Latest news with #Tell
Yahoo
23-05-2025
- Entertainment
- Yahoo
Watch: MGK releases 'Cliche,' music video Friday
May 23 (UPI) -- MGK, formerly known as Machine Gun Kelly, is back with new music. The music artist, 35, released the song "Cliche" and a music video on Friday. "Tell me would you wait for me? Baby I'm a rolling stone. I got a lot of right in me, but I don't want to say this wrong," he sings. "Tell me would you stay with me? Maybe we could make this home. You should run away with me, even if you're better off alone." The video shows him dancing in a car wash, on the back of a moving truck and in a motel parking lot. MGK posted a video to Instagram that show him reacting to seeing himself on Spotify's New Music Friday playlist cover. "For the first time in my career," he captioned the reaction video. Teddy Swims offered his support in the comment section, writing, "I love you. You deserve everything good." The singer released an expanded version of his 2019 album Hotel Diablo in 2024, called Floor 13 Edition. View this post on Instagram A post shared by mgk (@machinegunkelly)
Yahoo
28-04-2025
- Business
- Yahoo
Cloetta to cut up to 100 jobs across Europe
Confectionery group Cloetta will eliminate up to 100 jobs across its European operations by the end of the year. The move is part of the Sweden-based company's plans to match its organisational structure with the new strategic priorities it announced in March to drive growth. The changes, affecting commercial and group-level jobs, are expected to yield annual savings of Skr60-70m ($72.4m-$84.5m), Cloetta said. The Plopp chocolate bar maker anticipates the full financial impact of the move in the first quarter of 2026. Cloetta said the proposed changes are subject to customary negotiations with union officials. It expects to provide further details by October. As part of the changes, Cloetta's management team will be streamlined from ten to nine members. The new team will include president and CEO Katarina Tell; Scandinavia & Travel Retail area president Ulrika Palm; CFO Frans Rydén; and an open position for COO. Tell, who assumed the CEO role last April, said: 'Cloetta is committed to continue to drive profitable growth and strengthening our market position through clear strategic priorities and a focused execution. 'The planned changes are an important step to ensure that Cloetta will become a more focused and efficient company with enhanced speed and agility.' The company's new strategic priorities, announced in March, outlined three priorities. The first is to win with its so-called 'super' brands. Cloetta is planning to focus across its core markets on ten selected brands to drive profitable growth through increased distribution and by continuing to take the brands into new categories. The second is to grow beyond the group's core markets with an increased focus on Germany and the UK as the European countries with the largest confectionery retail sales and the highest per capita consumption. Cloetta is also eyeing North America to build on demand for Swedish candy. Its third strategic priority is to 'excel in marketing and innovation' by accelerating new product development supported by 'continued marketing effectiveness'. To support these goals, Cloetta said it will improve its operating model through net revenue management, optimising its supply chain and establishing an effective operating structure, alongside selective M&A. Cloetta also increased its long-term organic sales growth target to 3-4% per year, up from a previously announced goal of growth of 1-2%. The group's long-term adjusted EBIT margin target remains unchanged at 14%, with the addition the company is aiming to reach at least 12% by 2027. In February, Cloetta indefinitely shelved plans for a new confectionery plant in the Netherlands after Tell put the investment on hold. Cloetta sold its Nutisal roasted nuts label to Dutch peer The Monchy Food Company for around €5 to €6m ($5.4m – €6.5m) last June. "Cloetta to cut up to 100 jobs across Europe" was originally created and published by Just Food, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Sign in to access your portfolio
Boston Globe
18-04-2025
- Entertainment
- Boston Globe
An old favorite and an oddity from the BSO
How do you solve a problem like Dmitri? Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up According to music director Andris Nelsons and the BSO's performance on Thursday, you don't, and you probably leave with more questions than you had going in, but that isn't a bad thing. Take that 'William Tell' giddy-up refrain: Is Shostakovich dreaming of childhood fantasies, a la 'The Lone Ranger'? Could he be calling on something from the Tell legend itself: the brave folk hero standing up against a tyrannical ruler, or the rage and terror any parent would feel if their child might be in danger? Shostakovich never provided definitive answers, and Nelsons and the BSO reveled in those ambiguities throughout the evening's colorful performance. Advertisement The BSO has only performed this oddball piece a few times throughout its history, and with it they paired one of the most-performed standards in the symphonic repertoire: Beethoven's Piano Concerto No. 4, with the distinguished Mitsuko Uchida at the keyboard. Uchida's professional career has long since passed the half-century mark, and her repertoire selective but deep; no to much of the grand Russian repertoire, yes to Mozart, Schoenberg, Schubert, and Beethoven. She has also had a lengthy association with teaching and directing Vermont's summer Marlboro Music Festival, which has many alumni in the BSO, and there was a distinct current of mutual admiration and respect in the air as Uchida took the stage. From the keyboard, Uchida conjured an elegant interpretation on the classic concerto, sculpting her phrases with subtle rounded edges and bell-like intonation while making judicious, measured use of the sustain pedal. (Her pedalwork was easily visible even from the balcony thanks to her eye-catching silver shoes, which seem to be a signature piece in her closet.) Trills were as relentless and percussive as spring rain, and just as invigorating. Andris Nelsons conducting the Boston Symphony Orchestra in Shostakovich's Symphony No. 15 on April 17, 2025. Hilary Scott/BSO In the second movement, when the orchestra faces off with the pianist in answering and overlapping statements, Nelsons and the BSO almost seemed to be goading the soloist, as if seeing what it would take to interrupt her calm contemplation; Uchida remained unassailable, answering with delicacy. Even the lively third movement was genteel in her hands, sparkling with bemused warmth. The audience appealed for an encore, and Uchida declined with a smile. After intermission, the Shostakovich symphony began with sounds of percussion clockwork, and Nelsons deftly conducted the mercurial first movement, leading the orchestra through delicate atonal latticework and the recurring 'William Tell' theme with equal confidence and momentum. In the second movement, the whole world briefly reduced itself to the sound coming from principal cellist Blaise Déjardin, as his instrument became a lonely and all too human voice crying out — first against stony silence, then versus even stonier chords from the brass section. Concertmaster Nathan Cole also proved his Shostakovich bona fides more than once, contributing sinewy and sweetly sardonic solo passages at several junctures. If Cole ever plays either of Shostakovich's violin concertos, with the BSO or any other orchestra, I'll be first in line for a ticket. Advertisement Through his career, Shostakovich was fond of the musical form passacaglia, which places gradually evolving harmonic variations over a repeated bassline, and the leadup to the finale of the 15th Symphony features a particularly intense example. As the BSO approached its emotional apex, the sound itself felt somehow blinding, the stage too bright to look at directly. Leipzig, if you're reading this, you might want to pack some sunglasses. BOSTON SYMPHONY ORCHESTRA At Symphony Hall April 17. Repeats April 19. A.Z. Madonna can be reached at
Al Manar
24-03-2025
- Politics
- Al Manar
New Hamas Video: Two Israeli Prisoners in Gaza Plead 'Time is Running Out'
Al-Qassam Brigades released on Monday a video message from two Israeli prisoners, titled: 'Tell Them Ohad!' Alkana Bouhbot and Yosef Haim Ohana are the two Zionist prisoner who appear in the video talking about their loss of hope in light of the Israeli government decision to suspend the exchange talks and resume the war on Gaza. The two prisoners affirmed that the video does not come in the context of Hamas psychological warfare, underlining the dire conditions they are suffering the Strip. The two Israeli prisoners highlighted that the Israeli airstrikes were about to end their lives in an indication that many Israeli prisoners in Gaza were killed by the Zionist war jets' raids. The Israeli enemy has resumed its war on Gaza, suspending the ceasefire talks and claiming that the military pressure on the Palestinian resistance is solely capable of liberating the prisoners from Hamas.
Yahoo
21-03-2025
- Yahoo
How AI can (and can't) help lighten your load at work
Legend has it that William Tell shot an apple from his young son's head. While there are many interpretations of the tale, from the perspective of the theory of technology, a few are especially salient. First, Tell was an expert marksman. Second, he knew his bow was reliable but understood it was just a tool with no independent agency. Third, Tell chose the target. What does all this have to do with artificial intelligence? Metaphorically, AI (think large language models or LLMs, such as ChatGPT) can be thought of as a bow, the user is the archer, and the apple represents the user's goal. Viewed this way, it's easier to work out how AI can be used effectively in the workplace. To that end, it's helpful to consider what is known about the limitations of AI before working out where it can – and can't – help with efficiency and productivity. First, LLMs tend to create outcomes that are not tethered in reality. A recent study showed that as much as 60% of their answers can be incorrect. Premium versions even incorrectly answer questions more confidently than their free counterparts. Second, some LLMs are closed systems – that is, they do not update their 'beliefs'. In a mutable world that is constantly changing, the static nature of such LLMs can be misleading. In this sense, they drift away from reality and may not be reliable. What's more, there is some evidence that interactions with users lead to a degradation in performance. For example, researchers have found that LLMs become more covertly racist over time. Consequently, their output is not predictable. Third, LLMs have no goals and are not capable of independently discovering the world. They are, at best, just tools to which a user can outsource their exploration of the world. Finally, LLMs do not – to borrow a term from the 1960s sci-fi novel Stranger in a Strange Land – 'grok' (understand) the world they are embedded in. They are far more like jabbering parrots that give the impression of being smart. Think of the ability of LLMs to mine data and consider statistical associations between words, which they use to mimic human speech. The AI does not know what statistical association between words mean. It does not know that the crowing of the rooster does not lead to a sunrise, for example. Of course, an LLM's ability to mimic speech is impressive. But the ability to mimic something does not mean it has the attributes of the original. So how can you use AI more effectively? One thing it can be useful for is critiquing ideas. Very often, people prefer not to hear criticism and feel a loss of face when their ideas are criticised – especially when it happens in public. But LLM-generated critiques are private matters and can be useful. I have done so for a recent essay and found the critique reasonable. Pre-testing ideas can also help avoid blind spots and obvious errors. Second, you can use AI to crystallise your understanding of the world. What does this mean? Well, because AI does not understand the causes of events, asking it questions can force you to engage in sense-making. For example, I asked an LLM about whether my university (Bath) should widely adopt the use of AI. While the LLM pointed to efficiency advantages, it clearly did not understand how resource are allocated. For example, administrative staff who are freed up cannot be redeployed to make high-level strategic decisions or teach courses. AI has no experience in the world to understand that. Third, AI can be used to complement mundane tasks such as editing and writing emails. But here, of course, lies a danger – users will use LLMs to write emails at one end and summarise emails at the other. You should consider when a clumsily written personal email might be a better option (especially if you need to persuade someone about something). Authenticity is likely to start counting more as the use of LLMs becomes more widespread. A personal email that uses the right language and appeals to shared values is more likely to resonate. Fourth, AI is best used for low-stakes tasks where there is no liability. For example, it could be used to summarise a lengthy customer review, answer customer questions that are not related to policy or finance, generate social media posts, or help with employee inductions. Consider the opposite case. In 2022, an LLM used by Air Canada misinformed a passenger about a fee – and the passenger sued. The judge held the airline liable for the bad advice. So always think about liability issues. Fans of AI often advocate it for everything under the sun. Yet frequently, AI comes across as a solution looking for a problem. The trick is to consider very carefully if there is a case for using AI and what the costs involved might be. Chances are, the more creative your task is, or the more unique it is, and the more understanding it requires of how the world works, the less likely it is that AI will be useful. In fact, outsourcing creative work to AI can take away some of the 'magic'. AI can mimic humans – but only humans 'grok' what it is to be human. This article is republished from The Conversation under a Creative Commons license. Read the original article. Akhil Bhardwaj does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Sign in to access your portfolio
