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Is Nintendo Switch really as successful as we think it is?

first_imgIs Nintendo Switch really as successful as we think it is?Review of the Year: We look at a landmark 12 months for NintendoChristopher DringHead of Games B2BMonday 11th December 2017Share this article Recommend Tweet ShareCompanies in this articleNintendoSuccess typically depends on expectation.How well you think you will do and how you end up doing dictates our reaction. That’s why Resident Evil 7 can sell 4 million copies and be described as ‘disappointing’, whereas a strategy game can shift 250,000 units and be called an unmitigated success. In that regard, Nintendo Switch is an unquestionable triumph. Nintendo had set itself a target of 2 million consoles sold by the end of its first month and ended up selling 2.74 million, having to fly in stock to try and meet demand (at great additional cost). The firm raised its full year projections to 10 million and then, three months later, raised projections again to 14 million for its financial year. By the end of March, Nintendo expects to have shipped 16.74 million Switch consoles worldwide.”The market expectation is that the Switch will effectively replace Wii U and its 3DS sister machine” So it has utterly smashed its own expectations but, just as significantly, it outshone everyone else’s estimations, too. IHS expected Switch to sell 4.4 million units by the end of 2017 (it did that by the end of July), SuperData was slightly more optimistic with a 5 million prediction (it passed that shortly afterwards). Both analysts felt they had been optimistic, as both numbers were higher than what the Wii U managed.Daniel Ahmad at Niko Partners took to Twitter to suggest that it isn’t impossible for Switch to ship 10 million units in its first year. Even that optimistic analysis is likely to be beaten.Nintendo’s strategy and pitch just worked. The initial weak software line-up and high priced accessories and games didn’t have the negative impact many had predicted, partially due to the quality of The Legend of Zelda: Breath of the Wild. The decision to spread out releases throughout the year turned out to be a brilliant one, with the console continually in the news with critically acclaimed software such as Mario Kart 8 Deluxe, Arms, Splatoon 2, Mario + Rabbids and Super Mario Odyssey.There’s no denying it, Switch (along with PUBG) is this year’s success story.Nintendo Switch beat every expectationYet, seeing as we’re taking a closer look at the key topics of 2017, perhaps it’s worth considering a slightly contrary view of where Switch goes from here.Nintendo has stated that the Switch is a home console, and you can see why; the games feel like home console titles, and according to Nintendo’s own data, most gamers are playing the device on the TV at least occasionally. In fact, the data did show that 30 per cent of the audience primarily play in handheld mode, but it’s not clear exactly where they are playing (because if they are anything like me, they’re probably playing from the comfort of their sofa).This means the market and media has been comparing Switch to Wii U, and seeing as that console was a big flop, the comparisons look favourable. Switch has already more than doubled Wii U’s first year and will likely have passed its lifetime sales number before the end of 2017.”3DS shipped almost 17m units by the end of its first year. That’s pretty much identical to what Nintendo Switch is expected to do” However, the market expectation is that the Switch will be Nintendo’s only console hardware release for some time, effectively replacing Wii U and its 3DS sister machine (although the 3DS continues to have a retail presence at this moment). Comparisons to 3DS are less favourable. 3DS had a lower price point, yet it suffered a troubled first few months, and still shipped almost 17m units by the end of its first year. That’s pretty much identical to what Nintendo Switch is expected to do.Indeed, over the course of the Wii U/3DS generation, Nintendo will have sold around 85 million consoles – and this is a generation widely seen as a disappointment for the company (as a comparison, Xbox 360 and PS3 both sold around 84 million consoles each). Comparing Wii U and 3DS to Nintendo Switch is not completely fair, of course. The product is very different to both devices, there will have been a significant cross-over between the Wii U and 3DS audiences, and 3DS’ price point was (and is) significantly lower. In addition, Nintendo’s investment in smartphone games may effectively replace its legacy handheld business over time.Nevertheless, if Nintendo wants to have a bigger generation this time around, then it needs to beat 85 million. The 100 million Switch sales figure that Nintendo has casually suggested in its financial calls now looks more like a genuine sales target. It’s been a decent first year, but we are a long way away from reaching those figures.In addition, with a reliance on one console, Nintendo will be hoping for a higher spend per user on Switch than what it has achieved previously. This is going to require a stronger slate of software and digital add-ons that extends beyond its first few years; not just from Nintendo, but third-parties, too.”Nintendo will be hoping for a higher spend per user on Switch than what it has achieved previously” There are a few positive signs here. Nintendo’s first party slate has been good thus far, and independent developers are achieving strong results from the eShop. Yet there are also multiple warning signs.IHS estimates that around 20 per cent of Switch software sales are digital, which is far below PS4 and Xbox One. With physical retail under threat, that creates a real challenge for Nintendo moving forward in terms of reaching its consumers. The Switch’s small internal storage space has not been friendly for gamers that like to download, either. What’s more, the costs of the cartridges are high. This has prevented some developers from creating physical product (because it forces the price of the game upwards), and has also made things challenging for bigger third-party publishers. Indeed, we’ve seen numerous third-party ports to Switch that have been priced significantly higher than their counterparts on other machines. This is an issue when you consider that Switch has been attracting a sizeable core gamer audience – the sort of consumer that may already own a PS4, PC or Xbox One – which will impact sales of games such as Doom or Skyrim.The lack of flexibility on pricing is one issue that will hinder Nintendo’s efforts in trying to pull in more third-party support.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games There’s no doubt that 2017 has been a good year for Nintendo. Switch has sold in large quantities, and products like the SNES Mini are selling faster than they can be made. It’s a positive position for the company to be in.However, 2018 will be just as crucial. It is the year Nintendo needs to keep the pressure on in terms of big Switch launches (the current release slate is lacking, although there’s almost certainly a new Nintendo Direct on the horizon), it’ll need to ramp up its digital business significantly, and it will want to find some consistency in the smartphone market.Only then can we feel confident that the troubles of Nintendo’s recent past have been put firmly to bed. Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of in your inbox. Enter your email addressMore storiesNintendo appointing Despicable Me studio head to board of directorsAnimation studio behind Mario movie gains influence as Illumination Entertainment CEO Chris Meledandri expected to join board next monthBy Brendan Sinclair 5 days agoNintendo reports record full-year profits as Switch nears 85m units soldAnd, despite forecasting decline, the platform holder expects console to beat Wii’s 101 million lifetime sales this yearBy James Batchelor 6 days agoLatest comments (10)Klaus Preisinger Freelance Writing 3 years ago Wii sales came to a crawl after five years, they were 90 million at that time. That makes an average of 18 million sales per year. Sony just announced 70 million sales after four years, which puts them at an average of 17.5 per year with a product priced between 300€ to 400€ over its lifetime.The Switch certainly started strong enough to play in that league, but whether sales can be sustained for another four years is a tough question. It depends on whether you see Nintendo on the same level as Sony or not. 0Sign inorRegisterto rate and replyAdam Campbell Product Manager, Azoomee3 years ago @Jeff Kelist @Richard BrownDoom 2016 and Wolfenstein are not Xbox 360 games and neither is iD Tech 6 engine. Ubisoft’s Snowdrop engine doesn’t support the old consoles either.When Nvidia made the Tegra K1 and X1 architectures, they included a full fat desktop class OpenGL implementation as well as using the same architecture as desktop GPUs. Its no surprise that now adapted for the Switch you’re able to port games designed for similar architecture.Like I said, at least for bigger studios porting to the console isn’t as much of a stretch as people suggested, and more and more are starting to see the possibilities.UE4 and Unity as I mentioned also fully support the hardware. I remember Square-Enix even suggesting that Unreal could be a route to porting games to Switch where its in-house tech isn’t particularly optimised. Why not? 0Sign inorRegisterto rate and replyRichard Browne Head of External Projects, Digital Extremes3 years ago The continued success of the Switch is entirely down to Nintendo’s slate of titles, how regularly they arrive and how much penetration they can make into the family / casual market. Third parties aren’t going to support the Switch, the compromise from PS4/Xbox One to Switch is an expensive one, nobody wrote an engine ground up to run on all three. In addition to that the PS4/XBox One market is largely 18-35, while those people will quite possibly own a Switch as a second console any mainstream title they’ll buy for their main console at home. Publisher’s know that which is why they’re either on the sidelines, dipping their toes or being funded to port older titles.Comparisons to the Wii are way off in my belief, that platform was a total anomaly in terms of time and place and demographic. The other factor that’s interesting is that local retail still has Switches in stock, albeit aided by Nintendo nearly shutting off supply through the middle of the year to stock pile that’s a big difference.. It’s clearly selling well but you couldn’t buy a Wii for TWO Christmas’s at retail without lining up, this is the Switches first Christmas and there isn’t anything like the frenzy associated with it. Now you can argue their Switch supply is definitely outstripping their Wii supply and they stage managed the Wii better but there is a very demonstrable difference here in the US at least.If I were Nintendo I’d be looking at 25m and then 50m ; talk of 85m of 100m is fantasy land.(note I fully reserve the right to eat crow in 2020). 3Sign inorRegisterto rate and replyShow all comments (10)Robin Clarke Producer, AppyNation Ltd3 years ago Selling more hardware units than the Wii is not Nintendo’s absolute measure of success for the Switch. The landscape has changed in ten years, and they’ll be making significantly more revenue per user thanks to digital distribution – and not targeting the ultra-casual end of the market. Third parties will support any platform where there’s an active audience. 2Sign inorRegisterto rate and replyJim Webb Executive Editor/Community Director, E-mpire Ltd. Co.3 years ago It just hit 10 million units sold to consumers in the first 9 months of sale. It really is as successful as we think it is. inorRegisterto rate and replyJeff Kleist Writer, Marketing, Licensing 0Sign inorRegisterto rate and replyRichard Browne Head of External Projects, Digital Extremes3 years ago @Adam Campbell: As Jeff points out Bethesda ported older games with less requirements horsepower wise ; and I can tell you point blank Bethesda aren’t supporting the Switch out of the goodness of their hearts, Nintendo funded them. 3 years ago @Adam The third party ports all have 360 versions, and Carmack made I’d tech very scalableWhen they run out of 360 games they’re in a lot of trouble for third parties Edited 3 times. Last edit by Richard Browne on 11th December 2017 6:13pm 0Sign inorRegisterto rate and replyAdam Campbell Product Manager, Azoomee3 years ago @Richard Browne:Third parties aren’t going to support the Switch, the compromise from PS4/Xbox One to Switch is an expensive one, nobody wrote an engine ground up to run on all three.Idk about this. Its interesting for example that Bethesda including iD are throwing their titles at the platform, where they didn’t support Nintendo in any capacity for the last three generations. You have interesting examples like the ‘Snowdrop Engine’ from The Division being used to power Rabbids with amazing results.Then, the two biggest middle-ware platforms Unity and Unreal fully support the Switch. It looks like for a lot of companies you have the comfort that one of the major engines supports the hardware already, if not, there’s plenty of proof that its not the biggest stretch to adapt to the Switch if developed for Playstation or Xbox (at least for larger studios). 0Sign inorRegisterto rate and replyKlaus Preisinger Freelance Writing 3 years ago EA will tell you, the money is not made with higher resolution textures for FiFa.Bluehole will tell you “yes, our success is all about copying existing AAA, right?”nVidia will tell you all the most played PC titles run best on a 1080TiFiraxis will tell you “wtf, how did we get robbed at the VGAs by a lesser clone of our game?”Gone are the days where core games ridiculed waggle games for their grandmothers. This years Nintendo came out with multiple sincere game of the year contenders and it paid off. 0Sign inorRegisterto rate and replyChristopher Dring Publisher, GamesIndustry.biz3 years ago @Robin Clarke: Indeed, hence the paragraph starting: “Nintendo will be hoping for a higher spend per user on Switch than what it has achieved previously.” Digital uptake still a bit slow. 1Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

Battlefield V sold 7.3m but missed EA’s forecast

first_imgBattlefield V sold 7.3m but missed EA’s forecastLaunch delay and lack of battle royale priority the reason for 1m sales shortfall, EA saidMatthew HandrahanEditor-in-ChiefWednesday 6th February 2019Share this article Recommend Tweet ShareCompanies in this articleElectronic ArtsBattlefield V sold 7.3 million units in the quarter ended December 31, 2018, but the EA DICE shooter still missed its sales target.Speaking to investors following the release of EA’s third quarter financial results, CFO Blake Jorgensen admitted that the company had “high expectations” for Battlefield V.Ultimately it sold 7.3 million units in Q3, but Jorgensen said EA’s projections were closer to 8.3 million. Both Jorgensen and CEO Andrew Wilson attributed the game’s performance to its delay from October 19 to November 20.”Unfortunately, the later release date meant the game launched deeper into a competitive holiday window where heavy price discounting was a big factor,” Wilson said. “In addition, we also made the decision to prioritise other features, including a single-player experience at launch, over a battle royale mode. “This year, battle royale modes became incredibly popular in shooter games. As a result of these decisions, we struggled to gain momentum and we did not met our sales expectations for the quarter.”Jorgensen also mentioned “unprecedented competition for players’ time” to investors; a possible reference to Epic Games’ Fortnite, which was arguably the single biggest competitor for every game launched in the holiday quarter last year.The slower than expected sales of Battlefield V also had an impact on Origin Access Premier, the subscription service EA announced launched in July last year. The company anticipated DICE’s game to be a major incentive for the service, but EA admitted that Battlefield V “drove fewer Origin Access Premier subscriptions than we had hoped, given the difficult launch of the game.” Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games “We remain committed to subscriptions, and we look forward to attracting further subscribers with the launch of Anthem,” Blake Jorgensen told investors. “We are using the launches this year to help us drive the evolution of the service.”EA has forecast Anthem to sell as many as six million units by March 31, 2019.In late trading, EA’s stock value dropped by 18%, reaching a low of $75.20 from a closing price of $92.52.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of in your inbox. Enter your email addressMore storiesEA leans on Apex Legends and live services in fourth quarterQ4 and full year revenues close to flat and profits take a tumble, but publisher’s bookings still up double-digitsBy Brendan Sinclair 3 hours agoEA acquires Super Mega Baseball developer Metalhead SoftwareCanadian studio fills another gap in FIFA publisher’s expanding sports portfolioBy James Batchelor 6 days agoLatest comments (1)Geraint Bungay Director of Games 2Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. 2 years ago Well with all the bionic limbed female soldiers in WW2 I would have thought it would fly off the shelves. As someone once famously said “if you don’t like it don’t buy it” (sic). I guess players didn’t!last_img read more

Director of Development, Carey Business School

first_img Salary Not Specified Twitter Johns Hopkins University The successful candidate(s) for this position will be subject to apre-employment background check.If you are interested in applying for employment with The JohnsHopkins University and require special assistance or accommodationduring any part of the pre-employment process, please contact theHR Business Services Office at [email protected] For TTYusers, call via Maryland Relay or dial 711.The following additional provisions may apply depending on whichcampus you will work. Your recruiter will adviseaccordingly.During the Influenza (“the flu”) season, as a condition ofemployment, The Johns Hopkins Institutions require all employeeswho provide ongoing services to patients or work in patient care orclinical care areas to have an annual influenza vaccination orpossess an approved medical or religious exception. Failure to meetthis requirement may result in termination of employment.The pre-employment physical for positions in clinical areas,laboratories, working with research subjects, or involvingcommunity contact requires documentation of immune status againstRubella (German measles), Rubeola (Measles), Mumps, Varicella(chickenpox), Hepatitis B and documentation of having received theTdap (Tetanus, diphtheria, pertussis) vaccination. This may includedocumentation of having two (2) MMR vaccines; two (2) Varicellavaccines; or antibody status to these diseases from laboratorytesting. Blood tests for immunities to these diseases areordinarily included in the pre-employment physical exam except forthose employees who provide results of blood tests or immunizationdocumentation from their own health care providers. Anyvaccinations required for these diseases will be given at no costin our Occupational Health office.Equal Opportunity EmployerNote: Job Postings are updated daily and remain online untilfilled.EEO is the LawLearn more: legal information Save Enrollment Marketing Specialist Save Program Officer II Director ofDevelopmentCarey BusinessSchool Program Officer II Similar jobs Administrative Manager You need to sign in or create an account to save LinkedIn Salary Not Specified Maryland, United States Salary Not Specified More searches like this Maryland, United States Save Administrative Manager center_img Enrollment Marketing Specialist Development & Advancement Not specified Full Time jobs in Baltimore You need to sign in or create an account to save Business & Administrative Affairs Not specified Full Time jobs in Baltimore Share Facebook Johns Hopkins University You need to sign in or create an account to save Johns Hopkins University Administrative Not specified Full Time jobs in Baltimore Grants & Contracts Not specified Full Time jobs in Baltimore JH at Legg MasonHarbor East – Carey Business School Maryland, United States GeneralDescriptionTheDirector of Development at the Carey Business School oversees thedirect fundraising efforts of the school, including direct responseappeals and portfolio-based gift officers. In addition, theDirector of Development manages a personal portfolio of major giftprospects and will be expected to conduct a minimum of 75cultivation and solicitation visits a year, including thepreparation of written proposals. The Director of Development willneed to work collaboratively across Johns Hopkins University. TheDirector of Development will also be expected to build strongrelations with the Carey Business School’s departments and facultyleadership and develop a substantive understanding of the CareyBusiness School’s funding needs as defined by the Dean andManagement Council.TheDirector of Development will identify and evaluate the givingpotential of high end affiliated and unaffiliated annual and majorgift prospects through personal visits and research; and manage thecultivation and solicitation of planned giving prospects. TheDirector of Development primarily focuses on commitments of$50,000+ and is expected to raise $1,000,000 or more per year. TheDirector of Development will work closely with the Associate Deanfor Development and Alumni Relations to staff the School’s dean,advisory boards and other volunteercommittees.Inconsultation with the Associate Dean the Director of Developmentwill develop and manage the annual development plan for the CareyBusiness School including setting goals, developing work plans,monitoring efforts and evaluating results; attend university widedevelopment meetings and participate on task forces and committeesincluding liaison with the University’s foundation and corporaterelations office; participate in the department’s budget planningprocess and write and manage the production of special fundraisingpublications such as campaign case statements andbrochures.Performother duties as required.RequiredQualificationsBachelor’s degree required. At least seven years ofprofessional level related development experience requiredincluding cultivation and solicitation of major gifts andsupervisory management experience.Strong management knowledge and skills, superbwritten and oral communications skills are essential. This positionrequires proven fundraising ability, knowledge of major prospectmanagement, planned giving instruments and the ability to exerciseindependent judgment.PreferredQualificationsMaster’sdegree preferred. Experience in higher education developmentpreferred, including supervisory managementexperience.Classified Title:DirectorDevelopmentWorking Title: Director of Development, Carey BusinessSchoolRole/Level/Range: ATP/04/PG Starting Salary Range:Commensurate withexperienceEmployee group: Full Time Schedule: Monday – Friday 8:30 am – 5:00 pm Exempt Status: ExemptLocation: 46-MD:JH at Harbor East Department name: 60000048-Development & Alumni RelationsPersonnel area: Carey Business SchoolThe successful candidate(s) for this position will be subject toa pre-employment background check.If you are interested in applying for employment with The JohnsHopkins University and require special assistance or accommodationduring any part of the pre-employment process, please contact theHR Business Services Office [email protected] For TTYusers, call via Maryland Relay or dial 711.The following additional provisions may apply dependingon which campus you will work. Your recruiter will adviseaccordingly.During the Influenza (“the flu”) season, as a condition ofemployment, The Johns Hopkins Institutions require all employeeswho provide ongoing services to patients or work in patient care orclinical care areas to have an annual influenza vaccination orpossess an approved medical or religious exception. Failure to meetthis requirement may result in termination of employment.The pre-employment physical for positions in clinical areas,laboratories, working with research subjects, or involvingcommunity contact requires documentation of immune status againstRubella (German measles), Rubeola (Measles), Mumps, Varicella(chickenpox), Hepatitis B and documentation of having received theTdap (Tetanus, diphtheria, pertussis) vaccination. This may includedocumentation of having two (2) MMR vaccines; two (2) Varicellavaccines; or antibody status to these diseases from laboratorytesting. Blood tests for immunities to these diseases areordinarily included in the pre-employment physical exam except forthose employees who provide results of blood tests or immunizationdocumentation from their own health care providers. Anyvaccinations required for these diseases will be given at no costin our Occupational Health office.Equal Opportunity EmployerNote: Job Postings are updated daily and remain online untilfilled.EEO is the LawLearn more: Apply(This will open in a new window from which you will be automatically redirected to an external site after 5 seconds) Chief Business Officers & Vice Presidents Not specified Full Time jobs in Baltimorelast_img read more

Educational Administration & Curriculum Instruction Research Positions for Faculty

first_imgIHS Discourse InitiativeResearch PositionsDeadline: April 1, 2021Type: Faculty, Tenured and TenureTrack Compensation Amount: $5,000 – $25,000 IHS is soliciting applications in support of its DiscourseInitiative, a series of conversations—in-person,online, and written—aimed at drawing scholarly attention back tothe broad intellectual tradition of liberalism.As part of this initiative, IHS offers faculty researchpositions funded in the amount of $5,000-$25,000 to support majorresearch projects that hold significant promise of advancing adeeper understanding of ideas within the liberal tradition. Areasof interest include but are not limited to:Liberalism and Its Critics, includingengagement with and response to critiques from both ends of theideological spectrum.Key Challenges within a Free Society, such astensions between liberty and equality, dynamism and stability, andfreedom of speech and social cohesion.Cultural Challenges within Liberal Society,such as protections for minority rights, the pace of change in anincreasingly digital and globalized world, and the culturalrequirements of a tolerant and pluralistic society.Contentious Topics within the LiberalTradition, including negative vs. positive rights, moralobligations within the liberal order, and contested meanings ofliberal principles such as justice, equality, and democracy.Liberalism in Times of Crisis, including theproper role of government in a crisis and how to balance competinggoals, such as public health and safety, with civil liberties, therule of law, and economic freedom in an emergency.These grants may be used to underwrite direct expenses; payresearch assistants, editors, or other contractors; or buy outtime.IHS supports a diverse collection of faculty members across awide range of academic disciplines within the humanities and socialsciences. Qualifying fields of study include economics, politicalscience, philosophy, PPE, law, history, sociology, business,psychology, literature, and related disciplines in the socialsciences and humanities.Application and DeadlineApplications are open to academics at any stage of theircareers. Application deadline is listed below:April 1, 2021 | Applications for fall 2021 projectsare due.May 28, 2021 | Decisions announced.Information about the Institute for HumaneStudiesThe Institute for Humane Studies partners with professors topromote the teaching and research of liberty and to advance highereducation’s core purpose of intellectual discovery and humanprogress.Our vision is to ensure higher education becomes a place whereclassical liberal ideas are regularly taught, discussed,challenged, and developed, and where free speech, intellectualdiversity, and open inquiry flourish.last_img read more

Laboz family plans 2 office developments in Soho

first_imgAlbert Laboz of United American Land with 430 West Broadway and 419 Broadway (Credit: Getty Images and rendering via YIMBY)The Laboz family is planning to build two office and retail buildings on prime Broadway sites in Soho.The family’s firm, United American Land, will break ground on a 40,000-square-foot building at 419 Broadway in the first quarter of next year, and a second building the following quarter at 430 Broadway, which will span 45,000 square feet, Crain’s reported. Laboz tapped architect Morris Adjmi to design both buildings.Albert Laboz, who runs the firm with his brothers Jody and Jason, told the publication that, in part, the decision to move forward with the office buildings had been prompted by WeWork signing a 60,000-square-foot lease at his firm’s 408 Broadway last year.“Frankly, there was a lull in the retail market, and we said this is a good time to re-evaluate what we had and how we can add value,” Laboz said. “We decided to go where the market is, and the market is on the office side.”UAL oversees a portfolio of 60 buildings and has a vast presence in Soho. At another building 441, the firm just reportedly signed a five-year lease with Van’s General Store, a film production company led by actor Liev Schrieber. The firm will take the 3,300-square-foot penthouse, where the asking rent was $68 a square foot.The firm has also been making investments across the river in Brooklyn. In January it paid $22 million for four buildings on a development site owned by Jeff Sutton. [Crain’s] — David Jeans  This content is for subscribers only.Subscribe Nowlast_img read more

Commercial tenant protections get extension from de Blasio

first_imgCorey Johnson, Andrew Rigie and Mayor Bill de Blasio (Getty)“Today is about justice for hard-working New Yorkers,” Mayor Bill de Blasio said at a bill-signing ceremony Monday.Commercial landlords might beg to differ.One of the measures de Blasio signed into law essentially rewrites contracts many of them have with small businesses. The measure extends a ban on landlords even threatening to enforce personal-liability clauses designed to encourage business owners to pay rent.The law, sponsored by Manhattan Democrat Carlina Rivera and originally enacted in May retroactive to March 7, was set to expire Wednesday. The extension carries it through March 2021, unless a legal challenge wipes it off the books.Six of the Council’s 51 members voted against the first bill, citing the government’s interference in private contracts. At the time, the Real Estate Board of New York testified that the bill called for a “seemingly impermissible unilateral amendment of existing valid contracts.”ADVERTISEMENTRead moreNYC bill bars enforcement of personal liability clausesDe Blasio signs judgment-protection bill into law Still, commercial landlords have their own bills to pay, and to date, the City Council has not passed any special rules for them. The chamber lacks the power to waive landlords’ mortgage obligations. Some members did introduce a bill to award a property tax break to landlords who give commercial tenants a break, but the mayor has not promoted it and it has not passed.The bill does not cover every tenant. It applies to restaurants, bars, gyms, theaters, retailers subject to in-person restrictions, barbershops, hair salons and tattoo and piercing parlors.“We were able to ensure that business owners, should they be forced to walk away or temporarily shutter their stores through no fault of their own, could do so without facing threats to their life savings,” Rivera said in a statement. She noted that she had heard many tales of woe from small-business owners, but did not mention getting any from landlords.Another bill signed by the mayor Monday expands paid leave to employees of small businesses with four or fewer employees and net income of more than $1 million, in line with state law. It also compels businesses with 100 or more employees to provide up to 56 hours of paid sick leave.De Blasio also signed a measure forcing new owners of hotels to keep paying wages and providing benefits to the hotel employees for 90 days — even if the hotel is closed. Hotel owners believe that will make it harder for struggling establishments to find buyers and could lead to some shutting down.In a statement, its sponsor, Manhattan Democrat Mark Levine, did not address that issue, but said: “When tourists eventually return to our city … it is only fair that hotel workers have a path back to their jobs.”Contact Erik Engquist Email Address* Full Name*center_img Message* This content is for subscribers only.Subscribe Nowlast_img read more

Real estate stocks hold gains even as market doesn’t

first_img Full Name* Email Address* This content is for subscribers only.Subscribe Now News of President-elect Biden’s $1.9T stimulus plan held promise for employment and economic activity. (Getty)Real estate stocks ended the week in positive territory while the broader market gave up its gains after President-elect Joe Biden rolled out a $1.9 trillion stimulus proposal.Stocks tend to rise when Washington injects money into the economy, but negative reaction from some members of Congress — or fears that the measure would pass and spark inflation — might have triggered some selling. For real estate, though, the damage was muted.“Employment and economic activity are pillars of real estate,” said John Kim, a real estate investment analyst at BMO, “although concerns about the inflationary impact of government spending is typically a headwind for the industry.”The real estate market index climbed nearly 2 percent this week. The index, XLRE, measures the performance of real estate management and development companies, as well as REITs.ADVERTISEMENTSimon Property group climbed 7.5 percent this week to close at $93 and Boston Properties rose 5.6 percent to $95; Hilton Worldwide closed just below its pre-Covid peak after its shares fell 3 percent. Retail, hotel and office sectors have been hammered by the pandemic.The Federal Reserve signaled this week it will keep interest rates low and continue its monthly asset purchases, which help prevent capital markets from stalling.While the economy continues to be weighed down by the pandemic, major real estate companies have weathered the second wave of the virus better than the first.“The first wave of Covid caused a full shutdown of real estate transactions,” said J.D. Parker, executive vice president at real estate servicer Marcus & Millichap, but now “employees are up to speed in the virtual world, and have successfully reimagined much of their workflow.”The S&P 500 index and Nasdaq Composite closed down 1.3 percent for the week. The Dow Jones Industrial Average was flat.Here is a snapshot of how various real estate sectors are doing:REITsHotels, retail and offices lost substantial business to the pandemic as people curtailed travel, shopped online and worked from home.Major hotel stocks have fared better than hotels themselves, as investors anticipate the release of pent-up demand for travel following vaccinations. Shares of Hilton Worldwide have climbed 36 percent since the summer, closing Friday slightly below their pre-Covid peak.Meanwhile nationwide hotel occupancy has fallen to 37 percent, its lowest level since June, according to STR. That figure does not take into account hotels that are closed.Read moreCompass IPO means payday for these investorsPorch valuation soars to $1B after going publicReal estate stocks climb after US electioncenter_img Marriott International dipped this week to close near $126, about 17 percent below its pre-Covid high. The company was one of many to halt campaign donations to politicians who voted against certifying the presidential election.The single biggest daily gain in share price for many large real estate companies since the onset of the pandemic came in November, when results of vaccine trials were first released.Investors remain less optimistic about brick-and-mortar real estate, as consumers during the pandemic have grown more accustomed to shopping from home. Macy’s and Bed Bath and Beyond, anchor tenants at many malls, have announced plans to close hundreds of stores in the coming years. Investors have since lifted the companies’ share prices.Shares of Simon Property Group, the nation’s largest mall owner, rose this week after the company issued new debt to cover $550 million that comes due this year. Low interest rates have encouraged companies to borrow money instead of sell assets to cope with the financial effects of Covid. (Real estate servicers such as Marcus & Millichap earn fees on borrowing transactions.) Simon shares remain 36 percent below a 2020 high of $147; they peaked at $227 in 2016.High-profile bankruptcies, from Neiman Marcus and J.C. Penney to Sears, have plagued mall owners for years.OfficeRent collection rates have remained high among office landlords, but employees’ newfound desire to work from home presents long-term challenges to the sector. The uncertainty has pushed down the share price of office building owners such as SL Green.SL Green stock, despite ending the week in positive territory, remains almost 35 percent below its February 2020 price. The New York office giant has responded by committing more money to stock buybacks, believing its shares are undervalued.“A majority of office deals this year have come from [lease] renewals,” Kim said, adding that asset values remain above where markets have priced shares belonging to office building owners. In other words, the real estate market values offices more than stock investors do.Industrial & StorageBuoyed by the steady rise of e-commerce, which was accelerated by the pandemic’s keeping consumers away from brick-and-mortar shops, owners of industrial properties have benefited from increased demand for last-mile delivery infrastructure. Large industrial REITs such as Prologis are trading near their pre-pandemic highs.Frank Cohen, chief executive of Blackstone REIT, said in a statement last year, “Similar to logistics, self-storage is a resilient sector through economic cycles because of low tenant turnover, minimal maintenance costs and stable cash flows.”HomebuildingAgainst the backdrop of a persistent national housing shortage, demand for new homes sent the share price of home builders higher. Lennar Corporation stock climbed 4.4 percent this week to $76.60 and since last summer has remained above its pre-pandemic share price. Toll Brothers closed at $44.62, an increase of 1.3 percent this week, nine months after sinking to a low of $16 per share.IPOs/Tech companiesThe share price of Opendoor Technologies, which buys and sells homes through its online listing service, has declined 10 percent from its initial offering price in late December of $29 per share to $26,. The decline comes amid a slowdown in U.S. home sales — in November, 6.69 million homes were sold, snapping a five-month streak of gains — after a record-setting year in which buyers took advantage of low interest rates to relocate or buy larger homes.Airbnb, which cancelled all reservations in Washington, D.C., during the week of the presidential inauguration, continued drawing investor interest this week. Its share price closed above $169, an increase of over 16 percent since Monday. The hotel substitute more than doubled its opening share price of $68 on its first day of trading on Dec. 10, despite reduced travel trends during the pandemic.Shares of technology company CoStar Group slid for the second week in a row, ending this week down more than 7 percent at about $853, after the Federal Trade Commission objected to it acquiring RentPath, a rental property listing service. CoStar is fighting a $60 million termination fee over the deal; it recently purchased the url Orion Jones Message*last_img read more

Andy Stepanian, Leon III, & “Fly Migrator”: The Song That Took Me Down A Rabbit Hole [Interview/Stream]

first_imgYou may not have heard of Andy Stepanian, or his brainchild Leon III. To be fair, I hadn’t either until about three weeks ago when his publicist sent an email to my editor with a yet-to-be released, nearly ten-minute track called “Fly Migrator”. Now, we here at Live For Live Music receive a vast amount of emails everyday with tracks to check out and albums to listen to. It would be impossible to listen to every one, and it’s all the more unlikely that you’ll take the time when you’ve never heard of the act being pitched.Due to a well-placed tip (thanks, Emily), our team decided to dive into this new track from this band we’d never heard, and our excitement effectively derailed an entire morning’s worth of productivity. What is Leon III? Who are these people? How have I never heard of them? Why can’t I stop listening to this song?After a few back-and-forth emails, some digging through known information, and prowling around on Soundcloud, my interest was fully piqued. Here was an act that wasn’t on any of the message boards, didn’t have Facebook fan groups, wasn’t mentioned in the jam Twitterverse—don’t worry, this will eventually turn into a compliment. With little out there on Stepanian and Leon III, I decided that I wanted to get in on the ground floor of what I think could be one of the next names in improvisational music. If you’re this far already, then you’re also probably willing to take a chance and get to know Leon III. While you read, take that first step down the rabbit hole just like I did: hit “play” on “Fly Migrator”.Leon III – “Fly Migrator” Live For Live Music: For me specifically, [“Fly Migrator”] really had it all. So, can you tell me a bit about how that track came about, and how it fits into your sound as a whole?Andy Stepanian: I’ve got a pretty long and crooked path in music, and I’m sort of moving in a particular direction at the moment—or back when this song was written, and even more now, probably—and it’s trying to expand the boundaries of songs and get beyond your three-to-five minute song. Really work some space into them, and be a little bit more free in the way that we approach things. So “Fly Migrator” was really a song that, as far as songs, didn’t have a tremendous amount of words. It had lyrical content, but not necessarily volume. But the song itself seemed to be best delivered in this sort of epic format. Even from the demo stage. When I demoed it, I think the demo that I did—which I sort of create them on my own—was seven minutes or something.So we kind of identified it with the guys that played on the album. We knew that we were going to get pretty jammy on it, and that’s exactly how it went down. So it kind of almost is a song in three stages. I feel like there’s a beginning, and then there’s the lyrical middle, and then there’s an ending section that has a beat that comes in, a looped drum beat.Yeah, it was a fun one to make. I think the take that is on the album is one that was done while we were still kind of learning the song. I think everybody was playing a little bit more adventurous than they would be if you were saying, “Okay, this is the take,” or “Let’s go for one.” So that probably gave it the spirit that it wanted.Live For Live Music: In terms of that style of the no words—these long songs, this adventurous style—is that an approach that’s new to you?Andy Stepanian:  No. I mean, I write long songs that tend to have big moments in them, but letting myself put a ten-minute song on an album is probably new to me, sure.I think the longest one prior to that was six or so minutes, but as a listener, I’ve been drawn to that kind of music for a long time, and I listen to a lot of that type of music, and then I’ve sort of gotten more and more into that style of music over time, and migrated away from some of the more formulaic things that I used to be drawn to, I guess… to be very unclear.Live For Live Music: Speaking of the unclear, speaking of those older, more formulaic things, what made you and Mason Brent decide to put Wrinkle Neck Mules, a band that enjoyed a fair amount of commercial success with that more traditional formula, up on a shelf and start anew with Leon III?Andy Stepanian: Some of it is musical. So Wrinkle Neck Mules has a certain audience, and has a certain thing. I find that Wrinkle Neck Mules is a band, and it has five people in it, and there’s the same five people that have been in it for 15 years. That band sort of always takes a certain angle on the music. There’s a perimeter to it, but it was really an opportunity to go explore. Leon III was an opportunity to say, “Let’s crack out of the formula, and let’s go try to use some different paint colors on the canvas, and let’s take an opportunity to not be necessarily locked into a specific band, on any given recording project or any given tour.”So, we can explore different sonic things, and if they work, we can take what works and apply it to the future. But, we don’t have to be married to anything necessarily. So that’s how it started. “Hey, let’s go do this thing,” and pushed it into a different area that Wrinkle Neck Mules has ever explored, and see where the songs can go, without sort of the confines of fan expectations, and the band, and those kind of things.Live For Live Music: How has that change in dynamic affected you, as a musician, so far?Andy Stepanian: I think a lot of confidence. So, when you play with the band for a long time, you kind of have your role and you know where you stand, and it becomes comfortable, I guess I’d say. So you’re comfortable in what the band does, and the style and how it works and all that. But sometimes, that comfort isn’t necessarily the best thing, in terms of growth. So going out and putting a lot on my own shoulders and on my own song’s shoulders, and then getting into the studio with some people that are true virtuoso types on their instruments, and kind of learning from them. … It’s been a growth thing, and then you start to see, “Oh, well that works,” and these songs are working and things are going well, so let’s do more. Let’s go one more step. Let’s take this one more step. So it kind of builds on itself. It takes time. I’m a slow learner.Live For Live Music: Has it been daunting, kind of scary, to do that and put more on your shoulders, whereas with that band it was a set lineup and everybody kind of had this distribution, and now, it’s kind of more on you. Is that kind of scary at times?Andy Stepanian: It was at first, but I’m feeling it. I feel like I’ve kind of broken through the scary part, and am starting to really be happy with what we’re turning out, in terms of songs, and super proud of the product that we’ve created, in terms of what these songs are. So that more and more starts feeding on itself, and you start saying, “Okay, well that worked. Let’s keep going. Let’s keep pushing.” So in that regard, I’m pretty happy.Live For Live Music: So then, let’s talk about the new album, Antlers In Velvet, out in 2021. There are some new singles coming out next month. How does this new record expand on the first album from Leon III?Andy Stepanian: So it’s a lot of what we just talked about. So the first album… [2018’s] Leon III, is this out-of-thin-air kind of thing that we made when we decided to do it. We have the songs. We’d done some demoing, but there was no real sound for Leon III. It was hard to know exactly what to expect, and we went in with Mark Nevers, who is a guy some people know just from his work with Body Prints or Silver Jews or Vic Chestnutt or whatever. And I didn’t really know. I was a little nervous. I was unsure of directionally where it was going to end up, and so I felt like I loved a lot of the songs—and still do—on the first album, but I felt hesitant personally about how it was going to go.I think even the working relationship with Mason [Brent] and working relationship with Nevers, everyone would feel each other out and get to know each other. So I almost immediately knew I wanted to do another album with Mark, because I felt like, “Okay, now we’ve got this real comfort level,” and I think that will result in pushing the boundaries a little farther.For this one, we decided to do kind of a lock-in type thing, where we all went to California and we lived and worked in the studio for a week, and we brought in some guys that are excellent musicians and their friends, or friends of friends, that they’re pros, and that sort of unlocked a little bit deeper and richer feel to the songs, in terms of let’s put one more different angle on these things.So, yeah. I just feel like it’s a little bit deeper step. Definitely a lot of underlying psychedelia in the songs. There was in the first album too, but this is, again, another step forward.Live For Live Music: You talked about bringing in all these immensely talented people. How did that A-team come together for the recording of the new album?Andy Stepanian: Yeah, it was just Mark Nevers and myself working on it, and figuring out who might come. I mean, there was this guy Kai Welch, who is the kind of good friend who worked on the first album. He’s a touring member of Kacey Musgraves‘ band, but also kind of a wiz on a lot of different instruments. We kind of knew right away that we would bring Kai, and then Mark came to bring William Tyler, who is a very talented guitar player who Mark has worked with for a long time, from Lamb Chop and Silver Jews, and Williams’ solo stuff. I was a little hesitant about that, because Mason is really the guitar player, but we kind of decided that that’s part of what we’re trying to do here. Let’s just break out of our norms, and see what Williams can do, and William plays in a really unique style. It’s almost not guitar. Sometimes, it sounds like padded keyboards, or a little atmospheric and new age, which is cool.Then there’s this drummer who, also, a lot of people know from his days with a band called Centro-Matic, but who’s a pretty recognized engineer and producer on his own right. This guy Matt Pence, who has a real unique drumming style, and who I’ve always loved. I knew Matt not a ton, but knew him a little bit from around the Texas music scene. Anyway, we got Matt Scott. That was the core, just us brainstorming anything. He might be unique. He might fit together well, but also bring different elements to the table.Live For Live Music: You talked about it earlier, how part of the fun was not having the set lineup, but it seems like you got a good group of guys together. If you guys do make another album, are you going to stick with these people, or are you going to build it up from scratch again?Andy Stepanian: I don’t know. We’re talking about that right now, and then got a bunch of songs now. This one was recorded way back in the spring of last year, and so I don’t know. It may be some of both. It might be a hybrid. I have no idea. It’ll probably be determined by who we work with. I’m likely to say we’re going to work with a producer again, and that might drive some of the decision-making.Live For Live Music: I also realize this is probably a distant reality right now, but in terms of taking Leon III on the road—a lot of these guys already have other touring obligations. What would that look like, if you wanted to take this act on the road?Andy Stepanian: Yeah, so it depends. We did a bunch of touring right up until January of this year, and the live lineup changes also. Sometimes it’s just because guys are busy, but we have a pretty good crew that are national guys, that are friends of ours, that jump in and play various roles. I have a good buddy from Houston who’s a bass player, who I think he’s played all of our shows with us, but it kind of depends on who answers the phone, and who wants to go at any given time.Matt Pence, the drummer who is on the recording, has played with us some, but he is the full-time drummer for a guy named Paul Coffin, who’s kind of an up-and-comer in the Americana world.I’m rambling, but it totally depends. So sometimes, we’ll bring a female who sings and plays piano. Sometimes, we’ll bring a pedal steel player. There was always the same core instruments, but often, we’ll have a fifth or sixth instrument that is different, or it’s a different person. Synth player or something like that.Live For Live Music: It seems like that just contributes to the whole idea of this being a shifting thing that’s very open ended.Andy Stepanian: Yeah, it does. I mean, there’s downsides to it too at times, just because you’re not always super familiar, and you’re always cramming in rehearsals, and we joke that by the end of each little tour, the band is awesome. And then, everybody disbands and goes back to their own music or doing their own. So there’s ups and downs to it. You get different angles on the music, but you’re always learning. You got to stay on your toes.Live For Live Music: And then just one more question about the personnel. How did dub legend Lee “Scratch” Perry get involved in this project?Andy Stepanian: Through just pure effort. On our last album, we had Scientist—who’s also a dub legend—do a remix for a song, and I’m always kind of dreamy on stuff like that. So, I just reached out to Lee Perry, really just his email address [laughs], and I didn’t hear anything and I was bummed out, but it didn’t surprise me.And then all of a sudden, I got a WhatsApp thing from his wife, and ended up starting a dialogue with her, and they were super open to it, and I was like, “Look, it’s not a reggae song, but I think that he could do some cool things with it,” and so he jumped in and did it. They rented a little studio, I think, in Jamaica, but I think a lot of times he was living in Switzerland. In one of the two places, I never could tell, but he just jumped in and did it. He’s in his eighties now, so I think he had an engineer help him with it, but it was kind of a dream come true.Live For Live Music: And then switch gears a little bit. How does the Howler Brothers brand fit into your creative output?Andy Stepanian: It’s just another thing. It’s something that I started with one of my Wrinkle Neck Mules bandmates, and at the time, it was kind of a means to an end. We were session musicians and scared, and so he’s a very talented graphic artist, and he was trying to pursue this thing, and I’m a sucker for a bad idea. So, I decided to jump on and help him, and it’s grown and grown over the years. So I’m able to do a lot of creative things. I write a lot of words for Howler, but then I also create a lot of video and content type things that are often funny or bizarre.So it’s a way to sort of toggle in and out of music, and not have it be everything I’m thinking about every single day, but also have another creative realm that I can play in, and also make a living, which has been a blessing during the last six months in particular.Keep a look out for new singles from Leon III over the next few months as we draw closer to the release of Antlers In Velvet in February 2021. Visit the group’s Facebook page to stay up-to-date.last_img read more

Tyr makes a big splash as Set Up Events’ series wide…

first_img Related Set Up Events, a leading producer of triathlons, running and endurance events across the US, has announced today that it has partnered with TYR – with the swim and tri brand on board as the Official Swimwear and Swim Accessory Sponsor for all of Set Up Events’ triathlon series.The TYR sponsorship, which runs through to 2013, includes category exclusive rights as the Official Swimwear and Swim Accessory Sponsor for each series. These includes the Inside-Out Sports North Carolina Triathlon Series, Go-Tri Sports South Carolina Triathlon Series, TrySports Series, Virginia Triathlon Series, Maryland Triathlon Series and the newest Georgia Triathlon Series.“TYR is proud to partner with Set Up Events, one of the nation’s largest triathlon production companies,” said Ryan Dolan, Vice President of Sales for TYR. “With a growing number of races and competitors, the Set Up Events series is an opportunity for TYR to reach triathletes at the grassroots level.”“It has been a successful partnership in previous years of working with TYR, and we are excited to take this to the next level,” added Bill Scott, CEO of Set Up Events. “TYR is a recognized leader in swimwear and swim accessories, and it’s great to have such an innovative, performance-focused company aligned with Set Up Events and our triathletes.”The sponsorship was secured by John Jones of fortyninegroup, the official strategic marketing agency of Set Up Events.Set Up Events, one of the US nation’s largest producers of triathlons, is a full-service production, registration and timing company for participatory sports, triathlon and running events. In 2012 Set Up Events will produce over 140 triathlons in 8 states totaling over 64,000 registrations.TYR engineers technical apparel and equipment for swimmers and triathletes. Named for ‘TYR’, the Norse god of warriors, the company was started by athletes and is populated by athletes. The cultures and communities of competitive swimming and triathlon pervade TYR’s offices, with company ‘dedicated to re-imagining technologies that help athletes attain peak performance.’ www.fortyninegroup.comlast_img read more

British Triathlon powered by peanuts as Whole Earth confirms new sponsorship

first_img Related Whole Earth Foods has been announced as an Official Supplier to British Triathlon. The organic and natural peanut butter brand is seen as a natural fit for the national governing body for multisport in Britain as… ‘the high fibre [and] protein content are perfect for fuelling performance especially in endurance sports like triathlon.’The three-year deal will see Whole Earth support British triathletes ‘in their quest to be fuelled to achieve their personal triathlon challenge.’ Whole Earth will share insider tips on fuelling and nutrition, helping to inspire both experienced triathletes and newcomers to the world of triathlon.Triathletes have used peanut butter within their training regime for a number of years and it is regarded by some as a secret weapon pre-race and whilst competing. The quick, accessible snack has also been shown to aid the recovery process when consumed as part of a healthy diet and in combination with other sports nutrition products.Whole Earth notes that its peanut butter contains a significant level of protein, and in turn provides much needed amino acids to muscle.The relationship with national governing body British Triathlon comes at a key time for triathlon in Great Britain, where the sport continues to grow in both popularity and participation. With over 500 clubs and over 900 registered events around the country, there is a growing pool of talent and a wider opportunity to make a difference, helping improve athletes’ PBs and encouraging others to get involved.To mark the launch of the relationship with British Triathlon, Whole Earth is releasing a range of materials to help triathletes – from beginners to veterans – improve their PBs. The information will aim to motivate, educate and improve triathlon performance and general fitness across Britain.Going forwards, Whole Earth and British Triathlon will be releasing short films covering: what to eat, advice on how to tackle your first triathlon and some insider tips from Britain’s leading world-class triathletes.Zara Hyde Peters OBE, British Triathlon’s outgoing CEO, said “We’re hugely excited to be adding a household name like Whole Earth to our current sponsor family. With the sport of triathlon growing so rapidly, we believe that Whole Earth share our aim to support triathletes at all levels deliver their best performances, whilst adding real value in growing the sport’s profile and promoting excellence within the triathlon community.”Gill Hesketh, Marketing Director at Whole Earth Foods said “We believe that there is a link between eating good, natural foods and sporting success. To be involved with triathlon, where participation is growing and standards are improving, we see it as our role, using our product to make a difference. Through our product, our advice and our passion for the sport, we can help beat PBs and help continue the increasing success of the sport.”Whole Earth Foods was founded in 1967 by Craig Sams and his brother Gregory to bring natural foods to consumers as they believed such products are ‘better for body and planet’. The brothers created Whole Earth, pioneering the production of organic and natural foods. These products ‘were made available to a wider market for those who wanted to eat healthy, tasty food and also cared about the planet.’www.wholeearthfoods.comwww.britishtriathlon.orglast_img read more