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Monday
January 20, 2020
Monday

Gangnam-gu, South Korea
Fine Dust :

SM Entertainment artists at the ″SMTOWN Live 2022: SMCU Express″ concert held on Aug. 20 in Suwon, Gyeonggi [SM ENTERTAINMENT]
Naver to pitch robot-filled smart office to Saudi NEOM project
Piccoma No. 1 grossing app in Japan in September
Kakao net drops 84 percent in third quarter to 137 billion won
Kakao posts lower-than-expected profits in Q3
The latest from Kakao Games: Odin: Profit Falling
SM Entertainment shares soar 19 percent Friday following announcement
CJ ENM could go for control of SM Entertainment
Chief producer of SM highlights importance of YouTube at Google seminar
SM Entertainment’s Lee Soo-man to speak at Stanford University
Los Angeles City Council to name crossroads ‘SM Entertainment Square’
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Galaxy Tales: Story of Rapunzel developer IKINAGAMES has announced The Starbites: Taste of Desert for PC (Steam). It will launch in August 2023. Its language support is currently only listed as Korean.
Here is an overview of the game, via its Steam page:
About
The story of a girl’s growth and adventure on the vast desert planet “Bitter.”
Bitter is a planet that has become a desert due to the influence of space war.
The fate of a girl who was making a living in search of parts or treasures that fell in the desert due to the traces of war begins to change completely due to the “Oracle.”
AI becoming aggressive, abnormalities all over the planet… Explore Bitter’s hidden secrets and build relationships with various characters to learn new information.
The Starbites: Taste of Desert collects materials from the field and strengthens the mecca. It is a story-type RPG that grows with the friends you meet on your adventure.

Key Features
Watch the announcement trailer below. View the first screenshots at the gallery.
November 5 @ 10:00 am – 11:00 am EDT
November 6 @ 9:00 am – 10:30 am EST
November 11 @ 5:00 am – 7:00 am EST
December 1 – December 2
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Reproduction in whole or in part in any form or medium without acknowledgment of Gematsu is prohibited. Use of this site is governed by all applicable laws.
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BRIGHTON TOWNSHIP – Officials of a newly constructed senior living facility opening near Brighton aim to meet increased demand for assisted living.
Michele Perry is the executive director of Randall Residence of Encore Village, a soon-to-open more than 88,000-square-foot assisted living and memory care facility at 10801 E. Grand River Ave.
Randall Residence is expected to open its 56-apartment assisted living wing in December, which will feature studio, one-bedroom and two-bedroom options for residents 55 or older.
Perry said nearly half of the apartments were reserved before the facility launched much marketing, and hundreds of people attended recent open house events.
The facility will also open a 36-room memory care with studio and one-bedroom units sometime early next year.
Perry said assisted living can benefit seniors who need help with daily tasks and some who struggle living alone, as well as people who are still fairly independent and want to live in a social setting.
“We find, once they move in, their condition improves, because we have the support they don’t get living alone,” Perry said.
Facility spokesperson Bobbie Whitton said some people did not want to live in group facilities during the pandemic, but she sees that shifting.
“The isolation was more detrimental,” Whitton said. “I think there’s a turn. Families don’t want them to be isolated, and that’s bad for things like dementia. I’ve heard that a lot, mom has declined because she’s home alone.”
Perry and Whitton gave Livingston Daily a tour of the assisted living wing Friday, which is nearly complete.
They say it was built to be like a neighborhood within a neighborhood, featuring a “Main Street” area in the center of the building with a salon, barber shop, ice cream parlor, chapel, bistro, movie theater and private dining room among the features. The facility also features other common areas throughout, including lounges, a tea room, an art room, courtyards and a patio.
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“The whole concept the Randall family wants is each resident with their own personal space, and when they step out of their apartment, they are in a community,” Perry said.
Residents also will eventually get access to clubhouse and community amenities in Encore Village, an apartment development under construction behind the facility.
“Residents will get to use the infinity pools, tennis, golf simulators, boat rides on Pickerel Lake, and a restaurant,” in the future, Perry said.
She said the facility has started to hire nurses, caregivers, housekeepers, concierges and other staff.
“Hiring is a challenge everywhere. For me, we have a great management team from the local area and I think that will attract them,” she said.
“For the memory care, the goal is to have that side of the house all trained for Alzheimer’s and dementia, specialized nursing care for those kinds of needs.”
Contact Livingston Daily reporter Jennifer Eberbach at [email protected]. 

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The sounds of a digital musical composition filled the Music Technology Studio in the Taylor Music Center. As students absorbed the 90-second track, Chris Chandler encouraged them to listen carefully to what they heard.
He wanted them to identify the attributes or characteristics of the student-created piece.
Students dissect a composition in a music technology course, listening for sound, harmony, melody, rhythm and growth. Building on the strengths of the College’s liberal arts and engineering programs, Union now offers a minor in music technology.
“Think about sound, harmony, melody, rhythm and growth,” said Chandler, assistant professor of music. “How do those various elements change in different sections of the piece? You can see where layers are added or taken away. What are some qualities that define those different sections?”
An accomplished composer, Chandler introduced Music Technology 1: Transforming Sound, Making Music, to the Department of Music’s curriculum in 2019. That was followed by another course, Music Technology 2: Recording, Mixing and Synthesizing Sound.
Those two courses are integral to a new program at Union.
Building on the strengths of the College’s liberal arts and engineering programs, Union now offers a minor in music technology. Approved by a faculty vote last spring, the minor consists of six courses drawn from the departments of Music, Engineering, Computer Science and Visual Arts.
Open to students from all majors, the program will engage students with analog and digital technologies, and fundamental concepts through creative expression and scientific inquiry
Chris Chandler, assistant professor of music, teaching Music Technology 1: Transforming Sound, Making Music. Beginning this fall, Union now offers a minor in music technology. The minor consists of six courses drawn from the departments of Music, Engineering, Computer Science and Visual Arts.
“I have had several engineering students in my music tech classes, and it’s been very rewarding to see their eyes light up when I talk about creative and artistic applications for concepts they have also encountered in their engineering courses,” said Chandler.
He will oversee the new program, which was developed in consultation with Jennifer Milioto Matsue and Tim Olsen from the Department of Music, and Shane Cotter, Luke Dosiek and Cherrice Traver from the Department of Electrical, Computer and Biomedical Engineering.
While music technology programs are not uncommon among larger colleges and universities, few liberal arts institutions, particularly those with engineering such as Union, offer the option.
“One of the things that attracted me to Union was the strong engineering program and the potential for interdisciplinary collaborations,” said Chandler. “There is a significant amount of shared content, particularly between Music Tech, Electrical Engineering and Computer Science. The minor is a perfect fit for a place like Union. It meets the needs of both music-interested students in engineering and technology-interested students in music.”
Students who choose to minor in music technology will be required to take three core courses. In addition to Music Technology 1 and Music Technology 2, this includes Introduction to Audio Electronics, which was developed by the Department of Electrical, Computer and Biomedical Engineering. Students will also select three electives from two categories, music and technology, which include courses from several departments on campus.
“The flexibility of this minor allows students to make the most of Union’s liberal arts core and find connections across different fields of study intersecting with music and technology,” said Chandler.
Chandler plans to develop additional courses that will count as electives. These include Introduction to Film Scoring, which will blend music technology and music theory with an emphasis on composing music for visual media, and Music Technology Workshop, centered on approaches to performing music with technology, such as synthesizers and hardware controllers. He also plans to develop Music Technology 3, a special topics course focused on modular synthesis and algorithmic approaches to digital music-making.
Enrollment in Chandler’s Music Technology 1 class this term is capped at 16 students. Majors represented include economics, computer science, psychology, political science, biology and biomedical engineering.
Abby Mitty ’23, an Interdepartmental major (ID) in psychology and Spanish from Boston, has been playing guitar and writing her own music for the past seven years. The music technology class has taught her how to use music production software.
“I mostly write acoustic music, but I have learned how to use digital instruments, which has allowed me to add a number of different features to my own music,” said Mitty. Upon graduation, she plans to go into organizational psychology while continuing to pursue her passion for music.
“I hope to take my music further and learn how to produce my own music,” said Mitty. “I haven’t done anything with my music yet, but this class has inspired me to keep working on it and share it eventually.”
The introduction of a minor in music technology comes at a time when the Music Technology Studio is slated for a major renovation this winter. A gift from Kurt W. Hillig ’75 and his wife, Kathy J. Dien Hillig, will transform the layout of the space by upgrading the studio’s equipment, including new computers, workstations, audio interfaces and microphones.
For more information on the music technology minor at Union, visit the website.

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Original Content Editor, Talent Development
Women are rising up the ranks throughout professional football, earning positions of power in a space that for too long was ruled almost exclusively by men. We’re seeing more and more women breaking barriers in the sport, but what are the stories beyond the headlines? Who are the women shaping and influencing the NFL today? Answering those questions is the aim of the Next Woman Up series. While the conversational Q&As are edited and condensed for clarity, this is a forum for impactful women to share experiences in their own words. Without further ado, we introduce:
Position: Director of Game Presentation and Live Entertainment Producer
How did you get your start in a career in game presentation?
Game presentation has always been my passion and I knew that very early on in college. I thought that after you graduate, you get a job in your field and start a career. I thought it was that easy. That did not happen for me. I got a lot of rejections and all that did was fuel my passion even more and my want to prove to all the naysayers that I was qualified to work in sports and game production.
I ended up doing an internship at the University of Texas at San Antonio, and while I was there, I sought out opportunities on my own. During that time, I called the San Antonio Spurs so many times looking for opportunities to get my foot in the door. I left so many messages, and the last time I decided to make that call and try, I was sitting in my truck and I thought, “If nothing else, I can at least say I did everything that I could to get this opportunity.” To my surprise, Don Costante, then-Spurs director of game operations and promotions, picked up. “Hello, this is Don Costante.” I froze but eventually introduced myself. He knew I was the intern from UTSA because I had called so many times. We set up a meeting, and the Spurs didn’t have an internship or volunteer opportunities at the time, but he said that because I was so persistent, he wanted to help me. The Spurs started a shadowing program just for me, allowing me to get in the building. I did that for about a year, and simultaneously, I was driving to Austin and worked part-time at the University of Texas at Austin to get football experience. It was Texas football on Saturdays and Spurs games on the days I wasn’t working men’s and women’s sports at UTSA. I had no time for myself, and at the end of that year, UTSA and the Spurs offered me full-time jobs.
That’s how I got my start. When the Spurs opened that door for me, I just wanted to go in, put my head down and work. To be completely honest, that feeling has stayed with me to this day. I’ve always had that chip on my shoulder, and I feel like there’s always more to prove. All I want is to let my work speak for itself.
I’ll forever be grateful to the Spurs for cracking the door open and allowing me to push through. After my two-year stint with the Spurs, I got a call from the Houston Rockets asking me to apply for a position. I did that, got the job and worked for them for seven years. The position with the Rockets allowed me to grow in game presentation and live entertainment, the flow of creating energy and atmosphere for fans in a game.
That’s a great story. And how did you transition to the NFL?
I knew my ultimate dream was to work in the NFL, and I was very set on doing that. I was fortunate to get a call from the Houston Texans in 2013. I got this job and it’s where I am today and where I want to be. I was very clear with my career path with what I wanted to achieve. In college, I was knocking on so many doors, turning over all these rocks and submitting résumés everywhere, and it was always “No.” I feel very fortunate that it’s turned around and that these organizations have been knocking on my door. I don’t take that for granted.
What ultimately attracted you to the NFL?
Yes, the NFL has only 10 home games a season, but the difference between those and the 41 home games NBA teams have is the expectation of a fan and what you experience on a game day. The NBA’s big games are opening night, games on TNT or ABC or big matchups. Those were games that I loved. The NFL offers 10 games that all matter. It doesn’t matter if it’s preseason or midseason, you are producing an opening-night feel every game of the year.
An NFL fan has their jersey on, face painted and is standing and cheering for three-plus hours. What they experience and want out of the game experience is very important to us. I love that pressure of putting on 10 opening nights and serving the expectation of the fan coming to an NFL game.
I never thought about it that way, but that’s really interesting. Can you explain what your job entails?
Game presentation is creating the atmosphere for our fans. We are essentially creating everything other than the plays on the football field. It’s the talent or celebrities on the field pre-game, cheerleaders, the mascot, the music, the call to actions asking fans to get up and get loud, corporate features on the video board, halftime show, on-field promotions, etc. It’s creating that fun element of game day, but we’re also the intensity that brings the stadium to life.
How many changes year over year do you make in your game-day production?
That’s something we’re really proud of here at the Texans. We’re not just evolving our show year to year. It’s evolving game to game. Our season ticket members are very important to us, and we don’t want the show they see in Week 1 to be the exact same thing they see in the last game of the season. For example, a partner will have one feature for half the season and a second for the other half, and we will rotate those throughout the game. We do this for multiple partners to create variety for our season ticket members. That’s our challenge. We want our fans to enjoy it and feel like they have a different experience every time they come to a game.
OK, so what does game day look like for you?
It’s crazy. It’s production meetings, rehearsals, pre-game show, the game itself and a post-game show. On a typical Sunday when the game kicks off at noon CT, I’ll get to the stadium at around 6 a.m. Our first production meeting is at 7 a.m. and we transition to rehearsals from 8 a.m. to 9:45 a.m., which is when the doors open. Once that happens, I am up at the press box making sure that everything is on point and we’re getting ready to do our pre-game show, which goes right into producing the game. It’s making sure that cues are happening when the team runs out onto the field, the talent is where they need to be and making game day come to life. I’m in the press box and I talk a lot. We don’t rest until long after zeroes are on the clock because we go right into our postgame show. That’s about a 12-hour day.
Once that headset comes on, it’s tough to even get a bathroom break. I’m constantly cuing the DJ with music or other features. I’m intentionally very dehydrated on game days. It’s nonstop communication, directing the game and making sure everyone is where they need to be.
Were you involved in Super Bowl LI at NRG Stadium?
I worked Super Bowl LI in Houston, Super Bowl LII in Minneapolis and Super Bowl LV in Tampa, Florida. The Houston game was my first experience working the Super Bowl, and my role was trophy presentation. I had to make sure certain players made it up to the podium, and that was the game when Julian Edelman had that crazy catch. So I walk up to No. 11 and say, “Hey, congratulations but I need you to move to the red carpet.” It was a small part in the Super Bowl experience but really fun nonetheless.
My role grew in Minnesota and Tampa by taking on more responsibilities with the pre-game show. In Tampa, I worked the pre-game show and the trophy presentation. My goal in moving up this career ladder is directing and producing a Super Bowl in its entirety. I love Tim Tubito, the NFL’s director of event presentation and content, but I’m coming after his job.
What great experiences. What would you say is the most challenging part of your job?
The most challenging is also the most important. What makes Houston unique is how diverse it is. It’s important for us to reflect that in-stadium and as a franchise, and we want to cater to all of our fans. We do that through music and video-board and on-field features, which are all going to hit different genres and demographics. It’s important and a high priority for us.
The other is evolving game presentation. That holds true for any game producer. We want to evolve with the times and be the first to do something no one else has done. Super Bowl LIV in Miami first introduced mixed reality, in which virtual and physical environments are combined. We loved it and knew we wanted to incorporate that into our shows, so last year, we were the first to fully integrate mixed reality from the beginning of the game to the end. We are definitely ahead of the curve in cutting edge technology, but we were really excited about embracing that.
Mixed reality is part of our kickoff video, with an animated bull that then runs out onto the field, blows fire and triggers the music that sets the atmosphere in the stadium. We also have a feature where there’s an entire shopping cart race that happens in real time above the field, and there are call to actions that happen with mixed reality, as well. When the Texans score, the word “touchdown” comes up over the field on the video board and fire that goes off before we go into our touchdown sequence. We have taken mixed reality and used it in multiple platforms for our show.
That sounds amazing. I want to pivot to mentorship. Do you have any mentors who’ve helped you in your career?
I’ve been really fortunate to have two very supportive parents. My dad actually passed away a few years ago, but they have always supported my dream. When I told them I wanted to work for the Spurs, they didn’t bat an eye. They have believed in me every step of the way, and it means so much. I’m from Laredo, Texas, which is on the border of Mexico. People from Laredo don’t normally get the fun experiences that I have received, and big goals can be pipe dreams for some. But having the support of my parents made me understand that the only thing stopping me from achieving anything was myself. That has really been a driver in my career. The support drives me to be better, climb the career ladder and to be an example for others.
Professionally, it’s Don Costante, my first boss with the Spurs. When he offered me that full-time position, it was an assistant position, but he didn’t treat me that way. I was his right-hand woman. I went to every meeting with him. I knew everything he knew. The way he saw it was if he wasn’t there, I needed to know the answer to any question that corporate or our team president might have. He gave me the opportunity to direct my first basketball game in my first year with the Spurs. I directed a game in March of 2004, and there was no doubt in his mind that I could do it. I was the first person he had ever managed that he allowed to direct a game without him being by their side. It was the support and confidence from him very early in my career that gave me the confidence to know that I could direct a live game. He was very instrumental in teaching me everything I needed to know but also that I deserved this opportunity.
What is next in terms of things you want to accomplish?
I want to continue evolving our show first and foremost. It’s very important to me that the Texans are known as best in class, not only in the NFL but in all sports. I think we’ve taken that first step in introducing mixed reality but we want to do more.
The big dream is to produce a Super Bowl. The NFL is the big show. It’s the best practice in production in live events, so if I do produce a Super Bowl, I could say I have produced one of the most respected live show in sports, if not the most, because it makes a global impact.
Lastly, what are you most proud of in your career?
I’m a little girl from Laredo, Texas, so representation is really important for me. What I’m proud of is not only am I female in a male-dominated industry — that industry being live game production and production at large — but right now I’m the only Hispanic female who’s a director of game presentation in the NFL.
I hope there are girls or women who look like me, read this article and think, “If she can do this, I can do it,” because they can.
In this installment of the Next Woman Up series, Fouzia Madhouni discusses her organization We Can Morocco, which empowers women through American football, and her experience as a mentee of the NFL and Green Bay Packers.
In this installment of the Next Woman Up series, Meharry Medical College student Kelsey Henderson discusses her month-long clinical rotation with the Tennessee Titans medical staff through the NFL Diversity in Sports Medicine Pipeline Initiative.
In this installment of the Next Woman Up series, Arizona Cardinals director of security Kristi Johnson discusses her trailblazing law enforcement career, as well as how she builds trust with players and their families.
In this installment of the Next Woman Up series, Packers VP of marketing and fan engagement Gabrielle Valdez Dow discusses stewarding the organization’s historic legacy, prepping for the team’s game in London and more.
In this installment of the Next Woman Up series, Chloe Janfaza, the Raiders’ director of stadium development and operations, talks about pursuing her dreams from a young age, building connections and all things Allegiant Stadium.
In this installment of the Next Woman Up series, Steelers international content manager Maria Rodriguez, a native of Honduras, discusses finding her passion for football while attending TCU, growing the NFL’s global fan base and more.
In this installment of the Next Woman Up series, the Chiefs’ Tiffany Morton details an athletic trainer’s schedule, working with the offensive line group, taking career risks and more.
In this installment of the Next Woman Up series, Rams EVP of community affairs and engagement Molly Higgins discusses her approach to the franchise’s move from St. Louis to Los Angeles, working with Andrew Whitworth, the Watts Rams and more.
In this installment of the Next Woman Up series, Detroit director of football operations Gina Newell discusses how the industry has changed for women since she joined the Lions in 2004, the “Hard Knocks” experience and much more.
In this installment of the Next Woman Up series, the Carolina Panthers’ Chanelle Smith-Walker discusses her unique perspective in sports photography, creating opportunities for people of color and more.
In this installment of the Next Woman Up series, the Atlanta Falcons’ Sarah Hogan discusses growing the Bill Walsh Minority Coaching Fellowship, transitioning into the Arthur Smith era and more.
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World
Conference of the Parties serving as the meeting
of the Parties to the Paris Agreement
Fourth session
Sharm el-Sheikh, 6–18 November 2022
Summary
This report synthesizes information from the 166 latest available nationally determined contributions communicated by 193 Parties to the Paris Agreement and recorded in the registry of nationally determined contributions as at 23 September 2022.
I. Executive summary
1. This report has been prepared in response to the request from CMA 3 for the secretariat to annually update the NDC synthesis report. This version of the NDC synthesis report synthesizes information from the 166 latest available NDCs, representing 1933 Parties to the Paris Agreement, including the 142 new or updated NDCs communicated by 169 Parties, recorded in the NDC registry as at 23 September 2022, covering 94.9 per cent of the total global emissions in 2019, which are estimated at 52.6 Gt CO2 eq without LULUCF.5 A total of 39 Parties have communicated new or updated NDCs since 12 October 2021 (the cut-off date for submissions covered in the previous version of this report), 24 of which after COP 26.
2. The COP and CMA guidance6 on the information necessary for clarity, transparency and understanding of NDCs was used as a framework for synthesizing the relevant information contained in the communicated NDCs, which was supplemented by the synthesis of other information included in the NDCs but not covered by the guidance. The synthesized information is presented for all the represented Parties taken together.
3. Almost all Parties (95 per cent) provided the information necessary to facilitate clarity, transparency and understanding of their NDCs in accordance with the COP guidance, with almost all Parties (94 per cent) that submitted new or updated NDCs already applying the relevant further CMA guidance.
4. All Parties provided information on mitigation targets or mitigation co-benefits resulting from adaptation actions and/or economic diversification plans. The mitigation targets range from economy-wide absolute emission reduction targets to strategies, policies, plans and actions for low-emission development. In their NDCs:
(a) Most Parties (90 per cent) provided quantified mitigation targets, expressed as clear numerical targets, while the rest (10 per cent) included strategies, policies, plans and actions for which there is no quantifiable information as components of their NDCs;
(b) Most Parties (80 per cent) communicated economy-wide targets, covering all or almost all sectors defined in the 2006 IPCC Guidelines, with an increasing number of Parties moving to absolute emission reduction targets in their new or updated NDCs;
(c) In terms of GHGs, all NDCs cover CO2 emissions, most cover CH4 (91 per cent) and N2O (89 per cent) emissions, many (53 per cent) cover HFC emissions and some cover PFC and SF6 (36 per cent) and NF3 (26 per cent) emissions;
(d) Many Parties (50 per cent) provided information on mitigation co-benefits resulting from their adaptation actions and/or economic diversification plans, mostly in combination with other targets;
(e) Most of the Parties (74 per cent) that submitted new or updated NDCs have strengthened their commitment to reducing or limiting GHG emissions by 2025 and/or 2030, demonstrating increased ambition in addressing climate change.
5. Almost all Parties (92 per cent) communicated an NDC implementation period of until 2030, while a few (8 per cent) specified an implementation period of until 2025, 2035, 2040 or 2050. Many Parties (55 per cent) identified 1 January 2021 as their starting date for NDC implementation; some others (31 per cent) indicated that they started implementing their NDC in or before 2020; and a few Parties (3 per cent) mentioned starting implementation in 2022.
6. Almost all Parties (93 per cent) provided quantified information on their mitigation targets and reference points. Of the Parties that submitted new or updated NDCs, most (84 per cent) updated the basis for defining their targets, including reference points and/or ‘business as usual’ scenarios. Such updates lead to higher-quality NDCs and, for some Parties, to significant changes in the estimated emission levels for 2025 and 2030.
7. Most Parties (81 per cent) provided information on voluntary cooperation under Article 6 of the Paris Agreement. Almost all of them (76 per cent) stated that they plan to or will possibly use at least one type of voluntary cooperation, with the use of cooperative approaches most frequently communicated. At the same time, some Parties (30 per cent) have set qualitative limits on their use of voluntary cooperation for achieving their mitigation targets, such as using units that adhere to certain standards and guidelines to ensure, for example, additionality, permanence or avoidance of double counting of emission reductions.
8. Of the Parties that communicated new or updated NDCs, the share that indicated planned or possible use of at least one type of voluntary cooperation has increased from 49 to 82 per cent since their previous NDCs. Similarly, the share of those Parties that have set qualitative limits on their use of voluntary cooperation has sharply increased from 19 to 32 per cent since their previous NDCs.
9. Total global GHG emissions (without LULUCF) taking into account implementation of the latest NDCs are estimated to be around 53.4 (51.8–55.0) Gt CO2 eq in 20258 and 52.4 (49.1–55.7) Gt CO2 eq in 2030,9 which are:
(a) In 2025, 53.7 per cent higher than in 1990 (34.7 Gt CO2 eq), 12.6 per cent higher than in 2010 (47.4 Gt CO2 eq) and 1.6 per cent higher than in 2019 (52.6 Gt CO2 eq);
(b) In 2030, 50.8 per cent higher than in 1990, 10.6 per cent higher than in 2010 and 0.3 per cent lower than in 2019, as well as 1.9 per cent lower than the estimated level for 2025, indicating the possibility of global emissions peaking before 2030.
10. In comparison, the total GHG emissions of the Parties that communicated new or updated NDCs are estimated at 45.6 Gt CO2 eq for 2019, and the total GHG emission levels resulting from implementation of their NDCs are estimated to be around 46.4 (44.9–47.8) Gt CO2 eq in 2025 and 45.6 (42.7–48.6) Gt CO2 eq in 2030. These emission levels are about 3.8 (3.3–4.3) per cent lower for 2025 and 9.5 (9.2–9.7) per cent lower for 2030 than the estimated levels for these years according to their previous NDCs. In absolute terms, the projected emission levels for 2025 and 2030 for this group of Parties are now lower than according to their previous NDCs by 1.8 (1.5–2.1) Gt CO2 eq and 4.8 (4.3–5.2) Gt CO2 eq respectively. Compared with the 2010 level, total GHG emissions of these Parties are estimated to be 12.3 (8.8–15.9) per cent higher by 2025 and 10.5 (3.4–17.6) per cent higher by 2030; while, compared with the 2019 level, their total GHG emissions are estimated to be 1.6 per cent higher (with a range from 1.6 per cent lower to 4.8 per cent higher) by 2025 and approximately the same as in 2019 (with a range from 6.5 per cent lower to 6.4 per cent higher) by 2030.
11. In comparison, the total GHG emission levels resulting from implementation of the NDCs presented in the previous version of this report were estimated to be around 54.7 (52.7– 56.7) Gt CO2 eq in 2025 and 54.9 (51.5–58.3) Gt CO2 eq in 2030, which are about 2.4 (1.8–3.0) and 4.7 (4.8–4.7) per cent higher for 2025 and 2030 respectively than the estimated emission levels indicated in this version of the report.
12. The projected total global GHG emission level taking into account full implementation of all latest NDCs (including all conditional elements) implies an even stronger possibility of global emissions peaking before 2030 than estimated in the previous version of thisreport, with the lower bound of the 2030 emission level (49.1 Gt CO2 eq) estimated to be up to 6.6 per cent below the 2019 emission level (52.6 Gt CO2 eq) and 5.1 per cent below the lower bound of the estimated 2025 emission level (51.8 Gt CO2 eq). However, in order to achieve that peaking, the conditional elements of the NDCs need to be implemented, which depends mostly on access to enhanced financial resources, technology transfer and technical cooperation, and capacitybuilding support; availability of market-based mechanisms; and absorptive capacity of forests and other ecosystems.
13. The total global GHG emission level in 2030 taking into account implementation of all latest NDCs is estimated to be 10.6 (3.6–17.5) per cent above the 2010 level11 and 0.3 per cent below the 2019 level (with a range from 6.6 per cent below to 6.0 per cent above), which is lower than the level for 2030 presented in the previous version of this report (15.9 per cent above the 2010 level and 4.7 above the 2019 level). This shows that Parties to the Paris Agreement are increasing the ambition of their climate action in accordance with Article 4, paragraphs 3 and 11, of the Paris Agreement and in response to the relevant call in the Glasgow Climate Pact.
14. The contribution of Working Group III to the AR613 concludes that, in scenarios of limiting warming to 1.5 °C (with over 50 per cent likelihood by 2100) with no or limited overshoot, GHG emissions are reduced by 43 (34–60) per cent by 2030 relative to the 2019 level. For the subgroup of scenarios in which net zero emissions are also achieved in line with Article 4, paragraph 1, of the Paris Agreement, the emission reductions are slightly less, at 41 (31–59) per cent by 2030; and for the subgroup of scenarios in which net zero emissions are not achieved this century, the near-term emission reductions by 2030 tend to be slightly stronger, at 48 (35–61) per cent. In scenarios of keeping warming likely below 2 °C (with over 67 per cent likelihood) with mitigation action starting in 2020, emissions in 2030 are 27 (13–45) per cent below the 2019 level.
15. Full implementation of all latest NDCs (including all conditional elements) is estimated to lead to a 3.6 (0.7–6.6) per cent emission reduction by 2030 relative to the 2019 level; while implementation of all latest NDCs excluding any conditional elements is estimated to result in 3.1 (0.2–6.0) per cent higher emissions in 2030 than in 2019.
16. The absolute difference in the level of emissions by 2030 according to the latest NDCs and these IPCC scenarios15 is sizeable, despite progress compared with the level according to the INDCs as at 4 April 2016. The difference between the projected emission levels that do not take into account implementation of any conditional elements of NDCs and the emission levels in the scenarios of keeping warming likely below 2 °C (with over 67 per cent likelihood) by 2030 is estimated to be 16.0 (12.0–19.4) Gt CO2 eq. In relation to the scenarios of limiting warming to 1.5 °C (with over 50 per cent likelihood) and achieving net zero emissions this century, the gap is even wider, at an estimated 23.9 (22.2–28.8) Gt CO2 eq. However, assuming full implementation of all latest NDCs, including all conditional elements, the gap is slightly narrowed, towards 12.5 (8.5–15.9) Gt CO2 eq in relation to the aforementioned 2 °C scenarios and towards 20.3 (18.7–25.3) Gt CO2 eq in relation to the aforementioned 1.5 °C scenarios.
17. Taking into account implementation of NDCs up until 2030, projected global mean temperatures are subject to significant uncertainty owing to the range of emission levels estimated for 2030 resulting from implementation of NDCs (including whether conditional elements are implemented or not), the range of illustrative emission extensions beyond 2030 and inherent climate system uncertainties. The best estimate of peak temperature in the twenty-first century (projected mostly for 2100 when temperature continues to rise) is in the range of 2.1–2.9 °C depending on the underlying assumptions.
18. In the context of the carbon budget consistent with 50 per cent likelihood of limiting warming to 1.5 °C (500 Gt CO2), cumulative CO2 emissions in 2020–2030 based on the latest NDCs would likely use up 86 per cent of the remaining carbon budget, leaving a post-2030 carbon budget of around 70 Gt CO2, which is equivalent to approximately two years of projected total global CO2 emissions by 2030. Similarly, in the context of the carbon budget consistent with a likely chance of keeping warming below 2 °C (estimated by the IPCC to be 1,150 Gt CO2 from 2020 onward), cumulative CO2 emissions in 2020–2030 based on the latest NDCs would likely use up around 37 per cent of the remaining carbon budget. For comparison, total global CO2 emissions between 1850 and 2020 are estimated by the IPCC16 to have amounted to 2,390 (2,150–2,630) Gt CO2.
19. The information in paragraphs 9–16 and 18 above implies, despite some progress since the previous version of this report, an urgent need for either a significant increase in the level of ambition of NDCs between now and 2030 or a significant overachievement of the latest NDCs, or a combination of both, in order to attain the cost-effective emission levels suggested in many of the scenarios considered by the IPCC for keeping warming likely below 2 °C or limiting it to 1.5 °C. If emissions are not reduced by 2030, they will need to be substantially reduced thereafter to compensate for the slow start on the path to net zero emissions. The AR6 identifies net zero CO2 emissions as a prerequisite for halting warming at any level.
20. Many Parties (44 per cent) provided information on long-term mitigation visions, strategies and targets for up until and beyond 2050. Their total GHG emission level is estimated to be 36.6 (34.9–38.4) Gt CO2 eq in 2030, which is 2 per cent (with a range from 3 per cent lower to 7 per cent higher) higher than their 2010 emission level and 6 (2–11) per cent lower than their 2019 emission level.
21. Mindful of the inherent uncertainty of such long-term estimates, the information indicates that these Parties’ total GHG emission level could be 64 (59–69) per cent lower in 2050 than in 2019 and their annual per capita emissions would be 2.4 (2.1–2.7) t CO2 eq by 2050. Under scenarios of limiting warming to likely below 2 °C (with over 67 per cent likelihood), annual per capita emissions are 2.2 (1.4–2.9) t CO2 eq; hence the estimated longterm per capita emissions of these Parties are at a level consistent with 2 °C scenarios.
However, for scenarios of limiting warming to 1.5 °C (with 50 per cent likelihood by 2100) and achieving net zero emissions this century, annual per capita emissions by 2050 are required to be two to three times lower, at 0.9 (0.0–1.6) t CO2 eq.
22. Almost all Parties (97 per cent) explained their approach to NDC preparation and implementation. Many (57 per cent) linked their NDCs to their commitment to transitioning to a sustainable and/or low-carbon and resilient economy, taking into account social, environmental and economic factors as well as the SDGs. In addition, many Parties (46 per cent) indicated that they have integrated their NDC targets, goals and policies into national legislative, regulatory and planning processes as a means of ensuring implementation.
23. Many Parties (64 per cent) highlighted policy coherence and synergies between their domestic mitigation measures19 and development priorities, which include the SDGs and, for some that submitted new or updated NDCs, LT-LEDS and green recovery from the coronavirus disease 2019 pandemic.
24. Most Parties (79 per cent) referred to formal arrangements in place for domestic stakeholder consultation. Almost all of those Parties (93 per cent) indicated that they conducted consultations and engagement in an inclusive and participatory manner. Many of those Parties (60 per cent) specifically referenced gender-sensitive consultations.
25. Parties are increasingly20 recognizing gender integration as a means to enhance the ambition and effectiveness of their climate action. Most Parties (75 per cent) provided information related to gender in their NDCs and some (39 per cent) affirmed that they will take gender into account in implementing them.21 Of the Parties that referenced gender in their previous NDCs, some (20 per cent) elaborated more on the topic in their new or updated NDCs. Some (38 per cent) included information on how gender had been or was planned to be mainstreamed in NDC implementation.
26. Some Parties (29 per cent) described the role of local communities and the role, situation and rights of indigenous peoples in the context of their NDCs, describing the specific vulnerabilities of indigenous peoples that are particular to their circumstances, the importance of drawing on indigenous and local knowledge to strengthen climate efforts, and arrangements to enable greater participation in and contributions to climate action by indigenous peoples.
27. Almost all Parties (97 per cent) provided information on using one or more ACE elements22 to promote implementation of mitigation and adaptation activities, and in their new or updated NDCs Parties generally communicated more clearly and in more detail on general principles, past achievements, future commitments, and needs and gaps in relation to ACE.
28. Most Parties (80 per cent) included an adaptation component in their NDC and some of the adaptation components (13 per cent) were designated as adaptation communications.
Parties provided information in particular on adaptation-related research; vulnerabilities; adaptation measures, in particular NAPs and sectoral actions; contingency measures; synergies with mitigation and other global frameworks; and monitoring and evaluation of adaptation.
29. In comparison with Parties’ previous NDCs, more of the NDCs contain adaptation information. The adaptation components of the NDCs, where included, indicate increased focus on national adaptation planning, in particular on the process to formulate and implement NAPs. The new or updated NDCs include, in comparison with the same Parties’ previous NDCs, more information on time-bound quantitative adaptation targets and the associated indicator frameworks, more specific links between adaptation efforts and efforts towards the SDGs, and more specific information on synergies and co-benefits between adaptation and mitigation.
30. In terms of adaptation priorities, the NDCs illustrate that Parties continue to focus on freshwater resources; food production and nutrition security; terrestrial and wetland ecosystems; key economic sectors and services; human health; disaster risk management; urban areas and human habitats; coastal and low-lying areas; ocean ecosystems; and livelihoods and poverty.
31. Almost all Parties (97 per cent) outlined domestic mitigation measures as key instruments for achieving mitigation targets for their NDCs and/or for priority areas, such as energy supply, transport, buildings, industry, agriculture, LULUCF and waste. However,
Parties indicated measures in industry (47 per cent), the second largest source of global GHG emissions with the second highest annual growth rate of GHG emissions among the priority areas, much less frequently than for other priority areas (74–92 per cent).
32. Most Parties (74 per cent) communicated one or more quantitative mitigation targets specific to priority areas or sub-areas, which support and underpin their overall mitigation targets. Such quantitative mitigation targets were provided most frequently for energy supply (57 per cent), followed by LULUCF (43 per cent) and cross-cutting or other (42 per cent), and were much less frequently indicated for the other priority areas (5–19 per cent).
33. Domestic mitigation measures for renewable energy generation (88 per cent) were most frequently mentioned by Parties, followed by measures for improving energy efficiency of buildings (70 per cent) and for afforestation, reforestation and revegetation (54 per cent). Some Parties (21 per cent) communicated quantitative targets for the share (ranging from 15 to 100 per cent) of renewable energy in electricity generation by 2030; and many of those target shares (13 per cent) fall within or above the SR1.523 range of 47–65 per cent consistent with 1.5 °C pathways. For the Parties that communicated new or updated NDCs, renewable energy generation continued, as in their previous NDCs, to be the most frequently indicated mitigation option, with the share of Parties indicating this option sharply increasing since their previous NDCs from 59 to 91 per cent.
34. Parties identified mitigation options with high net emission reduction potential costing less than USD 20/t CO2 eq, which are projected in the contribution of Working Group III to the AR6 to account for more than half of the total emission reduction potential required for being on 1.5 °C pathways by 2030, including (with estimated net emission reduction potential indicated in parentheses):
(a) Solar energy (3.3 Gt CO2 eq/year), with many Parties (49 per cent) communicating corresponding measures;
(b) Wind energy (3.08 Gt CO2 eq/year), with some Parties (35 per cent) indicating corresponding measures;
(c) Reduced conversion of forests and other ecosystems (2.28 Gt CO2 eq/year), with some Parties (36 per cent) reporting corresponding measures;
(d) Energy efficiency improvement in industry (1.14 Gt CO2 eq/year), with some Parties (27 per cent) identifying corresponding measures.
35. Of the Parties that communicated new or updated NDCs after the adoption of the Glasgow Climate Pact, the shares that indicated mitigation options relevant to those referred to in paragraphs 36–38 of that decision (see para. 190(a–e) below) were 14–225 per cent higher than the corresponding shares of the 193 Parties in the latest available NDCs. In particular, the shares of those Parties that indicated phasing down unabated coal power generation and phasing out inefficient fossil fuel subsidies and reforming fossil fuel subsidies were more than triple the corresponding shares of the 193 Parties.
36. Many (50 per cent) Parties considered mitigation co-benefits resulting from their adaptation action and/or economic diversification plans. In their new or updated NDCs more Parties reported on mitigation co-benefits of adaptation action and economic diversification plans, including information on specific projects, measures and activities with the resulting co-benefits, compared with the information in their previous NDCs. Similarly, more Parties provided information on their consideration of social and economic consequences of response measures, and of just transition and/or economic diversification.
37. Adaptation actions and economic diversification plans with mitigation co-benefits include afforestation and reforestation activities, climate-smart agriculture, reducing food waste, vertical farming, adapting coastal ecosystems, conservation plans for protected areas, nature-based solutions, increasing the share of renewable sources in energy generation, improving energy efficiency, carbon dioxide capture and storage, fuel switch and fuel price reforms in the transport sector, and moving to circular economy for better waste management.
38. An increasing number of Parties (40 per cent) are targeting ocean-based climate action. Some Parties (26 per cent) include an ocean-based climate target, policy or measure. Ocean-related measures reported in the NDCs relate more often to adaptation than to mitigation, there has been an increase in adaptation measures identified related to fisheries and aquaculture and relatively few Parties mentioned offshore renewable energy as a mitigation solution.
39. Almost all Parties mentioned some or all means of implementation in their NDCs, although the structure and depth of that information varied significantly. While some Parties included a dedicated section on means of implementation or separate sections on finance, technology and/or capacity-building, many mentioned or referred to aspects of means of implementation in other sections of their NDCs.
40. Many Parties (44 per cent) provided quantitative estimates of financial support needs for NDC implementation. In their new or updated NDCs some Parties provided quantitative estimates of financial support needs, with some (34 per cent) of them providing updated quantitative estimates and others (15 per cent) providing estimates for the first time.
41. Many Parties (58 per cent) identified certain types of technology that they intend to use for implementing adaptation and mitigation actions, most frequently related to the energy, agriculture, water and waste sectors. Technology needs mentioned by Parties were mainly (42 per cent) of a cross-cutting nature addressing both adaptation and mitigation, followed by those focused on mitigation (33 per cent) or adaptation (25 per cent). Since the previous version of this report, the share of Parties (4 per cent) referring in their NDCs to policy and regulatory measures for promoting low-carbon and climate-resilient technologies towards implementing net zero strategies and decarbonization pathways at the national and sectoral level has grown.
42. Most Parties (74 per cent) identified capacity-building as a prerequisite for NDC implementation. Capacity-building needs for formulating policy, integrating mitigation and adaptation into sectoral planning processes, accessing finance and providing the information necessary for clarity, transparency and understanding of NDCs were identified. In the new or updated NDCs, compared with in their previous NDCs, more Parties expressed capacitybuilding needs for adaptation.
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Just two weeks after wrapping up his 2022 US tour, Thomas Rhett has confirmed he’ll be hitting the road once again starting this spring on the newly-announced Home Team Tour.
The 40-date trek gets underway on May 4 in Des Moines, IA, and wraps on September 29 at Nashville’s Bridgestone Arena. Stops along the way include Boston, Chicago, Dallas, and Orlando.
The “Half of Me” singer previously embarked on the Home Team Tour back in 2017. This time around, he’ll be joined by fellow country stars Cole Swindell and Nate Smith who will serve as special guests throughout the tour’s run.
“Being on the road is one of my favorite places to be,” Rhett shared in a recent statement. “I can’t wait to see the joy on y’alls faces next year with my buddies Cole Swindell and Nate Smith. We’re definitely gonna have a good time.”
Check out a full list of dates and stops below and score your Thomas Rhett Home Team Tour 23 tickets now.
May 4 – Des Moines, IA @ Wells Fargo Arena
May 5 – Peoria, IL @ Peoria Civic Arena
May 6 – Indianapolis, IN @ Gainbridge Fieldhouse
May 18 – Omaha, NE @ CHI Health Center
May 19 – Kansas City, MO @ T-Mobile Center
May 20 – St. Louis, MO @ Enterprise Center
Jun. 8 – Albany, NY @ MVP Arena
Jun. 9 – Uncasville, CT @ Mohegan Sun Arena
Jun. 10 – Uncasville, CT @ Mohegan Sun Arena
Jun. 15 – Tupelo, MS @ Cadence Bank Arena
Jun. 16 – Lafayette, LA @ Cajundome
Jun. 17 – Bossier City, LA @ Brookshire Grocery Arena
Jun. 22 – Lexington, KY @ Rupp Arena
Jun. 23 – Charleston, WV @ Charleston Coliseum
Jul. 6 – Buffalo, NY @ KeyBank Center
Jul. 7 – Wilkes Barre, PA @ Mohegan Sun Arena
Jul. 8 – Boston, MA @ TD Garden
Jul. 13 – Biloxi, MS @ Mississippi Coast Coliseum
Jul. 14 – Greenville, SC @ Bon Secours Wellness Arena
Jul. 15 – Knoxville, TN @ Thompson-Boling Arena
Jul. 20 – Greensboro, NC @ Greensboro Coliseum
Jul. 21 – Baltimore, MD @ CFG Bank Arena
Jul. 22 – Belmont Park, NY @ UBS Arena
Jul. 28 – Chicago, IL @ United Center
Jul. 29 – Grand Rapids, MI @ Van Andel Arena
Aug. 3 – Dallas, TX @ American Airlines Arena
Aug. 4 – Houston, TX @ Toyota Center
Aug. 5 – Austin, TX @ Moody Center
Aug. 17 – Oklahoma City, OK @ Paycom Center
Aug. 18 – Wichita, KS @ Intrust Bank Arena
Aug. 19 – Denver, CO @ Ball Arena
Sept. 14 – Estero, FL @ Hertz Arena
Sept. 15 – Jacksonville, FL @ VyStar Veterans Memorial Arena
Sept. 16 – Orlando, FL @ Amway Center
Sept. 21 – Charlottesville, VA @ John Paul Jones Arena
Sept. 22 – State College, PA @ Bryce Jordan Center
Sept. 23 – Toldeo, OH @ Huntington Center
Sept. 28 – Birmingham, AL @ The Legacy Arena at The BJCC
Sept. 29 – Nashville, TN @ Bridgestone Arena

Browse Thomas Rhett Home Team Tour 23 tickets now.

Country hitmaker Thomas Rhett first stepped into the spotlight at the tail end of the bro-country craze that took over the 2010s, flaunting a style that combined modern country and R&B. Rhett made his mainstream breakthrough in 2015 with the release of his second studio album Tangled Up, which debuted at the number six spot on the Billboard 200 and housed hit singles like “Crash and Burn” and “Die a Happy Man.” Rhett has continued to maintain his presence atop the charts in the years since. He has released four additional studio albums (with another on the way). Aside from writing his own hit material, Rhett has lent his songwriting skills to a handful of fellow country stars including Jason Aldean, Florida Georgia Line, and Lee Brice, among many others over the years.
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Cait Stoddard November 3rd, 2022 – 1:48 PM
St. Paul & The Broken Bones  announced a headline US tour with dates through January and February 2023. Their first tour in the new year will bring the band’s electrifying soul sound to nine esteemed theaters and performing arts centers across the midwest and southeast, with special guest Rett Madison.

The band has had a tremendous 2022 on the heels of their latest album The Alien Coast, playing top festivals and some of their biggest-ever shows to date, including a sold-out Beacon Theatre in New York City this spring.
The January tour follows an end-of-year tradition – the band will cap off 2022 with two New Years’ performances at Brooklyn Bowl Philadelphia on December 30 and 31. In addition, St Paul & The Broken Bones will play Bluesfest 2023 in Australia in April alongside shows with Nathaniel Rateliff & the Night Sweats.
“It is hard to imagine that we got together a decade ago to record an album in Sheffield, AL in a studio that used to be an old bank. A record that would change our lives. Half The City was an album recorded live with a sense of urgency like we were fleeing from a burning building while playing our instruments. This January – February tour we are going to celebrate that spirit. We are going to play songs from that album we rarely play nowadays and songs we still regularly play. We hope y’all will join us to celebrate.” said lead singer Paul Janeway 
Tour Dates
12/ 30 – Brooklyn Bowl Philly – Philadelphia, PA
12/ 31 – Brooklyn Bowl Philly – Philadelphia, PA
*1/ 27 – Clyde Theatre – Fort Wayne, IN
*1/ 30 – The Blue Note – Columbia, MO
*1/ 31 – Jones Assembly – Oklahoma City, OK
*2/ 1 – JJ’s Live – Fayetteville, AR
*2/ 2 – iMPAC – Gulfport, MS
*2/ 5 – Chelsea’s Live – Baton Rouge, LA
*2/ 7 – The Plaza Live – Orlando, FL
*2/ 8 – Culture Room – Ft. Lauderdale, FL
*2/ 10 – Soul Kitchen – Mobile, AL
4/ 6 -10 – Byron Bay Bluesfest – Tyagarah, Australia
4 10 – Forum Theatre – Melbourne, Australia
4/13 – Enmore Theatre – Sydney, Australia
 
*with support from Rett Madison
Cait Stoddard
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PANAMA CITY, Fla. (WJHG/WECP) – The Bay County Council on Aging stopped by the Newschannel 7 studio to discuss an important festival for a good cause.
Lydia Vickery, the Volunteer Coordinator for the Council on Aging and Anderson Edwards, a board member for the council, told us all about an event that could help raise money to feed their senior adults along with the community as a whole.
The Fall Festival will take place Saturday, November 5th from 7AM until 2:30PM at 1116 Frankford Avenue.
There will a pancake breakfast in the morning for $5.00, and BBQ plates for $6.00 in the afternoon.
An auction will also take place and proceeds will go towards the Council on Aging’s food initiative.
For more information, watch the video attached to this story.
Copyright 2022 WJHG. All rights reserved.

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MusicRadar is supported by its audience. When you purchase through links on our site, we may earn an affiliate commission. Here’s why you can trust us.
Enjoy two months of auto-mastering and three months of access to the industry-standard DAW
Focusrite is giving its customers even more value for their money by signing new partnerships with LANDR and Avid.
To begin with, the company has expanded its Hitmaker Expansion bundle (opens in new tab) with a new two-month subscription to the LANDR Studio suite, which includes auto-mastering, music distribution, online collaboration tools, samples and plugins. Users can also take advantage of an additional five free masters after this trial has expired.
The expanded Hitmaker Expansion Bundle is available to anyone who registers a Scarlett (3rd Gen), Clarett+, Clarett USB or Red interface after 1 October 2022.
In addition, anyone who buys a Scarlett (3rd Gen or, Clarett+ audio interface can get a three-month subscription to Avid’s Pro Tools Artist and the Avid Complete Plugin Bundle (opens in new tab), plus discounts after this ends. Specifically, there’s 25% off Pro Tools Artist or an annual subscription or 33% off Pro Tools Studio.
You can find out more about both of these offers on the Focusrite (opens in new tab) website.
I’m the Group Content Manager for MusicRadar, specialising in all things tech. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 
Recording vocals – the fundamental principles
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See Cincinnati Public Radio’s new mass timber studio for Evanston  The Cincinnati Enquirer
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Photo: Rachel Choi
Illustration by Rachel Choi.
By Dionna Santucci
November 2, 2022
Within the first few months of her freshman year at Emerson, Taj Dharmadji released two singles, one of which dropped the first day of orientation week. Now, a year later, she embodies the quintessential “Emerson Musician,” as she and others in the same boat navigate making music in Emerson’s non-music-focused setting.  
Dharmadji, a sophomore theater and performance major, says ideas for new music come to her at the most inconvenient times—particularly when she’s supposed to be focusing on a lecture. Her music video shoots are purposefully scheduled around the weekends when she doesn’t have to worry about missing class, and her team of videographers and directors comprises fellow Emerson students. 
“Maybe music school would be a lot easier because everybody around you is doing the same thing,” Dharmadji said. “But here I could be a writer who also makes music or vice versa.” 
While Emerson isn’t a music school, the student body has its fair share of singers, songwriters, instrumentalists, and aspiring music critics—and that group may be growing.
“There’s so many musically talented people here…[musicians] are bound to find connections with people that have passions directed towards music,” Dharmadji said. 
Those unfamiliar with Emerson don’t need to spend a lot of time on campus to get a feel for its love of music. It isn’t uncommon to hear the familiar sound of a bass or acoustic guitar traveling down the Little Building lightwells or to see students lugging around instruments and recording equipment. 
“A lot of people at Emerson love music, and a selective amount of students at Emerson release music,” said Kendel Dawson, a junior visual media arts major. “The vibe I’ve been getting is that even if we all don’t know each other here, we’re always down to support each other.” 
Dawson, who goes by the artist name KD Sizzle, makes music in his dorm room. Between his schoolwork and his job as a resident assistant, he freestyles and brainstorms projects with like-minded friends. When he’s back in his hometown of Camden, DE, he has a friend who helps him produce his music. At Emerson, however, the burden of production falls on him alone. 
“I can’t pay anyone to produce for me…so being [at Emerson] challenges me to get better at producing my own music,” he said. “But with all of the other commitments I have as an active member of the Emerson community, it’s hard to find some downtime to work on the production side of things.” 
Currently, Emerson does not offer any form of music or audio production major. There are a few music-related tracks students can choose from, like the notoriously-exclusive Musical Theater BFA or the Music History and Culture minor. Look close enough at Emerson’s vast catalog of course listings, and you might see something like “Mathematics of Media, Music, and Art,” a sound mixing course, or other varying liberal arts requirements that might happen to entail music and audio as a whole. However, a comprehensive music-based education—in production, writing, recording, or all of the above—is not available at Emerson. 
Some students would like to see more opportunities to study music at Emerson and are surprised the school hasn’t taken the opportunity to profit from this demographic further. 
“There’s so many opportunities to do music-related things at Emerson, but for a school full of artists [Emerson] should at least have some sort of music production major or minor,” Dawson said. 
This lack of proper music education isn’t a fault of Emerson’s—the college has never claimed to be a music school—and those attending or hoping to attend know this, for the most part. Yet, despite the impracticality of it all, students continue to seek opportunities to further their careers in the music industry within the confines of their dorm rooms. 
Vritika Thadhani, aka Baby Face, recalls recording the vocals for her debut EP “Sittin in 317” underneath a blanket in her Little Building dorm room. 
“I know that sounds silly, but if you set [the recording equipment] up and you put something over you, it’s going to block out that outside noise,” said the sophomore marketing communications major. 
While finding a quiet space to record may be the most difficult part of being an Emerson musician, renting equipment to create music is relatively easy for those that know where to go, according to Thadhani. 
Thadhani, who also works in Information Technology User Services, said the department rents out all kinds of audiovisual equipment including microphones, speakers, and audio mixers. 
“We’re fully decked,” Thadhani said after listing off the various equipment she rented from User Services to help her record “Sittin in 317.” 
Emerson’s organizations are a driving force behind the thriving music culture that buzzes throughout the community. Both Emerson-affiliated and non-affiliated, these groups seek to make it easier and more accessible for students to hone their musical craft through experience and building connections. 
Beat Dynamics, Emerson College’s only music video student organization, films and produces at least one student’s music video every semester. The Déjà Me Project, a collaborative effort between Berklee and Emerson students, showcases up-and-coming artists and creatives in the Boston area. Musicians Wanted, an Emerson-produced music TV series, platforms Emerson musicians through filming and uploading concert-interview style videos similar to NPR’s Tiny Desk series. 
“We are trying to give more opportunities for the students to understand the importance of music and audio production while giving Emerson musicians or local artists a chance to promote themselves,” said Annie Chen, one of the executive producers of Musicians Wanted. 
Emerson’s large population of VMA majors has proven to be just as helpful to musicians when it comes to producing their work, even though only a small percentage of students specialize in audio.
“Emerson isn’t a music-focused school like Berklee, [but] it opens up a thousand other possibilities because you’re working with filmmakers and business people,” Chen explained. “The vibrant music culture at Emerson relies on this synergy between diverse fields you wouldn’t find elsewhere.” 
Dharmandji, who’s worked with both Beat Dynamics and Musicians Wanted, confirmed this symbiotic culture between musicians and other creatives at Emerson. 
“These organizations are really good ways for musicians to showcase their music, and people that are into film and directing are not only helping musicians but can [also] create something using their passions,” she said. 
The mutually beneficial relationships between organizations and musicians demonstrate that at Emerson, building your musical brand is all about who you know. Dawson said he’s tapped into the talents of fellow VMA majors for many of his personal projects.
“You and those people you form connections with can help each other to reach heights you thought were unattainable,” Dawson said.
Dharmandji also stressed the importance of word-of-mouth when it comes to marketing yourself. 
“It’s definitely just been a lot of making friends with specific people or someone hearing about me from a mutual friend,” she explained. “There’s this simplicity of just finding people who make music and also want to meet with you.”
Thanks to Boston’s wealth of higher education institutions, Emerson students can compensate for the college’s lack of a music production curriculum by befriending and acquainting themselves with the scene of nearby schools. Next semester, Thadhani is studying abroad with Berklee Valencia—Berklee’s international campus in Spain— in hopes of filling the current gaps in her musical knowledge. 
“They have the best music business school there, and I’m taking that opportunity,” she said. “I’m just beyond excited to be at a school like [Berklee Valencia].” 
Some students prefer to promote their music outside of the academic bubble, choosing instead to focus on getting their foot in the industry’s door on a larger scale. 
“I’m trying to do some house shows and performances away from the Emerson campus to spread my name throughout the city,” Dawson said. 
Although Emerson isn’t a music school, some students plan accordingly to link their major and musical interests. 
“The reason I came here is to get my marketing communications degree at an art school. I’d be able to get my degree while still being able to make music,” Thadhani said. “I can write, I can sing, I can produce, and I can market myself. At the end of the day, I’m not paying royalties to somebody else.” 
It’s not only the musicians that make up the culture on campus. Music fanatics among the student body come together to contribute to Emerson’s lively and welcoming music scene. 
“I love the people at Emerson because they’re all so supportive,” Dawson said. “There’s times when I’ll see some people I’ve hardly had conversations with and they’ll be like, ‘I love your music,’ and it’s a great feeling. There’s [also] a bunch of open mic nights and different opportunities to perform so being able to take advantage of them is major.”
Emerson doesn’t offer an illustrious music program, but those that are committed to making the most of their musical talents can still have doors opened to meaningful experiences and opportunities without the added stress of having to submit their next single or composition for a grade. 
Many of the musicians at Emerson focus on the fun and expression that comes with making and performing music rather than being well-known. 
“I’ve been able to gain some really cool connections [at Emerson], and hopefully, those will work out in the future. But I’m just having fun right now,” Dharmandji said. 
A hardworking and close-knit bunch, the students of varying areas of expertise that make up Emerson’s music culture have a knack for perseverance. Whether it’s an EP release on the first day of finals or getting a take that’s just right when you share a room with two other people, there’s no challenge an Emerson musician hasn’t faced. 
It may be because of this supportive community that more students have been flocking to the music scene at Emerson over time, according to students. Those familiar with the ins and outs of Emerson’s somewhat-underground music scene seem to agree there’s been a notable influx in the number of people actively participating in the culture. 
“We’re navigating uncharted waters, but we’re also kind of making history for our music environment here,” Thadhani said. 
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[Report Pages No 101] In 2022, What is “DJ Software Market” Insights?
In 2022, the growth of DJ Software Market is projected to reach Multi-million USD by 2026, In comparison to 2021, Over the next Seven years the DJ Software Market will register a magnificent spike in CAGR in terms of revenue, In this study, 2021 has been considered as the base year and 2022 to 2026 as the forecast period to estimate the market size for DJ Software.
Get a Sample PDF of report – https://www.marketgrowthreports.com/enquiry/request-sample/18104129
DJ Software Market Insights 2022 With “DJ Software market revenue was Million USD in 2016, grew to Million USD in 2020, and will reach Million USD in 2026, with a CAGR of % during 2020-2026.” Including Types (Controllers, Mixers, Turntables and Related Accessories), Applications (Personal, Commercial), Regions and Forecast to 2026. The DJ Software Market Report Contains Full TOC, Tables and Figures, and Chart with In-depth Analysis Pre and Post COVID-19 Market Outbreak Impact Analysis and Situation by Region. DJ Software Market research report is an analysis report that gives you an insight into the future and the future of business. The factual information and data contained in this report will allow you to identify the key features of the DJ Software Market that drive, revenue and growth potential.
During the COVID-19 period, the global economy may be affected in three different ways: directly as it relates to production and demand, indirectly as it relates to supply chains and markets, and as a result of its financial consequences on firms and financial markets. Analysts monitoring the situation around the world explain that producers will be rewarded after the COVID-19 crisis. In this report, we provide an additional illustration of the latest economic slowdown, COVID-19 impact on the industry, and the latest scenario.
Final Report will add the analysis of the impact of COVID-19 on this industry.
TO KNOW HOW COVID-19 PANDEMIC AND RUSSIA UKRAINE WAR WILL IMPACT THIS MARKET – REQUEST SAMPLE
Technological innovation and advancement will further optimize the performance of the product, enabling it to acquire a wider range of applications in the downstream market. Moreover, customer preference analysis, market dynamics (drivers, restraints, opportunities), new product release, impact of COVID-19, regional conflicts and carbon neutrality provide crucial information for us to take a deep dive into the DJ Software Market.
Get a Sample PDF of report – https://www.marketgrowthreports.com/enquiry/request-sample/18104129
The research covers the current Rectifiers market size of the market and its growth rates based on 6-year records with a company outline of Key Players/Manufacturers:
DJ Software Market Analysis and Insights:
The Global DJ Software Market is anticipated to rise at a considerable rate during the forecast period, between 2022 and 2026. In 2021, the market is growing at a steady rate and with the rising adoption of strategies by key players, the market is expected to rise over the projected horizon.
DJ Software is the application that DJs use when they want to use a computer to play their music.DJ software have the following applications, such as personal and commercial. And personal was the most widely used area.
The DJ Software market revenue was Million USD in 2016, grew to Million USD in 2020, and will reach Million USD in 2026, with a CAGR of % during 2020-2026.
Global DJ Software Market Development Strategy Pre and Post COVID-19, by Corporate Strategy Analysis, Landscape, Type, Application, and Leading 20 Countries covers and analyzes the potential of the global DJ Software industry, providing statistical information about market dynamics, growth factors, major challenges, PEST analysis and market entry strategy Analysis, opportunities and forecasts. The biggest highlight of the report is to provide companies in the industry with a strategic analysis of the impact of COVID-19. At the same time, this report analyzed the market of leading 20 countries and introduce the market potential of these countries.
Get a Sample Copy of the DJ Software Market Report 2022
The report further studies the market development status and future DJ Software Market trend across the world. Also, it splits DJ Software Market Segmentation by Type and by Application to fully and deeply research and reveal market profile and prospects.
On the basis of product type this report displays the production, revenue, price, market share and growth rate of each type, primarily split into:
On the basis of the end users/applications, this report focuses on the status and outlook for major applications/end users, consumption (sales), market share and growth rate for each application, including:
Chapters 7-26 focus on the regional market. We have selected the most representative 20 countries from 197 countries in the world and conducted a detailed analysis and overview of the market development of these countries.
SOME OF THE KEY QUESTIONS ANSWERED IN THIS REPORT:
Inquire more and share questions if any before the purchase on this report at – https://www.marketgrowthreports.com/enquiry/pre-order-enquiry/18104129
Major Points from Table of Contents –
Global DJ Software Market Research Report 2022-2026, by Manufacturers, Regions, Types and Applications
1 Introduction
1.1 Objective of the Study
1.2 Definition of the Market
1.3 Market Scope
1.3.1 Market Segment by Type, Application and Marketing Channel
1.3.2 Major Regions Covered (North America, Europe, Asia Pacific, Mid East and Africa)
1.4 Years Considered for the Study (2017-2026)
1.5 Currency Considered (U.S. Dollar)
1.6 Stakeholders
2 Key Findings of the Study
3 Market Dynamics
3.1 Driving Factors for this Market
3.2 Factors Challenging the Market
3.3 Opportunities of the Global DJ Software Market (Regions, Growing/Emerging Downstream Market Analysis)
3.4 Technological and Market Developments in the DJ Software Market
3.5 Industry News by Region
3.6 Regulatory Scenario by Region/Country
3.7 Market Investment Scenario Strategic Recommendations Analysis
4 Value Chain of the DJ Software Market
4.1 Value Chain Status
4.2 Upstream Raw Material Analysis
4.3 Midstream Major Company Analysis (by Manufacturing Base, by Product Type)
4.4 Distributors/Traders
4.5 Downstream Major Customer Analysis (by Region)
Get a Sample Copy of the DJ Software Market Report 2022
5 Global DJ Software Market-Segmentation by Type
6 Global DJ Software Market-Segmentation by Application
7 Global DJ Software Market-Segmentation by Marketing Channel
7.1 Traditional Marketing Channel (Offline)
7.2 Online Channel
8 Competitive Intelligence Company Profiles
9 Global DJ Software Market-Segmentation by Geography
9.1 North America
9.2 Europe
9.3 Asia-Pacific
9.4 Latin America
9.5 Middle East and Africa
10 Future Forecast of the Global DJ Software Market from 2022-2026
10.1 Future Forecast of the Global DJ Software Market from (2022-2026) Segment by Region
10.2 Global DJ Software Production and Growth Rate Forecast by Type (2022-2026)
10.3 Global DJ Software Consumption and Growth Rate Forecast by Application (2022-2026)
11 Appendix
11.1 Methodology
12.2 Research Data Source
Continued….
Browse complete table of contents at –
https://www.marketgrowthreports.com/TOC/18104129#Tables
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About Us:
Market is changing rapidly with the ongoing expansion of the industry. Advancement in the technology has provided today’s businesses with multifaceted advantages resulting in daily economic shifts. Thus, it is very important for a company to comprehend the patterns of the market movements in order to strategize better. An efficient strategy offers the companies with a head start in planning and an edge over the competitors. Market Growth Reports is the credible source for gaining the market reports that will provide you with the lead your business needs.
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For More Related Reports Click Here :
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Electric Vehicle Battery Cell Market 2022 Industry Growth, Competitors Analysis, New Technology and Forecast 2026
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To view the original version on The Express Wire visit DJ Software Market to Witness Huge Growth by 2026- Report Spread across 101 Pages

Celebrity owners range from Justin Bieber to Madonna and Gwyneth Paltrow.
Election misinformation is spreading on TikTok ahead of the US midterms despite the company’s policies.
British researchers announced Friday they have cured a man who was continually infected with Covid for 411 days.
276,000 US vehicles have dangerous Takata airbags that have been recalled but were never repaired.
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This video can not be played
WATCH: Security forces clash with protesters in Iran as people go to mourn Nika Shakarami
Three demonstrators have been killed during clashes with Iranian security forces in the western town of Mahabad, state media has reported.
The protesters reportedly targeted government buildings after attending the memorial ceremony of a man killed during unrest in the country.
Security forces also reportedly opened fire at a cemetery near Khorramabad.
Rights group Amnesty International says security forces have killed eight people since Wednesday.
Unrest has rocked the country since Mahsa Amini died in police custody 40 days ago after allegedly wearing her Islamic headscarf "improperly".
Officials in Mahabad accused "terrorist-separatist groups" of inducing demonstrators to attack government facilities in the town, and accused protesters of attacking "political and security centres with the aim to occupy them".
State media has not identified the victims, but the opposition outlet Hengaw reported that a man and two women had died after being shot by security forces. The BBC cannot independently verify these allegations.
Several hundred people had reportedly gathered around the municipal governor's offices in the largely ethnically Kurdish town, but state media insisted police had the situation under control, and denied reports that the city had "fallen" to unrest.
Meanwhile, in Khorramabad – also in western Iran – demonstrators had gathered at the cemetery to mourn Nika Shakarami, who disappeared soon after Ms Amini's death and became another symbol of the protest movement.
Videos from Khorramabad showed protesters chanting anti-state slogans including "down with the dictator", a reference to Iran's supreme leader, Ayatollah Khamenei.
Security forces opened fire on the protesters, a source close to her family told BBC Persian.
On Wednesday night, tens of thousands of people had taken to the streets in major cities, as well as other places where demonstrations had subsided recently.
It is the most serious challenge to the Islamic Republic since its inception.
The Islamic Republic of Iran has seen protests before. But not like this.
The authorities are still trying to dismiss and discredit them as "rioters influenced by foreigners".
It's hard to square that with extraordinary images of teenage schoolgirls rejecting obligatory headscarves, of women of all ages walking bare-headed in public spaces.
It's hard, too, to see Iran returning to days where so-called morality police can police women's dress the way they've done for decades.
This is now about more, much more, than what women wear.
In the past, major uprisings have fizzled out, or were forcibly suppressed, after months of unrest. But, with every week, this wave seems to strengthen.
The full force of Iran's security apparatus has yet to be unleashed. The authorities will do whatever it takes to preserve the Islamic Republic.
But Iran's protesters, especially a new generation of women and men, also seem ready to do whatever it takes to change their lives, and much more.
Norway-based Iran Human Rights says at least 234 protesters, including 29 children, have been killed by security forces in crackdowns so far. Iran's leaders have portrayed the unrest as "riots" fomented by foreigners.
Footage posted on social media and verified by the BBC show widespread protests on Wednesday night.
Other cities, such as Andimeshk and Borujerd in the west, and Lahijan, near the Caspian Sea in the north, also saw a resurgence of protests.
The upsurge came after a day on which police are reported to have opened fire on protesters in Saqqez, home city of Ms Amini.
Thousands had gathered to mark 40 days since her death. A rights group and witnesses said officers fired live rounds and tear gas at the crowds in the city. Numbers of casualties are not known.
A huge crowd marches in the city of Borujerd, Lorestan province, tonight. The banner held by protesters reads "We'll avenge you, dear Nika", referring to Nika Shakarami, 16, from Lorestan, who was killed early on in the protests.#مهسا_امینی #MahsaAminipic.twitter.com/hMJujB1U9d
"The society is very angry. We had enough of them [Iranian leadership]," a 27-year-old female protester in Karaj, close to Tehran, told BBC Persian.
"I want to have the right to say no to these people. I'm tired of being a second-class citizen. Because I am a woman. Men are tired of the intimidations by the regime. This is the first time in the history of our country that we stand together for a goal which is woman, life and freedom."
Protests swept across Iran after Ms Amini, 22, died on 16 September.
She had been detained three days earlier by the morality police in Tehran and fell into a coma after collapsing at a detention centre.
There were reports that officers had beaten her with a baton and banged her head against a vehicle, but police denied she had been mistreated and said she had suffered a heart attack.
The BBC and other independent media are banned from reporting from inside Iran, making state media and other reports hard to verify. Authorities have also heavily disrupted the internet, hampering the ability of protesters to post on social media.
This video can not be played
The BBC has mapped how the death of Mahsa Amini sparked widespread unrest in Iran
Iran police fire on Mahsa Amini mourners – witnesses
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The generations of Iranian women fighting for freedom
The protest videos Iran doesn't want the world to see. Video, 00:04:01The protest videos Iran doesn't want the world to see
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Putin endorses evacuations from occupied Kherson
Russians said they’d take my baby: A medic’s story
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Influencer cleans people's homes for free. VideoInfluencer cleans people's homes for free
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© 2022 BBC. The BBC is not responsible for the content of external sites. Read about our approach to external linking.

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FOR IMMEDIATE RELEASE
Sunday, October 30th, 2022
“When you see a broken table in Orchard Park, it can only mean one thing: Bills Mafia is absolutely ready to roll.” – Maria Taylor on the atmosphere at Highmark Stadium
“My coach in Pittsburgh, Chuck Noll, always said champions do the ordinary things better than everybody else, and that’s what I’m seeing with Josh Allen this year.” – Tony Dungy
“Talk about impressive all year long. We’ve been banging this drum…They’ve been the best team, they’re the most complete team.” – Jason Garrett on the 7-0 Eagles
“This is the second-best team in the NFC…they showed their explosive ability on offense today.” – Chris Simms on the Cowboys
Peacock Sunday Night Football Final Streams EXCLUSIVELY on Peacock Following Every Sunday Night Football Game During 2022 Season
STAMFORD, Conn. – Oct. 30, 2022 – NBC Sports’ presentation of Week 8 of the 2022 NFL season began tonight from Highmark Stadium in Orchard Park, N.Y., with Football Night in America leading into coverage of Josh Allen and the Buffalo Bills facing Aaron Rodgers and the Green Bay Packers on Sunday Night Football on NBC, Peacock and Universo.
Football Night in America was hosted by Maria Taylor, who was on site in Buffalo along with Hall of Fame head coach Tony Dungy, fantasy sports industry pioneer Matthew Berry, and co-host Jac Collinsworth. Co-hosting from NBC Sports’ Studio 1 in Stamford, Conn., was Ahmed Fareed, who was joined by former Cowboys head coach Jason Garrett, former NFL quarterback Chris Simms and NFL Insider Mike Florio.
In advance of tonight’s game, Buffalo safety Jordan Poyer spoke with NBC Sports’ Michael Smith and discussed his road trip to the Bills’ Week 6 game in Kansas City after he wasn’t medically cleared to fly due to injury. Click here for a link to the entire interview.
Jac Collinsworth also spoke with WWE superstars Omos and MVP from outside Highmark Stadium.
Mike Tirico (play-by-play), Cris Collinsworth (analyst), Melissa Stark (sideline reporter) and Terry McAulay (rules analyst) are calling tonight’s game. Tirico also reported from the field during FNIA.
***
Following are highlights from tonight’s edition of Football Night in America on NBC and Peacock:
ON BILLS
Taylor on the atmosphere at Highmark Stadium: “When you see a broken table in Orchard Park, it can only mean one thing: Bills Mafia is absolutely ready to roll. And to be honest, there is nothing in the NFL quite like a Bills home game.”
Simms: “I think they’re one of the best teams in football along with the Philadelphia Eagles. We knew they had the best quarterback in the game along with (Patrick) Mahomes, but I think the other thing you look at is their defense is different this year. Last year it was No. 1 in football, but it was really a paper defense. This year, they legitimately have a front four that’s scary, along with a lot of other parts that make them a legit in-reality No. 1 defense.”
Dungy on Allen: “My coach in Pittsburgh, Chuck Noll, always said champions do the ordinary things better than everybody else, and that’s what I’m seeing with Josh Allen this year…We’re seeing (fundamentals)…but of course, when you need an extraordinary play, this guy can do it as well as anybody.”
Garrett on Allen: “To me, he’s Roy Hobbs from The Natural. We talked about Aaron Rodgers making it look easy – this guy makes it look easy. We’ve seen these amazing plays he’s made from year one, but the maturity level is the thing for me. He sees the field, he goes through his progressions, he makes great decisions time and time again.”
Dungy on LB Von Miller: “A leader on the field, a leader off the field, but what he has brought is that, ‘We can get pressure, we don’t have to blitz, we can use our seven coverage guys and mix things up and we’re going to get that quarterback throwing fast because of Von.’”
Bills S Jordan Poyer to Michael Smith on driving from Buffalo to Kansas City to play in Week 6: “I didn’t do it for [anybody] else but those guys. But at the same time, I’ll be able to look back at this and know that I did everything I could to help this team win football games…The trip was smooth, we had a good time, but I’ll never do it again (laughs).”
Bills LB Von Miller to Smith on Poyer’s travel: “The Jordan Poyer that I know, he didn’t want to let his teammates down. Fifteen, 16 hours in a van to go play a football game? That just shows you the type of guy that he is.”
ON PACKERS
Dungy on the Packers’ offensive struggles: “I think it starts up front. I don’t think (Rodgers) has confidence in his offensive line and has moving parts in and out. Haven’t run the ball as effectively, so that’s put a lot more pressure on the passing game, and they aren’t getting anything down the field.”
Dungy on the Packers’ offense: “When they’ve really been good in Green Bay, they’ve been balanced. They’re not running the ball as much…they’ve got to get back to that running game. They’ve got to make some big plays up the field…I think Aaron Rodgers has to take this ball up the field more. That’s not the Aaron Rodgers we’re used to seeing.”
Garrett on Rodgers: “I’ve never seen a guy playing the quarterback position make it look easier than Aaron Rodgers. The guy is Superman, it’s like recess out there. That’s not what’s happening right now – it looks like a struggle. The challenge for him is take the young offensive linemen, take the young receivers, and reach down and lead them and try to bring them to his level. He’s done that throughout his career.”
ON EAGLES
Garrett: “Talk about impressive all year long. We’ve been banging this drum…They did it in all phases today…They’ve been the best team, they’re the most complete team.”
Garrett on QB Jalen Hurts: “Nobody throws the deep ball better than this guy. You leave A.J. Brown by himself in press coverage, he’s going to wear you out.”
ON COWBOYS
Simms on the Cowboys: “This is the second-best team in the NFC…they showed their explosive ability on offense today. Dak Prescott on third downs, the ability to push the ball down the field to (Michael) Gallup and CeeDee Lamb, it opened up the run game, big plays for (Tony) Pollard. I thought Dallas looked really good.”
Garrett on the Cowboys’ offense: “I simply loved how (offensive coordinator) Kellen Moore dressed it all up with some motion and some formation…When Dak gets out in space, he sees well, he can deliver strikes. Great balance throughout, and he was orchestrating it all.”
Simms: “They’ve got everything on offense. We know the defense can make plays. Offensively, they got weapons at receiver that are hard to match up with. Then you add in the Tony Pollard thing at running back and it makes them scary – and Dak (Prescott), I think he’ll get better and better as the season goes on here.”
Garrett on LB Micah Parsons: “Micah’s got elite ability, rare skills. What I love most about him is the relentlessness…The spirit that he brought to that defense, it’s incredible. It’s contagious.”
ON 49ERS
Simms: “I think the 49ers are a team to watch out for. They’re not healthy, (but) I think we would look at them and go they are one of the teams that could challenge maybe the Eagles as one of the better teams in the NFC.”
Simms on RB Christian McCaffrey: “This is why they traded for this guy, he’s dangerous in all facets of the game, he’s a homerun hitter. This is a team we know that likes to run the football and throw to the running back out of the backfield, and we saw the full variety of the (Kyle) Shanahan system using McCaffrey…Watch out. They’re going to have everybody’s heads going in every which direction. They’ll be dangerous.”
Garrett on McCaffrey: “Talk about a guy doing it all. Credit to John Lynch and Kyle Shanahan to go get this guy. Recognized the environment, where we are as a team, we need to get guy like this. They bring him in, they get him in the mix right away. He was the difference in this ballgame today.”
ON VIKINGS
Simms on the Vikings: “They’re good…Minnesota is just on the outside of Philadelphia and Dallas (of the being the best teams in the NFC).”
ON DOLPHINS
Simms on the Dolphins’ offense: “They’ve got it all going. They’re creative on that side of the ball, they can run the ball, (Tua Tagovailoa) is wheeling and dealing, and then of course those two receivers (Tyreek Hill and Jaylen Waddle) are scary.”
OM SEAHAWKS
Simms on the Seahawks and QB Geno Smith: “One of the best stories of the NFL season so far…Nobody would’ve guessed this guy is tearing up the league. Geno Smith, just throwing dimes all over the place.”
Simms on if rookie RB Kenneth Walker III is already among the best running backs in the NFL: “I think he’s in that conversation.”
ON TITANS
Garrett on RB Derrick Henry: “Handed to this guy 32 times in the game, and why not? Again and again and again, it’s a great formula for the Titans.”
Simms on the Titans: “It’s amazing what they did today. The defensive line dominated, (Henry) dominated. Me and Jason Garrett could play quarterback for that team!”
ON RAMS
Florio on Rams WR Cooper Kupp’s injury suffered in the Rams’ loss to the 49ers: “He suffered an ankle injury and limped off the field with about a minute left and down 17. After the game, coach Sean McVay said he’s not sure of the severity but he’s kicking himself for not running the ball in that spot. Kupp was spotted in the locker room after the game with his ankle wrapped, he was limping. He told reporters that he has to see how the ankle responds in the next few days, but he believes for now he may have dodged a bullet.”
ON COMMANDERS
Simms on QB Taylor Heinicke’s game-winning drive: “Unbelievable, just hangs around and then it’s the fourth quarter and it’s Heinicke time.”
ON JETS
Garrett on QB Zach Wilson’s performance in the Jets’ loss to the Patriots: “One of the biggest things for a young quarterback to learn is don’t turn a bad play into a disastrous play…He was too frivolous with the ball, and it came back to bite him. That was the difference – New England taking the ball away and poor decisions by Zach.”
Simms on Wilson: “It wasn’t a good day. They were on a four-game win streak because they’ve been smart, playing team football, defense, let’s run it, let’s take care of the ball and not throw risky passes down the football field. This looked like rookie Zach Wilson.”
ON CARDINALS
Garrett on Cardinals WR DeAndre Hopkins’ impact on the offense: “What a difference (DeAndre) Hopkins made coming back. Twelve catches today, he was all over the place. Ignited that Cardinals offense.”
ON UPCOMING NFL TRADE DEADLINE
Florio on the Cowboys: “There are plenty of names out there at the receiver position, but the Cowboys won’t likely want to give up a lot to get one. Here’s a name to watch: Cedrick Wilson. Plays for the Dolphins, used to play for the Cowboys. Not playing much in Miami, maybe could be coming back to Dallas.”
Florio on the Broncos and Saints: “Bradley Chubb…there’s been a lot of talk about him being traded, but the Broncos won today and that could end the trade speculation. Same thing for Alvin Kamara, the Saints running back. Chatter about him being traded, Saints win, they’re very much alive in the NFC South. I spoke with Cam Jordan, the Saints’ pass rusher, after the game and he said that he said to Alvin Kamara, ‘Are you worried about being traded?’ And he said, ‘Whatever happens, I’m bleeding black and gold.’”
***
Peacock Sunday Night Football Final, an NFL post-game show produced by NBC Sports, streams exclusively on Peacock following every Sunday Night Football game during the 2022 season. The show is hosted by NBC Sports commentators Kathryn Tappen and Chris Simms, who provide instant reactions to each Sunday game along with highlights and interviews. Football Night in America co-host Jac Collinsworth and analyst Rodney Harrison also provide recaps and insights into the day’s biggest moments from the site of each week’s SNF game. NFL Insider Mike Florio provides injury and news updates. Matthew Berry provides fantasy football analysis and an early look at the fantasy waiver wire.
— Football Night in America —
Well, the MLB CBA seems to be working for some people
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Matt Nagy ready to turn page on chaotic Week 12. https://t.co/lDqshfrveE
Kevin Stefanski won't give up Browns' play calling. https://t.co/Jw6ZEwOntg
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RT @GolfChannel: Lee Elder: A true trailblazer that made a lasting impact on the game of golf. (📸 via IG/beyondthefairway) https://t.co/hN…
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