacher also wants to get a writer's group going.
"It's kind of a group that would be directed by the people that come," said Gerspacher, adding she's belonged to writers groups in the past. "We always did a free-write, 12 to 15 minutes and then a bit of reading. And then people come up with ideas on other writings. But usually less than two hours once a week."
Currently, Gerspacher aims to have the Painted Bird open seven days a week – 9 a.m. to 6 p.m., Monday to Friday, 10 am. to 5 p.m. on Saturday and 10 a.m. to 4 p.m. on Sunday.
For more information, stop by the Painted Bird or call 778-212-2539.
Big White taps into local talent to build mountain bike park near Kelowna
Highway 1 closures planned for Thursday east of Sicamous


The third game in Accolade's famous baseball series, Hardball III was the first baseball game developed by Canadian company MindSpan for Accolade. The leap between Hardball II and this game is even much bigger than the one from Hardball to Hardball II. In addition to upgrading the graphics from EGA to 256-color VGA, MindSpain improved every aspect of gameplay and added a few new features, most notably coaching options. Fluid player animations, dozens of teams to choose from, solid user interface, and even authentic ballparks and crowd jeers and cheers-- it just doesn't get much better than this. Oh, and did I mention Al Michaels biting his tongue in the game? ;) Adding the famous commentator adds much to already fun atmosphere, and makes it that much more enjoyable to score a home run.
Overall, one of the best baseball games ever made, bar none. Those who enjoy realistic statistics should stick to Earl Weaver Baseball 2, but it you're looking for a gorgeous-looking, action-packed baseball game, it doesn't get better than Hardball III. Three thumbs up! Also, check out its SVGA successor Hardball IV if you prefer even better graphics.
HardBall III has an addon available: HardBall III: MLBPA Players Disk, don't miss it!
I still own the boxed version of this that came with 5¼" floppies!
Hardball III was easily the most playable of the long-running Hardball series. However, as alluded in the review above, if reliable stats prediction/recording are important to you, the best games are the 1)Amiga version of Earl Weaver Baseball or 2)PC version of Earl Weaver Baseball II.
Share your gamer memories, help others to run the game or comment anything you'd like. If you have trouble to run HardBall III, read the abandonware guide first!


text:
Property Surveying NEWSLETTER
Request a Survey
Find a Surveyor
Leasehold Enfranchisement Opportunity for Commercial Tenants
A commercial property tenant with a long lease may be able to acquire the freehold of their building. A company that occupies a house may still be able to buy the property under enfranchisement rules, even if it is not a being used as a "house". The result could potentially have a huge impact on enfranchisement claims.
The recent Court of Appeal case (Day v Hosebay and others 01.07.10), has decided a property not used as a residence can sometimes still constitute a "house" for the purposes of enfranchisement, giving the leaseholder a right to buy it. This assumes that the other requirements under the Leasehold Reform Act 1967 are met.
The act allows tenants of houses with leases of more than 21 years to acquire their freeholds. In 2002, the law was changed so that it was no longer necessary for the house in question to be occupied by a resident.
Now, a company is therefore allowed to buy it, as well as a tenant who for instance has never lived there. The only specified requirements are that the house has been owned for two years by the tenant serving the notice to enfranchise and that the tenancy was not seen as a business tenancy within the meaning of the Landlord and Tenant Act 1954. The Lease contract will therefore require examination.
This gave commercial tenants that had occupied property for non-residential reasons a chance to acquire the freehold if they could show the building they occupied was a "house". The 1967 act defines a house as "any building designed or adapted for living in and reasonably so-called".
Landlords appealed two cases in relation to properties in commercial use that had been held to be houses. The first related to properties that were constructed and once occupied as large houses, but had since been converted into bedsits for tourists. The second was built as a house but, at the time that the tenant wanted to enfranchise, was being used as offices.
The court held that a building used as an office can still reasonably be called a house. It clarified that the terms of the lease are generally irrelevant, unless they entirely prevent the possibility of residential use or restrict it to a very small part of the building.
Landlords now have a high hurdle to jump in arguing that a residentially designed building can no longer reasonably be called a house. It noted that the two leases in question actually described the buildings as houses and they kept their original external appearances.
Most importantly, the court made it clear that landlords cannot rely on the fact that buildings are now being used for other purposes to argue that they cannot be called a house. A building built as a house, but internally converted into offices, can reasonably be called a "house used as offices" in most circumstances, as it was the current physical state of the property that really mattered.
Providing the tenant is not himself occupying and carrying on a business, it is clearly open for commercial tenants to seek to enfranchise properties that can still reasonably be regarded as a house and their leases do not prohibit any such use. In one of the cases the building was occupied for a commercial use by a subsidiary company of the head lessor, possibly to comply with the rules, but the Judge ruled this irrelevant to the right to enfranchise.
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text:
12&U
17th October 2021 - 24th October 2021 | Sydney, NSW, Australia
City2Surf (2021)
City2Surf (2021) /
14K /
Teams /
Team UTS
TEAM TIME: 02:20:43
Team UTS's Members
1 Edward Goddard (#9215) 00:42:27 1 20-29 (1) Male (1)
2 Leo Peterson (#8306) 00:45:16 2 30-39 (1) Male (2)
3 Michael Ninneman (#7666) 00:52:58 12 20-29 (5) Male (11)
4 Jackson Bukor (#5890) 00:58:18 52 20-29 (9) Male (45)
5 Lachlan Borrillo (#5891) 01:02:33 137 20-29 (25) Male (126)
6 Felix Watson (#7431) 01:06:31 251 20-29 (47) Male (218)
7 Christopher Hamid (#5200) 01:07:46 310 30-39 (82) Male (263)
8 Jude O'shea (#7061) 01:08:19 334 50-59 (6) Female (54)
9 Maxim Nesterov (#7271) 01:08:27 339 20-29 (62) Male (284)
10 Syrena Bayne (#2479) 01:08:58 372 16-19 (1) Female (60)
11 Liam Loughrey (#4414) 01:09:44 416 16-19 (4) Male (348)
12 Robert Mccreery (#4502) 01:15:04 708 50-59 (70) Male (577)
13 Akashdeep Singh (#6683) 01:15:12 717 16-19 (10) Male (581)
14 Alessandro Llana (#4906) 01:16:11 793 20-29 (117) Male (634)
15 Claudia Hunter (#3254) 01:16:15 801 20-29 (34) Female (162)
16 Thomas Henderson (#4335) 01:16:52 843 20-29 (124) Male (672)
17 Niamh Martin (#7311) 01:20:25 1126 20-29 (56) Female (276)
18 Cara Martin (#7312) 01:20:37 1140 16-19 (5) Female (282)
19 Bailey Chalcraft (#5094) 01:21:41 1222 20-29 (149) Male (901)
20 Harry Strudwick (#6005) 01:22:18 1272 20-29 (152) Male (932)
21 Jasmine Fletcher (#3179) 01:22:58 1342 20-29 (71) Female (371)
22 Timo Rissanen (#2667) 01:25:29 1559 40-49 (320) Male (1100)
23 Newton Quach (#8357) 01:28:48 1858 20-29 (199) Male (1272)
24 Luis Gabriel Sandino Luna (#3554) 01:29:38 1932 30-39 (368) Male (1308)
25 Reece Johnston (#8636) 01:30:20 1991 20-29 (208) Male (1342)
26 Molly Cameron (#5620) 01:30:55 2035 20-29 (128) Female (670)
27 Kathryn Glover (#8372) 01:31:02 2045 20-29 (130) Female (678)
28 Jesse Simon (#6469) 01:32:48 2169 30-39 (396) Male (1426)
29 Andy Ryu (#2951) 01:33:23 2205 40-49 (406) Male (1445)
30 Emily Mathey (#2935) 01:34:21 2266 40-49 (251) Female (789)
31 Paris Oudomvilay (#4199) 01:34:41 2278 20-29 (223) Male (1487)
32 Sabrina Pearson (#2696) 01:35:00 2299 20-29 (154) Female (801)
33 Megan Moshovelis (#4752) 01:35:22 2329 16-19 (14) Female (816)
34 Lucy Slip (#3712) 01:35:40 2355 20-29 (156) Female (829)
35 Gabriella Van Dyk (#4750) 01:37:28 2467 16-19 (15) Female (891)
36 Summer Robinson (#6776) 01:38:49 2564 30-39 (266) Female (947)
37 Scott Chalcraft (#5801) 01:42:27 2827 40-49 (475) Male (1733)
38 Jennifer Luu (#3723) 01:46:52 3065 20-29 (216) Female (1215)
39 Zoe Nicole (#6199) 01:47:14 3086 13-15 (15) Female (1221)
40 Glenn Wightwick (#2907) 01:49:07 3171 50-59 (341) Male (1897)
41 Rachel Kemp (#6818) 01:51:16 3280 16-19 (25) Female (1332)
42 Uddhav Parashar (#3474) 01:51:56 3321 20-29 (290) Male (1963)
43 Abby Ranasinghe (#6995) 01:54:15 3416 20-29 (250) Female (1415)
44 Paris Gavenlock (#6826) 01:54:19 3419 20-29 (252) Female (1417)
45 Kayla Gelman (#3477) 01:55:28 3456 20-29 (254) Female (1440)
46 Anne Kruger (#6474) 01:55:45 3467 40-49 (437) Female (1449)
47 Jacinta Wood (#2534) 02:00:02 3651 30-39 (395) Female (1556)
48 Tracey Longfield (#5799) 02:00:33 3667 50-59 (257) Female (1567)
49 Mei Kawabe (#6450) 02:01:46 3712 16-19 (35) Female (1596)
50 Sophie Merlo (#5091) 02:02:03 3721 16-19 (36) Female (1601)
51 Beverly Kung (#3137) 02:03:54 3771 20-29 (273) Female (1634)
52 Bernard Chin (#4200) 02:05:06 3799 20-29 (313) Male (2142)
53 Jess Teasdale (#2200) 02:05:49 3827 20-29 (281) Female (1675)
54 Daisy Yuan (#5957) 02:11:04 3997 30-39 (449) Female (1777)
55 Courtney Krahe (#3213) 02:12:02 4036 20-29 (302) Female (1798)
56 Mai Nguyen (#3007) 02:19:23 4303 20-29 (328) Female (1962)
57 Gemma Punzalan (#6656) 02:37:21 4871 40-49 (665) Female (2303)
58 Graham Piper (#5358) 02:54:24 5345 50-59 (501) Male (2719)
59 Juliet Buckley (#5357) 02:58:03 5429 50-59 (481) Female (2682)
60 Wilson Gomez (#8949) 03:02:09 5501 30-39 (683) Male (2765)
61 Sawan Kathriarachchi (#5672) 03:07:45 5619 30-39 (691) Male (2815)
62 Wasapatkorn Limpairojana (#7428) 03:20:02 5753 16-19 (72) Female (2886)
63 William Wan (#7579) 03:25:40 5805 16-19 (49) Male (2875)
64 Jenna Anderson (#8950) 03:31:47 5850 30-39 (695) Female (2956)
65 Madeline Guihot (#3653) 03:43:55 5917 20-29 (453) Female (2995)
Michael Mazengarb (#2872) NYS 30-39 Male
Andy West (#3019) NYS 50-59 Male
Aimee Purcell (#3226) NYS 40-49 Female
Kaitlyn Chang (#3721) NYS 16-19 Female
Melissa Bradbrook (#3811) NYS 50-59 Female
Andrew Suters (#4180) NYS 20-29 Male
Andrew Cheok (#4181) NYS 20-29 Male
Jordan Thompson (#4194) NYS 16-19 Male
Tara Blackmore (#4849) NYS 20-29 Female
Christine Kim (#5073) NYS 30-39 Female
Christina Lee (#5137) NYS 20-29 Female
Justin Montgomery (#5201) NYS 20-29 Male
SARAH Angus (#5683) NYS 40-49 Female
Lydia Angus (#6589) NYS 20-29 Female
Madelyn Johnston (#6688) NYS 20-29 Female
Zoe Janssen (#7275) NYS 20-29 Female
Jack Minton (#7355) NYS 20-29 Male
Georgia Graham (#7398) NYS 20-29 Female
Victoria Maddever (#9426) NYS 20-29 Female
Cameron Kenney (#9538) NYS 20-29 Male
Stephanie Papaioannou (#3898) Started 20-29 Female
Raghav Janardhan (#4809) Started 16-19 Male
Harrison Cole (#5696) Started 20-29 Male
Robert Pfahl (#5775) Started 30-39 Male
Valentina Namnoum (#6303) Started 20-29 Female


text:
import React from 'react';
import { shallow } from 'enzyme';
import toJson from 'enzyme-to-json';
import Tile from '../Tile';

describe('FeaturedTitle component', () => {
  it('should render without issues', () => {
    const component = shallow(<Tile imageSrc={{ url: 'http://google.com' }} />);

    expect(component.length).toBe(1);
    expect(toJson(component)).toMatchSnapshot();
  });

  it('should render featured tile', () => {
    const component = shallow(
      <Tile
        imageSrc={{ url: 'http://google.com' }}
        title="Lorem ipsum dolor sit amet, consectetur adipisicing elit. Dolores dolore exercitationem"
        featured
        caption="Some Caption Text"
      />
    );

    expect(component.length).toBe(1);
    expect(toJson(component)).toMatchSnapshot();
  });

  it('should render featured tile with icon', () => {
    const component = shallow(
      <Tile
        imageSrc={{ url: 'http://google.com' }}
        icon={{ name: 'play-circle', type: 'font-awesome' }}
        featured
      />
    );

    expect(component.length).toBe(1);
    expect(toJson(component)).toMatchSnapshot();
  });

  it('should render tile with icon', () => {
    const component = shallow(
      <Tile
        imageSrc={{ url: 'http://google.com' }}
        title="Lorem ipsum dolor sit amet, consectetur"
        icon={{ name: 'play-circle', type: 'font-awesome' }}
        contentContainerStyle={{ height: 70 }}
        imageContainerStyle={{ height: 70 }}
        iconContainerStyle={{ height: 70 }}
        containerStyle={{ height: 70 }}
        titleStyle={{ backgroundColor: 'yellow' }}
      />
    );

    expect(component.length).toBe(1);
    expect(toJson(component)).toMatchSnapshot();
  });
});

redpajama_set_name: RedPajamaGithub


The following is the full text of an action plan on the China-proposed Belt and Road Initiative issued by the National Development and Reform Commission, Ministry of Foreign Affairs, and Ministry of Commerce of the People's Republic of China, with State Council authorization, on Saturday.
Facilities connectivity is a priority area for implementing the Initiative. On the basis of respecting each other's sovereignty and security concerns, countries along the Belt and Road should improve the connectivity of their infrastructure construction plans and technical standard systems, jointly push forward the construction of international trunk passageways, and form an infrastructure network connecting all subregions in Asia, and between Asia, Europe and Africa step by step. At the same time, efforts should be made to promote green and low-carbon infrastructure construction and operation management, taking into full account the impact of climate change on the construction.


Having a business stays a good idea since it shows how concerned you are at your future. It lets you earn money and pay for your various expenses especially if big profits were obtained. However, struggles are associated there perhaps if finances for the company were not managed well. Certain strategies would help that stay in good shape and many ideas are available to fix that. Check out popular Business financial strategies in detroit M to maintain.
Planning to divide finances is a big deal in businesses but you should learn to have the proper balance in segregating personal and business goals. Maybe you were planning to achieve better cash for personal desires yet your business was not considered as part of the plan. Remember that businesses become the top priority when it comes to work so it has to get balanced.
Tax management is significant. Indeed, many people find paying or filing taxes in being a tiring process but certain aspects there could be affecting the company too. Higher hidden costs could be associated whenever you failed to settle taxes right. Facing problems related to taxes would be bad news for your job as it may be closed in failing to comply with tax.
Risk management shall be given importance as you never know what to expect along the way. Risks even vary from financial, operational, and more. Preparing is needed because failing to manage those will put such company in bad shape. You might no longer be able to serve clients and adjust with new demands. Health is a priority too so a plan is set for injuries and accidents.
Financial advisors are highly recommended. The advisor helps you learn important ideas to grow in this industry and experience better cash flow. You also ask any question from them regarding financial concerns since it is their job to help. Learnings acquired there enable you to get wiser soon.
Retirement plans turn necessary. As early as now, you should deal with this responsibly so a brighter future is expected. Pension contributions even help reduce taxes. At some point you get old, how you benefit with your pension and budget must be thought of. Never make it to the point where you only process this out when you nearly retire as that is too late.
Finding your successor soon is part of planning. Everyone will eventually pass and there is a chance to keep the business continuous by giving the job to a successor. To pass on someone and discontinue the company shall be up to you too which is why settling at succession plans also benefits owners. Complexity only depends with the industry or size of company anyway.
Track all costs as well. Software can be useful in tracking expenses at work anyway. It shall cover income, profit, losses, and so much more. Tracking systems are beneficial to send awareness on everyone if companies were doing well or not. Thus, you establish changes when various bad aspects were noticed.
Safety net matters as well for protection among your wealth. Various assets deserve protection in case some changes might affect personal wealth in bad condition.To lose those will turn out such a waste and protecting those early marks as a good idea.
This entry was posted in Business and Management and tagged Business financial, strategies by Bertha T. Johnson. Bookmark the permalink.


text:
Barometer Newsletter The SADC Gender Protocol ratification process: sta...
The SADC Gender Protocol ratification process: status and updates
Date: March 3, 2011
As of the end of February, 13 SADC member states have signed the Protocol, eight have completed internal ratification process, and five have deposited Instruments of Ratification with SADC Secretariat.
The Gender Protocol Ratification Clause (Article 40) states that: "This Protocol shall be ratified by the Signatory States in accordance with their constitutional procedures."
RATIFIED
DEPOSITED INSTRUMENT
*The Entry into Force clause (Article 41) states that: "This protocol shall enter into force thirty (30) days after the deposit of the Instruments of Ratification by two-thirds of the Member States." This implies that at least nine (9) member states have to ratify the SADC Gender Protocol in order for it to be legally binding.
While only one more country is required to ratify the Protocol for in to come into force, it is important that all SADC countries deposit their instruments of ratification with the SADC Secretariat. This will signify that, as a region, SADC has committed not only to upscale its effort to achieve gender equality, but it will be duty-bound to do so, and to report accordingly.
Comment on The SADC Gender Protocol ratification process: status and updates Cancel reply


text:
Nottingham Clinical Child Psychologist
Remote Clinic
Support. Growth. Healing.
Dr Anna Symonds is a Clinical Psychology provider to young people and adults. She is registered with the Health Care Professions Council (HCPC) and Chartered with the British Psychological Society. She qualified at the University of Leicester with a Doctorate in Clinical Psychology (DClinPsy) and has been working in private practice as well as NHS positions for over ten years working with children, young people, adults and medical professionals. She currently holds a permanent post at the University of Lincoln on the Clinical Psychology Doctorate training course (DClinPsy). She is a mother to two school aged children.
Dr Symonds offers therapy services to young people and their families who present with a range of emotional issues. Dr Symonds specialises in helping those with issues which they feel restrict them from being the person they genuinely are, or wish to be. Primarily, Dr Symonds specialises in working with those between 12 and 35 years old. Dr Symonds however, works with younger children and older adults. Please do contact us and we will consider you referral and whether it fits within Dr Symonds' remit.
The aim of Dr Symonds is to work alongside clients to relieve psychological distress and emotional pain through the management and regulation of emotions, encouraging the enhancement of emotional development and growth, and empowering and motivating young people and adults to manage their own difficulties with specific psychological strategies. Where appropriate, Dr Symonds incorporates guidance to those supporting the client to assist them through these sometimes daunting difficulties and changes.
Work can include a focus on personal growth, life transformation and self – development guidance, empowering people to live their purpose whilst integratively addressing psychological issues such as anxiety, mood, lack of confidence when appropriate.
Dr Symonds holds regular clinics in Nottingham. Secure video sessions are also available for those unable to attend locally. Dr Symonds provides tailored presentations and training to schools and businesses relating to her specialties as described above.
No GP referral is required and appointments can be made directly with us via email or telephone.
Clients can self-fund and we also work in association with insurance companies including Bupa and PPP AXA, Social Services and private foster care and adoption agencies. Dr Symonds works in collaboration with local private Paediatricians and Psychiatrists when appropriate, providing holistic care.
☎ 0800 688 9937 | anna@drsymonds.co.uk
West Bridgford Therapy Rooms, 152c Radcliffe Rd, West Bridgford, Nottingham NG2 5HF
Copyright 2019 Dr Anna Symonds


text:
Should the Detroit Red Wings Use a Buyout This Offseason?
By edubbnaz Jul 9, 2021, 12:00pm CDT
Share All sharing options for: Should the Detroit Red Wings Use a Buyout This Offseason?
Photo by Bruce Bennett/Getty Images
With the Tampa Bay Lightning putting the finishing touches on back-to-back Stanley Cups Wednesday night the 2020-2021 season has finally come to an end. It also means that a somewhat condensed and likely flurry of activity offseason is about to begin. One of the first landmarks is the opening of the buyout window, set for 48 hours from the awarding of the Cup or approximately later tonight. Teams will have until 5pm EST on July 27th to make the decision to buyout a player or not. With the expansion draft set for July 21st it could make for some interesting times over the next couple weeks as teams look to finish off their protection lists, draft boards, and free agency plans. For Detroit, per Cap Friendly, they have eight players who are eligible for a buyout: Dylan Larkin, Frans Nielsen, Robby Fabbri, Richard Panik, Vladislav Namestnikov, Danny DeKeyser, Troy Stetcher, and Thomas Griess. Let's take a look at all eight and see if there are any strong candidates to join Justin Abdelkader on the buyout list.
First off, let us get the easy ones out of the way first. Larkin, Fabbri, Stetcher and Griess are locks to not be bought out. Larkin, Fabbri, and Stetcher are not on bad deals and still have plenty of value to where if the Red Wings wanted/needed to move on from either they could easily find a trade partner. Griess overcame a rough start to the last season to turn into a solid, if unspectacular, option in next and right now he is the only NHL caliber goalie they have under contract. Vladislav Namestnikov is close to a lock as well with only one year at $2.0M AAV left on his contract. The main reason I did not put him in as a lock is, if for some reason the Red Wings believe they need to open up Namestnikov's roster spot, I am not sure what his trade value is at this time and in no way should the Red Wings be paying assets to get rid of anyone on this roster. Additionally the Red Wings are going to need to both fill out a roster and make it to the cap floor next season so buying out Namestnikov does not really make much sense, certainly not as much as maybe a few others might.
So with those out of the way that leaves just three players, DeKeyser, Nielsen, and Panik, as potential buyout candidates for Detroit. Time to Pro/Con this and see if it makes sense for any of them.
Danny DeKeyser
One year remaining at $5.0M. A buyout would save the Red Wings $3.0M in cap space this offseason at the cost of $1.5M in dead cap next offseason.
Buy Him Out
After coming into the league out of college and at one point being called the best defenseman from the red line back into his own zone by former Red Wings coach Mike Babcock, DeKeyser has really seen his play drop off in recent years. This is largely due to a laundry list of injuries, particularly to his back, that have really sapped a lot of his physical abilities on the ice. It is very unlikely that he can even play a full 82 game schedule at this point in his career.
Keep Him
While DeKeyser's physical skills have fallen off, his mental acuity and understanding of the game has not. He has never been the gifted athlete on the ice but he carved out a nice NHL career because of his ability to see/read the play in front of him and make the smart play defensively. With the Red Wings blueline looking to receive a major overhaul and Moritz Seider all but a lock to join the roster next season, having a steadying mind who can help the young defenseman learn to see the game at the NHL level on the bench and in the locker room with him would be a definite benefit. On top of that, despite his injuries and reduced mobility, Danny did find a way to turn himself around toward the end of the season and might just have enough left in his tank for one more go.
With the short term, lack of panic for cap space (the Red Wings currently project to have $48.1M in cap space going into this offseason), and a dearth of NHL caliber left handed defensemen on the roster there is really no reason to buy DeKeyser out.
Frans Nielsen
One year remaining at $5.25M. A buyout would save the Red Wings $1.0M in cap space this offseason at the cost of $500K in dead cap next offseason.
He came in with the impossible expectation of trying to fill even some of the hole left by the retirement of Pavel Datsyuk. He obviously did not live up to those expectations or even the slightly less lofty expectations of the six years, $31.5M dollar deal he signed back in 2016. He was not an awful player at all his first three seasons with the Red Wings, hovering at/around a half point per game during that time. The last two seasons have been a different story all together though as he registered a total of 15 points in 89 games over the two years and routinely being healthy scratched. Moving on from Frans a year early could allow the Red Wings the keep an extra young player on their roster who is no longer waiver exempt and could be claimed if they are sent down.
Similar to DeKeyser, Nielsen is by all accounts a fantastic locker room guy whose presence who could help the younger forwards, particularly those like Lucas Raymond and Jonatan Berggren who are looking to make the jump over to the US and play on the smaller sheet for the first time as professionals. This could mean sending Frans to Grand Rapids as Raymond and Berggren are likely to at least start the season in GR, but this would almost provide the same amount of cap relief as buying him out would without having the $500K in dead space for the 2022-23 season.
Similar to DeKeyser, the short term and lack of need for cap space relief this offseason makes it hard to justify buying out Frans. The fact they would get almost the same relief sending him to Grand Rapids without the dead space the following season makes it a near certainty that Nielsen plays out the last year of his contract with the organization.
Richard Panik
Two years remaining at $2.75M/year. A buyout here would open up $2.26M in cap space this offseason and $1.46M the following offseason for the Red Wings at the cost of $933K in dead cap space for 2023-24 and 2024-25 seasons.
The biggest benefit to buying out Panik (beyond the cap space that we have already established the Red Wings do not need) would be to open up a roster spot for one of the younger forwards like Giavani Smith, Evgeny Svechnikov, Chase Pearson, or Joe Veleno to step into. Figuring out if these guys have what it takes to be an NHLer is more important for the team long term than giving a 30-year-old, career bottom six forward like Panik 12-15 minutes of ice time a night.
Unlike DeKeyser and Nielsen, Panik is still a viable NHL player who can contribute in a bottom six role. He is not going to net a ton of points but he is a good grinder who is reliable in his own end and puts in a solid effort every time he is on the ice.
With Luke Glendening, Sam Gagner, Valtteri Filppula, and Darren Helm all free agents this offseason the Red Wings would absolutely be better off keeping Richard Panik around for at least the next season and hope he can build up some late round draft pick trade value. At a minimum he provides a solid gatekeeper for young bottom six prospects like Smith and Pearson.
In the end, a buyout simply does not make sense for the Red Wings this offseason. None of the players who would even be considered for a buyout have a deal beyond two seasons and the Red Wings really do not need the cap space this upcoming season so adding dead space down the road a season or two for no real need this offseason just does not make much sense.