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It’s been 9 days since Flightline capped an undefeated career with one of the most impressive Breeders’ Cup performances in the 39-year history of the storied event.
See who is fastest early with the Pace Report
Since then, Flightline has retired, had a share (2.5 percent) sold on a $184 million valuation, announced with a $200,000 stud fee, and had his place in the history of the turf debated ad nauseum.
I promised myself I’d wait on the historical comparisons. He’s certainly worthy of them, but there’s just something about enjoying the moment with a horse like this that I worried comparing him to Secretariat might bastardize.
And a key word when talking about Flightline is “moment.” Not because of the brevity of his career, but because of the brevity in which he dispatched his competition.
This. Horse. Never. Faced. A. Challenge.
Unless you count those of his own doing like not breaking from the starting gate all that well. But “when the real running started” as The Saratoga Special‘s Tom Law is prone to say, the race was over in a moment.
I’m reminded of another term that I borrowed from the GOAT Tom Durkin for the headline: Devastating Ease. That was how Durkin described Cigar’s 1996 Donn Handicap win (thank you Jason Beem for refreshing my memory on that). It could easily be used to describe how he won each of his six races.
Is he better than Ghostzapper or Cigar or Spectacular Bid or Secretariat? I do have my thoughts on that, but for now I’m happy just knowing that I saw something we’re very unlikely to ever see again. Horses rarely win like this. And Flightline did. Every time.

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DALLAS, Nov. 14, 2022 (GLOBE NEWSWIRE) — Toll Brothers Apartment Living®, the rental subsidiary of Toll Brothers, Inc. (: TOL), the nation’s leading builder of luxury homes, and joint venture partner Pondmoon Capital, announce the grand opening of Ferro, the firm’s new four-story, 379-unit luxury apartment community in Plano, a northeast suburb of Dallas. Ferro’s construction, financed with a $46 million loan from Santander Bank, commenced in 2020 and was completed in spring 2022, with first occupancy of residents in May 2022.
The firm recently hosted a grand opening celebration at the community, where more than 50 senior executives from Toll Brothers, Ferro’s development partners and consultants, and local elected officials attended a private reception and toured the property. Afterward the celebration continued with a party for more than 200 current and prospective residents of the community.
“We are thrilled to partner once again with Pondmoon Capital and Santander Bank on another extraordinary project,” said Charles Elliott, President of Toll Brothers Apartment Living. “Ferro is our fourth rental community to open its doors in Dallas-Fort Worth and reflects our conviction in the attractiveness of the North Texas market.”
Designed by GFF, Ferro is situated on a nearly five-acre site spanning two blocks located south of downtown Plano at 11th Street and Avenue K. The luxury mid-rise apartment community includes a mix of studio, one-, and two-bedroom floor plans spread throughout two buildings, with an elevated walkway connecting the two buildings on each side of 11th Street. The community also includes a structured parking garage with 476 spaces, which includes EV (electric vehicle) charging stations and storage solutions for residents.
“Toll Brothers Apartment Living strives to deliver the most thoughtful rental offerings available in every market in which we operate and Ferro is no exception, providing the same quality, luxury, and service for which Toll Brothers is already known nationwide,” said Tommy Rhodus, Texas Regional Director of Acquisitions & Development for Toll Brothers Apartment Living. “From the quality of its materials to its exceptional amenity offerings, we believe Ferro will raise the bar for the rental luxury living experience in Plano and North Texas.”
Ferro boasts approximately 13,500 square feet of interior and exterior amenity space, which includes a double-height hospitality lobby, Package Concierge® lockers and oversized package room with cold storage, a fitness center with strength, cardio, and flex studios featuring state-of-the-art equipment such as Peloton®, a resident lounge featuring a complimentary coffee bar, an interactive gaming lounge with billiards and bar seating, a community library, a maker space, a resort-style pool with cabanas, an outdoor amphitheater, a dog park and fully equipped pet spa, private courtyard lounges featuring lawn games and grills, a bike repair and storage area, and community-wide Wi-Fi.
Residences feature smoked oak-style flooring in living areas, quartz countertops and designer tile backsplashes, European-style cabinets, Whirlpool® stainless steel appliances and undermount sinks, upgraded fixtures and hardware, designer light fixtures, large soaking tubs and stand-up showers, stone-look bathroom flooring with designer tile, plush textured carpeted bedrooms, large walk-in closets, in-residence Wi-Fi, and smart home features including Latch keyless entry and smart thermostats. Select residences also include built-in dry bars, double bathroom vanities, oversized showers with benches and rainfall showerheads, and private balconies.
Ferro is located within a 10-minute walk to downtown Plano and is steps away from the forthcoming 12^th Street Dallas Area Rapid Transit (DART) station, which provides convenient light-rail access to job centers in Plano, Richardson, and downtown Dallas, as well as access to the new Silver line, with connections to DFW airport, Addison, Carrolton, and more. Ferro is also convenient to major employment centers with easy access to US 75 and the President George Bush Turnpike, including the North Central Expressway/US 75 corridor located in nearby Richardson, which is occupied by several top-tier employers. Close to endless green spaces, cultural attractions, and walkable streets replete with acclaimed retail and dining opportunities, residents will also be able to take advantage of walkable Downtown Plano and the prominent Historic Downtown Plano Arts District.
Ferro is the fourth project completed by Toll Brothers Apartment Living in Texas, following Kilby in Frisco and Westerly in Dallas, both of which were sold in 2020 and 2021 respectively, and Aster, Toll Brothers Apartment Living’s flagship 22-story high-rise in Dallas’s Turtle Creek neighborhood, which hosted its grand opening celebration in early 2022. The firm has also broken ground on five more projects in North Texas, including Whitlow in Lewisville, Lyle in Dallas, Settler in Fort Worth, Remy in Frisco, and Peregrine in Irving.
For more information about Ferro, visit LiveFerro.com.

About Toll Brothers Apartment Living®
Toll Brothers Apartment Living is the apartment development division of Toll Brothers, Inc. (: TOL), an award-winning FORTUNE 500 company, and the nation’s leading builder of luxury homes. Toll Brothers Apartment Living brings the same quality, luxury, and service for which Toll Brothers is known to its exceptional rental and mixed-use communities in select markets, including Atlanta, Boston, Dallas, Los Angeles, New York, Philadelphia, Phoenix, and Washington, DC. Toll Brothers Apartment Living communities combine the energy of vibrant locations with unparalleled amenities, resident services, design, and the expertise of America’s Luxury Home Builder®. In 2022, NMHC ranked Toll Brothers Apartment Living the 11th largest apartment developer in the United States. Today, the firm has developed nearly 8,500 units, has nearly 4,500 units under management, and controls a national pipeline of more than 20,500 units. For more information visit TollBrothersApartmentLiving.com.

About Toll Brothers
Toll Brothers, Inc., a FORTUNE 500 Company, is the nation’s leading builder of luxury homes. The Company was founded 55 years ago in 1967 and became a public company in 1986. Its common stock is listed on the New York Stock Exchange under the symbol “TOL.” The Company serves first-time, move-up, empty-nester, active-adult, and second-home buyers, as well as urban and suburban renters. Toll Brothers builds in over 60 markets in 24 states: Arizona, California, Colorado, Connecticut, Delaware, Florida, Georgia, Idaho, Illinois, Maryland, Massachusetts, Michigan, Nevada, New Jersey, New York, North Carolina, Oregon, Pennsylvania, South Carolina, Tennessee, Texas, Utah, Virginia, and Washington, as well as in the District of Columbia. The Company operates its own architectural, engineering, mortgage, title, land development, golf course development, smart home technology, and landscape subsidiaries. The Company also operates its own lumber distribution, house component assembly, and manufacturing operations.
Toll Brothers was named the World’s Most Admired Homebuilder in FORTUNE magazine’s 2022 survey of the World’s Most Admired Companies®, the seventh year it has been so honored. Toll Brothers has also been named Builder of the Year by Builder magazine and is the first two-time recipient of Builder of the Year from Professional Builder magazine. For more information visit TollBrothers.com.
©2022 Fortune Media IP Limited. All rights reserved. Used under license. Fortune and Fortune Media IP Limited are not affiliated with, and do not endorse the products or services of, Toll Brothers.

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At first, Misty Copeland thought the pain she was experiencing was shin splits. It was 2012, and, after 12 years with the American Ballet Theatre, Copeland, one of the few Black dancers in the company, had finally landed her first leading role in a classical work.
“I knew how critical this moment was for my career,” she says. “If I had gone to the artistic staff or the physical therapists and said, ‘I’m in a lot of pain,’ they would have removed me from the rehearsals. And I would not have been able to perform. And I knew that had that happened, I wouldn’t be given the opportunity again.”
So she pushed on, dancing the principal role in The Firebird, despite the fact that the pain was becoming increasingly severe. Finally, toward the end of the company’s season, Copeland was diagnosed with six stress fractures in her tibia — three of which were classified as “dreaded black line” fractures, meaning that there were almost full breaks through the bone.
When the first surgeon warned her that she might never dance again, Copeland was devastated. “It was just like my whole world came crashing down,” she says. “I felt mostly like I was letting down the Black community.”
As a Black woman, Copeland had heard for years that her skin color, her body and her hair didn’t conform to what ballerinas were supposed to look like. After finally opening a door in the ballet world to other dancers who looked like her, she didn’t want that door to slam shut because of an injury.
“I must have seen seven or eight surgeons before I found the one that said, ‘I see this injury in football players and basketball players that I operate on all the time and I can help you,'” she says. “And I said, ‘Let’s go.’ ”
Copeland wound up having surgery to insert a steel plate into her tibia. Eight months later, she was on stage again. She was still in pain, but it was bearable. In 2015, she became the first Black woman to become a principal dancer with the American Ballet Theater.
In her new memoir, The Wind at My Back: Resilience, Grace, and Other Gifts from My Mentor, Raven Wilkinson, Copeland chronicles the barriers she had to overcome to become a star in the ballet world. And she writes about her mentor, Raven Wilkinson, who, in 1955, became the first Black ballerina to receive a contract with a major ballet company, the Ballet Russe de Monte Carlo.
Back then, segregation was legally mandated in much of the South, and Wilkinson was not allowed to stay with the rest of the company in hotels or eat with them in restaurants. Ku Klux Klan members once stormed the stage of one of the company’s rehearsals, looking for her. Wilkinson eventually quit the company and continued her career outside of America with the Dutch National Ballet. Copeland credits Wilkinson with helping her bridge the gap between her on- and offstage lives.
“All that she had experienced and gone through and learned throughout the course of her life, she channeled into her performances,” Copeland says. “That was something that I hadn’t quite done before I met her — was connecting the person I was trying to become off stage to the person I was on stage. Being a representation for young Black and brown people on the stage. Being comfortable in my skin and having a voice … she kind of showed me that I could be all of those things off- stage as well.”

On experiencing homelessness as a kid and finding refuge in ballet
We were constantly moving [in with] people that I didn’t know that were friends of my mom’s. We were staying on their couches. It was literally from week to week, month to month that we were moving between people’s homes or between motels. It was really difficult to be in school. I felt that I couldn’t get close to anyone because I was so embarrassed about my home situation. I didn’t want anyone to know what was going on, whether it was the relationships my mom was in and the abuse that was happening in the household. I just kept everyone at a distance because I didn’t want them to know. And it was really stressful. It was really stressful to kind of keep up this façade of happiness.
It wasn’t until ballet came into my life that I started to feel that I could be a person, a person in the world, like I could express myself. It was like I’d gone 13 years of my life without truly expressing what was inside of me or feeling comfortable in my skin. And it was ballet. And it was being in the studio, which felt so sacred. It felt so protective. And the same with the stage. I know it’s like the opposite of what people would think of performing. You’re up there and you’re so exposed and naked — and I felt the opposite. I felt like I finally found this place of comfort for the first time in my life.
On how living with her dance teacher Cindy Bradley changed her life
I was severely underdeveloped in every way, physically, mentally, emotionally. … When I lived at Cindy’s house, I started to develop physically because I was getting nutritious food. I was having conversations with Cindy and with her husband, conversations that I’d never experienced my entire life. Being one of six children, it’s hard for my mom, who’s working several jobs and just trying to survive, to keep us off the street, to have these intimate conversations with each one of us. I also just don’t think it was really in her nature because of the way she was raised as well, this lack of communication. And I was forced to do that at Cindy’s house and I grew and developed immensely in the three years that I lived with them.
It also was the first time I was in a stable environment that wasn’t chaotic, that I could hear myself think. It was peaceful. And I could really just focus on the training, which is why I moved in with them, was to be able to catch up on all the training that I missed out on by starting at 13 years old, which is late in ballet standards, because I would eventually go on to join American Ballet Theater with only four years of training under my belt.
On being told her body was “wrong” for ballet
What’s interesting is when I started ballet at 13 years old, I was told I had everything that it took to be a ballet dancer, physically, artistically. So that’s why there’s kind of this interesting dichotomy when I think about Black women specifically in ballet and the language that’s being used in telling us that we are wrong for ballet. Again, I had the ideal body when I joined American Ballet Theater. Of course, I went through puberty — and like a lot of dancers who become professionals between the ages of 16 and 18 … my body did change. But once I became a professional, that’s when people started to really see me as a Black woman in a company where there weren’t any. And that’s when the language started to change around me fitting in.
Still, to this day, I will read things that [say] I don’t belong because my breasts are too large, my muscles are too big, I’m too short. But these are all excuses because there are so many dancers who are not of color, who have similar body types to me that are shorter, that have larger breasts and bigger muscles. So throughout the course of my professional career, it’s really been about me understanding the language that’s being used and having conversations about that because that’s been what’s turned so many Black women away from ballet is because they’re told those things.
On being told she should do modern dance instead
When you think about these cultural art forms and dances, people often see Black Americans and they think, “Well, you should be doing your cultural dance,” whatever that is … whereas white Americans aren’t told they can’t do this European art form. So that’s just kind of been this pattern with Black and brown dancers is that they feel that we should be doing African dance or with our bare feet, modern dance — and that shouldn’t be the case. I think everyone should have an opportunity to be a part of this art form and experience it. And it makes it so much more full and rich and layered to see different people with different perspectives and different life experiences and different cultural backgrounds all approaching the same craft and art form you dance.
On how whiteness has been traditionally considered to be intrinsic to classical ballet
The norm is that everyone wears pink tights and that’s representative of white skin. So it was something I was aware of when I was 19 and came into ABT that I would have to wear pink tights … and then have to go on stage and attempt to make my skin look like the other dancers. It chips away at you. The more that I look around and not see people who look like me, not see other women who look like me, and I’m painting my skin over and over, it was something I started to talk about. … And eventually, I don’t know, maybe seven, eight years later, I would have that conversation with the wardrobe department, with hair and makeup and kind of debate what the sole purpose of this tradition is. … If it’s just to make us look otherworldly, then why can’t I have brown powder to powder my skin to take that shine away? Why am I changing the color? And I did it as a principal dancer the last time I performed the role of Swan Lake, I did that and in other roles where I was told to paint my skin white. So I did push back. But we have a long way to go, still.
On the pressure that came with being the first Black principal ballerina with ABT
When I was making these debuts in big, leading roles, for most dancers, you’ll make your debut on a Wednesday matinee. And some people will come and there probably won’t be a critic there at all to critique your show or talk about it. And I had the exact opposite experience. Every time I was making a debut in a role, The New York Times was there. There were blogs and people writing, “Will Misty succeed? And if she doesn’t, what does that mean for her career? What does that mean for the African American dance community?” So there was a lot of added pressure outside of just being an elite athlete at American Ballet Theatre and all that it takes to perform these roles, which is extremely pressure-filled and difficult.
On performing while in terrible pain and not showing it
I think any ballet dancer, any ballerina would tell you that it’s a part of the training. We are athletes, but we are also performers and we’re also artists. So we’re not just training in the ballet technique, but our goal is to tell the story, to make it look effortless, never to show any weakness or pain. It’s just a part of what we have to do when we go on stage, it’s a switch that turns on where you almost don’t even feel the pain. There’s so much adrenaline rushing through you and you enter into this fantastical world of whatever ballet you’re performing, whatever character you’re portraying — and it’s like you’re no longer human. And that was the case even in that last performance [of The Firebird] when I could barely walk when I was off stage, but I’d get on stage and somehow could muster up all the energy and courage to keep jumping and performing.
On ‘going into performance mode’ while giving birth
People think I’m so crazy when I talk and I write about it. But I really enjoyed being pregnant. I enjoyed labor. I enjoyed all of it. There’s something about, I think, being an athlete and being used to the physical pressures. … Something clicked in me where it was like, “This is so familiar.” I know what it takes to get my mind mentally prepared and focused for a difficult physical feat — and that’s how I felt giving birth to my son. … The actual labor was 15 hours, but the delivery … was quick. My doctor said to me right when I started pushing, she said, “This could take three to four hours.” And I was like, what? That was never mentioned. And I said, “This is not going to take three to four hours! I’m not going to let that happen!” And I pushed Jackson out in 28 minutes.
Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.
Copyright 2022 Fresh Air. To see more, visit Fresh Air.

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NFL News
Last Updated: 15/11/22 5:32pm
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Justin Jefferson and the Minnesota Vikings, fresh from their sensational 33-30 overtime victory over the Buffalo Bills, host the Dallas Cowboys live on Sky Sports on Sunday night, while we’ll also see if the Philadelphia Eagles can bounce back from suffering their first defeat of the season.
The Week 11 games to be shown live on Sky Sports NFL have been announced, with the matchup between the Vikings (8-1) and the Cowboys (6-3) getting underway at 9.25pm.
Prior to that one, the Eagles (8-1), having lost their tag as the last remaining undefeated team in the NFL with defeat to the Washington Commanders on Monday night, get the chance to return to winning ways with a visit to the Jeff Saturday-led Indianapolis Colts (4-5-1). This one kicks off at 6pm.
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Rounding off the Sunday night action, we join our friends at NBC for Football Night in America and Sunday Night Football, with two of the best young quarterbacks in the game going head to head, as Justin Herbert and the Los Angeles Chargers (5-4) host Patrick Mahomes and the Kanas City Chiefs (7-2) in a key AFC West battle – kick-off is at 1.20am, early on Monday morning.
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Elsewhere, the Week 11 action gets under way with the traditional Thursday night fare as Aaron Rodgers and the Green Bay Packers (4-6) look to build on a first win in six, against the Cowboys last weekend, when they welcome the Tennessee Titans (6-3) into Titletown – watch this one live on Sky Sports NFL from 1.15am on Friday morning.
November 18, 2022, 12:00am
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Then, on Monday night, Week 11 concludes with a trip to Mexico for the final NFL International Series game of the season as two fierce NFC West rivals, the San Francisco 49ers (5-4) and Arizona Cardinals (4-6), slug it out at the Estadio Azteca in Mexico City. Watch live on Sky Sports NFL from 1.15am, Tuesday.
Sky Sports NFL is your dedicated channel for NFL coverage through the season – featuring a host of NFL Network programming. Don’t forget to follow us on skysports.com/nfl, our Twitter account @SkySportsNFL & Sky Sports – on the go!
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Home » Business » New music app Beatlab helps musicians work more efficiently—and happily
Business 15 November 2022
Bomi Mosuro says there are “no formulas for creating great music—because it’s an art, not a science.” The CEO of The House of Sounds—or THOSE—admits that in his own experience as a working musician, what some call “freestyling” can be a chaotic process.
That’s partly because today’s music making often involves multiple musicians in different places working on a track at different times. The lack of defined process or workflow when creating a song or an album makes its production complex and inefficient.
According to one survey, without a project management system in place, half of music projects miss their deadlines. Using project management tools, the time spent on the work is cut by about a quarter and—it’s claimed—generate 25 times as much revenue.
With a current publishing deal with Sony Music and over 20 years of experience as a musician, Bomi has set out to tackle these issues and improve the music production process. The first product from his company THOSE will be Beatlab.
Bomi says you can think of Beatlab as “a Trello for music production.” As an end-to-end music production collaboration system, it will let musicians know what is required of them by their team—and, just as importantly, when.
Beatlab could not only produce better music, but also deal with some of the emotional stresses musicians often suffer from. A 2019 survey by Record Union found that 73% of independent musicians struggle with mental illness—one of the main causes being hectic schedules and irregular work patterns.
Bomi says he “knows what goes on inside artists’ minds” and admits he has also experienced severe bouts of depression. With Beatlab, he hopes that his fellow musicians “will have more organized lives and the opportunity to travel and make other plans.”
Beatlab is only the first product from THOSE. There are plans for more, such as Fluid Flow, an AI-powered songwriting tool and Dynamix, a web3 Digital Audio Workstation. They are all aimed at organising and streamlining the work of musicians, helping them achieve the most productive and creative ‘flow.’
THOSE is one of the BSV startups in the current cohort at the London BSV incubator Satoshi Block Dojo.
CoinGeek followed the inside story of Block Dojo’s first cohort for a CoinGeek Originals film, How to Build a BSV Business.

New to Bitcoin? Check out CoinGeek’s Bitcoin for Beginners section, the ultimate resource guide to learn more about Bitcoin—as originally envisioned by Satoshi Nakamoto—and blockchain.
Martin Gruenberg, the man who previously expressed a desire to explore risks tied with virtual currencies, was nominated by President Joe Biden as the new FDIC head, pending Senate confirmation.
A total of 16 companies, made up mostly of ‘crypto’ interest groups, have filed an amicus curiae in the SEC vs. Ripple saga, about a week after the U.S. state agency won its case against LBRY.
As the FTX drama continues to play out, calls for stronger regulation are only growing louder in both the public and private sectors.
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Confronting audio of the moment a woman fatally stabbed her abusive husband has been played in a Brisbane court.
“I hope you f***ing die, dog,” Jean Louise Herholdt can be heard yelling moments before plunging a knife into Sean Murray’s back.
However, Herholdt stabbed her husband in anger soon after being bashed and did not intend to kill Mr Murray, the Brisbane Supreme Court heard.
Herholdt, 30, was initially charged with murder after Mr Murray died from a single knife wound to the back at their home north of Brisbane in August 2020.
Herholdt had been in a violent relationship with Mr Murray for years and planned to escape, the court heard.
She had put money aside in a nest egg hidden at the Murrumba Downs residence for a life away from Mr Murray, defence barrister Andrew Hoare said.
However, Mr Murray discovered the cash that morning and took it, sparking an emotion-charged argument that was captured on the home’s CCTV camera audio.
Two five-minute recordings were played after Justice Peter Davis warned the public gallery of its confronting content.
The initial audio featured a violent exchange.
A man can be heard saying “stop, stop please” while others scream.
The second recording included the moment Mr Murray was stabbed in the lungs, dying soon afterwards.
The wound was 15cm deep.
“Please, I need an ambulance,” Mr Murray can be heard saying.
In between the two recordings Mr Murray had assaulted Herholdt in their front yard and dragged her back inside, the court heard.
Neighbours had witnessed Mr Murray’s violence and called police.
Herholdt became enraged as Mr Murray tried to “create a facade of calm” before officers arrived, the court heard.
She can be heard hurling abuse at him, telling him she hopes he dies and at one stage grabs the knife.
Herholdt continues to yell at her husband and demands he return the money after stabbing him before realising the enormity of her actions.
Herholdt – a trained nurse – asks others to “hurry up” and call a paramedic, telling them to apply pressure to the wound as a man can be heard groaning.
Herholdt pleads with Mr Murray to stop moving in a bid to stem the blood flow, saying “I love you, baby” and “you know I’m going to jail for this”.
“Given the emotionally charged state of the situation that is graphically depicted by the recordings I wouldn’t be taking lack of remorse from that really,” Justice Davis said.
Herholdt had endured childhood trauma before being subjected to years of abuse from Mr Murray but did not intend to kill him, Mr Hoare said.
“My client had been subjected to financial constraints for years and isolated from her family and isolated from her friends (by Mr Murray),” he said.
Herholdt’s family and friends – including her parents – were in court on Tuesday when she pleaded guilty to manslaughter.
Justice Davis will sentence Herholdt – who has been in custody for 27 months – at a date to be fixed.
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SSL Brings Its Audio Knowhow In The Intelligent Connex USB Microphone  Forbes
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U.S. stocks gained Tuesday amid another cooler-than-expected inflation report, even as fresh geopolitical tension threw a wrench into the rally midday.
The S&P 500 (^GSPC) closed higher by 0.8%, while the Dow Jones Industrial Average (^DJI) inched higher by 0.1%. The technology-heavy Nasdaq Composite (^IXIC) jumped 1.5% higher, for its best close since September.
Wall Street rallied on new signs of optimism that inflation may be cooling. October’s producer price index (PPI) declined to 8% annually, down from 8.5% in September, after economists surveyed by Bloomberg forecasted 8.3%.
Annual core PPI also surprised at 6.7% year over year, compared to a consensus estimate of 7.2%. The PPI report comes after other key inflation data came in lower than expected last Thursday, with consumer prices rising 0.4% in October and core prices adding 0.3%.
"Core PPI and the core PCE deflator follow very similar tracks, though the surge in rents this year has driven an unusually large wedge between them," Ian Shepherdson, chief economist at Pantheon Macroeconomics, wrote in a note following the PPI release. "But the pace of rent increases has peaked, and our chart suggests that the steep drop we expect to see in core PPI inflation will drag down the core PCE measure faster than markets and the Fed expect."
Stocks pared early gains in the afternoon after Polish Prime Minister Mateusz Morawiecki convened a security meeting. According to the Associated Press, a senior U.S. intelligence said Russian missiles crossed into Poland, killing two people.
Investors also watched more geopolitical moves, as U.S. President Joe Biden’s met with China President Xi Jinping, the first between the leaders of the world's two largest economies since Biden took office.
Yields on the benchmark 10-year Treasury note moved higher Tuesday to around 3.7%, while the dollar index, which measures the currency against six counterparts including the yen and euro, slipped 0.25% to $106.39 Wednesday afternoon.
Tuesday's trading resumed a broad market rally after stocks finished lower Monday as investors digested fresh commentary from Federal Reserve officials on the outlook of interest-rate hikes. Fed Vice Chair Lael Brainard on Monday stated said she thought it would be "appropriate soon to move to a slower pace of increases.”
Some strategists argued that Monday’s lows weren’t due to Brainard’s commentary but more of a signal to what could be ahead.
“The latest in a mounting wave of evidence that the FOMC will move 50 bps in December rather than the 75 bps pace they’ve been at since June,” strategists at Bespoke Investments wrote in a note to clients.
Brainard's comments came after Fed Governor Christopher Waller reiterated Fed Chair Jerome Powell's recent comments that policymakers have “some ways to go” before the central bank stops raising rates.
"The inflation conversation is being adaptive to the soft landing narrative so far," Thomas Kennedy, J.P. Morgan Global Wealth Management chief investment strategist, told Yahoo Finance Live on Tuesday.
But "inflation is only sequentially trending lower than expected. And the real question will become what is the level of inflation that the Fed is really fighting," Kennedy added.
The sentiment on stocks and global growth among fund managers surveyed by Bank of America remained "uber-bearish" with a macro outlook of "92% predicting 'stagflation' in 2023," strategists led by Michael Hartnett wrote in a note on Tuesday.
In corporate news, Home Depot (HD) kicked off a major retailer earnings week by reporting sales that rose 5.6% in the third quarter, topping analyst expectations, as higher prices offset a slowdown in transactions. Walmart (WMT) also beat Wall Street expectations for the quarter and raised its outlook, as the retailer "significantly improved" its excess inventory. The discounter’s inventory was up 13% year-over-year in the third quarter, down from 25% in the previous quarter.
With inflation still high, Walmart's results also showed that those with bigger wallets are getting squeezed, too.
"We've continued to gain grocery market share from households across income demographics with nearly three-quarters of the share gain coming from those exceeding $100,000 in annual income," John David Rainey, executive vice president and chief financial officer at Walmart, said on the earnings call Tuesday.
Target (TGT), Lowe's (LOW), and TJMaxx (TJX) are also set to release earnings on Wednesday.
Elsewhere, cryptocurrency prices stabilized after last week’s bankruptcy filing by FTX. Bitcoin (BTC) traded at $16,969.78 Tuesday midday, while Ethereum (ETH), the second most-popular cryptocurrency, traded up at $1,264.22.
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Dani Romero is a reporter for Yahoo Finance. Follow her on Twitter @daniromerotv
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Starting Tuesday, Apple will begin rolling out its Emergency SOS via Satellite service. All four of

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Written byby Mahnoor Sheikh
Published on November 9, 2022
Reading time 13 minutes
While social content formats come and go, livestreaming is tried and true. Virtual events, workshops and webinars on platforms like YouTube Live were crucial during pandemic lockdowns, but do they still resonate now? You bet.
The popularity of livestreams stabilized as the world has opened up, and 37% of consumers think livestreams are the most engaging type of content. Globally in Q1 2022, viewers watched around 20 minutes of video per play.
In this article, you’ll learn why YouTube Live should be a part of your video marketing strategy, how to livestream on the platform and tips for creating engaging live content.
Let’s get started.
YouTube Live is YouTube’s livestreaming feature that enables content creators to interact with their audience in real time via video and chat. Users can watch trending livestreams in their country by clicking on “Live” from the left sidebar on YouTube via desktop.
If your audience has subscribed to your channel, previously watched or liked your content or interacted with content similar to yours, your Live videos and streams may display on your audiences’ YouTube feeds.
Livestreaming presents serious opportunities for creators and your brand’s YouTube marketing strategy. In 2021, YouTube was the most popular platform for livestream ecommerce in the US. And it’s the second most popular website, with more than 2.5 billion monthly active users.
Still not convinced that YouTube Live can expand your reach and brand awareness? Consider these unique ways using YouTube live helps you engage with your audience:
Now that you’re aware of the key benefits of YouTube Live for business, let’s talk about how to live stream on YouTube.
Before you go live, you need to make sure you’ve set up your channel, equipment and met the YouTube livestream requirements. Here are the steps you need to get started:
Before you can dive into YouTube Live, enable livestreaming on your device or devices.
If you’re using a web browser, follow these steps:
If you’re using a mobile device or tablet (Android, iPhone or iPad), follow the steps below:
While you may be excited to jump in and go live, there are a few requirements you’ll have to meet first:
Heads up: If you have under 1,000 subscribers, your mobile livestream viewers may be limited by YouTube. And for users aged 13-17, the default privacy setting is set to Private or Unlisted (for mobile.) This means the stream is not going to show up in search results or recommendations. For users aged 18+, the livestream’s privacy will be set to Public by default.
YouTube lets you livestream in three different ways. Let’s take a look at each one briefly and when to use it.
You’re almost ready to use YouTube Live!
The only thing left to do is to choose a title, description and an attention-getting thumbnail image for your livestream.
Here are some best practices when adding these details to help you reach a bigger audience:
All set and ready to go live? Follow the steps below to start (and end) your livestream on mobile, desktop and encoder.
Here’s how to livestream via an app through iOS ReplayKit—think, drawing or painting pieces of art while livestreaming through an app like Procreate:
Source: YouTube Help
Google Support has more information about livestreaming on YouTube using an encoder.
Your livestream must adhere to YouTube’s Community Guidelines and Terms of Service. If you fail to meet the guidelines, YouTube may restrict your content or remove it from the platform altogether. And a restriction on your livestream may result in a strike on your YouTube channel, which can prevent you from going live for 14 days.
Now that you know how to start a livestream on YouTube, let’s talk about some features and YouTube tools you can use to enhance, promote, analyze and monetize your livestream effectively.
You can direct viewers from your livestream, to livestreams on other channels outside of your own. This opens up new ways to collaborate with other YouTube creators and drive viewers to your other channels.
You need at least 1,000 subscribers to take advantage of this feature, and permission from the channel you want to redirect to via YouTube Studio.
Go Live Together allows creators livestreaming on mobile to invite guests to join their livestream via a link.
This is a feature YouTube is testing out in 2022, and one to keep an eye out for once it rolls out to a larger audience.
Note: While you will have access to streaming analytics for this content, guests will not, nor will they benefit from ad revenue gained during the shared stream.
YouTube allows you to take short snippets from your livestreams and turn them into highlights to post as standalone videos on your YouTube channel.
This makes it easy to repurpose livestream content—especially useful for streams that cover a lot of topics, such as a Q&A session. You can create multiple highlights, each focusing on a specific topic or question.
When you post a highlight on YouTube, it will appear on your channel just like a regular uploaded video.
You can create highlights during or after your livestream. If you want to mark interesting moments while you’re still live, add stream markers to pinpoint the exact minutes. Refer to these markers later to easily create highlights.
A useful feature of YouTube Live is the ability to track the real-time performance of your livestream on all three devices; mobile, tablet and desktop. This enables you to quickly detect and fix any issues, and analyze your engagement.
There are three main types of analytics you can track:
You can also use YouTube Analytics to view an in-depth report on your audience retention, demographics, traffic sources, playback locations and other metrics.
Premiering a video on YouTube lets you watch the video with your audience in real time.
Unlike livestreams, video premieres are not exactly live. They are videos that are uploaded and scheduled to play at a certain time with live chat and other interactive features. So while it’s not live per se, it still creates an interactive experience with your audience in real time.
Here’s how you can premiere a video on YouTube:
Once you’ve set up a premiere, a watch page will be created for your video on your YouTube channel, just like other uploads. Viewers will be able to visit the page to set reminders, leave comments and use Super Chat, if enabled.
Once the premiere is over, the video will stay on your channel as a regular upload.
YouTube’s Digital Video Recording (DVR) feature allows viewers to pause, rewind and continue watching your livestream.
Here’s how to enable DVR on your livestream:
YouTube’s DVR feature also comes with a few limitations, including limitations on how far back in the video you can “rewind,” depending on latency of livestream rights.
You can disable DVR from Advanced Settings if you want viewers to only watch your stream live. Disabling DVR restricts viewers from going back to a specific time in your stream, until the stream ends. However, you can’t disable DVR for webcam or mobile streaming.
As a way to promote your YouTube Live event, show a trailer. Trailer length can range from 15 seconds up to 3 minutes. These play on your channel’s watch page before your Live event to create hype and interest.

To upload a trailer, follow the steps below:
Note: This feature is only available to creators with more than 1000 subscribers and no Community Guideline strikes.
One of the benefits of going live is the ability to make money from your streams. There are several ways you can monetize on YouTube Live:
Note: To enable monetization on YouTube, you need to meet the minimum requirements of the YouTube Partner Program (YPP). Once accepted, you’ll get access to exclusive features, like monetization.
YouTube gives you several options to manage your Live chat to ensure a safe, comfortable environment for all viewers.
Some Live chat features include:
You can also choose whether or not to display a live chat replay alongside your video after your livestream has ended so people can view the conversation.
Another useful feature is adding captions—visual displays of the audio content in your videos. It’s recommended to have live captioning to your videos for users who prefer to listen without sound, but more importantly to be more inclusive of a wider audience.
You can either take advantage of automatic captioning, embed captions in your video or send them to YouTube through supported software.
Now that you know how to set up a YouTube livestream, it’s time for the fun part: brainstorming what you want to stream.
There are dozens of ways to show up on YouTube Live. Here are just a few ideas:
Start by exploring YouTube. What kinds of livestreams are channels similar to yours creating? What interests your audience, and can you adapt these topics into live events?
If you’ve uploaded videos before, look at your YouTube video data for inspiration. Use your top-performing video topics to develop live content topics, ideas and formats. This is especially easy in Sprout’s YouTube Video Performance report, where you can sort your videos by performance and compare data points like views, estimated minutes watched and engagement side by side.
Additionally, using a social listening tool, like Sprout’s, to search for topics and how engaging they are is a powerful way to come up with ideas.
You’re ready to go live and engage with your audience! Here are some final YouTube streaming tips to ensure your livestream is a success.
It’s important to have a reliable internet connection to prevent a broken stream. So, run a speed test before you go live to avoid any issues.
Make sure your webcam, microphone and any other equipment is fully functional before you go live to avoid any embarrassing moments.
Schedule a premiere, upload a trailer and share your link on social to spread the word about your livestream. You can also promote your YouTube channel to attract more visitors to your livestream.
Going Live can be nerve-wracking for even the most confident speakers. To avoid making clumsy mistakes that you’d rather keep off-air, have some notes ready or a script prepared for your stream.
Be careful about sharing personal information during livestreams. Take advantage of YouTube’s safety and moderation features to ensure a safe and comfortable environment for your audience.
Livestreaming is a unique way to engage with your audience on a personal level—regardless of where they are located. From hosting live events to workshops to Q&A sessions to product launches, you can use YouTube Live to grow your business in tons of different ways.
To make the most out of your live videos, check out 10 ways to repurpose your livestreams and use them to create other types of online content.
And if you’re ready to level up your social video strategy, try Sprout’s YouTube management tools free for 30 days.
Start your free Sprout trial
Mahnoor Sheikh
Mahnoor is a freelance writer and the founder of MASH Content. She loves to talk about digital marketing, branding and visual design, and is passionate about tea, kittens and traveling with her husband.
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October 27, 2022 Russia-Ukraine news  CNN
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Captain Plugins EPIC solves a TON of creative problems for producers. But let's see if it's worth the price…
As more and more tools come into the market that help producers and songwriting produce high-quality music, it seems like every week there is a new contender for the "best songwriting tool ever."
Captain Plugins EPIC, an updated iteration of Mixed In Key's popular production suite, is the latest contender to the bill, and we recently got our hands on it to see how it fairs against the competition.
Other sites and apps like Scaler, HookTheory, and others all put their own spin on similar technology, so let's dive into the best parts about Captain Plugins EPIC to see if it deserves a spot in your arsenal. 
Purchase EPIC Here.
Chords help give direction to the entire track and act as a framework and skeleton for the rest of your music to live within. Captain Chords Epic helps create this foundation and provides a platform for the rest of the song (and plugins in the bundle) to jump off from.
In my opinion, Captain Chords EPIC is the primary plugin in the bundle that almost serves as the HQ for the rest of the plugins to operate. As such, I will be diving first and deepest into this powerful songwriting plugin.
Here are a few of the best features that made instant impressions on me when I opened up the bundle of plugins. 
Starting with a blank canvas is intimidating to the extreme. But with a few simple drop-down menus and a variety of different styles and keys, Captain Chords EPIC quickly generates simple and popular progressions within the parameters that you set. 
While this might not be anything completely groundbreaking, it's one feature alongside a suite of other tools that each build on each other to make songwriting and idea generation a breeze.
Sure, this is just another feature of the AI chord-generating functionality of the plugin, but it really was damn impressive to me; enough to warrant its own bucket item in this list. 
Hitting the "generator" button, once the parameters have been set for style and key, continues to churn out different chord progressions. You can create as many as you like until finally, one resonates with you that you want to move forward with. 
The ideas are almost literally infinite here and are truly an inspiration machine.
EPIC brought some cool upgrades to the previous iterations of the plugin bundle and here are some of my favorite ones. 
The AI chord generator above is a powerful tool, but wouldn't be nearly as powerful if you couldn't then edit the notes within it. 
But with this new feature, you can now change the length. of the notes and more all within the plugin itself. It's awesome stuff if you ask me! 
A big emphasis for EPIC's upgrade is the feel of real humans playing the plugins. Gone are the days of robot rigidity in the MIDI notes and playback. 
Being able to lengthen the notes by hand is one way to do this, but also many other randomization parameters in the plugin can help shift the notes around by tiny amounts and give the impression that real people are playing the keys!  
This feature is simply amazing and it's a wonder why previous iterations of the software didn't include it. 

Because the plugins in this bundle work off of each other, being able to import your own creation or a MIDI file you downloaded from somewhere removes a vast amount of friction many were experiencing with other plugins similar to this. 
Bravo to the Mixed In Key team on this one, as this feature was much-needed and incredibly powerful. And double kudos for allowing the plugin to instantly transpose the imported progression into the scale you are working in. 
While I can't see this feature being used too expensively, the fact that you can cycle through a handful of Mix In Key's native soundbanks helps give a quick and easy impression as to how your chords will sound when played by instruments other than the default piano. 
Strings, guitars, synths, and more are all quick and easy to implement so that you can test the progressions before transferring them to your favorite samplers or VSTs.
That being said, they do also offer you to route your own plugins directly into Captain Chords EPIC too. So whichever you prefer or whatever problems you're encountering, Mixed In Key has thought ahead for a way to solve it. 
Music can't really exist without a good melody or something for your listener to latch on to and Captain Plugin's new iteration of their melody-generating tool really helps lock in something that will catch your fan's attention. 
While the previous iterations of the Captain Melody plugin were decent, there are a few improvements to the bedrock of this plugin that make me love EPIC's version more than its predecessors. 
With the previous models of the Captain Five plugins, the ideas generated by the melody plugins were good but rarely did I find myself using them. 
But EPIC changes that and flips the script on its head.
Whatever Mixed In Key did in this latest iteration is a massive improvement. The melodies sound more human, more usable, and overall just better. 
This plugin helps you create rhythms and beats for your music and I didn't find too many upgrades from the previous iterations of the plugin.
That being said, there were some things that I find super useful about this plugin overall that are remnants of the previous version that warrant its purchase. 
Here are the features that really stood out to me in Captain Beat EPIC! 
While the plugin comes with a variety of different on-board samples that are great while auditioning presets, the ability to simply drag and drop your own samples from your DAW's native browser is pretty slick.
The saving grace is that this plugin can help you generate percussion fills almost instantly. This was a super clever idea that I was surprised to see included.
For too long, I've relied on fills from stock sample libraries that always did the trick but sounded a little out of context when played against the rest of the percussions. This AI tool is an absolute beast for generating fill ideas using samples that actually sound like they belong in the kit. 
Captain Deep EPIC reads the notes off of the chord plugin and uses those notes to generate deep grooves and bass lines. 
I didn't find too many novel features in this plugin, as it recreated the functionality of plugins like the Captain Melody EPIC but just in a different register. But that being said, there's still some fun stuff to talk about. 
Here are a couple of standout features that really caught my attention while using the Captain Deep EPIC plugin. 
I'll be candid when I say that the majority of the ideas created by this plugin don't work. Bass lines are damn hard and locking in a minimalistic groove that makes real humans want to move will be tricky for any robot to recreate (at least for the foreseeable future).
That being said, the ability to cycle through new and fresh ideas until you find something that DOES work is lightning fast. And what's better, the end result can often be something more interesting that you yourself could create by playing or by hand! 
Most of the bass lines I ended up committing to were styles and progressions that were a bit unconventional in the typical and theoretical sense, but that uniqueness is exactly what drew me to them in the first place. 
You are more than free to edit and move the notes around within the plugin as you see fit, just like the rest of the plugins in this suite. But that doesn't mean that a few notes can go awry when you don't want them to. 
The color-coded scale degrees of the plugin helps you know when you are on track (Blue notes indicate there's a solid chance the notes will mesh well with the above chord progressions) or if you're not (yellows, greens, and others represent when a note is starting to move away from the root note of the chord or scale).
Not only does this help you write better and more in-key bass lines but it also trains your musical muscle memory to identify when future notes in future songs will "work."
Purchase EPIC Here.
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

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Sennett Middle School, located at 502 Pflaum Road in Madison, is pictured last month.

K-12 education reporter
K-12 education reporter
Sennett Middle School, located at 502 Pflaum Road in Madison, is pictured last month.
The former Sennett Middle School principal whose firing drew passionate calls from staff and parents for reinstatement was disciplined over a comment made on a job applicant’s voicemail.
According to an audio recording and transcript, Jeffrey Copeland told an unidentified colleague that the job applicant “could barely communicate with me,” seemingly in reference to the applicant’s English skills, while apparently unintentionally leaving a voicemail for the job candidate. Copeland also said, “they’re just giving people damn jobs.”
The candidate had a degree from the Dominican Republic, according to the recording provided, and was interested in becoming a science teacher. While the school didn’t have an open science position, according to the other person in the conversation, they considered getting the candidate an emergency license to become a special education teacher.
A termination letter signed by Madison Metropolitan School District chief of secondary schools Angie Hicks notes Copeland, who was hired only this summer, “made comments about the person not being from this country as well as your disapproval of his credentials.”
“Your actions were unacceptable and should not be tolerated,” Hicks wrote. “Your behavior goes against the MMSD vision of creating an anti-racist school culture and curriculum. Therefore, your employment with MMSD is hereby terminated effective immediately.”
Hicks also called his comments “extremely harmful” and wrote that they “do not reflect the values that the district believes its leaders should possess.”
All of the records were provided by MMSD to the Cap Times Thursday following a Sept. 29 open records request.
Copeland filed a grievance over his termination on Oct. 12, according to the Wisconsin State Journal. The grievance process may eventually reach the School Board, which could decide to overturn or uphold the firing decision.
An attorney representing Copeland who was previously quoted in the Wisconsin State Journal did not return messages left with his office Thursday afternoon.
MMSD spokesperson Tim LeMonds confirmed in an email Thursday that a grievance was filed, but said the timeline for that process “is something that is currently undetermined.” He also declined to confirm the identity of the colleague Copeland was speaking with nor if that colleague was disciplined, “due to it being a personnel matter.”
Hicks’ Sept. 26 letter came 20 days after the Sept. 6 incident. Copeland was initially placed on leave Sept. 13, the ninth day of the 2022-23 school year.
According to her letter, Hicks met with Copeland on Sept. 14 to discuss the incident.
“You confirmed that it was your voice on the recording,” Hicks wrote. “You stated that no malice was intended, but you also stated that you would not make excuses for the content of the recording.”
In the recording provided to the Cap Times, Copeland begins his message by stating, “Good morning, this is Dr. Copeland calling from Sennett Middle School. Please give me a call for an employment opportunity,” before providing a phone number and eventually having the conversation with the colleague.
Two nights after his dismissal was announced publicly, 12 people — mostly Sennett staff — spoke at the School Board meeting to protest the change, with four more submitting written comments to the board. A couple dozen people in the audience, also mostly Sennett staff, applauded after each speaker.
Longtime teachers at the school spoke of a difficult year in 2021-22 and had high praise for the difference Copeland had made in a short time at the school, notably improving the school culture.
Science teacher Carmen Ames, who has worked at Sennett for 30 years, echoed that the year had been one of “hope” so far because of the attitude Copeland brought early on, despite the short amount of time he was there.
“To see a culture change in eight days is phenomenal,” Ames said. “We need to continue that culture, and yes it is us (teachers and staff), we are part of that culture, but we need someone that backs us up and believes in the culture and believes in Sennett the way we do.
“That was Dr. Copeland.”
While some had heard about his alleged comment at that point, some speakers suggested he deserved an opportunity to practice restorative justice and repair any harm he had done, something the school district encourages with students.
Two parents also wrote to the board for that Sept. 28 meeting praising Copeland’s brief tenure and suggesting the district should provide an explanation for the dismissal. Beth Esser expressed disappointment “with the lack of communication on Dr. Copeland’s removal from the school.
“The school community deserves to know more about why Dr. Copeland was dismissed and to have more input on the next steps for Sennett leadership,” Esser wrote.
With Copeland’s exit, two former MMSD school leaders, Susan Abplanalp and Randi Kubek, have taken over as co-interim principals for the remainder of the school year, according to an email sent to families in September.
In a Sept. 28 email to the district director of employee relations, Copeland requested the taped recording, the names of the people who decided to fire him, his personnel record, district hiring expectations for applicants without credentials and the appeals process.
“I ventured to MMSD to assist in the fulfillment of the district mission,” Copeland wrote. “Now, I have be(en) wrongfully terminated and displaced by MMSD! Please send me the following items, so that I may begin to clear my name.”
That same day, he emailed superintendent Carlton Jenkins asking to speak with him “regarding my position as principal of Sennett Middle School.”
“I did not want to lean, however I need to discuss this matter with the leader of MMSD,” Copeland wrote, sharing his phone number.
On Oct. 4, he emailed the School Board, asking for assistance with the appeals process.
“I am reaching out to the BOE after failed attempts with HR to provide me with the Appeals Package,” Copeland wrote.
The employee handbook outlines four steps for grievances: a written grievance filed with the supervisor, a review by the executive director of human resources, an appeal to an impartial hearing officer and a School Board review. If a grievance is “not satisfactorily resolved” at the first step, it moves to the second, and so on until the board review, which is the final possible appeal.
The district and person filing the grievance can agree to skip steps within the procedure, “provided that no such waiver or modification eliminates the role of the Board as the final level of appeal that is available in any grievance.”
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U.S. stocks slumped Wednesday after weak earnings from Alphabet (GOOGL) and Microsoft (MSFT) raised concerns that slowing output could dent corporate profits in the coming months.
The technology-heavy Nasdaq Composite (^IXIC) was down 2%, while the S&P 500 (^GSPC) pushed lower by 0.7%, breaking three-day winning streaks for the indices. The Dow Jones Industrial Average (^DJI) ticked higher by 0.01% after seesawing throughout the day.
Stocks had rallied of late, posting three straight days of gains before Wednesday's selloff. After the closing bell on Tuesday, however, Microsoft posted its weakest quarterly revenue growth in five years as a strong dollar and slumping PC sales held back the tech giant’s growth. Microsoft shares closed down 7.7%, while intraday action saw the biggest drop since March 2020.
Google parent Alphabet, meanwhile, posted results that missed analysts’ revenue expectations, while YouTube recorded its first decline in digital ad revenue since the company began reporting the video unit’s performance. The company's shares closed down more than 9%, its worst one-day loss since 2020.
“The fact of the matter is, we are heading into, whether we want to call it a recession or not, we're heading into a softer or tighter macro environment. … You hear this from all the software vendors,” RBC Capital Markets software equity analyst Rishi Jaluria told Yahoo Finance Live on Tuesday following the quarterly earnings reports.
“It was disappointing,” Morningstar senior equity analyst Ali Mogharabi told Yahoo Finance Live on Tuesday. The decline in Youtube’s digital ad revenue was due in part to the “foreign currency headwinds,” but the broader picture here is the economic downturn, he explained.
“A lot of advertisers are becoming more hesitant. They're maybe holding back a little bit on their ad spending. But at the same time, even during an economic downturn, you're seeing the importance of that digital transition of that cloud migration,” Mogharabi said.
After Wednesday's closing bell, Facebook parent Meta Platforms (META) also reported earnings that missed expectations, sending shares nosediving after hours.
The downturn rippled across the tech sector. Meta Platforms fell 5.6% before its earnings miss, while Amazon (AMZN) dropped 4.1%.
“We are effectively going into a recession,” @Jefferies’ Brent Thill says. “It is going to get harder as we go into ’23. The fact that companies like Microsoft and Google are all seeing it is just an indication of what’s to come.” pic.twitter.com/yjdW7VPlft
— Yahoo Finance (@YahooFinance) October 26, 2022
While tech shares have been downbeat this year, mega-cap technology stocks still hold heavyweight over the major indexes. The five biggest tech firms — Microsoft (MSFT), Alphabet (GOOGL), Meta Platforms (FB), Apple (AAPL), and Amazon (AMZN) — alone represent roughly a quarter of the S&P 500 index's market capitalization.
Elsewhere in earnings on Wednesday, the automaker Ford (F) reported earnings that beat on the top line. Shares fell after hours, however, as Ford affirmed the bottom end of its full-year profit forecast.
The market also digested earnings from Chipotle (CMG), which posted results Tuesday that slightly topped market expectations. Most of its sales numbers came from another round of menu price increases as the company navigates inflationary pressures. Spotify (SPOT), meanwhile, added more users on both its free and paid tiers than expected in the third quarter. The streaming company reported a 19% ad-revenue increase but said sales weakened due to the “challenging macro environment.” Spotify sank 13% on the day.
Finally, Boeing on Wednesday became the latest company to report a third-quarter loss and revenue that missed analysts' expectations amid a “challenging environment.”
Also on Wall Street’s plate was Twitter’s drama-filled acquisition deal. Elon Musk has until Friday evening to close the deal on his $44 billion acquisition or face a legal battle at Delaware Chancery Court next month. Musk posted video of himself in Twitter headquarters Wednesday.
"Once Twitter deal closes on Friday (which is our expectation) and Musk sells his needed Tesla stock this 6 month painful overhang will be over and Tesla investors can finally focus on moving forward and seeing the next chapter of growth story take hold into 23 despite macro," Wedbush Securities analyst Dan Ives wrote on Twitter following the news on the deal.
In the crypto market, Bitcoin (BTC) climbed above $20,000 for the first time in about three weeks as trade volume moves downward for the quarter.
Cryptocurrency trading volume has steadily declined all quarter pic.twitter.com/B8ZrpHp1RA
— Mike Zaccardi, CFA, CMT (@MikeZaccardi) October 18, 2022
Yields on the U.S. Treasury bonds were lower Wednesday, as the dollar weakened, marking its lowest level in three weeks. As stocks have rebounded over the past week, bonds have continued to fall, marking a potential disconnect between a steady market trend this year.
North of the U.S., the Bank of Canada raised it benchmark rate by by a half-percentage point from 3.25% to 3.75%, the highest level in nearly 14 years. Economists surveyed had expected a larger 75-basis point increase.
—
Dani Romero is a reporter for Yahoo Finance. Follow her on Twitter @daniromerotv
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LOS ANGELES (AP) — Beyoncé has propelled herself into the highest Grammy echelon: The star singer claimed a leading nine nominations Tuesday, making her tied — with her husband Jay-Z — as the most nominated music act in the history of the awards show.
Beyoncé’s “Break My Soul” reeled in record and song of the year nominations, while “Renaissance” — which ventured into the world of dancehall music — netted an album of the year nod. With Jay-Z also earning five nods this year, each spouse now holds the record for the most-ever Grammy nominations at 88 apiece.
Kendrick Lamar came away with the second-most nominations, with eight. Adele and Brandi Carlile both received seven nods. Harry Styles, Mary J. Blige, Future, DJ Khaled, The-Dream and mastering engineer Randy Merrill each picked up six.
Nearly half of this year’s leading nominees — announced by the likes of Olivia Rodrigo, John Legend, Machine Gun Kelly and Smokey Robinson —are women and more than half are people of color, according to the recording academy. The ceremony will be held Feb. 5 in Los Angeles.
“This makes me feel very proud, but it makes me conscious of the fact that we have to maintain the work we have done,” said Harvey Mason jr., the Recording Academy’s CEO. He said there have been strides in the peer-driven voting system and increased membership, but he still believes more progress can be made.
“This year, I’m pleased with the result and work the voters did,” he continued. “We have almost 13,000 voters now. It’s really important work. I’m pleased to think they spent the time listening to the music and evaluating. I think you see by the type of nominations that they are not only going for just popular music or music that has a lot of streams. It’s just music of high quality.”
The academy added a special song for social change and five new categories including songwriter of the year, which Harvey says will further help diversify the 65th edition of the annual awards.
The non-classical songwriter category will recognize one individual who was the “most prolific” non-performing and non-producing songwriter for a body of new work during an eligibility year. It will take a different approach than song of the year, which awards the songwriters who wrote the lyrics or melodies to one song.
Harvey said implementing the songwriters category is a “significant” step forward for the music industry. Last year, a rule update allowed that any songwriter, producer, engineer or featured artist on a work nominated for album of the year could ultimately earn a nomination.
“The academy and voters are placing a high importance on the craft of songwriting,” Harvey said of the new category, in which nominees include The-Dream, Amy Allen, Nija Charles, Tobias Jesso Jr. and Laura Veltz. “Personally, as a songwriter, I’m happy to see it being a significant part of our process. We realize that songwriting is at the heart of our industry. It’s one of the building blocks for every artist’s career.”
Beyoncé, the most decorated woman in Grammy history with 28 wins, could break the late Hungarian-British conductor Georg Solti’s record for most awards won if she wins four awards. Solti, who has 31 Grammys, has held on to the record since 1997.
For the first time in Beyoncé’s lauded career, she’ll be nominated in the dance category. Her seventh studio project “Renaissance” is up for best dance-electronic music album and “Break My Soul” is nominated for best dance-electronic recording. Other nominations include best R&B song for “Cuff It,” R&B performance for “Virgo’s Groove,” traditional R&B performance for “Plastic Off the Sofa” and song written for visual media for “Be Alive,” the Oscar-nominated song from the “King Richard” soundtrack.
Merrill grabbed two nominations in the record of the year category for the second straight year for his work on Adele’s “Easy on Me” and Styles’ “As It Was.” It’s also his first time being nominated three times in the same year for album of the year.
Three of Jay-Z’s nominations came through DJ Khaled’s “God Did,” a song featuring Rick Ross, Lil Wayne, John Legend and Fridayy. The track is up for best rap performance and rap song along with song of the year, which also has Jay-Z nominated for his writing efforts on Beyoncé’s “Break My Soul.” The rapper also received a nod for album of the year for his work on his wife’s “Renaissance” album.
Young Thug and Gunna both received nominations despite being currently locked up in a racketeering criminal case. The rappers are up for best rap song and rap performance through Gunna’s “pushin P,” featuring Thug and Future.
Christina Aguilera’s comeback to Latin music with her self-titled album earned her two nominations for best Latin pop album and immersive audio album.
Here’s a partial list of nominees:
“Don’t Shut Me Down,” Abba

“Easy on Me,” Adele

“Break My Soul,” Beyoncé

“Good Morning Gorgeous,” Mary J. Blige

“You and Me on the Rock,” Brandi Carlile featuring Lucius

“Woman,” Doja Cat

“Bad Habit,” Steve Lacy

“The Heart Part 5,” Kendrick Lamar

“About Damn Time,” Lizzo

“As It Was,” Harry Styles
“Abcdefu,” Sara Davis, Gayle and Dave Pittenger, songwriters (Gayle)
“About Damn Time,” Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin and Theron Makiel Thomas, songwriters (Lizzo)
“All Too Well (10 Minute Version) (The Short Film),” Liz Rose and Taylor Swift, songwriters (Taylor Swift)
“As It Was,” Tyler Johnson, Kid Harpoon and Harry Styles, songwriters (Harry Styles)
“Bad Habit,” Matthew Castellanos, Brittany Fousheé, Diana Gordon, John Carroll Kirby & Steve Lacy, songwriters (Steve Lacy)
“Break My Soul,” Beyoncé, S. Carter, Terius “The-Dream” Gesteelde-Diamant and Christopher A. Stewart, songwriters (Beyoncé)
“Easy on Me,” Adele Adkins and Greg Kurstin, songwriters (Adele)
“God Did,” Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts and Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend and Fridayy)
“The Heart Part 5,” Jake Kosich, Johnny Kosich, Kendrick Lamar and Matt Schaeffer, songwriters (Kendrick Lamar)
“Just Like That,” Bonnie Raitt, songwriter (Bonnie Raitt)
Anitta
Omar Apollo
DOMi & JD Beck
Muni Long
Samara Joy
Latto; Månekskin
Tobe Nwigwe
Molly Tuttle
Wet Leg
Amy Allen
Nija Charles
Tobia Jesso Jr.
The-Dream
Laura Veltz
“Easy on Me,” Adele
“Moscow Mule,” Bad Bunny
“Woman,” Doja Cat
“Bad Habit,” Steve Lacy
“About Damn Time,” Lizzo
“As It Was,” Harry Styles
“Don’t Shut Me Down,” ABBA
“Bam Bam,” Camila Cabello featuring Ed Sheeran
“My Universe,” Coldplay and BTS
“I Like You (A Happier Song),” Post Malone and Doja Cat
“Unholy,” Sam Smith and Kim Petras.
“Voyage,” ABBA
“30,” Adele
“Music of the Spheres,” Coldplay
“Special,” Lizzo
“Harry’s House,” Harry Styles
“Higher,” Michael Bublé
“When Christmas Comes Around…,” Kelly Clarkson
“I Dream of Christmas” (Extended), Norah Jones
“Evergreen,” Pentatonix; “Thank You,” Diana Ross
“Renaissance,” Beyoncé
“Fragments,” Bonobo
“Diplo,” Diplo
“The Last Goodbye,” ODESZA
“Surrender, Rufus /Du Sol.
“Dropout Boogei,” The Black Keys
“The Boy Named If,” Elvis Costello and the Imposters
“Crawler,” Idles
“Mainstream Sellout,” Machine Gun Kelly
“Patient Number 9,” Ozzy Osbourne
“Lucifer on the Sofa,” Spoon
“WE,” Arcade Fire
“Dragon New Warm Mountain I Believe You,” Big Thief
“Fossora,” Björk
“Wet Leg,” Wet Leg
“Cool It Down,” Yeah Yeah Yeahs

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Best free plug-ins this week: Lost-Vinyls, TEQ-421, Bitty  ·  Source: SuperflyDSP, Gearnews
This week’s collection of the best free plug-ins includes a vinyl simulator for those tasty lo-fi vibes. We’ve also got a simple, but useful 3-band equalizer, and a wiggly bitcrusher that’ll leave you speechless. Here’s Lost-Vinyls, TEQ-421, and Bitty.
For many more free plug-ins, check out our archives!
After Lost-Tapes, SuperflyDSP has released another lo-fi effect that brings the sounds of yesterday’s recording media to your DAW. Lost-Vinyls lets you choose from various types of vinyl records and dial in the desired amount of noise and other glitches and artifacts. It’s also got modulation for tape-like wow and flutter, and you can activate crunch mode to add harmonic distortion. The stereo switch activates a unique wide stereo effect.
Lost-Vinyls is available for Windows, Linux, and macOS in VST3 and AU formats. Enter the password “SuperflyDSP” to access the download.
Get Lost-Vinyls here
From the folks at Voxengo comes TEQ-421, a simple 3-band equalizer. No bells and whistles here (you can’t even adjust the bands’ frequencies), but sometimes simplicity is what you want. Voxengo says that the frequencies were carefully selected to deliver good results on many different types of tracks. TEQ-421 also includes harmonic coloration derived from the developer’s HarmoniEQ plug-in. If you need a simple EQ that you can just slap on a track and achieve results in no time, give this one a try.
TEQ-421 is available for macOS and Windows in VST, VST3, AU, and AAX formats.
Get TEQ-421 here
Now here’s a plug-in that leaves me lost for words. Just by looking at it, you’ll quickly realize that you shouldn’t take this one too seriously. Bitty is a modulated bitcrusher with, well, boob-shaped knobs that invite you to bite, suck, and wobble. It’s also got presets named “Sucks Big Time”, “Gnawed & Sore”, and “Sick & Screaming” – what’s not to like? I guess it’s best to take this one with a grain of salt and leave the discussions about political correctness to someone else.
Bitty is a VST3 plug-in for Windows.
Get Bitty here
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16 Nov · Speak for yourself. I like the sounds.
16 Nov · They look like surveillance cameras, and I feel they’re trying to normalize a society where everyone is constantly monitored.
16 Nov · beautiful keyboard, but the new form of synthesis doesn’t sound groundbreaking, quite cheesy actually if we’re to judge by these examples

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