Like most of the banking sector, Citigroup has been beaten down so far in 2016. Fortunately, the reasons for the decline don't appear to be specific to the bank -- rather, fears of a global recession and low energy prices are making investors nervous. With that in mind, here are three things that could give Citigroup's stock price a boost.
Oil and commodity prices could reboundAll of the big U.S. banks have significant portfolios of loans to oil and energy companies, and this is creating uncertainty among investors. Essentially, the persistent low oil prices are cutting into many of these companies' profits and could lead to a wave of defaults. Citigroup has $20.5 billion in funded exposure to energy companies, as of the end of 2015.
While the bank has increased its energy loss reserves by $300 million recently, we really have no idea how much in total has been set aside for this purpose. Citigroup's peers have been more willing to disclose information -- for example, Bank of America has set aside $500 million against its $21.2 billion energy portfolio and Wells Fargo has aggressively set aside $1.2 billion for just $17 billion in loans. Naturally, since Citigroup has declined to provide any more color on the issue, investors are assuming the worst.
Of course, if oil and gas prices rise on their own, it could greatly reduce the potential for losses. Citigroup has said it expects about $600 million in losses for the first half of 2016 if $30 oil prices remain and a boost in oil prices could dramatically reduce this number, and also set investors' minds at ease about future losses.
Citi's capital plan is approved, and the dividend risesEver since 2011, banks are required to submit annual capital plans for regulatory approval before increasing their dividends or buying back shares. And even with all of the improvements, Citigroup's dividend remains extremely low at just $0.05 per share each quarter -- an annual yield of just 0.5%.
With return on assets and return on equity metrics approaching the benchmark 1% and 10% levels, and with the ongoing risk from Citi Holdings greatly reduced, there is reason to believe that this will finally be the year shareholders see a meaningful dividend increase from Citi. Now, the dividend isn't likely to rise dramatically. I'd expect a doubling of the current level to a yield of 1% per year, but more important than the dividend itself is what it would say to the market about regulators' confidence in the bank.
On a separate note about the capital plan, I'll be paying more attention to the buybacks than any dividend increase this year, especially if Citigroup's stock price remains low. As of this writing, Citigroup trades for a 36% discount to its tangible book value. In other words, through share buybacks, Citigroup can buy back its own assets for just $0.64 on the dollar, creating real instant value for shareholders. A dividend increase may be a psychological victory, but a large buyback authorization is where the real value can be created.
Recession fears are overblownMany experts are calling for a global recession in the near future. According to JPMorgan Chase strategists, consecutive quarters of earnings declines (like we've just seen) have preceded a U.S. recession 81% of the time. And in the other 19% of cases, the only way we avoided a recession was with monetary or fiscal stimulus.
Even Citigroup's own economists recently said that the chances of a recession are high and increasing, citing the fragile world economy, particularly the slowing growth in China and other emerging markets.
However, there are some reasons to believe the fears of a recession are overblown. For starters, the recent GDP growth rate of 0.7% isn't stellar, but it's still in positive territory. In fact, even though a global recession is being called for, those same Citi economists said that they don't believe the U.S. will fall into negative growth territory.
Unemployment and job growth numbers are looking pretty good, and January's data on durable goods orders showed the largest surge in demand in 10 months. Plus, Federal Reserve officials have indicated that they see a low risk of recession.
The point is that fears of a recession are one of the main factors that have been dragging down stocks in the early part of 2016, and the financial sector in particular. So if we start seeing clear evidence that a recession isn't in the cards, it could give a big boost to bank stocks like Citigroup.
So will any of this happen?I'm pretty confident that Citigroup's capital plan will be approved, but whether the other two positive catalysts happen is anyone's guess at this point. Oil has rebounded recently, but we've seen short-lived rallies before. And despite the economic data I mentioned, a recession is certainly possible.
However, as long-term investors, we need to look beyond what could make Citigroup stock rise in the intermediate term and appreciate the current situation. We have a much-improved bank that's still trading at rock-bottom valuation thanks to uncertainty. Regardless of whether these three things boost Citigroup's stock price this year, investors who get in now could be pleased with their investment's long-term performance.
The article 3 Reasons Citigroup Stock Could Rise originally appeared on Fool.com.
Matthew Frankel owns shares of Bank of America. The Motley Fool owns shares of and recommends Wells Fargo. The Motley Fool has the following options: short March 2016 $52 puts on Wells Fargo. The Motley Fool recommends Bank of America. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.


Abell Point Marina making a splash!
With a strong focus on continuous improvement, Abell Point Marina, the popular Queensland marina precinct, has seen significant infrastructure and service upgrades since it came under new ownership in 2013. Achieving the first global 5 Gold Anchor accreditation in the world in 2016 cemented Abell Point's position in the marina industry and 2017 will see some newsworthy additions to the Abell Point offer.
One of the major developments in the pipeline for 2017 is the Abell Point Parkway. Several years in the planning this 2.5 hectares of private parkland is under construction to create a relaxing leisure hub within the marina precinct for marina guests and visitors to enjoy. As well as filling the gap for an outdoor leisure space in the Whitsundays the completion of the Parkway will provide yet another reason for customers to extend their stay and enjoy the Abell Point Marina village lifestyle.
The parkway when complete, will provide an area of lush parkland with stunning views back over the marina precinct, including a 35m round splash park with water fountain play area, an intimate outdoor space for weddings and ceremonies, an open area for hosting concerts and events, seating and relaxation areas, a mobile café and a beach area all designed for soaking up the marina atmosphere. Due for completion in mid-2017, the launch party for the Parkway will be a significant event at the start of the cruising calendar and one not to be missed by boating enthusiasts from around the country.
Another key addition is the Ocean Club, a 22m floating customer lounge which will be berthed in the south marina on Q arm, providing a range of deluxe amenities for the ever-growing number of customers staying at Abell Point. When complete, Oceans 20 will boast 12 first-class private en-suite bathrooms and a fully equipped laundry area on the ground floor, whilst the second floor will provide a contemporary customer lounge complete with an exclusive waterfront sundeck area offering stunning marina views. The Ocean Club will provide a superb addition to the marina's already first-class facilities. The pontoon design is bathed in wooden paneling, stainless steel and open spaces, designed to make full use of the natural tropical Whitsunday sea breeze.
As well as upgrades to the private amenities in both the north and south village and upgrades to power and the pontoons in the north marina, the recent purchase of the Barcelona Tapas Restaurant in the marina precinct will add another element to the first-class service on offer at Abell Point. The restaurant will be closed for renovations for a short period during March and will be relaunched with a new interior design, new menu, new vision and focus on providing first-class cuisine in the most stunning location in the Whitsundays.
With the range of developments scheduled for 2017, this really will be the year to drop anchor at Abell Point Marina and stay, play, explore.


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Archives de Tag: natural pearl and diamond ear pendants
A pair of natural pearl and diamond ear pendants, by Van Cleef & Arpels
16 lundi Fév 2015
drop-shaped baroque brownish grey pearl, natural pearl and diamond ear pendants, Van Cleef & Arpels
A pair of natural pearl and diamond ear pendants, by Van Cleef & Arpels. Estimate HK$560,000 – HK$800,000 ($72,312 – $103,302). Price Realized HK$657,250 ($84,869). Photo Christie's Image Ltd 2004
Each set with a drop-shaped baroque brownish grey pearl measuring approximately 12.95 x 15.00 and 13.55 x 14.10 mm, to the pavé-set diamond cap and circular-cut diamond surmount, suspended from a detachable old-cut diamond floral top, mounted in platinum and 18k white gold, 5.3 cm long, with French assay marks for platinum and gold. Signed and jeweller's marks for Van Cleef & Arpels, no. CS.9364
With report no. 39568 dated 21 June 2002 from the SSEF Swiss Gemmological Institute stating that the analysed properties confirm the authenticity of these natural saltwater pearls, no indications of artificial colour modification (2)
CHRISTIE'S. MAGNIFICENT JEWELLERY AND JADEITE JEWELLERY, 2 November 2004, Hong Kong
Magnificent Jewels at Christie's Geneva on November 11
'Gardenia' ring, 'Parrot Tulip' bangle, Alfred Bapst, Art Deco natural pearl and diamond necklace, 'String' ear pendants, Bapst, Baroness Edouard de Rothschild, Blue Belle of Asia, Bulgari, Burmese ruby, Cartier, Ceylon, coloured diamond and diamond ear-pendants, cushion-shaped sapphire, Duchess of Windsor, Empress Eugenie of France, Harry Winston, JAR, Lucrezia Bori, Maharajah of Kutch, Mogok, natural drop-shaped pearl, natural pearl and diamond ear pendants, Natural Pearl and Diamond Necklace, oval-shaped ruby, pear-shaped diamond, pear-shaped Fancy Vivid Blue diamond, pear-shaped fancy vivid pink diamond, Queen of Burma, ruby and diamond ring, Sarah Brightman, tiger jewellery, Type IIa
Photos Christie's Ltd 2014
Geneva – Christie's fall auction of Magnificent Jewels will be held on 11 November at the Four Seasons Hotel des Bergues in Geneva. Featuring over 390 lots, the auction includes top quality coloured and colourless diamonds, jewels of historical provenance, exceptionally rare gemstones, natural pearls and an important group of Jewels by JAR. The auction is estimated to fetch in excess of US$80 million.
The auction is led by A Bulgari Masterpiece, a spectacular pair of pear-shaped coloured diamond ear-pendants, set with a 6.95 carat Fancy Vivid Blue diamond and a 6.79 carat Fancy Vivid Pink diamond which carry a pre-sale estimate of SFr. 11,500,000-14,500,000 / US$ 12,000,000-15,000,000.
A pair of pear-shaped coloured diamond and diamond ear-pendants, by Bulgari. Estimate CHF11,500,000 – CHF14,500,000 ($12,112,023 – $15,271,681). Photo Christie's Ltd 2014
The marquise and pear-shaped diamond cluster top, weighing a total of approximately 19.28 carats, suspending a detachable pear-shaped fancy vivid blue diamond, weighing approximately 6.95 carats, and a pear-shaped fancy vivid pink diamond, weighing approximately 6.79 carats, mounted in platinum and gold, 4.0 cm. Signed Bulgari
Accompanied by report no. 14859448 dated 22 August 2014 from the GIA Gemological Institute of America stating that the 6.95 carat pear-shaped diamond is Fancy Vivid Blue colour, SI2 clarity, a Diamond Type Classification letter stating that the diamond is Type IIB
Report no. 5161522496 dated 29 August 2014 from the GIA Gemological Institute of America stating that the 6.79 carat pear-shaped diamond is Fancy Vivid Pink colour, VS2 clarity, a Diamond Type Classification letter stating that the diamond is Type IIA
14 reports dated 1994 to 2005 from the GIA Gemological Institute of America stating that the 14 diamonds on the top, ranging from 2.03 to 1.05 carats, are D to F colour, Internally Flawless to VS2 clarity
Please note that the reports of the colourless diamonds are more than five years old and might require an update
Rahul Kadakia, International Head of Christie's Jewelry, commented: "With one of the largest and most important sapphires in the world from private hands, A Bulgari Masterpiece, iconic Cartier jewels from the Duchess of Windsor, natural pearls that were once in the collection of Baroness Edouard de Rothschild, and Empress Eugenie's Feuilles de Groseillier brooch, Christie's Geneva is proud to present the finest and best jewels in the world on November 11."
Exceptionally Rare Coloured Stones
The sale will include the fourth largest faceted sapphire in the world, the Blue Belle of Asia, a cushion shaped Ceylon sapphire of 392.52 carats (estimate: SFr. 6,650,000-9,500,000 / US$ 7,000,000 – 10,000,000). This exceptional gem was discovered in 1926 at Pelmadula, Ratnapura ('The City of Gems') in Ceylon and was sold to British motor magnate Lord Nuffield (1877-1963), founder of Morris Motors Limited in 1937. The reasons behind his purchase of the Blue Belle of Asia have remained a mystery, however, it was rumoured that the sapphire was to be presented to Her Majesty Queen Elizabeth the Queen Mother, on her Coronation Day on 12 May 1937.
The 'Blue Belle of Asia'. A spectacular 392.52 carats cushion-shaped sapphire and diamond necklace. Estimate CHF6,650,000 – CHF9,500,000 ($7,003,909 – $10,005,584). Photo Christie's Ltd 2014
Centering upon a cushion-shaped sapphire, weighing approximately 392.52 carats, suspending a brilliant-cut diamond tassel pendant with oval-shaped diamond terminals, to the brilliant-cut diamond neckchain, mounted in gold, 45.0 cm
Accompanied by report no. 72359 dated 2 September 2014 from the SSEF Swiss Gemmological Institute stating that the sapphire is of Ceylon origin, with no indications of heating, and a Premium Appendix stating that the sapphire '.. possesses extraordinary characterists and merits special mention and appreciation'.
Report no. 14090018 dated 11 September 2014 from the Gübelin GemLab Institute stating that the sapphire is of Ceylon origin, with no indications of heating, an information sheet on 'Unheated sapphires' and an appendix stating that the sapphire '..is one of the largest faceted sapphires the Gübelin Gem lab has seen to date and possesses a combination of oustanding characteristics'.
Notes: Many articles have been written on large sapphires in Royal and other important collections. Stones of over 100 carats will feature in several, but the quality and size of the present sapphire make comparisons difficult to find. An extract from the inventory of the Crown Jewels of Iran states that there are relatively few in the collection but three were worthy of special note, the largest weighing 191.58 carats. The Diamond Treasury in the Kremlin museum possesses a magnificent cornflower blue sapphire from the old Russian Royal regalia weighing 250 carats. Another large Russian sapphire is one that bears the name of Catherine the Great and weighs 337 carats.
From the very short list of faceted sapphires weighing over 350 carats, one has always remained a mystery. After the Blue Giant of the Orient (486.52 carats), the Queen of Romania's Sapphire (478.68 carats) and the Logan Sapphire(423 carats), comes the Blue Belle of Asia, a legendary sapphire the history of which has been kept secret for a long time.
This exceptional stone was discovered in 1926 at Pelmadula, Ratnapura ('The City of Gems') in Ceylon. Although it is difficult to locate information regarding the exact weight or shape of the gem at the time, it is often mentioned that it was 'valued at 50,000' in 1928, 'weighing approximately 400 carats after having been cut and polished'. It had a 'highly prized peacock blue colour and excellent clarity' and was owned by the well-known gem and jewellery dealers Macan Markar in Colombo. The famous firm, established in 1860 by O. L. M. Macan Markar, had one of the most spectacular collections of gems and among their clients were several members of the British Royal family including HM King Edward VII and HM King George V.
In 1937, the Blue Belle of Asia was sold to British motor magnate Lord Nuffield (1877-1963). The founder of Morris Motors Limited, he was also an important philanthropist and in the 1920s, he had made his first substantial public benefaction. In 1937, Lord Nuffield founded and endowed Nuffield College, Oxford and in 1943 he gave 10 million to form the Nuffield Foundation. The trust was designed to benefit medical research, hospitals and education. At the time of his death in 1963, he had given away more than 32 million to charitable institutions.
The reasons behind his purchase of the Blue Belle of Asia were mysterious. It was reported that the sapphire was to be presented to HM Queen Elizabeth the Queen Mother on her coronation day on 12 May 1937. The truth is that the Blue Belle of Asia 'disappeared' into private hands and that its location was unknown for the next 35 years. According to records from the 1970s, the famous Swiss based gem-dealer Theodore Horovitz had the opportunity to examine the sapphire. His notes and drawings give precious additional information on the shape and weight of the gem.
It is now time for the Blue Belle of Asia to get the recognition it deserves. Sapphires of this size, colour and clarity are extremely rare. This magnificent specimen must rank as one of the most prestigious coloured gems to have come to the market for many years, worthy of any leading collection.
An extremely rare ruby will also be offered for sale on November 11th: the Queen of Burma, an impressive Burmese ruby of 23.66 carats, mounted by Cartier (SFr. 5,250,000-6,650,000 / US$5,500,000-7,000,000). Purchased at Cartier in London in November 1937 by His Highness the Maharao of Cutch (1866-1942), the present example highlights once again the relationship between the European jeweller and Indian Royalty of that time. The Queen of Burma combines all the most sought-after qualities in a ruby: an attractive vivid pinkish red colour, an excellent purity, an impressive size and the finest origin.
The 'Queen of Burma'. An exceptional ruby and diamond ring, by Cartier. Estimate CHF6,650,000 – CHF5,250,000 – CHF6,650,000 ($5,529,402 – $7,003,909). Photo Christie's Ltd 2014
entering upon an oval-shaped ruby, weighing approximately 23.66 carats, the claws set with inverted baguette-cut diamonds, mounted in platinum, 1937, ring size 8½, in green Cartier leather fitted case. Signed Cartier London
Accompanied by Premium Report no. 72285 dated 27 January 2014 from the SSEF Swiss Gemmological Institute stating that the ruby is of Burmese origin, with no indications of heating, and an appendix letter indicating that « The rarity of this ruby ring lies not only in the beauty, quality and Burmese origin of the ruby, but certainly also in the historic provenance of this jewellery item. This makes the 'Queen of Burma' ruby ring a very exceptional treasure. »
Report no. 14060070 dated 13 June 2014 from the Gübelin GemLab stating that the ruby is of Burmese origin, with no indications of heating, two information sheets on 'Unheated rubies' and 'Rubies from Mogok, Burma', and an appendix letter indicating that this ruby « displays a richly saturated and homogeneous pink-red colour. Together with its high transparency, the fine cut and proportions of this stone provide a high brilliancy and numerous reflections. »
Also with copy of letter from Cartier indicating the date of purchase (6 November 1937), and that the ring was sold to His Highness the Maharajah of Kutch
Notes: In November 1937, His Highness the Maharao of Cutch purchased an impressive ruby ring at Cartier London. The'Queen of Burma', as it is now known, is the perfect representation of the exquisite relationship between the European house of jewellery and Indian Royalty of that time. The ring is set with an extraordinary Burmese ruby, weighing approximately 23.66 carats, symbolizing the lavish life-style and connoisseurship of the Indian Maharajas. The setting illustrates the modernity and style of the period with simple and clean lines creating a strong and architectural ring for a gentleman. The novelty of the Art Deco style is exemplified further by four baguette-cut baton diamonds set backward on the prongs of the ring.
The 'Queen of Burma' combines all the most sought-after qualities in a ruby, an attractive colour, an excellent purity, an impressive size, and the finest origin, making it an exceptional gem-stone. The gem connoisseur Mr. Richard W. Hughes, wrote on the subject: 'Crystallized ruby is relatively common. But when rubies are found as fine, pure red translucent or transparent single crystals, they become some of the rarest minerals on the planet. As an advanced mineral collector I have only seen a handful that qualify as world-class ruby specimens and of those, only from Mogok (Myammar)'.
The saturated red colour of the ruby is due to a combination of well-balanced trace elements in the stone, characteristic of the finest rubies from Mogok. The 'Queen of Burma' is exquisite for the purity of its crystal, showing almost no inclusions visible to the unaided eye. The ruby has been spared exposure to heat treatment and its colour and purity are thus all natural. The lack of enhancement further accentuates the rarity and prestige of this fine natural Burmese ruby.
This exceptional stone could be compared with another exceptional gem, the 'Hope Ruby', a 32.08 carat cushion-shaped Burmese ruby and diamond ring by Chaumet, which sold for $6,742,440 against an estimate of $3,000,000 to $5,000,000. This world record price for a ruby at auction was part of the charitable Lily Safra sale, at Christie's Geneva, in May 2012. Like many prodigious stones, the 'Hope Ruby' was formerly in the collection of great personalities, such as Luz Mila Patio, the Countess du Boisrouvray. Such important pieces attract the most knowledgeable and refined ownerships, as the 'Queen of Burma' was once in the possession of the honorable Maharao Shri Khengarji III.
His Highness the Maharao Shri Khengarji III (1866-1942) balanced his life between modernity and heritage. An educated man, he often travelled to Europe, where he cultivated and cherished high political and personal relationships. During his very long reign, from 1875 to 1942, the Princely State of Cutch flourished and grew through the implementation of many developmental initiatives such as education and health systems. The ruler recognized the extraordinary value of the 'Queen of Burma' when he acquired the ring from Cartier, in 1937. Meanwhile, Jacques Cartier had developed a great interest for India, travelling frequently to the subcontinent, visiting many of its regions, and establishing real friendships with several ruling Maharajahs. India, with its history and culture of jewellery and beauty, offered a new market for the trade of stones as well as a great source of inspiration with different cuts and association of colours.
The relationship between Cartier and India was officialised in 1901 when Pierre Cartier was called to Buckingham Palace to create jewels of Indian inspiration for Queen Alexandra, Queen of England and Empress of India. The two countries intertwined histories was an opportunity for the jewellery house to fashion fabulous creations for the Royal family, influencing the style and the legacy of the time.
The marriage of Cartier's savoir-faire and India's extraordinary heritage produced other wonderful jewellery pieces, such as the famous Patiala necklace, for the Maharaja Bhupinder Singh and the Art Deco emerald and diamond necklaces of the Maharajah of Nawanagar Ranjithsinhji, made by Cartier, respectively in 1928 and 1926. The splendour and opulence of the Maharajah era in collaboration with the renowned house of Cartier lives on in the 'Queen of Burma'.
Following the sale of THE ORANGE in November 2013, which achieved a world auction record for an orange diamond (SFr. 32,645,000 / US$35,540,612) and the WINSTON BLUE in May 2014, which established a world auction record price per carat for a blue diamond (SFr. 21,445,000 / US$ 23,795,372), the November 11 auction of Magnificent Jewels will include A Bulgari Masterpiece set with a truly unique pair of pear-shaped coloured diamonds. This pair of ear-pendants, one set with a Fancy Vivid Blue and the other with a Fancy Vivid Pink diamond of nearly matching size is expected to fetch in excess of SFr. 11.5 million / US$ 12 million. Additional highlights include a pear-shaped Very Light Pink diamond necklace of 40.48 carats (SFr. 3,250,000-5,250,000 / US$3,500,000-5,600,000 millions) and an old mine cut Fancy Pink diamond ring of 15.62 carats (SFr. 2,400,000-3,400,000 / US$ 2,500,000-3,600,000).
An important very light pink pear-shaped Type IIa diamond and diamond necklace. Estimate 3,250,000 – CHF5,250,000 ($3,422,963 – $5,529,402). Photo Christie's Ltd 2014
suspending a very light pink pear-shaped diamond, weighing approximately 40.48 carats, and two brilliant-cut diamond connections, weighing approximately 3.77 and 3.51 carats, from a graduated line of brilliant-cut diamonds, mounted in platinum and gold, 50.2 cm
Accompanied by report no. 2165267815 dated 20 June 2014 from the GIA Gemological Institute of America stating that the diamond is Very Light Pink colour, VVS1 clarity, a working diagram indicating that the clarity of the diamond is potentially Internally Flawless, and a diamond type classification letter stating that the diamond is Type IIa
A fancy pink kite brilliant-cut Type IIA diamond ring. Estimate 2,400,000 – CHF3,400,000 ($2,527,727 – $3,580,946). Photo Christie's Ltd 2014
Set with a fancy pink kite brilliant-cut diamond, weighing approximately 15.62 carats, to the plain hoop, ring size 6½, with French assay marks for platinum and gold
Accompanied by report no. 2165467765 dated 8 August 2014 from the GIA Gemological Institute of America stating that the diamond is Fancy Pink colour, VS1 clarity, a working diagram indicating that the clarity of the diamond is potentially Internally Flawless, and a diamond type classification letter stating that the diamond is Type IIA
Jewels by Jar
Seven jewels by JAR will be offered at auction in Geneva, some of which were recently on display at the 'Jewels by JAR' exhibition at the Metropolitan Museum of Art in New York (Nov 2013-March 2014). The defining characteristic of Joel Arthur Rosenthal's work is his superior craftsmanship evocative of the quality of jewels in the 18th and 19th centuries. Bold in proportion and often resulting in sculptural objects, his propensity for incorporating unusual gemstones into his creations give the works a vivid sense of movement and light. This was the first time that the Metropolitan Museum exhibited works of a contemporary jewellery designer. Amongst the remarkable group of jewels offered for sale are the 'Gardenia' ring, formerly in The Collection of Ellen Barkin (SFr. 310,000-370,000 / US$ 330,000-390,000), the sculpted gold Parrot Tulip cuff (SFr. 190,000-290,000 / US$ 210,000-310,000) and a pair of diamond 'String' ear pendants (SFr. 125,000-185,000/US$ 140,000-200,000).
A diamond 'Gardenia' ring, by JAR. Estimate 310,000 – CHF370,000 ($326,498 – $389,691). Photo Christie's Ltd 2014
Realistically modelled, the unfurling petals entirely pavé-set with brilliant-cut diamonds, 2004, with French assay marks for silver and gold, in pink suede JAR pouch. Signed JAR Paris
Provenance: Christie's New York, 10 October 2006, 'Magnificent Jewels from the Collection of Ellen Barkin', Lot 99
Literature: JAR II, Exhibition at the Metropolitan Museum of Art, New York, November 2013-March 2014, no. 54
Exhibited: Jewels by JAR, Metropolitan Museum of Art, New York, November 2013-March 2014
A gold, diamond and green garnet 'Parrot Tulip' bangle, by JAR. Estimate 190,000 – CHF290,000 ($200,112 – $305,434). Photo Christie's Ltd 2014
Designed as a sculpted gold flower, the two petals at the base forming the hinged cuff, enhanced by single-cut diamonds and circular-cut green garnets, 1994, flower size 9.5 cm, in pink leather fitted JAR case. Signed JAR Paris
Literature: JAR I, Exhibition at Somerset House, London, November 2002-January 2003, no. 86
Exhibited: Jewels by JAR, Metropolitan Museum of Art, New York, November 2013-March 2014, no. 5
A pair of diamond 'String' ear pendants. Estimate 125,000 – CHF185,000 ($131,652 – $194,846). Photo Christie's Ltd 2014
Each designed as four intertwined spiralling tendrils, set with lines of brilliant-cut diamonds, mounted in silver and gold, 2006, 8.3 cm, with clip fittings, in pink leather fitted JAR case. By JAR
Important Natural Pearls
Formerly in the collection of Baroness Edouard de Rothschild, an Art Deco diamond necklace suspends two natural pearls of great quality and exceptional luster, measuring 16.0mm each (SFr. 670,000-950,000 / US$ 700,000-1,000,000). A pair of perfectly matched pearls of this size and quality are near impossible to find and will make a great addition to any jewelry collection.
The Baroness Edouard de Rothschild Art Deco natural pearl and diamond necklace. Estimate 2,650,000 – CHF670,000 – CHF950,000 ($705,657 – $1,000,558). Photo Christie's Ltd 2014
Of Indian inspiration, composed of two rows of pear-shaped and old-cut diamond links, suspending at the front two natural pearl pendants, measuring approximately 16.0 x 15.9 mm and 16.3 x 15.8 mm, with four additional links, mounted in platinum, 33.0 cm
Accompanied by report no. 74240 dated 17 April 2014 from the SSEF Swiss Gemmological Institute stating that the pearls are natural saltwater pearls, and an Appendix for an 'Exceptional Pair of Natural Pearls' stating that 'Assembling a matching pair of natural pearls of this size and quality is very rare and exceptional, and thus this pair of pearls can be considered a very exceptional treasure of nature.'
PROPERTY FORMERLY IN THE COLLECTION OF BARONESS EDOUARD DE ROTHSCHILD
The sale will also feature a pair of diamond ear pendants with two magnificent drop-shaped natural pearls weighing more than 100 grains each (SFr. 2,650,000-3,300,000 / US$2,800,000-3,500,000), and a two-strand natural pearl necklace of the finest rosé overtone quality by Cartier (SFr. 500,000-800,000 / US$530,000-850,000).
An exceptional pair of natural pearl and diamond ear pendants, by Harry Winston. Estimate 2,650,000 – CHF3,300,000 ($2,791,031 – $3,475,624). Photo Christie's Ltd 2014
Each top centering upon a brilliant-cut diamond, weighing approximately 3.04 and 3.03 carats, in a marquise-shaped diamond part cluster, suspending a detachable natural drop-shaped pearl, weighing approximately 104.31 and 101.57 grains, with a diamond-set cap, mounted in platinum and gold, 5.4 and 5.3 cm, in blue suede Harry Winston pouch. Tops signed HW for Harry Winston
Accompanied by report no. 74804 dated 4 June 2014 from the SSEF Swiss Gemmological Institute stating that the pearls are natural saltwater pearls, and an appendix for 'Exceptional Natural Pearls'
Report no. 2155406437 dated 19 April 2013 from the GIA Gemological Institute of America stating that the 3.04 carat diamond is F colour, VVS2 clarity
Report no. 6147804120 dated 2 August 2012 from the GIA Gemological Institute of America stating that the 3.03 carat diamond is E colour, VVS2 clarity (3)
An exceptional natural pearl and diamond necklace, by Cartier. Estimate 2,650,000 – CHF500,000 – CHF800,000 ($526,610 – $842,576). Photo Christie's Ltd 2014
The two rows composed of sixty-one and fifty-five graduated natural pearls, measuring approximately 9.8 to 4.5 mm, to the diamond-set navette-shaped clasp, 1930s, 44.0 cm. Clasp signed Cartier, no. 251715
Accompanied by report no. 76873 dated 26 September 2014 from the SSEF Swiss Gemmological Institute stating that the 116 pearls are natural saltwater pearls, an appendix letter indicating that '..These pearls have been carefully selected and show a well matching round to roundish shape and a very fine pearl lustre.'
Historic Provenances
The mythical 'Feuilles de Groseillier' brooch (estimate: SFr. 1,900,000-2,900,000 / US$2,000,000-3,000,000), commissioned in 1855 by Empress Eugenie (1826-1920) to French jeweller Alfred Bapst was part of one of the most beautiful parures of the 19th Century. It belonged to the French Crown Jewels, of which very few examples in original condition survive to this day. It is therefore extremely rare for a jewel of such historic importance to be offered for sale.
The Empress Eugenie of France antique diamond 'Feuilles de Groseillier' brooch , by Bapst. Estimate 1,900,000 – CHF2,900,000 ($2,001,117 – $3,054,336). Photo Christie's Ltd 2014
Designed as a cluster of three openwork currant leaves set throughout with old mine diamonds, centering upon a larger cushion-shaped-mine diamond and suspending three detachable articulated pampilles, each composed of graduated old mine diamond collets to the drop-shaped aiguillette terminals, mounted in silver and gold, circa 1855. By Alfred Bapst
Provenance: Metropolitan Opera of New York
Lucrezia Bori (1887-1960), opera singer
French Crown Jewels auction, 12-13th May 1887, part of lot 11, purchased by Tiffany & Co.
Empress Eugenie of France (1826-1920)
Notes: Married to Napoleon III in 1853, Eugnie de Montijo (1826-1920) was the last Empress of France. A woman of great elegance, beauty and charm, she was born in Granada, Spain, was educated at the fashionable convent of the Sacr-Coeur in Paris and contributed immensely to the grandeur of the French court, overcoming her many critics of the time. She was also the leader of European fashion, and together with Charles Worth, developed a whole new range of fashion, which was soon followed by the rest of Europe.
Along with her elegance and splendour, her intelligence was highly regarded. She acted as Regent during her husband's absences from France and was regularly consulted on important questions regarding the welfare of the Empire.
From the beginning of her reign in 1853, Empress Eugenie did much to enhance the reputation of French haute joaillerie, which at that time supplied the whole of Europe. Her love of jewellery being legendary, she had many Crown jewels remounted to suit her personal taste but also ordered some new pieces from the most famous jewellers in Paris.
Her infuence on jewellery has been so important that many of her personal jewels are now referenced as 'Famous jewels': the pearl and diamond crown by Lemmonier, the 'Croix des Andes' emerald pendant, the diamond Sévignébow brooch by Kramer and, of course, the mythical Parure de feuilles de groseillier, by Bapst.
This magnificent set was commissioned to Alfred Bapst in July 1855 and is still considered one of the most beautifulparures of the 19th Century. Composed of a guirlande (worn as a necklace), a tour-de-corsage (worn directly on the dress) and a devant-de-corsage brooch, its design was inspired by the delicate currant leaves and entirely set with diamonds.
The choice of the famous Parisian firm of Bapst was no surprise. The Bapst family had been Court jewellers for already 200 years at the time, starting with Georges-Michel Bapst, made 'Court Goldsmith' in 1770. Since then, generation after generation, they had been the jewellers of the Royalty and safe keepers of the Crown Jewels. During the Second Empire, Empress Eugenie favoured their very subtle ornaments in the form of foliage from which hung aiguillettes orpampilles: the present brooch being one stunning example of the exceptional quality of Alfred Bapst's designs executed by Frédéric Bapst.
Following the fall of the Second Empire and the advent of the Third Republic in 1870, Empress Eugenie and her husband moved to England. Nearly all of their jewels were sold during a 12-day auction the French government conducted from 12th to 23rd of May 1887, and only a few of them survived in original condition. Several of the larger items were broken up before the auction so the stones could be sold individually. The Parure de feuilles de groseillierwas dismantled and sold as different lots. The guirlande was sold as 8 parts in lot no. 11. The present brooch was purchased by Tiffany & Co., who was the largest buyer at this legendary auction.
A few years later, with the advice of famous American jeweller Paul Flato, the brooch was selected by the Metropolitan Opera of New York as a farewell gift to famous opera singer Lucrezia Bori (1887-1960). A Spanish soprano who had sung at La Scala in Milan, Madame Bori made her debut at the Metropolitan Opera in 1910, singing the title role of Puccini's Manon Lescaut. Since then, and for more than 20 years, she appeared 654 times, singing the leading role in 39 operas, also acting as a fundraiser since 1932. Her immense contribution to the Metropolitan Opera and famous portrayals as Mimi in 'La Bohème' or Violetta in 'La Traviata' led her to be the first performer to be elected to the Board of Directors of the Metropolitan Opera Association.
On the night of her farewell gala, the 29th of March 1936, the 'Feuilles de groseillier' brooch was presented to Madame Lucrezia Bori by Mrs Vincent Astor, in the name of her colleagues on the Opera board and a large group of friends. Deeply touched by the prolonged cheering and numerous tributes, Madame Lucrezia Bori thanked everyone and said 'My heart is in such turmoil that I do not know how to express the varied emotions I am feeling. I am supremely happy, supremely grateful, and yet supremely sad. Au revoir.'.
A devoted member of the Board of Directors, Madame Lucrezia Bori continued to work actively for the Metropolitan Opera until her death in 1960 and in her will, she bequeathed the brooch to the Metropolitan Opera where it has been exhibited since.
Formerly in the legendary collection of the Duchess of Windsor, a Tiger bangle and brooch by Cartier, now the property of Sarah Brightman, are two of the best examples of this iconic design created in 1928 by the famous French joaillier. The two jewels are offered as one lot with a pre-sale estimate of SFr. 1,700,000-2,400,000 / US$1,800,000-2,500,000. Parts of the proceeds will benefit The Andrew Lloyd Webber Foundation.
The Duchess of Windsor rare set of coloured diamond, diamond, onyx and emerald 'Tiger' jewellery, by Cartier. Estimate 1,700,000 – CHF2,400,000 ($1,790,473 – $2,527,727). Photo Christie's Ltd 2014
The bracelet realistically modelled as a tiger encircling the wrist, the articulated body, paws and tail entirely pavé-set with brilliant-cut yellow and colourless diamonds interspersed with buff top onyx stripes, the head further set with onyx nose and marquise-shaped emerald eyes, with concealed clasp, 1956; together with a matching clip brooch modelled as a tiger in repose, 1959, bracelet inner circumference 15.8 cm, brooch 6.2 cm, with French assay marks for gold. Each signed Cartier Paris, nos. N8966 SC (bracelet) and R2756 (brooch) (2)
Provenance: The Duchess of Windsor (1896-1986)
THE PROPERTY OF SARAH BRIGHTMAN
By virtue of their unique history, Sarah Brightman intends to offer a portion of the proceeds from the sale to The Andrew Lloyd Webber Foundation, which significantly supports the arts, music in schools, The Architectural Heritage Fund and awards 30 performing arts scholarships annually. This donation will ensure the causes they both support benefit from the sale.
Notes: In 1914 the big cat motif entered the Cartier family by means of an onyx-spotted panther pattern wristwatch created by the famous designer Charles Jacqueau. Through the years, the initial pattern has evolved to fully sculptured animals and the array of cats has widened to include the striped tiger as well as the panther, with the first naturalistic brooch being produced in 1928; now in the Cartier Collection.
Promoted to Director of High Jewellery at Cartier in 1933, Jeanne Toussaint was undoubtedly one of the most influential characters of 20th Century jewellery design. A feline-lover, Toussaint was nicknamed 'The Panther' by Louis Cartier and her colleagues, a reference to the panther skin rugs which decorated her apartment. Toussaint immediately took the responsibility for supervising the 'Great Cat' designs and together with the outstanding creativity of designer Peter Lemarchand, produced a variety of jewels which forever immortalised the big cat motif within the context of Cartier design
Already an important client of Cartier, the Duchess of Windsor immediately fell in love with these cat jewels; the first three-dimensional panther being commissioned for her in 1948. Surmounting a cabochon emerald, this gold panther was joined one year later by an iconic brooch featuring a sapphire-spotted panther, this time in platinum, with adjoining large cabochon sapphire weighing more than 152 carats. This legendary brooch had such a great impact on the style icons of the day that many adopted Cartier cats as their emblem. Daisy Fellowes and Nina Dyer, for example, both appropriated this new look. American heiress Barbara Hutton, notable style rival of the Duchess of Windsor, was also famous for her preference for Jeanne Toussaint's tiger menagerie. The first of the Duchess of Windsor's tiger themed jewels was a pair of lorgnettes, the hinged fold-out glasses concealed behind a tiger's body, purchased in 1954 and soon followed by this tiger bracelet in 1956 and matching clip in 1959.
An avid collector and one of the most stylish women of her day, the Duchess of Windsor amassed one of the most remarkable jewellery collections of the 20th Century. Her refined taste and 'avant-garde' spirit led her to acquire a combination of both classic and modern jewels. After her death, the collection was sold to benefit the Pasteur Institute in 1987. The Duchess of Windsor's collection, including this bracelet and brooch, attracted international connoisseurs and although at the time buyers remained anonymous, it didn't take long before the famous 'Tigers' were under the spotlight again.
On 26 January 1988, Sarah Brightman, arrived with then husband Andrew Lloyd Webber at the opening party of « The Phantom of the Opera » at the Beacon Theatre in New York adorned with these tiger jewels. Andrew Lloyd Webber bought these iconic jewels for Ms. Brightman, as a present in celebration of the huge London and Broadway success of the musical, which he wrote and in which she starred. « The Phantom of the Opera » still remains the most successful musical of all time. After many successful years on the musical stage, Sarah resumed her music career and today, remains one of the most prominent performers, with global album sales of over 35 million. In 2012, Sarah became a UNESCO Artist for Peace Ambassador. Through this, and other humanitarian roles, Sarah advocates education for the role of women in science and technology.

redpajama_set_name: RedPajamaCommonCrawl


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Home > App News > Changa Video sharing app crosses 2 million on play store
Changa Video sharing app crosses 2 million on play store
News India Plus September 7, 2020
There has been a big gap in the short video category on the web, so our team started working on an app which could fill in Tik Tok's shoes. Company named BITCS released an app "Changa" on the Play Store. It was received by good response from the users and it has a good rating of 4.4 stars and has grossed more than 1 Million downloads. The developers of the app are proud of the response and the overall app development that is done by the team.
The brains behind this app, Mr. Shubham Aggarwal is an Ex employee of Microsoft and Amazon is very proud of the response and the millions of downloads & reviews. The founder of BITCS, the company that developed Changa. He also has plenty of work experience which makes him the perfect player in this wide playground of internet and apps sector. The Internet spectrum is hard to capture but Mr.Shubham is progressing towards it with full throttle.
The Changa App has a very special feature that it can add existing videos for edit on the app and then can later be posted. You can even share Whatsapp statuses and also has the new Tik Tok linking feature which makes it a very unique app. With Changa, you can access your, now dormant, TikTok account and can use your old videos on TikTok that you couldn't otherwise. Therefore, those who used to create content on TikTok and had a fan base, can once again regain their fan base by using their TikTok account. This feature is a first in its category and you can expect moe such features in the future.
We are proud to note that our team rose to the occasion and we were able to provide a viable alternative to tik tok for the Indian market.
Changa Video sharing app crosses 2 million downloads on play store
Changa provides an easy and seamless interface for users to create, edit, and share their videos, and at the same time browse through a library of top videos across the globe.
The fashion of short videos on social media was not even in spotlight till the 2016, then Musically was launched and it took the world into it's palms. People started making short videos as influencers and hobbies which had quite an impact on the world's internet usage. Afterwards it was taken over by Tik Tok which blasted the whole internet spectrum with it's millions of downloads and overwhelming ratings.
But the app was always surrounded with allegations of stealing the data of its users. It was suspected that TikTok was selling the data to Chinese government. Not taking any further risk, the Indian government decided to ban 59 Chinese apps including TikTok and UC Browser on the account of stealing user's data. This app will create a new fanbase for the influencing youth in India and will also help the "MAKE IN INDIA" initiative grow further. Capturing markets and helping people unleash their creative self is the target of this app.
App News Tech
Oxcee Ltd. – started by Meet Kotadia, offers one-stop solution to all the needs of Students Studying Abroad
Bharat Scanner PRO an alternative to chinese app camscanner with new advanced features aims to replace it


According to her, "I was still really new in the industry and I was an opening act for Onyeka Onwenu so after my performance, they came to call me to take a picture with her and as i got close to her, she just went off on me, she was like 'don't touch me".
It was really crazy. It was the worst thing and its still like the worst experience I have ever had in my life. Everyone was starring, it was weird, it was bad but i still ended up taking the picture but for me it kind of scared me".


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Home » Qualifying Standards
CHANGES TO STANDARDS IN 2020
For the year 2020, due to the coronavirus pandemic, the following changes have been made to qualifying standards at the provincial and regional levels:
No Provincial Championships will be held in BC.
For the coming Regional Championship events in late Summer/Fall, the CPU will be WAIVING ALL QUALIFYING TOTALS. Athletes will need to have at least one competition previously to be eligible to compete.
The National Qualification process does not change.
How to Qualify for the Provincial Championships:
Note that due to the coronavirus pandemic, no Provincial Championships will be held in BC in 2020. The information in this section will be applicable starting again in 2021.
In order for you to eligible to compete at this year's championships you must first achieve a qualifying TOTAL from an IPF sanctioned competition 24 months before the date of the Provincial Championships.
PROVINCIAL STANDARDS:
Required Totals to lift at BC Provincials, Classic and Equipped, Powerlifting Competition.
Required Bench Press to lift at BC Provincials, Classic and Equipped, Bench Only Competition.
How to Qualify for the Regional and Nationals Championships:
Note that due to the coronavirus pandemic, the CPU will be WAIVING ALL QUALIFYING TOTALS for the coming Regional Championship events in 2020. Athletes will need to have at least one competition previously to be eligible to compete. The National Qualification process does not change. The information in this section regarding Regional qualifying standards will be applicable starting again in 2021.
In order to be eligible to compete at a CPU Regional Championships or CPU National Championships, in addition to any CPU requirements, BCPA members must obtain the relevant CPU qualifying total at a sanctioned IPF member federation competition consisting of 5 or more lifters, and must compete at BC Provincial Championships within 2 years preceding a Regional Championships if the member has not competed at a Regional or higher event. If they have competed at a CPU Regional or higher event previously, they must compete at or volunteer at their Provincial Championships within the 12 months preceding the CPU Regional or higher event that they wish to compete in. In extenuating circumstances, members may apply in writing to the Board of Directors at least fourteen days prior to the date of that member's Provincial Championships for an exemption to the requirement to attend at Provincials, either as a volunteer or competitor, with supporting documents, and the Board of Directors may grant or withhold such an exemption in its sole discretion. This BCPA bylaw will be strictly enforced.
NATIONAL AND REGIONAL STANDARDS:
National and Regional standards are defined by the CPU. Click here to see National and Regional standards.
You must have qualified within the previous 24 months from the date of the intended Provincial, Regional or National Championships.
If you have competed at a CPU National Championship before you must compete or volunteer at the Provincial Championships in order to qualify for the National Championships. If for any reason you cannot compete or volunteer at the Provincial Championships, then you must apply to the BCPA Executive Board for an exemption at least 14 days before the Provincial Championships.
If you have NOT competed at a CPU National Championships before you must first compete at a Provincial and Regional competition.
A lifter who achieves a Provincial, Regional or National qualifying standard is then eligible to compete at any chosen weight class at the Provincial, Regional or National Championships.
All age categories begin on January 1 of the year the lifter reaches the minimum age limit. For example, a lifter become a Master 1 on January 1 of the year they turn 40. Similarly, a Junior ceases to be a Junior on Dec 31 of the year they turn 23.
A lifter can qualify for a higher level competition in their next age category within the 12 month period before meeting the minimum age requirement for the class they will compete in, but cannot claim awards in that category at that qualifying competition. For example, a lifter who turns 40 next year can qualify for next years Master Nationals at any time during THIS year, but would only win "Open" awards at that competition.
If a lifter achieves the qualifying total for Equipped nationals, they are automatically qualified for Classic (unequipped) nationals.
Bench-Only qualifying lifts can come from other Bench-Only competitions or from the Bench Press portion of a regular Powerlifting competition.
For Parapowerlifters not considering competing Internationally the Classic weight classes and qualifying standards apply.
For Parapowerlifters wanting to go to International events check the Minimum Qualification Standards and weight classes.
· © 2018 British Columbia Powerlifting Association · ·


Is your job the 'best' job? If not, here's how to make it the best.
More than 35,000 people applied to be a caretaker in Australia's barrier reef, a role marketed as "the best in the world". In reality there's no such thing. The type of work we do has no impact on how we feel about it. A janitor could be as satisfied as a surgeon, depending on their mindset. There are 3 factors that can make any job 'the world's best' writes Octavius Black, CEO of Mind Gym.
Read the article in full on The Sunday Telegraph website.


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Woman arrested in El Paso Zoo spider monkey exhibit trespassing case
Daniel Borunda
El Paso police have arrested a woman accused of climbing into the spider monkey exhibit at the El Paso Zoo in a video that gained national attention.
Police arrested Luz Elizabeth Rae, 26, on Thursday on a criminal trespass charge for the zoo incident on Saturday.
Rae was booked into the El Paso County Jail Downtown under a $1,500 bond. Jail records show she still was being held as of Thursday afternoon.
A video on social media showed a young woman attempting to feed two monkeys while she was underneath a waterfall in the enclosure.
Zoo officials explained that the woman had to jump a fence, climb through bushes and walk in a 4-foot-deep moat before trying to feed the spider monkeys.
The intrusion could have been traumatic and potentially dangerous for the monkeys, who aren't used to humans in their territory, zoo staff said.
The zoo has since increased security patrols and might have to change the layout of the popular open-air exhibit.
The incident follows a viral video in March showing a parent lowering a child on the other side of the fence of a zoo chimpanzee exhibit, although the child was not in the animals' area.
The zoo asks that rules be respected for the safety of visitors and animals.
The woman was fired from her job at the Rob Lovett Law Firm after the firm learned the woman in the spider monkey video was one of its employees.
The 95.5 FM-KLAQ rock radio website reported that another lawyer, Mark Davis, then hired the single mother as a paralegal, with Davis criticizing Lovett on a Facebook post for the firing, stating "Shame on you and your cancel culture attitude!!"
Daniel Borunda may be reached at 915-546-6102; dborunda@elpasotimes.com; @BorundaDaniel on Twitter.


The Mission of the National Center for Health in Public Housing (NCHPH) is to strengthen the capacity of federally funded Public Housing Primary Care (PHPC) health centers and other health center grantees by providing training and a range of technical assistance.
NCHPH, a project of North American Management, receives funding through a cooperative agreement grant awarded by the U.S. Department of Health and Human Services Administration.
"Keys to Health Center Success"
The National Center for Health and Public Housing and Community Health Partners for Sustainability hosted the national training symposium, "Keys to Health Center Success", June 4-6, 2013 at the Downtown Sheraton in Denver, Colorado. The symposium was designed to increase Health Resources and Services Administration (HRSA) health center program grantees' awareness of issues public housing residents face. Symposium attendees included health care professionals, HRSA grantees, public housing authority staff members, public housing resident advocates, and public housing residents.
The symposium lasted two and a half days and consisted of over 30 workshops presented by a diverse group of health professionals and advocates. Workshop topics included resident advocacy, increasing access to oral health, health care policy, innovative outreach strategies and much more.
The NCHPH would like to thank everyone who helped make this training symposium an exceptional event. A special thanks goes to our exhibitors and keynote speakers. We look forward to seeing everyone again in 2014. For more information or assistance please contact us directly: info@nchph.org.
To view footage and access workshop sessions, please click here.
Presenters, Lynn and Stephanie Wachman.
Conference attendees during a workshop session.
Health Insurance Marketplaces will begin open enrollment October 1, 2013. The U.S. Department of Health and Human Services, as well as other government agencies are preparing resources, tools, and technology to give patients and providers adequate information. October is a few short months away and NCHATA wants to ensure that health care providers and senior patients understand key provisions of the Affordable Care Act (ACA) and available resources.
Factsheets with information related to Medicaid or Medicare are available.
Program requirements 10 and 11 have been included in this newsletter to facilitate a better understanding of collaborations with other health care providers and written agreements between providers. Although collaborations are encouraged, health center programs, affiliates, and contractors must adhere to HRSA regulations outlined in the sections below.
(Section 330(k)(3)(I)(ii), 42 CFR Part 51c.303(n), (t)), Section 1861(aa)(4) and Section 1905(l)(2)(B) of the Social Security Act, and 45 CFR Part 74.1(a) (2))) Contractural/Affiliation Agreements: Health center exercises appropriate oversight and authority over all contracted services, including assuring that any subrecipient(s) meets Health Center program requirements.
Contractural/affliation agreements are important management and finance program requirements. Agreements between health centers are important to providing quality care. Providers who care for special populations such as public housing residents may need a formal written contract or memorandum of agreement/understanding (MOA/MOU). All agreements must be aligned with federal grant regulations and adhere to HRSA/BPHC policies and procedures.
When drafting agreements and contracts it is critical to ensure that all contractual agreements do not undermine the integrity of the health center program or assert more power over the program. Also, all subrecipients of any agreement must also adhere to all health center program requirements.
Contractors must also keep excellent records and manage data and information in accordance with federal regulation and all records should be made available to HHS and the U.S. Comptroller General if necessary.
Lastly, health centers' governing boards must also be informed of and able to review any contract or agreement.
(Section 330(k)(3)(B) of the PHS Act and 42 CFR Part 51c.303(n)). Collaborative Relationships: Health center makes effort to establish and maintain collaborative relationships with other health care providers, including other health centers, in the service area of the center. The health center secures letter(s) of support from existing health centers (section 330 grantees and Look-Alikes) in the service area or provides an explanation for why such letter(s) of support cannot be obtained.
Health center programs should build relationships and partnerships with other health center program grantees, as well as health providers throughout the community. Program Requirement 11 is helpful in providing additional care to patients which subsequently increases the service area of grantees. Partnerships with other providers, organizations and affiliates can improve continuity of care during staff shortages, emergencies, or other untimely events.
Letters of support are instrumental in solidifying a relationship and strengthening the partnership. Relationships should not only be written or verbal arrangements, but active collaborations that are utilized strategically.
To improve performance, health centers should seek different agencies and organizations to partner with. This may include local and regional partners such as hospitals and rural clinics. Health centers should not limit partnerships to safety net providers but should also reach out to private health networks.
In 2011, the U.S. had the 6th highest disaster mortality in the world.
Emergency preparedness is the act of preparing for disasters and traumatic events prior to disaster occurrence to decrease response and recovery times. Terms often associated with emergency preparedness are emergency response or emergency management. These terms refer to handling a disaster once it has already occurred. An efficient emergency response plan involves partnerships and agreements with other organizations. Forming relationships with other agencies and response groups can speed up recovery and increase the likelihood of continuity of care for patients.
Health providers are critical members of the disaster response workforce. If health care facilities are not damaged during a disaster then health centers may be asked to assist with medical needs. Consequently, health centers should be prepared to handle an influx of patients with few resources and limited staff.
Even minor disasters may be a problem for health centers. Therefore, emergency plans should include instructions for multiple events. The most common disastrous events are storms, hurricanes, floods, wildfires, and tornadoes. Additional emergency events may include disease outbreaks, auto accidents, terrorist attacks, mudslides, chemical or nuclear accidents, and other mass casualty events.
View the Emergency Preparedness Factsheet.
Natural disasters are costly events. Storms in the U.S. in May of 2011 totaled about $25 billion in damages.
To learn more about the components of an effective preparedness program, please click here.
Health centers should encourage patients to have emergency plans in place. Patients with chronic conditions, pediatric patients and older adults should be cautioned and prepared to receive continued medical care or medications in the event of an emergency. Health care providers can assist with preparations by referring patients to other health care providers that can assist with health care needs during a disaster. Health centers should use their established relationships within the community to store supplies or to gain additional support should the need arise. Patients also should be aware of how to receive communications from the health center if services are interrupted.
View the Health Center Emergency Management Programs Expectations.
Victims of disaster may experience mental health problems. It is important for health providers to know the signs and symptoms of the onset of disaster-related stress in order to prevent health issues such as suicide. Signs and symptoms include incoherent speech or thought patterns, insomnia, difficulty managing daily activities, limited patience, substance use, and expressions of fear or guilt.
Health centers may need to find additional mental health specialists or case managers to deal with the various needs of patients during a disaster. Stress may be caused by the lack of food, shelter and clean water and it is essential to assist patients with this as soon as possible. Special care must be given to children and the elderly.
According to HRSA's Policy Information Notice 2007-15, health centers must have risk management policies and procedures in place. Plans and procedures for emergency management must be integrated into a health center's risk management policy to assure that suitable guidelines are established and followed in order to effectively and appropriately respond to an emergency. Each health center is required to have an emergency management approach that considers the center's size, location, resources, as well as current State, local, or community/regional plans.
Emergency management planning-health centers should be engaged in an ongoing, continuous process to ensure that emergency management plans (EMP) are appropriate.
Linkages and collaborations-health centers should maximize their linkages and collaborations.
Communications and information sharing-health centers should have policies and procedures for communicating and sharing information with internal and external stakeholders.
Maintaining financial and operational stability-health centers' business plans should address financial viability in the event of an emergency.
The expectations are broad due to the diverse range of health centers. In addition to developing, implementing, and maintaining an Emergency Management plan, health centers should continually look for opportunities to enhance awareness, educate and train boards and staff, evaluate and test procedures, and integrate emergency management into what the health center does on a daily basis. A well-developed and appropriate emergency management strategy which reflects the unique characteristics, circumstances, and environment of the health center, will ensure a quick recovery and continued essential services for the community. There are a wide range of resources available to assist health centers in support of emergency management activities.
For more information, read Health Center Emergency Management Program Expectations .
Introduced to the House in April, the Public Housing Disaster Preparedness Act requires the Secretary of Housing and Urban Development (HUD) to require each public housing agency (PHA) that owns, operates, or assists at least 500 dwelling units in public housing projects (covered PHA) to develop a disaster response and relief plan.
The plan must: (1) be included in the annual and five-year PHA plans required to be submitted under the Act, and (2) be submitted for HUD approval before its implementation. The Act would require the HUD Inspector General to evaluate the plan, after its implementation following a disaster, and if necessary to make recommendations for improving it within 180 days after the conclusion of the disaster. Under the bill, PHA's would develop disaster response and relief plans to guide and prepare staff and residents for disasters affecting public housing projects. PHAs would be required to disseminate information (accessible to individuals with limited English proficiency) about the emergency protocols established under the plan to each resident.
The 2009 H1N1 influenza pandemic and Hurricane Katrina highlighted the importance of building and sustaining public health and health care preparedness. The Office of the Assistant Secretary for Preparedness and Response (ASPR) and the Centers for Disease Control and Prevention (CDC) play leading roles in ensuring the healthcare systems in the Nation are prepared for potential threats and avoid the consequences that occur when a community is ill-prepared. ASPR's Healthcare Preparedness Capabilities: National Guidance for Healthcare System Preparedness (NGHSP) and CDC's Public Health Preparedness Capabilities: National Standards for State and Local Planning (NSSLP) establish standards for protecting human health and national health security.
Through separate cooperative agreements, ASPR and CDC provide funding and technical assistance to state, local and territorial public health departments to prepare healthcare systems for disasters. Both NGHSP and NSSLP provide guidance in identifying gaps in preparedness, determining specific priorities, and developing plans for building and sustaining healthcare specific competencies. These standards are designed to accelerate state and local preparedness planning, provide guidance and recommendations for preparedness planning, and, ultimately, ensure safer, more resilient, and better prepared communities.
Each of the preparedness standards help the Nation's healthcare system and public health infrastructure to prevent, respond to, and rapidly recover from threats.
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Zufall health center is located in Dover, NJ and serves about 15,000 patients each year. This Public Housing Primary Care (PHPC) grantee has been an established member of the community for over 20 years.
Zufall is in a location on the east coast which is faced with snow storms, superstorms, and hurricanes. Due to consistent natural disaster threats, Zufall has developed an emergency preparedness plan that was featured by Health Care Communities. Most recently, in October of 2012, New Jersey was severely hit by Hurricane Sandy. The plan outlines the role of key staff members at the health center.
The National Center for Health in Public Housing (NCHPH), a project of North American Management, is supported in part by a cooperative agreement grant awarded by the U.S. Department of Health and Human Services, Health Resources and Services Administration (HRSA).
This publication was made possible by grant number U30CS09734 from the Health Resources and Services Administration, Bureau of Primary Health Care and its contents are solely the responsibility of the authors and do not necessarily represent the official views of HRSA.


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Stay Sick! is the fourth studio album (and ninth overall) by the American rock band the Cramps. It was released on February 12, 1990, by Enigma Records, recorded at Music Grinder in Hollywood, self-produced by guitarist Poison Ivy and engineered by Steve McMillan. It was the last made in studio with founding drummer Nick Knox.

"Bikini Girls with Machine Guns" was the band's only UK Top 40 single, reaching No. 35 in 1990.

The Cramps reissued the album on their own Vengeance Records in 2001. This edition contained four bonus tracks: "Bikini Girls with Machine Guns (Live)", "Beat Out My Love," "Jailhouse Rock" and "Jackyard Backoff". It also featured a slightly different cover.

Track listing

Personnel
The Cramps
Lux Interior - vocals
Poison Ivy Rorschach - guitar
Candy Del Mar - bass guitar
Nick Knox - drums
Technical
Steve Macmillan - engineer
Lux Interior - front cover photography

Notes and references

1990 albums
The Cramps albums

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Articles filed under Bolin, Christine
Meacham ramp work is a disaster
Aug 13, 2015 1:00 AM - A Palatine letter to the editor: The village of Schaumburg and the Illinois Tollway get a failing grade - really a zero - for their handling of the construction of new tollway ramps on Meacham Road.
Bubblies to love the last days of a long winter
By Mary Ross
Feb 9, 2011 9:53 AM - I spent so much time drinking Champagne and sparkling wine this past holiday season, I didn't have a chance to write about it. Here are some favorites, along with culinary discoveries to inspire the last days of winter:
Vikes at home in big-time setting
By Christine Bolin
Nov 6, 2021 12:16 PM - The look on the players' faces were priceless. There he was, Chicago Bulls 6-foot-7 forward Andres Nocioni, walking by the group of Geneva boys basketball players in the hallways of the United Center.
Sad ending, but much to build on
Nov 6, 2021 12:22 AM - CHAMPAIGN - Cory Hofstetter couldn't fight it. He openly admitted he was crying after the Geneva football team lost to East St. Louis 33-14 for the Class 7A state title in Saturday.
Vikings, Eagles share emotional connection
Nov 6, 2021 12:13 AM - The Aurora Christian and Geneva football teams have more than an undefeated record and a trip to state in common. Both teams have an assistant coach who is battling cancer.
Vikings' success tinged with hugs, tears and plenty of emotion
Nov 5, 2021 11:51 PM - Sean Grady, a senior on the Geneva football team, admitted he didn't know Dustin Villareal all that well. Some of Grady's teammates, however, considered Villareal - a former Viking who passed away when he was 15 years old - one of their best friends.
This win means so much to so many in community
Nov 5, 2021 11:30 PM - Former Geneva quarterback Shaun Ratay kept referring to the Vikings football team as "we" as if he was still playing for the team.
Just one year remains to enjoy these two stars
Nov 5, 2021 10:21 PM - St. Charles North's Kelsey Smith and Geneva's Taylor Whitley have been two of the best girls basketball players in the Tri-Cities Area for the past three seasons.
Relief, excitement define annual signing day
Nov 5, 2021 10:16 PM - Wednesday was national letter of intent day, and a handful of athletes in the Tri-Cities took care of that by reading the fine print and signing their names - right after asking, "What's today's date?" and, "What's my social security number?"
Big sister watching at supersectionals
Nov 5, 2021 9:39 PM - Caroline Niski couldn't have been prouder of her baby sister Meghan after St. Charles East's Class 4A supersectional match against Crystal Lake South Saturday.
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Plk1 inhibitors have recently received the recognition of "Innovative Therapy in Leukemias" by the US Drug Regulatory Agency (FDA). However, a study published this week in the journal Nature Medicine by researchers at the National Cancer Research Center (CNIO) suggests that prolonged use of these inhibitors can produce not only problems of arterial hypertension but also blood vessel rupture and severe cardiovascular problems.
The promise of personalized medicine is based on knowing the function of each of our genes and proteins and selecting the appropriate drugs against those proteins according to the alterations of each patient. In recent years, inhibitors of cell cycle regulators - the process that controls the proliferation of tumor cells - have shown their utility in various tumors such as breast cancer. Among the new drugs that use this strategy is volasertib, a Plk1 protein inhibitor that has shown very promising results in the treatment of acute myeloid leukemia and has recently received the recognition of "Innovative Therapy" by the FDA for its effectiveness against This tumor in clinical trials.
"One of the problems we encounter when trying new drugs on patients is that we know very little about the actual function of the proteins they are targeting, " explains Marcos Malumbres , study coordinator and head of the Division Group Cell and Cancer of the CNIO. His team wanted to study the actual function of Plk1 protein in mammals using laboratory mice as a model. "Many of the proteins that are tested in clinical trials have been studied primarily in organisms such as yeast or flies or in human cells in culture. However, these studies are insufficient to know the relevance that a protein can have in one organ or another, "says Malumbres.
To study the role of Plk1, the researchers generated a mouse variant with decreased levels of that protein. "It was surprising, half the mice died of chest bleeding due to ruptured arteries," says Guillermo de Cárcer, a CNIO researcher and the first author of the article. "One of the most striking results was that the males died the first night spent with females in the same box. One of the situations that causes the greatest rise in blood pressure in young males. "
Plk1 had initially been characterized as a protein that controls how cells multiply, catching the attention of pharmaceutical companies who saw in it a new therapeutic target to slow tumor growth. Several inhibitors of this protein are found in clinical trials for various types of tumors . One of these inhibitors, volasertib, has recently been recognized as one of the best therapies against acute myeloid leukemias. Like most chemo drugs, volasertib causes some side effects still under study.
Cardiovascular problems and cancer are major causes of morbidity and mortality in advanced societies. The involvement of Plk1 in the control of both processes will have important repercussions on future biomedical developments. "Our data do not go against the use of Plk1 inhibitors in the clinic," warns Malumbres. "Unfortunately, all drugs have a side effect or another. The problem is not knowing it. We have to study very well and in suitable models the biological function of proteins before using them as therapeutic targets in patients. Only in this way will we be able to design adequate protocols for patients and with fewer side effects, "concludes the CNIO researcher.
This article has been republished from materials provided by CNIO. Note: material may have been edited for length and content. For further information, please contact the cited source.


For the past few months, a few of our team members have been working on adapting Outpost Kaloki to the iPhone/iPod touch. This was our first attempt at developing for the iPhone, and we definitely learned a few things along the way. Since developing games for the iPhone has become so popular, we thought we'd share the lessons we've learned to make things easier for those thinking of converting an existing game or starting from scratch on iPhone development. We asked each team member a series of questions relating to their role in the project. We'll start with programming, then move to art/animation, then design, and finish off with testing. If you have any questions you want the team to answer, leave them in the comments and we'll write up a separate post to answer those questions.
1. Describe the level of difficulty in converting an XBLA game to the iPhone.
Converting the game proved to be much more difficult than I had anticipated so I'm going to have to classify it as "hard."
2. What things really tripped you up in the development process? What was surprisingly easy?
We ended up converting pretty much our entire Wraith game engine over to the iPhone which proved to be quite troublesome. This was problematic for a couple of key reasons. First of all, the iPhone SDK is written in a different language than Wraith. Fortunately we were able to "glue" the two together but it made things a bit messy. Secondly, our engine is used to owning complete control over inputs and external systems. The iPhone likes to own all those things and to update them on its own and tell you about events that happen. Eventually we ended up letting the iPhone do its thing on one thread while the game ran on a separate thread and the threads communicated together about input and events, etc.
Another thing that tripped us up during development was the difference in power between the Xbox and the iPhone hardware. I don't think we really had a good feel for what the iPhone could handle graphically and we were simply trying to give it too much to do and it was choking. Once we had a better feel for the hardware capabilities we were able to tone down a few systems from the Xbox and give the user a decent playable experience.
I'm not sure that anything really turned out to be surprisingly easy - the whole experience felt like it would be easier than it actually turned out to be.
3. How long did you originally estimate development would take? How long did it actually take start to finish (not counting submission to apple)? Why the disparity in time?
I thought it would take 1-2 months originally and it's turned out to be closer to 3-4 months. The disparity in time was due to the unanticipated engine conversion difficulty.
4. What are the biggest differences between developing for XBLA vs. PC vs. iPhone?
Our game engine is written to be platform independent, which makes it so we can pretty much make the game in one platform and the low level functionality is hidden. This way, once the engine is converted to whatever platform (the iPhone in this case), everything just works. Of course, this is what happens in a perfect world. The conversion of the engine to the iPhone turned out to be quite challenging, but it didn't change the gameplay much at all. You're really getting pretty much the same game you played on XBLA now on the iPhone.
5. What advice can you give anyone developing for the iphone?
If you've never developed for the iPhone, spend some time getting familiar with the capabilities of the hardware and plan plenty of time to get used to the unfamiliar API.
1. What was it like converting the art from an XBLA game to an iPhone game? Was it harder or easier than you expected?
Converting art assets from an XBLA game to the iPod/iPhone was an exercise in amputation, a stress test of the "reduce, reuse, recycle" mantra that ultimately prompted the class that I gave regarding the texturing and UV pipeline (see blog post here).
Game design in general is very different from the Pixar-style art generation that I trained for in college, and we're always trying to shoehorn as much as we can into every byte we have. Specifically when taking game assets from the Xbox to the iPod/iPhone, we had to reduce poly count and texture footprint by as much as 98%.
There wasn't anything terribly hard about converting the assets, but there were many little choices about how to reduce the models and textures, and everything required unique attention. A simple macro script wouldn't be enough to make it work well. This was expected, but it did wind up taking longer than expected because of iterative testing and some extensive model alteration, reconstruction and re-texturing as tech specs changed.
2. What was the biggest challenge in working on the art? The most surprisingly easy thing?
The biggest challenge working with such drastically reduced asset budgets was to maintain a look and feel consistent with the original game. That meant making cuts that really matter, but look like they don't. I think that overall, we've been able to make the game look and play enough like its progenitor that it captures the fun of the original without making too many sacrifices.
Maintaining the look and feel of the environments was surprisingly easy, given the complexity of the originals. It turned out that there were a ton of superfluous polygons in the models, so even a quick optimization pass got us a fair chunk of the way to where we wanted to be. A few texturing tricks later, and we had environments of 120 polygons or so that were less sumptuous than the originals, but still set the mood well. The originals were over 3000 polys in some cases, so we got a lot of value out of those 120 polys. We were also able to reuse those assets a lot easier than ship or station assets, so the environments went very, very quickly compared to the rest of the conversion.
3. What changes did you have to make to get the art to work on the iPhone? Did you create anything new?
We made several new LODs (Level of Detail meshes) for the ships and station expansions. We also wound up making a few new textures to fill in gaps or to optimize visuals that were fairly loose in the original. Everything was "under the hood" though, since there were no new ships, stations or expansions added. Anything new we made was just a tool to make the game look right (like the original) in the iPod/iPhone format.
Paradoxically, considering the vast reductions elsewhere, I actually wound up making larger versions of some HUD (Heads-Up Display) elements. The loss of precision that comes with switching from a mouse cursor to a touch input scheme meant that we had to alter some of the game UI. Even there, though, it was just making "technically new" visuals to approximate the old visuals.
4. Any advice you would give to someone working as an artist/animator for an iPhone game?
Get your game running on the iPod/iPhone as quickly as possible, and make sure the art and engineering teams work together to optimize it. The hardware chokes on things that larger consoles handle easily, and the earlier you can nail down target specs, the sooner you can get productive work done. We lost a lot of time by starting the project without an engineer and without the game actually functioning on the hardware. We did reduce assets, but after we started testing them, we needed to do another reduction pass (sometimes a couple of reduction passes) because the vague guesstimates we did early on weren't stringent enough, and the assets choked the iPod/iPhone, even though they were reduced to 25% of the original size. This reworking took a lot of time that could have been saved with clearer reduction targets early on, and early testing with engineering guidance would have helped define those targets.
1. What was it like converting the design elements from an XBLA game to an iPhone game? Was it harder or easier than you expected?
I didn't really know what to expect in converting this game to the iPhone! I have never worked on or owned an iPhone, so, it was all new to me. I didn't imagine it being very difficult but there were many things I just didn't think about until it actually came time to start making tweaks on the iPhone. For one, the screen was very crowded. We had to make numerous revisions to the UI because important parts were being covered or because our clumsy fingers couldn't navigate the game very well.
2. What was the biggest challenge in working on the design? The most surprisingly easy thing?
The biggest challenge that I was faced with had to be figuring out what to keep in the game and what to get rid of. We imposed a very strict limitation on the size that the game could be and this meant we had to be conservative with what made the final cut. Fortunately, no gameplay was lost due to these cuts but we did have to remove some of the really cool ships that only appeared once or twice in the whole game.
I was assigned the task of cutting down the size of audio files in the game to save us some more space. If you were to play the games side-by-side you might notice a little difference in the sound. Fortunately, we were able to save plenty of space by cutting down the sound files, yet, the sound is still awesome in the game.
3. What changes did you have to make to the design to get it to work on the iphone?
When shrinking the screens down to fit on the iPhone screen there were a lot of things initially that just looked terrible. There was plenty of shuffling around of pieces of art on the screen, as well as text. Some of the text which fit perfectly on the XBLA version bled a horrible death all over the screen on the iPhone.
We also had tons of awesome content that we wanted iPhone users to be able to access. Unfortunately, there was just too much content for it all to go in one game. Deciding how to split up the content to make it balanced fell primarily on Jeremy's shoulders, I believe. Jeremy worked on the game originally and was much more familiar with it than I was.
4. Any advice you would give to someone working as a designer for an iPhone game?
If I were to give a designer of an iPhone game any advice it would be a warning: Remember that people have fat fingers (or at least I do anyways)! All actions in the game should easily be performed by someone who has really fat fingers! Even if your game is called "Uber kool game 4 ppl w/thin fingerz" it should still adhere to this rule.
1. What was it like testing for an iPhone game? Was it harder or easier than you expected?
Testing on an iPhone is like testing in the future! It's all shiny, smooth, and full of lights. Testing on it was pretty much what I expected, there's a quick period of adjustment to adapt to the console and UI in pretty much every project.
2. What was the biggest challenge in testing? The most surprisingly easy thing?
The biggest challenge for me in any testing gig is just testing around bugs. For instance if there's a lot of lag on a level it makes it very difficult to test the level effectively.
3. What crazy bugs did you come across that happened because of converting from XBLA to iPhone?
In one scenario asteroids are suppose to bombard the station, but something happened to the graphics and sound so they were silent and invisible. So I'd be playing and everything would be going along just fine, and then all of sudden half of the expansions on my station would just explode.
In the War Story scenario, war ships are supposed to come in and attack your expansion. When you destroy them, it helps you earn money and complete the mission. However, at one point in the game, the attackers would come in, hover around an expansion, then fly off without attacking. You could destroy the war ships but it wouldn't count, which made it so you couldn't pass the level.
4. Any advice you would give to someone working as a tester for an iPhone game?
Learn a couple of deep breathing techniques to calm down for those unavoidable times you'll want to throw the thing across the room.


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M!NT makes his label debut with new single and video "90 Degrees" (ft. Nas Leber)
Posted by VMan on September 22, 2020
If you're already missing the warm Summer days like we are, we've got the song for you. Brooklyn-based producer M!NT has released his melodic and introspective new single "90 Degrees". The collaboration with Bronx-raised artist Nas Leber is an emotive track brought to life with heavy 808s, piano, and smooth vocal production. According to the press release, the nostalgic lyricism (via Leber) illustrates themes of overcoming challenges and and gratitude for the man he's become as a result. Those feels are doubled down thanks to the songs relatable "end of Summer" retrospect.
Directed by Sasha Nitze, the highly cinematic video is one of the best we've seen in 2020. In the visual, we find Leber rapping against the backdrop of a typical Bronx streetscape (filmed in City Island, to be precise). With it's stunning creative direction and melancholy tone, the visual takes viewers on a nostalgic trip into memories of a Summer gone by, with a totally New York feel.
The visual premiered on producer and YouTuber Ryan Celsius' platform and is already making a buzz. Celsius oversees M!NT's A&R on Stockholm-based record label Amuse, who M!NT recently inked a deal with. Prior to signing his label deal, M!NT had an extensive career as an independent artist, producer, and sound engineer having worked with the likes of Cautious Clay, Ooah from Glitch Mob and NAO, as well as touring around the electric festival circuit, performing at Electric Forest, Mysteryland, and Lightning in a Bottle. If "90 Degrees" is anything to go by, we're expecting great things from this rising producer. Be sure to stay up to date with all things M!NT by following him on Instagram and checking out the video for "90 Degrees" below!
Tags: 90 Degrees, M!NT


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