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The anticipation in the cryptocurrency market toward January is rising. Ripple's XRP is still on its outstanding rise, and many indicators hint at meteoric flight soon. There are two underdog contenders set to get along quite well in the next bull run: Fantom (FTM) and DTX Exchange (DTX). Many things in this article that will be discussed are about the digital currency hype and current performance reviews, which excite investors about the upcoming New Year. XRP Is Building on Regulatory Wins, Stablecoin Momentum, and Market Tailwinds to Charge Toward the $4 Threshold In December 2024, the XRP price surged to new heights and has continued surging until now. XRP, which is at around $2.20 as of the 21st of December, is up 93% in the past month. Ripple (XRP) currently ranks as the fourth-largest cryptocurrency according to market capitalization, behind Bitcoin (BTC), Ethereum (ETH), and Tether (USDT), respectively. The launch of Ripple's stablecoin, Ripple USD (RLUSD), has added a boost to XRP's positive momentum, leading to increased trading volumes. However, the analysts are quite bullish on XRP's prospects, even estimating price targets as high as $20 for the near term. More modest forecasts put XRP at around $4 by January, a huge upside from current levels. Bitcoin has given XRP a boost, and it has broken through resistance, which is one reason analysts are calling for a run to $4. Technicals, on the other hand, are looking good, with a possible break above $2.60. Regulatory optimism with the SEC and Ripple’s wins over the SEC are also giving investors confidence, whales are accumulating big time, and the overall market is bullish, so those are some of the reasons why XRP is expecting big gains in the coming months. Fantom (FTM) Speeds Ahead Thanks to Sonic Upgrade Although it may not have been the most obvious candidate for the crypto race, Fantom (FTM) surged above 40% just ahead of its Sonic upgrade. The new name and Sonic main net are expected to boost Fantom's performance, including between-the-nodes speed and cost efficiency. According to the recent chart, FTM has been on a strong upward move for the past month, from around $0.68 in late November to a high of $1.40 in early December and then back down to $0.96 by December 20. Despite the pullback, the overall trend is still up. FTM has found a support zone between $0.90 to $1.00 and the previous high of $1.40 is the key resistance level everyone is watching. If FTM breaks above that, the following targets could go even higher, up to $1.60 or more. Plus, its RSI has gone into overbought territory during this move, so there is demand. Although it’s off the recent high, these indicators say FTM is set up for more upside if it can get back up and above its nearby resistance. DTX Exchange Is Bridging Traditional Markets and Crypto with Lightning-Fast Trades and Massive Presale Success Ripple (XRP) and Fantom (FTM) are in the headlines already, but in a hush-hush way, DTX Exchange (DTX) can be a game-changer in the crypto space: six stages into presale. DTX raised a whopping $10.4 million token value at $0.12. DTX Exchange has a different approach to crypto trading. It is the first crypto-native platform with stock, today's forex, ETFs, and over 100,000 currency pairs. DTX Exchange links more bits of the traditional world with the crypto world. Alongside that, investors can leverage up to 1000x with multi-high-liquidity trading opportunities. It is a rapid expansion of the DTX ecosystem, which has been added to over 300,000 wallet addresses already known. The VulcanX blockchain reported an outstanding 100,000 transactions per second during its test net, which guarantees users very high speeds and efficiency. The DTX governance rights and profit-sharing plan feature most for investors. Token holders can affect future products, and more significant holders can participate in the Rebate Program to enjoy the benefits of the platform's successes. Conclusion The new year brings a lot of anticipation for the state of the cryptocurrency market in January 2025. Ripple's XRP continues to surge as indicators are on their way to mark a $4 price level, in addition to Fantom's FTM getting traction with its Sonic upgrade. DTX Exchange (DTX) is also looking good for an underdog with its creativity in the trade and precise presale performance. Therefore, with this legal clarity for Ripple, the technological developments for Fantom, and the new money-earning features introduced by DTX, such cryptocurrencies promise to move heaven and earth with the next bull run. Always do your research concerning this volatile and yet rewarding arena, as investors do. Find out more at the DTX Website , grab presale tokens , or join the DTX Community on Telegram . Join our WhatsApp Channel to get the latest news, exclusives and videos on WhatsApp _____________ Disclaimer: Analytics Insight does not provide financial advice or guidance. Also note that the cryptocurrencies mentioned/listed on the website could potentially be scams, i.e. designed to induce you to invest financial resources that may be lost forever and not be recoverable once investments are made. You are responsible for conducting your own research (DYOR) before making any investments. Read more here.
CLINTON, S.C. (AP) — Will Sydnor, Devin Dinkins and Jaden Winston scored 18 points apiece to help Manhattan defeat Presbyterian 86-81 in overtime on Saturday. Sydnor added eight rebounds and three blocks for the Jaspers (6-5). Winston added six rebounds. Dinkins shot 4 of 8 from the field, including 2 for 4 from 3-point range, and went 8 for 8 from the line for his 18 points. Carl Parrish finished with 23 points and nine rebounds for the Blue Hose (7-7). Kory Mincy added 18 points, seven assists and two steals for Presbyterian. Jamahri Harvey also put up 13 points. The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .A sprawling crocodile farm on the Tropic of Capricorn is not where you would expect a royal reception. But wildlife researchers are greeted with just that when they come face-to-face with a 3.7-metre saltwater crocodile. "Meet King Charles," the farm's owner John Lever says. Crocodile handlers wrangle the big male saltie from his watering hole. (ABC News: Aaron Kelly) The crocodile is given a muscle relaxant to make the task a little bit easier. (ABC News: Aaron Kelly) It's an arduous activity with all hands — and machinery — on deck to move the croc. (ABC News: Aaron Kelly) Charles is just one of the big male "salties" from Koorana Crocodile Farm taking part in a groundbreaking trial with scientists from the University of Queensland. The world-first artificial insemination program is being conducted at the farm outside Rockhampton in central Queensland. On any other day, you wouldn't want to be this close to a crocodile like Charles. But today, he's lying in a cage on the back of a ute, as the research team go to work to collect semen. The wildlife research team is led by Stephen Johnston (front). (ABC News: Aaron Kelly) Semen is collected from the crocodile. (ABC News: Aaron Kelly) Koorana Crocodile Farm owner John Lever (centre) believes the program could make croc farming more sustainable. (ABC News: Aaron Kelly) "King Charles" is just one of the male crocs taking part in the trial. (ABC News: Aaron Kelly) Creating crocs Semen collection and preservation is another step towards artificial insemination for crocodiles. In the beginning, the small, on-farm trial produced one baby crocodile. Mr Johnston says he is confident a full trial would see a much higher success rate. "They have some of the highest sperm concentration out of any species that we work with," lead researcher Stephen Johnston says. "We're talking in order of anything around one-to-five billion sperm per millimetre." Koorana manager Adam Lever says commercially, artificial insemination made a lot of sense, and it would avoid the female animals being attacked by their mates. Mr Johnston, an associate professor in wildlife reproduction, says it's hoped the work will lead to more sustainable crocodile farming worldwide. "When we first started, about eight years ago, we were trying to develop an artificial insemination program for crocodiles, [for us] to be able to learn how to collect the semen sample, to preserve it and then put it back into the female to produce fertilised eggs," he says. "We've probably collected semen from maybe 50 crocodiles now and we've got a base by which we can compare what's normal and what's not normal, so that's important. "We're also extending on the original idea of artificial insemination by looking at how long the sperm will last in the refrigerator. "That gives us an option if we were to collect semen from this farm and if we were going to another farm, we could essentially transport it and then do the AI at the other end." Despite funding issues, Mr Johnston and his fellow passionate researchers believe the work is beneficial for not only the conservation of crocodiles but other species around the world. "This particular trip we've got some overseas researchers that are really interested in the crocodile as a model and understanding its reproductive physiology and how it compares to other vertebrates," he says. Mr Johnston says some of the samples collected will go to colleagues in Spain and Ireland. "One of the things that the crocodile gives us is the chance to look at an animal that's outside of the mammal range," he says. Breeding ground The crocodile industry is worth millions of dollars in Australia. It's renowned for producing high-quality croc skins for the luxury fashion market, as well as meat and other by-products. The commercially operated Koorana Crocodile Farm has more than 3,500 crocs in its watery stable and supplies meat and leather to Australian and overseas businesses. Adam Lever says if successful, the AI technology could improve skin pattern quality through genetic selection. "It was a world-first study when it first came through," he says. "It means we can take strong genetics from one male and inseminate our breeding colony with that one." Just like with beef breeding programs, researchers are optimistic. "This is a farm and obviously there are commercial reasons for doing the sort of things similar to say cattle AI programs," Mr Johnston says. "In the United States with alligators, they have been quite successful at doing artificial insemination and that produces a number of offspring that way. "Once we've established and we've got the technique working, I'm confident we'll get it to work here." A potential game-changer As saltwater crocodiles are a protected species, the industry operates under the scrutiny of government. Mr Lever says AI would be a game-changer for the industry while ensuring the preservation of the species and contributing to the economy. "If we had a selection of five good-sized males then we could hopefully inseminate 50, 60, 70 females. "We envisioned from the start that it would be beneficial for conservation studies for other species and that's the main aim for this. "But if it can be utilised in the farming industry we'll definitely jump on board with it." ABC Capricornia — local news in your inbox Related stories Animal Behaviour Animal Behaviour Crocodile Attacks Related topics Academic Research Brisbane Coowonga QLD Reptiles Rockhampton Sustainable and Alternative Farming
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The controversial Australian has played only one match in more than two years because of injury but that has not stopped him being an outspoken presence on social media during a difficult few months for the sport. First it was announced in August that Sinner had failed two doping tests in March but was cleared of fault, while in November Swiatek was handed a one-month ban for a failed test caused by contaminated medication. Feels good getting these consecutive days training in the bank man.... Wrist re construction and back out here... blessed..................Without failing any drug tests 🙂↕️🙏🏽 be proud kygs doing it the right way 😩😂 — Nicholas Kyrgios (@NickKyrgios) Kyrgios has been particularly vociferous in his criticism of Sinner, who could yet face a ban after the World Anti-Doping Agency appealed the finding of no fault or negligence in his case. At a press conference ahead of the Brisbane International, Kyrgios told reporters: “I have to be outspoken about it because I don’t think there’s enough people that are speaking about it. I think people are trying to sweep it under the rug. “I just think that it’s been handled horrifically in our sport. Two world number ones both getting done for doping is disgusting for our sport. It’s a horrible look. “The tennis integrity right now – and everyone knows it, but no one wants to speak about it – it’s awful. It’s actually awful. And it’s not OK.” Kyrgios initially underwent knee surgery in January 2023, returning to action in June of that year, but he played only one match before pulling out of Wimbledon due to a torn ligament in his right wrist. He has not played a competitive match since, and it appeared doubtful that he would be able to return, but the 29-year-old will make his comeback in Brisbane this week. Kyrgios will take on France’s Giovanni Mpetshi Perricard in singles, while he will also team up with Novak Djokovic in a blockbuster doubles pairing. “It’s good to be back,” said Kyrgios. “I honestly never thought I’d be back playing at this level. Even entering an event like this, preparing, doing all the right things. “I’m really excited to just go out there and play, just play tennis. I saw Novak in the gym, playing doubles with him, a lot to be excited about that I’m able to get out there and compete again.” Asked whether he could get back to the same level that saw him reach the Wimbledon final in 2022, Kyrgios said: “I still believe I can, whether or not that’s factual or not. There was another player who was like, ‘You have to be realistic’. That’s not how I am. I always back my ability.” The new tennis season is already under way, with the United Cup team event beginning on Friday. Great Britain, who are weakened by the absence of Jack Draper through injury, begin their campaign against Argentina in Sydney on Monday before facing hosts Australia on Wednesday. That could pit Katie Boulter against fiance Alex De Minaur, with the pair having announced their engagement last week. “Obviously some incredible news from our side, but I think we kind of wanted it to die down a little bit before matches started,” said Boulter of the timing. “My private life is out in the public a little bit at the moment. But, in terms of the stuff that I’m doing on the court, I’ll be doing the best I can every single day to stay in my own little bubble.” Billy Harris has taken Draper’s place, with the British number one facing a race against time to be fit for the Australian Open because of a hip problem. Emma Raducanu is the sixth seed at the ASB Classic in Auckland and will begin her season with a match against Robin Montgomery, while Cameron Norrie takes on another American, Learner Tien, at the Hong Kong Open.Milestone deal for DAZN's position as the global home of sport. This acquisition establishes DAZN's sports platform in Australia , one of the world's most attractive sports markets. Foxtel Group will leverage DAZN's global reach, industry-leading technology and extensive content portfolio to further enhance the viewing experience for Australian sports fans. LONDON , NEW YORK , and SYDNEY , Dec. 22, 2024 /PRNewswire/ -- DAZN , a world-leading sports entertainment platform, has today announced an agreement to acquire Foxtel Group (' Foxtel ') from its majority shareholder News Corp and minority shareholder Telstra at an enterprise value of US$2.2 billion , subject to regulatory approval. The acquisition establishes DAZN as a leader in sports entertainment in Australia – a highly attractive sports market – while also expanding DAZN's global footprint and enhancing the group's standing as the global home of sport. The addition of Foxtel to DAZN brings the Group's pro-forma revenues towards US$6 billion and provides the additional content, expertise, and expansion opportunities to accelerate DAZN's growth trajectory. Foxtel is one of Australia's leading media companies, with 4.7 million subscribers, who will benefit from DAZN's extensive portfolio of sports content, platform technology, and global reach. From its beginnings as Australia's original pay-TV innovator, Foxtel has evolved to become a digital and streaming leader in sports and entertainment and the proposed transaction positions Foxtel for continued expansion as a digital-first, streaming-focused business. Foxtel will maintain its local character, led by the CEO, Patrick Delany , and his world-class management team. DAZN, a sports streaming platform with a truly global reach, is committed to growing the global audience for domestic Australian sports across the 200 territories in which it is available. Under the terms of the transaction, News Corp and Telstra will become minority shareholders in DAZN, enabling them to retain an interest in Foxtel. Shay Segev , Chief Executive Officer of DAZN, said: "Australians watch more sport than any other country in the world, which makes this deal an incredibly exciting opportunity for DAZN to enter a key market, marking another step in our long-term strategy to become the global home of sport. Foxtel is a successful business that has undergone a remarkable digital transformation in recent years, and we are confident that our global reach and relentless pursuit of innovation will continue to drive the business forward and ensure long-term success. "We are committed to supporting and investing in Foxtel's television and streaming services, across both sports and entertainment, using our world-leading technology to further enhance the viewing experience for customers. We are also committed to using our global reach to export Australia's most popular sports to new markets around the world, and we will continue to promote women's and under-represented sports. "We're looking forward to working closely with Patrick Delany and his team, as well as News Corp and Telstra as shareholders in DAZN, to realise our ambitious vision for the future of sport entertainment." Siobhan McKenna , the Chairman of Foxtel , said the agreement with DAZN was international recognition of the transformation of Foxtel from an incumbent pay TV operator to a sports and entertainment digital and streaming leader. "Over the last seven years the Foxtel team, with the strong support of News, have achieved an extraordinary turnaround in an intensely competitive environment." Foxtel Group CEO, Patrick Delany , said: "Today's announcement is a natural evolution for the Foxtel Group, having reinvented the company over the past five years as Australia's most dynamic technology-led streaming company. "Kayo and Foxtel provide Australian sports fans with access to the best Australian and international sport and shows, including AFL, NRL and Cricket with 4.7 million subscribers. "We are excited by DAZN's commitment to the Australian market. They are experts in the sports media business and can play a significant role in supporting Foxtel as the business grows its streaming capabilities, bringing a bigger and better service to customers across entertainment, news and sport. They are a perfect match for us as we look toward this next era of growth. "We have been grateful for the support of News Corp while we reimagined the future of Foxtel. In 2019, when we merged Foxtel and Fox Sports we had many people questioning our future. "After launching Kayo later in 2019 and BINGE in 2020, today we are the largest Australian-based streamer of sport and entertainment, we have stabilised our Foxtel base and launched Hubbl to help consumers find all the streamed content they love all in one place. This wouldn't have been possible without the support and encouragement of News Corp." NOTES TO EDITORS About DAZN As a world-leading sports entertainment platform, DAZN streams over 90,000 live events annually and is available in more than 200 markets worldwide. DAZN is the home of European football, women's football, boxing and MMA, and the NFL internationally. The platform features the biggest sports and leagues from around the world – Bundesliga, Serie A, LALIGA, Ligue 1, Formula 1, NBA, Moto GP, and many more including the 2025 FIFA Club World Cup. DAZN is transforming the way people enjoy sport. With a single, frictionless platform, sports fans can watch, play, buy, and connect. Live and on-demand sports content, anywhere, in any language, on any device – only on DAZN. DAZN partners with leading pay-TV operators, ISPs and Telcos worldwide to maximise sports exposure to a broad audience. Its partners include Deutsche Telekom, Orange, Sky, Movistar, Telenet, Vodafone, and many more. DAZN is a global, privately-owned company, founded in 2016, with more than 3,000 employees. The Group generated $3.2bn in revenue in 2023, having grown its annual revenues by over 50% on average from 2020 to 2023, through diverse revenue streams comprising subscriptions, advertising, sponsorship, and transactional. For more information on DAZN, our products, people, and performance, visit www.dazngroup.com . About Foxtel The Foxtel Group is one of Australia's leading media companies with 4.7 million subscribers. Its businesses include subscription television, streaming, sports production and advertising. The Foxtel Group is owned 65% by News Corp and 35% by Telstra. The Foxtel Group's diversified business includes Fox Sports, Australia's leading sports production company, famous for live sports and shows with the best commentators and personalities. It is also the home of local and global entertainment content and continues to be the partner of choice for the widest range of sports and international content providers based on established, long-term relationships, growing streaming audiences, and position as the largest Australian-based subscription television company. View original content: https://www.prnewswire.com/news-releases/dazn-advances-global-expansion-with-acquisition-of-foxtel-a-leading-australian-sports-and-entertainment-media-group-302337994.html SOURCE DAZN
LONDON , NEW YORK , and SYDNEY , Dec. 22, 2024 /PRNewswire/ -- DAZN , a world-leading sports entertainment platform, has today announced an agreement to acquire Foxtel Group (' Foxtel ') from its majority shareholder News Corp and minority shareholder Telstra at an enterprise value of US$2.2 billion , subject to regulatory approval. The acquisition establishes DAZN as a leader in sports entertainment in Australia – a highly attractive sports market – while also expanding DAZN's global footprint and enhancing the group's standing as the global home of sport. The addition of Foxtel to DAZN brings the Group's pro-forma revenues towards US$6 billion and provides the additional content, expertise, and expansion opportunities to accelerate DAZN's growth trajectory. Foxtel is one of Australia's leading media companies, with 4.7 million subscribers, who will benefit from DAZN's extensive portfolio of sports content, platform technology, and global reach. From its beginnings as Australia's original pay-TV innovator, Foxtel has evolved to become a digital and streaming leader in sports and entertainment and the proposed transaction positions Foxtel for continued expansion as a digital-first, streaming-focused business. Foxtel will maintain its local character, led by the CEO, Patrick Delany , and his world-class management team. DAZN, a sports streaming platform with a truly global reach, is committed to growing the global audience for domestic Australian sports across the 200 territories in which it is available. Under the terms of the transaction, News Corp and Telstra will become minority shareholders in DAZN, enabling them to retain an interest in Foxtel. Shay Segev , Chief Executive Officer of DAZN, said: "Australians watch more sport than any other country in the world, which makes this deal an incredibly exciting opportunity for DAZN to enter a key market, marking another step in our long-term strategy to become the global home of sport. Foxtel is a successful business that has undergone a remarkable digital transformation in recent years, and we are confident that our global reach and relentless pursuit of innovation will continue to drive the business forward and ensure long-term success. "We are committed to supporting and investing in Foxtel's television and streaming services, across both sports and entertainment, using our world-leading technology to further enhance the viewing experience for customers. We are also committed to using our global reach to export Australia's most popular sports to new markets around the world, and we will continue to promote women's and under-represented sports. "We're looking forward to working closely with Patrick Delany and his team, as well as News Corp and Telstra as shareholders in DAZN, to realise our ambitious vision for the future of sport entertainment." Siobhan McKenna , the Chairman of Foxtel , said the agreement with DAZN was international recognition of the transformation of Foxtel from an incumbent pay TV operator to a sports and entertainment digital and streaming leader. "Over the last seven years the Foxtel team, with the strong support of News, have achieved an extraordinary turnaround in an intensely competitive environment." Foxtel Group CEO, Patrick Delany , said: "Today's announcement is a natural evolution for the Foxtel Group, having reinvented the company over the past five years as Australia's most dynamic technology-led streaming company. "Kayo and Foxtel provide Australian sports fans with access to the best Australian and international sport and shows, including AFL, NRL and Cricket with 4.7 million subscribers. "We are excited by DAZN's commitment to the Australian market. They are experts in the sports media business and can play a significant role in supporting Foxtel as the business grows its streaming capabilities, bringing a bigger and better service to customers across entertainment, news and sport. They are a perfect match for us as we look toward this next era of growth. "We have been grateful for the support of News Corp while we reimagined the future of Foxtel. In 2019, when we merged Foxtel and Fox Sports we had many people questioning our future. "After launching Kayo later in 2019 and BINGE in 2020, today we are the largest Australian-based streamer of sport and entertainment, we have stabilised our Foxtel base and launched Hubbl to help consumers find all the streamed content they love all in one place. This wouldn't have been possible without the support and encouragement of News Corp." NOTES TO EDITORS About DAZN As a world-leading sports entertainment platform, DAZN streams over 90,000 live events annually and is available in more than 200 markets worldwide. DAZN is the home of European football, women's football, boxing and MMA, and the NFL internationally. The platform features the biggest sports and leagues from around the world – Bundesliga, Serie A, LALIGA, Ligue 1, Formula 1, NBA, Moto GP, and many more including the 2025 FIFA Club World Cup. DAZN is transforming the way people enjoy sport. With a single, frictionless platform, sports fans can watch, play, buy, and connect. Live and on-demand sports content, anywhere, in any language, on any device – only on DAZN. DAZN partners with leading pay-TV operators, ISPs and Telcos worldwide to maximise sports exposure to a broad audience. Its partners include Deutsche Telekom, Orange, Sky, Movistar, Telenet, Vodafone, and many more. DAZN is a global, privately-owned company, founded in 2016, with more than 3,000 employees. The Group generated $3.2bn in revenue in 2023, having grown its annual revenues by over 50% on average from 2020 to 2023, through diverse revenue streams comprising subscriptions, advertising, sponsorship, and transactional. For more information on DAZN, our products, people, and performance, visit www.dazngroup.com . About Foxtel The Foxtel Group is one of Australia's leading media companies with 4.7 million subscribers. Its businesses include subscription television, streaming, sports production and advertising. The Foxtel Group is owned 65% by News Corp and 35% by Telstra. The Foxtel Group's diversified business includes Fox Sports, Australia's leading sports production company, famous for live sports and shows with the best commentators and personalities. It is also the home of local and global entertainment content and continues to be the partner of choice for the widest range of sports and international content providers based on established, long-term relationships, growing streaming audiences, and position as the largest Australian-based subscription television company. View original content: https://www.prnewswire.com/news-releases/dazn-advances-global-expansion-with-acquisition-of-foxtel-a-leading-australian-sports-and-entertainment-media-group-302337994.html SOURCE DAZN“How does it feel?” is one way by which to measure a movie. But if you’ve seen “ A Complete Unknown ,” the Bob Dylan biopic that opened on Christmas Day, you may have left the theater singing to yourself (to the tune of “Like a Rolling Stone”): How much is reeeaaallll? The short response is: A lot. But the long answer involves acknowledging director James Mangold ’s film taking liberties in terms of a condensation of timelines, the conjoining of separate incidents, fictional character names in a couple of cases, and moments of sheer imagination and fictionalization. It’s certainly possible to enjoy “A Complete Unknown” without stressing too much over which parts are fact and which are fanciful. But for those who want to take a deep dive into how much the movie aligns with the known historical record, we looked to several Dylan experts to help sort it out. Our primary guide is Elijah Wald, who literally wrote the book on this subject — as in, the 2015 book that was optioned and gets a “based on” credit at the beginning of the film: “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” He’s very high on the film, even though he’s independent enough from it to point out areas where the screenplay deviated from his source material. We also talked with David Browne, author of the recently released “Talkin’ Greenwich Village: The Heady Rise and Slow Fall of America’s Bohemian Music Capitol,” who is similarly a fan of the film, even if it sketches the folk scene in shorthand. Finally, we discussed it with Ian Grant, a Dylan buff who is the co-host of two Dylan-centric podcasts, one of which, “Jokermen,” last week featured a heated discussion of the movie’s accuracy and one sticking point in particular that Grant couldn’t get past. Mangold recently told Variety that the film is “not a Wikipedia entry” and he didn’t feel a fealty to a documentary level of facts — but also pointed out that, besides relying on Wald’s book and other historical source material, he based his version of the script (co-written with Jay Cocks) on many hours he spent personally talking with Dylan. In any case, many of those who’ve been in Dylan’s orbit over the years have given it high marks. Kevin Odegard, who played guitar on “Blood on the Tracks,” wrote, “We loved every minute... Critics who pick apart the imaginative world of composite characters and compacted historical footnotes are the dogs who caught the car. They miss the emotional punch of James Mangold’s poignant Hollywood movie.” And Ronee Blakley, a veteran of the Rolling Thunder Revue tour, wrote, “I am happy for Bob to be so carefully portrayed that his legacy stirs excitement today just as it did then, his magic and greatness self-evident and timeless. And we get a glimpse of what it cost him. Timothée Chalamet deserves an award, as does the picture.” Here are some burning questions viewers might have after seeing the film, followed by some burning answers. At the Newport Folk Festival of 1965, did a dismayed fan yell out “Judas!” — to which Dylan replied, “I don’t believe you... you’re a liar”? No... not there. But as most hardcore Dylan fans will know, that exact exchange with the audience did happen a year later, at a 1966 U.K. gig in Manchester that was widely distributed as a bootleg and eventually officially released. So Mangold has combined two incidents in which at least some of the audience was rebelling against Dylan transforming himself into a rock ‘n’ roller. Podcaster Grant, who has a few other problems with the film, doesn’t think this conflation counts as one. “Ultimately, that’s just sort of nerdy fan trivia-type stuff, so I don’t really think that has a fundamental impact one way or another on the quality of the movie,” he says. How accurate, otherwise, is the climactic depiction of Dylan’s appearance at Newport in 1965 ... especially the crowd reaction, booing included? Says Browne, “If any moment in music history was born to be a scene in a biopic, it’s Dylan plugging in at that Newport — from (Pete) Seeger and the ax to the crowd reactions to Dylan returning to the stage with ‘It’s All Over Now, Baby Blue’ (as a comment to the crowd ... or not). Overall, I thought the film did a good job recreating that explosion at Newport, even if the crowd shots seem a bit over the top.” In his “Dylan Goes Electric” book, Wald devotes thousands of words to recounting that fateful day, based on first-hand accounts... many of which substantially differ from others. “There were 17,000 people there,” the author points out. “Depending on where you were standing, I’m sure there were people who were surrounded by people booing, people who were surrounded by people cheering, people who heard a bit of both, people who thought everyone was just confused. Those are all accurate memories of the people around you, in a crowd of 17,000, right?” The problem in coming up with any kind of accurate consensus reaction, he says, is that “during the electric set, the microphones were turned way down because the amps were so loud on stage, so there’s no record recorded of what was happening in the audience. But critic Robert Shelton was in the audience, covering it for the New York Times. He was keeping a notebook at the time, and after ‘Maggie’s Farm,’ he writes in his notebook: ‘Some booing.’ He was writing that as things were happening, so that’s not hindsight. But none of that’s on tape. Once the band got off stage and Peter Yarrow came up to try to quiet the crowd, the microphones were turned up and then you can hear the crowd. And there are people yelling for Dylan to come back. There are also people yelling, ‘Bring back Pete Seeger.’ There are people yelling for (Dylan) to get ‘a wooden box,’ which I take to mean an acoustic guitar. There are people yelling at the other people to shut up. I mean, it was a very confusing scene.” Wald adds, “The best example I have of that is a friend of mine who was there, who has absolutely clear memories of how much he loved Dylan’s electric set — and also absolutely clear memories of coming back from Newport with a picture of Dylan on the inside of his guitar case, which he’d crossed out because he was so angry about Dylan’s electric set. And I think that’s not atypical. There were a lot of people who were upset in the moment and very quickly fell in love with the electric stuff.” A complicating factor in telling this story: Prior to the contentious Sunday electric set, Dylan had done an acoustic performance at the festival, on Saturday ... during which some people attending Newport for the first time were unhappy he wasn’t doing his new electric material! “When he went on for his acoustic set on Saturday afternoon, you can hear the audience (on tape) — there are all these people yelling for him to play ‘Like a Rolling Stone,’ because that was the hit on the radio right then. There were a lot of people who had come to Newport just to hear Bob Dylan, the friend of the Beatles, play ‘Like a Rolling Stone’ and who were being really obnoxious about the other acts. Some of the people at his afternoon set were yelling at the people on the banjo stage to quiet down so they can hear Bob Dylan. So there was already a lot of irritation at the festival before he ever got on stage the next night.” Did Pete Seeger really think about taking an ax to cut the cables as Dylan was alienating some festivalgoeers with his electric set? In the film, this legend is given a nod just by Seeger (played by Edward Norton) glancing at an ax, but not actually picking it up. “I thought how they handled the ax thing in the film was pretty goddamn smart,” says Wald, even though his book goes to great lengths to discredit the idea that Seger was ever in danger of picking one up. Even Seeger eventually “said that ‘if I had an ax, I’d have cut the sound cable’ — which is just an invention. I mean, the whole ax thing was just because Peter Yarrow said (on the microphone to the crowd), ‘He’s gone to get his ax,’ when Dylan went to get a guitar” to perform the solo acoustic encore festival producers were begging for. Some heard the “ax” comment and believed Yarrow was referring to Seeger and a literal blade. One thing Wald says is completely accurate in that moment: “I love that they show that Toshi (Seeger’s wife) is the one who calms him down, which, according to their daughter, is exactly what happened — that Pete was really upset and was trying to shut things down and Toshi said, ‘Hey, cool it.’” Were Dylan and Johnny Cash devoted pen pals? Yes, this is completely accurate. “The scenes in the airplane with them writing letters back and forth, those are direct quotations, in fact, from their letters,” Wald says. He quoted some of them in his book, and as Variety noted in its coverage of the opening of the Bob Dylan Museum in Tulsa, some of those handwritten mutual fan letters are on display for fans to see up close. Did an intoxicated Cash urge Dylan on in the latter’s desire to do a rock ‘n’ roll set at Newport ’65? No, this particular meeting of rebellious minds is an invention of the screenplay. Cash wasn’t even at Newport in 1965, although he did famously play there the year before that. As for whether their scene together in a parking lot captures the spirit of the relationship... “Some of it feels real, some of it’s overdone,” says Wald. “With the Cash character, I think they overdo the goofiness a little bit. I don’t think he was destroying a lot of cars at Newport, and if he had, he’d have been more apologetic about it. I mean, Cash was very high on pills, as I believe probably Dylan was too. But although Johnny Cash was rowdy, he was not destructive in that particular way, and particularly at Newport, which was very important to Cash. He was very concerned with making a good impression at Newport because he was trying to break into the national, that is to say northern, college market. Everybody at Newport only got $50, so Johnny Cash was losing a lot of money by playing Newport, and he was there because he had the vision, which very few people in country music did, to see this potential audience for him, and he was recording Peter La Farge’s ‘Ballad of Ira Hayes’ out of (folk publication) Broadside Magazine. That’s one of the funny parts about all of this is, people positioning him as outside the folk scene. He was very much appreciating and trying to be recognized within that. That said, it isn’t a movie about Johnny Cash — Mangold already did that (with ‘Walk the Line’).” Which completely fictional scene in the movie did Dylan make up and ask James Mangold to add to the screenplay? The answer to that is completely unknown; Mangold is keeping that as a secret he holds close to his vest. But Wald is willing to hazard a hunch. “There’s this story that we’ve all heard that Dylan suggested that they add a completely fictitious scene, and nobody’s saying what it was. If I had to guess, I would guess it was the ‘Now, Voyager’ (recurring motif), just because it’s the only thing in that movie that I can easily imagine Dylan coming up with and can’t imagine someone else inventing as a part of his story.” The Dylan character and the one based on real-life girlfriend Suze Rotolo go see a revival movie early in their courtship, then reenact a moment from it in a bittersweet farewell at the climax of this film. “Because Dylan is an old movie fan, I can imagine him imagining acting out the Bette Davis/Paul Henreid scene from ‘Now, Voyager’,” Wald supposes. “It seems so unlikely to me that someone else would come up with that. When I see that, I go, ‘That’s cute.’ Did it happen? I have no idea.” Going back to the beginning: Is the film’s portrayal of Dylan’s arrival in New York and quick integration into the folk scene accurate? And how about the quick sketches of the players on that scene circa 1961? Browne, whose new “Talkin’ Greenwich Village” book lays out that folk scene in great detail, is perhaps naturally disappointed the movie skips glancingly through that period and its key figures. “As someone who spent a lot of time researching Dylan’s fellow Villagers of the time, and also meeting with and interviewing those still with us. I was struck by how few were depicted in the film,” Browne says. “Where are Phil Ochs, Tom Paxton, Len Chandler, Carolyn Hester and Terri Thal, Dylan’s first manager? From what I can tell, Dave Van Ronk — a towering figure even then, and someone Dylan respected, someone on whose couch he often crashed — is only in two fleeting scenes, and barely identified even then. Obviously one can’t make room for all of them in a movie like this, but without more of those characters, we don’t get as strong a sense of how disruptive Dylan was in the Village, and not just nationally. His rapport with Ochs could have made for a few meaty scenes; their rivalry embodied the topical-vs.-personal, acoustic-vs.-electric debates of the time.” Besides his “Dylan Goes Electric!” book, Wald also published a biography of Dave Van Ronk, but he isn’t bothered that that influential singer is only identified in the end credits and not even referred to by name in the film. “Van Ronk is basically non-existent in the movie, and that’s fine. I’m not cranky about that,” Wald says. “Neuwirth has a slightly larger role that I think is handled rather nicely.” Grant was thrown off by the congregation of boldface names right at the beginning. “Literally the first building he walks into in the entire city, Dave Van Ronk just comes up to him and starts talking to him, and then two hours later he’s out in New Jersey and he’s met both Woody Guthrie and Pete Seeger, all within about six hours of his arrival to New York. That had me rolling my eyes a little bit, even understanding that they’re gonna have to make exceptions to reality and abbreviate things for the dramatic arts’ sake.” Did Dylan’s first performances galvanize audiences from the get-go? Not as much as depicted in the film. Browne’s “Talkin’ Greenwich Village” book says that early Dylan gigs found him “awkward and out of place one moment, assured and in command the next,” with a co-manager of the Gaslight saying he was initially “disastrous” and a Daily News reporter saying he “left the stage to the sound of perhaps one hand clapping.” Certainly Shelton, Albert Grossman, Joan Baez, et al. were never in the same room on the same night, as portrayed. Says Browne, “In talking with people from the scene and reading first-hand accounts from those who have since passed, I was struck by how jarring Dylan’s voice, guitar playing and early repertoire were to so many in the Village at the time. His approach wasn’t as formal as some of the area folk singers who’d come before him in the ‘40s and ‘50s; with his phrasing, humor and energy, he injected a far more rock ‘n’ roll sensibility onto those tiny stages. That roughness captivated some and caused others to bristle, and we don’t get much of that sense in the film. It wasn’t love at first sight or sound for everyone.” Robert Shelton of the New York Times wrote that he was “bursting at the seams with talent” only upon seeing him a second time at Folk City — a notice that made a big difference in Dylan’s career. So Browne was happy to see him portrayed in the movie. “In terms of the local press, Shelton practically had the folk club to himself, and in the New York Times to boot. He also championed everyone from Buffy Sainte-Marie to Eric Andersen, helping with their careers. Speaking as a journalist myself, one of my takeaways from my research was the power of the press in those days. Even in the ‘70s, newer Village acts like Steve Forbert, the Roches and Willie Nile landed record deals right after they were praised by Times critics John Rockwell and Robert Palmer. How often does that happen now?” Did his first encounter with Joan Baez involve insulting her from the stage after following her at a NYC folk club? That’s invented. In fact, Baez wasn’t hanging around New York at all. “Joan did not like New York. She was from Cambridge, which as a group considered themselves the purists and the New York people to be running after the money. Joan was the prime example of that, turning down Columbia Records and Albert Grossman and staying in Cambridge and then going off to Carmel, California. Bobby Neuwirth was also Cambridge, not New York. But you have to simplify stuff like that, and I think it was a good choice for the movie.” Says Browne, “As Baez told me in an interview for the book, she and Dylan first met outside Gerde’s Folk City in 1961. She’d driven from Boston to the city to attend a protest in Washington Square Park (the infamous “Beatnik Riot”) and just missed it – but, since she was there, decided to check out this kid she’d already started hearing about. She was struck by his stage presence right away, and he introduced himself to her outside the club and sang her a song, but there’s no record of any initial cutting remarks. She also didn’t realize he was more, um, intrigued by her sister Mimi than her at the time.” How about the portrayal of Joan Baez in general? “I was utterly blown away by (Monica) Barbaro’s singing,” says Wald. “Going in, I had thought a good actor can act Bob Dylan singing, because Bob Dylan singing is all about the phrasing, but acting Joan Baez’s voice, which is all about the instrument — I thought Barbaro did an astonishing job. She doesn’t sound exactly like Joan, but boy, she sure as hell sounds good.” Says Grant, “I think that she’s given a relative fair shake in the movie. The film paints her in a more fair and attractive light than someone like Joan Didion did. I don’t know if you’ve ever read Joan Didion’s writings about Joan Baez, but it’s a brutal dressing-down, unfairly. in many cases. But I think she’s fairly drawn, and is more interesting and comes across as more of a real human being than the Suze Rotolo character, or Sylvie Russo as she’s called in the movie.” Grant also liked the way a Halloween 1964 interchange between Dylan and Baez on stage at a New York Philharmonic show was portrayed. “They end up almost getting into this fight up there on stage — that’s a fun and, I think, a well-drawn scene. That’s one of the great early solo acoustic performances by Bob, right before he’s about to go into electric mode the following year — and the relationship dynamic, I think, between him and Joan is one of the best parts of that performance.” How about the Sylvie character, who everyone agrees to assume is meant to be Suze Rotolo? Says Wald, “They changed Suze’s name and fictionalized her a good deal. But honestly, I had been afraid that they would just make her the nice girl next door, who he left for the mysterious Joan, rather than being the political conscience who got him into political music. So I was really pleased that they have her working for CORE and getting Dylan out to political things. And I was pleased that they have her leaving him rather than vice versa.” Grant says that the movie accurately indicates that “she is the one that introduced Bob to political songwriting in the first place, by kind of bringing him into a lot of the student actions and rallies and meetings and stuff that she had already been attending by the time Bob showed up. They do gesture at that in the movie, but I think she’s really just turned into wallpaper by the end of the picture.” Was there a love triangle that was still unfolding by the time of the 1965 Newport Folk Festival between Dylan, Baez and Suze Rotolo? No. The movie is ambiguous about why Dylan offers to drive Rotolo to the festival on his motorcycle and then leaves her to tearfully witness his chemistry with Baez — whether there is lingering romantic interest there. In any case, Rotolo did not attend the festival and was long out of his life romantically by then. So was Baez, for that matter, though they still shared some stages. The “triangle” there is played more for symbolism about two different ways of beings Dylan is simultaneously casting aside, even as the focus moves toward his artistic changes. Is there any potential major character that’s left out completely? It’s funny you should ask that. Grant’s big beef with the movie (one that was also expressed by New Yorker critic Richard Brody, whom Grant amplified on social media and in a Jokermen podcast): the lack of any mention of Sara Lownds, who was soon to become Sara Dylan. Lownds and Dylan first got together romantically in 1964, and by the time Newport ’65 transpired, they’d already taken a lengthy vacation together. He married her just a few months after Newport. But she’s not mentioned in the movie. “She doesn’t exist in this reality, basically,” says Grant. “Meanwhile, Joan Baez and Suze, or Sylvie, are two characters meant to stand for two different ways of being in the world, positioned against one another. Bob obviously is drawn to elements of each, but ultimately decides that neither of them is as important to him as his ability to continue to follow the muse. But in reality, he does find the perfect person for him, a romantic partner that works with his creative life, and with whom he actually strikes up a very rich and rewarding family life just after this movie ends — and was already involved with at the time — in Sara. It tells a false sort of a half-truth at best, if not an outright fabrication, about Bob’s relationship to romantic partners in his life. The movie does nail aspects of that, certainly, with these characters and kind of the dirtbag way he treated some people early on. But to present this as sort of the defining holistic picture of this man, when obviously he is fundamentally a different human being at this moment in time, to say nothing of the ways that he’s going to change in the months and years to come, just sort of strikes a downward note to me.” Grant adds, “The Suze character in the picture is representative of kind of the civilian way of life, or the non-arts way of being in the world. The character paints and she’s active in the left student movement, but she’s fundamentally just kind of like a ‘normal person’ as opposed to someone like Bob Dylan or Joan Baez, who are these generationally talented celebrity artists. The Suze Rotolo character is unsatisfactory for him, because he’s too big, too brilliant, too brash to settle down with someone like that. In reality, he does settle down with someone like that. Obviously Sara is a very different person than Suze herself. But I think on that basic understanding level of someone who isn’t running in the scene, someone who isn’t obsessed with celebrity, someone who isn’t out to make a name for themselves, that’s exactly the kind of person that he ends up spending the next 10 years being married to.” Because so much of Dylan’s music over the next 13 years was inspired by Sara, both in romance and ultimately in divorce, Grant says “that to me is such a ‘Rosebud’ type of thing, to borrow ‘Citizen Kane’ terminology, in Bob’s life. That is the single source which so many decisions are made out of and so many songs written from. So, I think that kind of why I’m so hyperfocused on that element of things here.” As for why Dylan’s then-romantic partner and future wife isn’t portrayed in the final stretch of the film, it may be because a romantic quadrangle was a bridge too far for the scriptwriters. Or, in Grant’s view, because Dylan is committed to keeping his former wife out of things, since she has chosen to live a private life and not comment publicly on their relationship, as Suze Rotolo finally did before the end of her life, with a memoir. (Even then, Dylan was protective in insisting she be fictionalized for the film.) Grant counters that by noting that the Dylan/Lownds relationship was dramatized in the Heath Ledger segment of Todd Haynes’ 2007 “I’m Not There” movie, albeit with everyone in that portion — the Dylan character included — being identified by pseudonyms. On a more mundane note... how accurate are some of the studio moments portrayed in the film? Like Al Kooper playing the organ part on “Like a Rolling Stone” spontaneously, as a non-organ player? There are a lot of what might be considered Easter-egg moments for Dylan fans to latch onto. For example, when “Like a Rolling Stone” is being recorded, the musician Al Kooper comes to the studio, announces himself as the guitar player, and is informed that they already have one of those, so he places himself at the organ instead, playing what becomes a world-famous part, despite his discomfort with the instrument. As a whole, that’s true, although it didn’t happen in the matter of virtual seconds it does on film, and the band wa a few takes in before those famous licks started up. On the other hand, Kooper gets short shrift as the actual purchaser of the police whistle heard on the “Highway 61 Revisited” album; the movie shows Dylan being inspired to pick that up from a street vendor on his own. Moving back to Newport ’65... did manager Albert Grossman and folk music legend and festival mainstay Alan Lomax really get in a physical struggle? Yes, although not during or about Dylan’s performance. Wald doesn’t mind that the fight got transferred from one moment to another, since he’s pleased about the portrayal of Lomax generally. “I think they got some things right about Lomax that everybody gets wrong and that nobody will notice that they got right except me,” Wald says. “Everybody has Lomax as being anti-electricity, and that’s absolutely wrong. Lomax was, in fact, I think the first folklorist ever to record a band with an electric guitar back in the ‘40s. Lomax thought rock ‘n’ roll was great! What set him off at Newport was the Paul Butterfield Band, and it was not that they were playing loud electric music. It was that he was the guy who had discovered Muddy Waters, and he was upset that the first electric band invited to Newport was a bunch of white college kids. They have exactly that scene in the movie with him complaining about them being a white band who is fake and being brought in because Grossman is managing them. Which wasn’t quite true; he was still courting them. I do think everybody will see the film and walk out still thinking that Lomax hated electricity, even though they don’t say that, because that has become the myth. His fight with Grossman was real, but had nothing to do with Dylan.” Adds Wald, ”The funny thing about Lomax is, Lomax had no more time for Dylan as an acoustic singer-songwriter than as an electric singer-songwriter. He liked folk music as the music of the peasantry and the proletariat, and he thought people like Dylan and the New Lost City Ramblers and Dave Van Ronk were fake — and it had nothing to do with electric and acoustic... which, as I say, the movie actually got right, but not in a way that anybody but me will notice. I also don’t think that scene ever happened in the board meeting, where he blows up and Peter Yarrow walks out. I don’t think that’s ‘real,’ but it’s true — it’s completely accurate to the people.” Did Dylan really sit in on an episode of Pete Seeger’s TV show with the host and a blues player? No — that scene is fictional, and so is the character name of the bluesman, although he’s based on Big Bill Morganfield. And yet Wald is delighted by the scene because it illuminates a versatility and curiosity that the author thinks Seeger doesn’t get enough credit for. “I’ve never been in rooms with Dylan, so I can’t speak to that, but I knew Seeger, and Ed Norton as Seeger... both I and people who knew Pete much better than I did are blown away. Even more than that, they got the music right from beginning to end, and there’s so much music, and not just Dylan’s music. That scene where Dylan and Big Bill Morganfield are playing blues together and Seeger starts playing banjo along with them — now, that didn’t happen, but that’s exactly the way Seeger played banjo when he was jamming with blues people. And most people aren’t even aware that Pete Seeger could jam on a blues, including a lot of people who were pretty deep in the scene. That’s absolutely accurate, except that particular meeting didn’t happen in that particular place.” What about the portrayal of Seeger generally — does he get a fair and accurate shake? And is the film really about folk versus rock? Says Wald, “I’m so used to people who are doing the Dylan story being interested in Dylan and casting Seeger as one of the boring old folkies. What I was trying to do in my book was suggest that he was as complicated and in some ways as difficult a person as Dylan, and that they just were on different paths — sometimes the same, but at that moment, at Newport, very much not. But then again, after that, (they remained friends), which is another thing I liked about the movie.” And even if it was concocted, Wald loves having the movie end with a scene of Dylan back in Woody Guthrie’s hospital room playing harmonica along with “So Long, It’s Been Good to Know You” — an indication that the newly minted rocker really isn’t leaving folk behind at all, at least hardly for good. “The way that story was told in the ‘70s always was from a rock point of view,” Wald says, “written by people who had never liked folk music and never liked Pete Seeger, and felt like the story was Dylan liberating himself from the boring old folkies and proving the rock ‘n’ rollers were right. By now, though, we all think of Dylan as deep Americana, someone who has remained very true to that tradition. And so I just think that that whole incident looks very different, not just in the film, but pretty much to anyone younger — it makes perfect sense to think of that moment as Dylan trying to break away from the folk scene , but not from folk music . Which is true. “I mean, ‘Maggie’s Farm’ is sort of exhibit A. When Dylan is singing ‘Ain’t gonna work on Maggie’s farm no more’ at the beginning of the Newport ’65 performance, it’s absolutely a declaration of independence from that scene. But it’s based a song about sharecroppers, ‘Penny’s Farm,’ from the 1920s, which Pete Seeger had recorded in 1950! “At the time, Seeger was really upset by what he heard as the aggression. What you see in the film, with Dylan and the guys with him being sick of being stuck in this box, and ‘we’re gonna show the goddamn folkies,’ I think that’s accurate. And there’s a thing I quote in my book that he wrote that very week where he said he felt it was angry and destructive. But he was a man given to a great deal of soul-searching. And he rather quickly decided that he had misunderstood, and that ‘Maggie’s Farm’ was in fact a brilliant song, and that Dylan had indeed been sort of crushed into a box and had to escape. And they made up and they continued to get together over the years.”B.C.'s best high school ballers compete at Langley hoops tourney
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Milwaukee Brewers Could See New York Yankees Steal Star Free AgentReport: Iowa CB Jermari Harris opts out of rest of season
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