Financing Solutions for Smart Home Upgrades: Investing in Comfort and Safety
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Hong Kong, Nov. 22, 2024 (GLOBE NEWSWIRE) -- Click Holdings Limited (“Click Holdings” or “we” or “us”, NASDAQ: CLIK) and its subsidiaries (collectively, the “Company”) , a human resources solutions provider based in Hong Kong, announced its unaudited financial results for the six months ended June 30, 2024. In the first half of 2024, total revenue increased by approximately 14.3% We achieved steady growth over the past six months and continued to consolidate its market position in the human resources solutions sector. In the first half of 2024, the Company achieved total revenue of approximately $3.2 million. In the first half of 2024, net income increased by approximately 25.0% We have realized an improvement in our gross profit margin within our business. During the first half of 2024, the Company reported a net income of approximately $0.5 million, marking a notable increase of approximately 25.0% compared to that of approximately $0.4 million for the same period in 2023. Updates on principal sectors Professional solution services: This sector contributed approximately 31.7% of the Company’s total revenue, amounting to approximately $1.0 million. The services provided by us include (i) the secondment of senior executives such as chief financial officers and company secretaries to perform compliance, financial reporting and financial management functions for customers; (ii) the provision of accounting and audit professionals to perform audit work under the instruction of Certified Public Accountant firms; and (iii) the provision of corporate finance experts to assist in drafting of documents including circulars, announcements and others for Hong Kong listed companies and listing documents for private companies planning to go public. Nursing solution services : This sector generated approximately $0.7 million in revenue, representing approximately 21.3% of the Company’s total revenue. We provide human resources solutions to social service organizations and nursing homes by matching both temporary and permanent vacancies with candidates in our extensive talent pool. Logistics and other solution services : This sector brought in approximately $1.5 million in revenue, representing approximately 47.0% of the Company’s total revenue. We provide human resources solutions by matching workers such as packaging staff and movers from our talent pool with both temporary and permanent vacancies offered by our customers. The strong growth in revenue from this sector of approximately 72.6% reflected the rapid expansion of this sector during the six months ended June 30, 2024 in particular the additional demand for placement of works from a major customer starting in April 2024. Outlook Amid a challenging but promising market environment in Hong Kong, we will continue to focus on enhancing service quality and fulfillment capabilities to meet the ever-changing needs of our customers. Furthermore, we will actively pursue fresh business prospects to extend its market presence. Moving forward, our management holds a positive outlook on the long-term potential of the Company. About Click Holdings Limited We are a human resources solutions provider, specializing in offering comprehensive human resources solutions in three principal sectors, namely (i) professional solution services, (ii) nursing solution services, and (iii) logistics and other solution services. We are primarily focused on talent sourcing and the provision of temporary and permanent personnel to customers. Our primary market is in Hong Kong and our diverse clientele includes accounting and professional firms, Hong Kong listed companies, nursing homes, individual patients, logistics companies and warehouses. For more information on the Company and its filings, which are available for review at www.sec.gov . Safe Harbor Statement Certain statements in this announcement are forward-looking statements. These forward-looking statements involve known and unknown risks and uncertainties and are based on the Company’s current expectations and projections about future events that the Company believes may affect its financial condition, results of operations, business strategy and financial needs. Investors can identify these forward-looking statements by words or phrases such as “may,” “will,” “expect,” “anticipate,” “aim,” “estimate,” “intend,” “plan,” “believe,” “is/are likely to,” “potential,” “continue” or other similar expressions. The Company undertakes no obligation to update or revise publicly any forward-looking statements to reflect subsequent occurring events or circumstances, or changes in its expectations, except as may be required by law. Although the Company believes that the expectations expressed in these forward-looking statements are reasonable, it cannot assure you that such expectations will turn out to be correct, and the Company cautions investors that actual results may differ materially from the anticipated results and encourages investors to review other factors that may affect its future results in the Company’s registration statement and other filings with the SEC, which are available for review at www.sec.gov . For enquiry, please contact: Click Holdings Limited Unit 709, 7/F., Ocean Centre 5 Canton Road Tsim Sha Tsui, Kowloon Hong Kong Email: admin@clickholdings.com.hk Phone: +852 2691 8200Thank you for reading Hyperallergic! Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member I give different answers whenever people ask what my favorite novel is, but Turkish writer Orhan Pamuk’s My Name Is Red (1998) is probably my most frequent reply. The way Pamuk tells what is at the center of its atom a pulpy murder mystery inside the most pointillist, deliciously orbital structure; the way he joyfully insists upon the vital and complex interiority of every character, however peripheral (the dog’s chapters are among my favorite) feels instructive not just creatively, but also ethically. Taking in Pamuk’s 50-year bibliography feels like an extended fulfillment of this life-doubling promise of narrative art — you get to perceive the world robustly from myriad unprecedented subjectivities wholly separate from your own. To behold Memories of Distant Mountains: Illustrated Notebooks, 2009-2022 , Pamuk’s new book of selected journal entries and paintings translated by Ekin Oklap and published by Knopf, is to witness one of the great literary imaginations of the last 50 years at work. It turns out that making a novel is labor and nothing is inevitable — on one page, we see the Nobel Laureate working out plot details about A Strangeness in My Mind (2014) in the margins of a watercolor of his window view. On another, “This coconut green, the garden, the dogs, the yellow sand, the trees ...” The book is a treasure trove of beloved particulars for the Pamuk-obsessed like me, but it’s also an indispensable document for anyone interested in how art gets made, how inspiration has to find the artist working. It was my luck to be able to speak with Pamuk over Zoom on a sunny Iowa morning earlier this month. Our conversation has been edited and condensed for clarity. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Kaveh Akbar: We are ostensibly met here to talk about your new Memories of Distant Mountains . This is a sort of Blakeian book of your journals over your watercolor paintings; it’s a beautiful, extraordinary art object to hold in your hands. Orhan Pamuk: I have been keeping diaries since the age of 10 in Ankara when my mother gave me as a birthday president a diary in which there was a lock, which told me that there is a habit called “keeping a diary.” I was only 10 years old. And then it is related to secret thoughts because there is a lock on it. I tried to write. It didn’t work, but I had an idea of what a journalist was. I am a, I wouldn’t say manic, but a journal reader, from Virginia Woolf to Tolstoy and Thomas Bond. So many people kept journals, and most of the time they’re edited. And I like these texts, but it’s a practicality. I’ve been keeping these Moleskines. I have 30 of these. So one day I said, “Why don’t I do a book with them?” So I picked up the best, say, 400 double pages with pictures — but all the pages are with pictures — from the notebooks that I’ve been keeping from 2009 to today, while I also had many others without pictures. I then tried to form a book, the logic being that the editing of the book, the sequence of the pages, is not chronological but thematical. The book starts with what I wrote in 2016 about landscape. We turn one page, then it continues to what I wrote about the landscape in 2012, then we turn a page. The book is designed by themes, but not, as in many journals or memoirs, by time. And it took a lot of time to compose and put them together. KA: For readers who haven’t picked up the book yet, could you provide some background? OP: The readers should know perhaps that I am a well-known novelist, but till the age of 22, as I wrote in my autobiographical Istanbul book, I wanted to be a painter. A screw was loose in my mind. I thought I killed the painter in me, but after 10 years, I began to paint more and more. As sometimes I jokingly say, I got out of the closet as a painter in the last 10 years. I even have a museum now. So the suppressed painterly side in me, which I thought was more authentic, more genuine ... because to live between the ages of seven and 22 in a family of engineers, civil engineers, I made them accept that I would go to the Istanbul Technical University, but since I like painting, I would also be an architect. And they all said yes. KA: You talk about killing the painter inside you, but now he’s back. OP: I couldn’t kill the painter in me. In fact, it resurrected. One day I entered a stationery shop, got out two big sets of art materials and notebooks, and from then on I was happily painting. But secretly, not proudly showing, and perhaps knowing that essentially I am a better writer while I can’t help it. KA: That’s my thing! I paint too. OP: Oh really? That’s so nice to hear. KA: I have a painting room, and a nice easel my spouse got me. OP: Wow! You’re like me. What is your hierarchy of writers who paint? KA: William Blake. Number one. OP: He’s the obvious one, because he was successful in an equal measure and he was thinking of the page as both painting and text. KA: That’s the obvious correlative with yours — his illuminations, Paradise Lost , working directly with a text. OP: But for me, I always think that August Strindberg, the Swedish playwright, is the best writer-painter. How do you measure that? John Updike studied painting art in Oxford and was interested in these subjects, but he did not paint himself, or he didn’t get out of the closet as a painter. KA: How about painters who are writers? OP: Yeah. Picasso wanted to be like that. KA: Yeah, of course. I love Paul Klee. OP: Oh, of course! Paul is important because I have an exhibition in Germany in Lenbachhaus where they have the best Paul Klee collections. Another Klee collection is at the Metropolitan Museum of Art. KA: And his writing is extraordinary. I love his writing so much. OP: He went to North Africa, to Tunisia, in his 30s. And that also, some critics say, influenced his paintings. KA: It’s fun to think about writers who are secretly great painters, and painters who are secretly great writers. But I mentioned that I paint, too, to say that the reason that I write and don’t paint publicly is because I can write well enough to do it in a public way and can make a living at it. Painting, I am not talented. I just like doing it. OP: Okay, I’m embarrassed. I’m exactly like you, but shameless, perhaps. KA: No! No, I think that what you’ve made here is extraordinary. OP: Thank you. Don’t forget that I also have a museum. That is, I imagined a museum. So that was the first time that the dead painter, or the painter that I tried to kill that is inside me, publicly went out. KA: Of course, because you created the perfect museum for him. OP: Yes. I created a museum related to my novel, The Museum of Innocence . KA: Do you want to talk about the museum for the readers who might not know about it? OP: Perhaps because there is a painter in me who never died, one day I had an idea: “Why don’t I open a museum in which I exhibit objects, but the stories of these objects will be told in an annotated museum catalog in which the annotations are put in such a sequence that it may read like a novel without pictures?” Then, just as I was about to finish the novel, I decided — a conservative decision that I sometimes regret — to make the novel look like a normal 19th-century novel instead of an annotated catalog. KA: But this is one of the great geniuses moments in your work. OP: Oh, if you’re going to continue like that, I will be shy. KA: No, sorry. OP: And then you’ll say, “This guy is a maniac narcissist! He says genius!” KA: No, you don’t have to! I’m saying it. OP: Okay, I like it, continue saying it! KA: So many novels have a linear trajectory through which they move through these terminals of narrative, right? But, in The Museum of Innocence and My Name is Red , you move from a speaker to the dog, you know? It’s this orbital motion where all the propulsion is centripetal. OP: Yes, which comes to my idea that I like writing novels. But what I like more is imagining novels. That is, you’re just asleep, lying on your sofa with your dog, then you’re thinking, “This part will be told by this, then there will be a chapter which no one understands” — or they will understand, of course, when they’re doing a second reading or reading carefully — and then you plan this. Then I switch to this kind of composition of the novel. Before you begin to write, imagining your set composition is even more joyful than executing a novel. You compose, you know what you’re going to do, you’re going to write this, but sometimes you cannot. That’s the bad part. That’s what they call here “writer’s block.” And you imagine there’s no block. The imagination is boundless. A serious writer’s tragedy is his hands, his fingers, his pencils do not obey and listen to what’s in his or her mind. KA: What do you do to clear that synapse? OP: I advise: Just don’t insist too much because it will be frustrating. My advice to writers is, please develop your story a lot before executing to write it. Chapter it, then pile up notes about that chapter. And also don’t listen to the advice of a writer who is 70 years old! KA: That’s always my thing, whenever a student asks me anything, I always say, “I wouldn’t have listened to me.” I would’ve said, “I know what I’m doing. Leave me alone. I have my library to teach me. I don’t need you.” That brings me to the fact that it feels to me like you are in many ways this Borgesian writer for whom the physical book itself is the magic. You know how when you read Nabokov or Borges, you feel their profound affection for the book object itself? OP: For Nabokov, Borges, yes. In fact, in his novel Ada , Nabokov had also alluded to Borges. While, on the other hand, I admire Borges a lot, but he never understood the novels. He once said, “Henry James would have written a long novel about this, but let me tell you this in a short story.” KA: Exactly. He wrote extraordinary poetry, too. OP: Yeah. But on the other hand, he tells this story in three pages. So Henry James is, and is not unnecessarily, 597 pages. It’s just Borges doesn’t have the joy, or he maybe does, but he is a bit cynical. For Borges, a novel is not its story. It’s something else. KA: That’s true. But there’s a way in which he was a vacuum. He was just this voracious mouth that wanted to consume stories — the more efficient, the better, right? There’s this piece from him I love where he’s talking about the Qur’an as the supreme Arab text— OP: “There are no camels, there are no camels.” KA: Right! He says because there are no camels, the Qur’an is supremely Arab. “Mohammed, as an Arab, had no reason to know that camels were particularly Arab.” But in fact, there are camels everywhere in the Qur’an! It’s clear that Borges read two chapters that happened to not mention a camel. And so he says, “I got what I need there.” OP: It’s that he was talking to people who had never read the Qur’an. KA: Of course. So he can say there are no camels in the Qur’an. But I love this because it shows he got the idea and he moved on. OP: But it’s good to illustrate one idea and I like that. KA: Yeah, he kind of channels Schopenhauer to say that, though there are no nightingales in Argentina, Keats heard the nightingale for everyone. I say this to say that the utter joy in wringing out from the universe what would never exist had it not been for your being there in that moment — that is everywhere apparent in the pages of Memories of Distant Mountains . We are experiencing a process of live cognition. It’s like reading Klee’s journals, or Woolf’s, that sense of utter delight. And I don’t mean everything is about pink puppy tails and babies wagging their toes, but that delight in having created where otherwise there would be nothing, something I associate with Borges and Woolf, two of my favorite writers, and I very much associate with you as well. OP: Yes. Thank you so much ... I don’t know what to say! KA: No, I know! I’m sorry, I’m just barking like a happy walrus. So can you talk a little bit about how you curated these pages? OP: First, humanity invented journal keeping, as my mother’s gift to me at the age of 10 suggests, to write secret ideas. You bury your treasure. You write a note. You have some thoughts you want to write down, because they will be unacceptable by society. So you have to have a secret place. And a diary was, has always been, even there was nothing secret there, been a secret place. In the 1930s, French writer André Gide published parts of his diary, and suddenly he legitimized publishing your journal when you’re alive. I am a journal-keeper, and keeping journals is, I would say, easy. I fill a page like this, there are no pictures here in half an hour. And in this half an hour, most of the time, I’m waiting to go out with my wife. She’s late. I’m waiting for a taxi. I have some empty time. There are times I say to myself, “I haven’t written to my journal for five days. Why don’t I sit down and give two hours?” I carry these notebooks in which I draw and write. It feels like carrying my writing desk and my watercolors and painting materials with me. And I’m happy I am doing it. And I’m always saying to my friends, “Why don’t you keep a journal?” I go to my wife, I go to my friends, “You know what we did in three years, two months ago?” And I read it aloud. And, again, it’s partly related to self-importance, partly that this is an original idea that I may never develop. I have an idea. I write that down, that idea. At the beginning when I was keeping these notebooks, it was not for publication, but after a while I realized that I was also addressing some future readers, one day. KA: Of course. And you also now have control over it too, right? As opposed to some posthumous collection coming out. OP: Yes. After I go, they’d immediately publish the pages that I don’t want to be published. KA: Of course. I think about this. I also think about my generation for whom all of this is digital now. And no one is going to want to read our emails. OP: Why? There may be some people who are interested. We may be writing some of our best lines in an email. Italo Calvino called himself a graphomaniac. A graphomaniac is someone who is obsessively writing. And he never went down in his quality, the cloth was Calvino cloth, of course. KA: I associate that with Dickinson too, right? Where there’s the seamlessness between her letters and her poetry. OP: You produce that cloth all the time, but sometimes then the story, the composition, the total meaning is not clear. Diary or publication of diaries is about honoring these little fragments of pages that you understand will not form a whole by itself. And I decided that I would publish some of it, hoping that some people would be interested — some people like you would be interested. KA: So many of the paintings that we see in these pages are landscapes of sorts of the view out a window, or the city view. You write in the book about how painting starts with visualizing what you can’t remember, and so, functionally, what is being painted is time , instead of a landscape. OP: Yes. Let me clarify. If you paint the same landscape all the time — which I do from here, from my New York or Istanbul window, looking at Hudson or Bosphorus, or the landscape of your table — then you begin to write about, in a way, time. KA: Can you share a little bit about this experience? When we see Istanbul in your novels, we see it across time. We see you experiencing it as a young man and then as an older man. One of the things that I think about in relation to your work, and to being an Iranian writer situated in America, is that if I was in Iran today and I was writing the exact same stuff that I was writing, but in Farsi, I would feel excluded from a global conversation of letters. Whereas being an Iranian in America allows me to participate. OP: Good question. I think I am extremely lucky because after the age of 40, my books began to get translated into English, and they were relatively successful. Better publishers always wanted my work. I had a father who wanted to be a poet like you, who failed and ended up a businessman, who respected my decision to be a writer. When I was 24, he would say, “Well, it’s easy being a famous writer in Turkey. What about international, global recognition?” My father would challenge me with words like that. Unfortunately, he didn’t see my Nobel Prize! Either way, I would be so happy if he had seen it. But he would also say that I would get it before anyone else. I had a father like that, and he had a big library. I owe him a lot. I owe a lot to my mother, too. When they divorced, my mother raised us. KA: You write about this beautifully. What’s the difference between being a famous writer in Turkey and being an internationally famous Turkish writer with a Nobel Prize? OP: I’ll give you an example: What I write about should have global resonance. I have self-consciously thought about this, especially when I was writing A Strangeness In My Mind , which was about the making of a shantytown in Istanbul. At that time, I was, relatively speaking, famous and successful. So I went to Brazil and saw favelas of Rio de Janeiro. I went to Bombay and saw Dharavi, which is also a favela and a business place. And I researched and researched about Turkey’s shantytowns, which were relatively better, I would say, whatever “better” means, more comfortable. I said to myself that when I’m picking up details of Turkish shantytowns, I will also consider what is more — “universal” is a kitschy word — but what are the general problems? At that time when I was writing A Strangeness in My Mind , around 2012 to 2016, I was already thinking of my novel as a global novel, but not when I was young. When I was writing my Black Book or early novels, I was only addressing Turkish leadership. But the fire that my father put in me that I had to be internationally successful was there all the time. KA: And it’s cool to see the names of characters from A Strangeness in My Mind in your notes. We see you contemplating its main characters, Mevlut and Rayiha, presumably as you write them. OP: Yes. These are the parts of [ Memories of Distant Mountains ] that I really care about. The whole effort of a fiction writer, especially when writing a long novel like me, is forcing yourself to identify with your characters like a really naive person. They make fun. I have to be Mevlut. I have to be one of my characters. I have to see the world and the beauty — or not the beauty, but convincing power — the beauty of the sentence is something else — but the convincing truth. The authenticity of the subject matter really depends on the writer’s identification with the character. You write about places that you don’t belong to by culture and class, or by geography, or even sometimes by language. It gets harder and harder if there are these distances. While on the other hand, we don’t want to read about the middle-class writer’s personal life all the time. In fact, the joy of being a writer is, I am not this person . I’m not Mevlut. I’m a middle-class writer, but I’m doing so much to identify with him. First, I will respect this person as a humanist. Second is my capacity to see the world through my character’s point of view. Be that person. These are the most attractive, interesting, playful sides of being a novelist. Not only do you have to identify with the character so that you will think what he or she will do next, but you also — this is another part we may talk about — you also have to write it beautifully. KA: Of course. No one wants to just be hit on the head with a cudgel of narrative, right? You have to earn the reader’s attention. Horace says that language should delight and instruct. And we are in a time when many of the sociopolitical circumstances of our reality feel very dire and urgent. In America, I don’t know if this is the same in Turkish literature, but it feels like lots of writing is really galloping headfirst into instruction and perhaps neglecting the delight a little bit. OP: You think so? This is what they used to say about left-wing writing in Turkey in the 1970s: “You are always very pedagogical or propaganda. What about beauty?” In the non-Western world they expect you to be more didactic, educational, useful. Especially in my early time, I was always criticized for not being political enough. I was considered in the first two decades of my writing in Turkey a bourgeois writer, while other writers, more political, more leftist, more radical, consider themselves doing an ethical job. While I’m trying to defend the autonomy, the beauty of the sentences. It was very hard. KA: Snow becomes the riposte to those criticisms of you because it is more overtly — I don’t think that there’s such a thing as apolitical language — but it is more explicitly political in its narrative. But I also think it’s interesting because you talk about visiting the favelas and visiting Bombay, but when you talk about writing Snow ... it’s almost like in writing those characters, you are writing on the cusp of between provinciality and modernity. OP: Provinciality is a great subject of mine, and it’s deeply related to the fact that there was an Ottoman Empire which dissolved very fast on the edge of Europe. So Europe is very close, but as a Turk you’re also living a very poor life, you’re not important. You don’t have any power over history. Who cares about you? These are questions that you also ask. And you’re now talking about a global readership: Oh, I’m so lucky. I have to thank God many times. Yes, I have that privilege. But only 1% of the world is global, the rest is provincial and feels deeply so. Then you realize provinciality is also a great subject that addresses the hearts of the people. It’s also a very taboo subject. The provincial will never say, “I’m provincial.” KA: Exactly. OP: “I’m like you! My heart is like yours!” That is the most they can say: “I’m like you.” KA: It’s the cumulative exhausting effect of having to insist all the time, “We’re just like you. I’m just like you. I’m just like you.” It’s in contemporary Persian literature. Or right now you see all of these voices from Palestine saying, “We love our children just like you. That’s how we love our children. And look what you’re doing to them!” OP: Which they’re saying, unfortunately, so that they’re killed less. KA: Of course, because you have to impress that upon empire. Empire doesn’t understand. The interiority of someone that you can’t imagine is an interiority that you treat brusquely. You treat the security of that person with ambivalence. Which is why it is excruciating to have to continually say, “You know how you love your children? That’s how we love our children. You know how you love your husband? That’s how we fell in love.” So much of the world lives in this provinciality, illegible to empire. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookWASHINGTON — Jimmy Carter lived longer than any other U.S. president in history and was the first of any of them to turn 100 years old. Carter served as the 39th President of the United States from 1977 to 1981. With his passing , the person that's now the oldest living president — current or former — resides in the White House. Who are the oldest living presidents? President Joe Biden turned 82 last month, further cementing his status as the oldest serving U.S. president. But it's a record that Donald Trump could break in a few years. President-elect Trump will become the oldest person ever sworn into office on Jan. 20, 2025. That's a milestone previously held by Biden when he was sworn in at age 78 back in 2021. On Inauguration Day , Trump will be six months from his 79th birthday. When Biden's presidency ends on Jan. 20, 2025, he will be 82 years and 2 months (or 30,012 days) old. Trump would break that record of being the oldest U.S. president toward the end of his second term on Aug. 15, 2028. We're a ways away from any other living U.S. president even coming close to Carter's record. Biden wouldn't celebrate his 100th birthday until Nov. 20, 2042. How many former U.S. presidents are still alive? After Biden and Trump, the next oldest living presidents are George W. Bush (78), Bill Clinton (78) and Barack Obama (63). How old is Bill Clinton? Bill Clinton, the 42nd U.S. President, is 78 years old (Aug. 19, 1946) How old is George W. Bush? George W. Bush, the 43rd U.S. President, is 78 years old (July 6, 1946) How old is Barack Obama? Barack Obama, the 44th U.S. President, is 63 years old (Aug. 4, 1961) How old is Donald Trump? Donald Trump, the 45th and soon-to-be 47th U.S. President, is 78 years old (June 14, 1946)
Lincoln Tech, Johnson Controls Celebrate First Graduating Class from JCI Academy at Denver CampusOrthofix Medical ( NASDAQ:OFIX – Get Free Report ) and AngioDynamics ( NASDAQ:ANGO – Get Free Report ) are both small-cap medical companies, but which is the better stock? We will contrast the two businesses based on the strength of their risk, earnings, valuation, institutional ownership, dividends, analyst recommendations and profitability. Volatility and Risk Orthofix Medical has a beta of 1.09, meaning that its share price is 9% more volatile than the S&P 500. Comparatively, AngioDynamics has a beta of 0.68, meaning that its share price is 32% less volatile than the S&P 500. Insider and Institutional Ownership 89.8% of Orthofix Medical shares are owned by institutional investors. Comparatively, 89.4% of AngioDynamics shares are owned by institutional investors. 2.6% of Orthofix Medical shares are owned by company insiders. Comparatively, 5.4% of AngioDynamics shares are owned by company insiders. Strong institutional ownership is an indication that hedge funds, large money managers and endowments believe a company is poised for long-term growth. Analyst Recommendations Orthofix Medical currently has a consensus target price of $23.00, suggesting a potential upside of 31.20%. AngioDynamics has a consensus target price of $12.00, suggesting a potential upside of 34.68%. Given AngioDynamics’ stronger consensus rating and higher possible upside, analysts plainly believe AngioDynamics is more favorable than Orthofix Medical. Profitability This table compares Orthofix Medical and AngioDynamics’ net margins, return on equity and return on assets. Valuation & Earnings This table compares Orthofix Medical and AngioDynamics”s revenue, earnings per share (EPS) and valuation. Orthofix Medical has higher revenue and earnings than AngioDynamics. Orthofix Medical is trading at a lower price-to-earnings ratio than AngioDynamics, indicating that it is currently the more affordable of the two stocks. Summary AngioDynamics beats Orthofix Medical on 8 of the 14 factors compared between the two stocks. About Orthofix Medical ( Get Free Report ) Orthofix Medical Inc. operates as a spine and orthopedics company in the United States, Italy, Germany, the United Kingdom, France, Brazil, and internationally. It operates through two segments, Global Spine and Global Orthopedics. The Global Spine segment manufactures and distributes bone growth stimulator devices for enhance of bone fusion, including adjunctive and noninvasive treatment of cervical and lumbar spine, as well as a therapeutic treatment for non-spine; designs, develops, and markets a portfolio of motion preservation and fixation implant products, which are used in surgical procedures of the spine; and offers biological products, such as fiber-based and particulate demineralized bone matrices, cellular bone allografts, collagen ceramic matrices, and synthetic bone void fillers, and tissue forms, which allow physicians to treat various spinal and orthopedic conditions. This segment also designs, develops, and markets a portfolio of navigation technologies, including tracked surgical tools, intelligent software, and imaging equipment based on machine-vision and optical innovations. The Global Orthopedics segment offers products and solutions that allow physicians to treat various orthopedic conditions related to limb reconstruction and deformity correction unrelated to the spine. This segment designs, develops, and markets external and internal fixation orthopedic products that are coupled with enabling digital technologies to serve the complete patient treatment pathway. It sells its products through distributors and sales representatives to hospitals, healthcare organizations, and healthcare providers. The company was formerly known as Orthofix International N.V. and changed its name to Orthofix Medical Inc. in 2018. Orthofix Medical Inc. was founded in 1980 and is headquartered in Lewisville, Texas. About AngioDynamics ( Get Free Report ) AngioDynamics, Inc., a medical technology company, engages in the design, manufacture, and sale of medical, surgical, and diagnostic devices for the use in treating peripheral vascular disease, and oncology and surgical settings in the United States and internationally. The company offers Auryon Atherectomy system that is designed to deliver an optimized wavelength, pulse width, and amplitude to remove lesions while preserving vessel wall endothelium. Its thrombus management portfolio includes AlphaVac mechanical thrombectomy system, an emergent mechanical aspiration device that eliminates the need for perfusionist support; thrombolytic catheters that are used to deliver thrombolytic agents, which are drugs to dissolve blood clots in hemodialysis access grafts, arteries, veins, and surgical bypass grafts; and AngioVac venous drainage cannula and extracorporeal circuit, indicated for extracorporeal circulatory support for periods of up to six hours including off-the-shelf pump, filter, and reinfusion cannula, to facilitate venous drainage as part of an extracorporeal bypass procedure. The company also offers NanoKnife IRE Ablation System, an alternative to traditional thermal ablation for the surgical ablation of soft tissue; and peripheral products, which includes angiographic catheters, and diagnostic and interventional guidewires, percutaneous drainage catheters, and coaxial micro-introducer kits used during peripheral diagnostic and interventional procedures. In addition, it provides drainage catheters for multi-purpose/general, nephrostomy, and biliary drainage; micro-Access kits provides interventional physicians a smaller introducer system for minimally invasive procedures; VenaCure EVLT system that are used in endovascular laser procedures to treat superficial venous disease; and Solero MTA System includes solero microwave generator and the specially designed solero MW applicators. The company was founded in 1988 and is headquartered in Latham, New York. Receive News & Ratings for Orthofix Medical Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for Orthofix Medical and related companies with MarketBeat.com's FREE daily email newsletter .The Indo Farm Equipment IPO opens on December 31, 2024, and closes on January 2, 2025. The price band is Rs 204-215 per share. The IPO allotment is expected on January 3 and listing shares will list on BSE and NSE likely on January 7. The grey market premium (GMP) suggests significant potential gains upon listing. New Delhi: Indo Farm Equipment IPO, a book built issue of Rs 260.15 crore, opens for subscription on December 31, 2024 and closes on January 2, 2025. The price band is set in the range of Rs 204 to Rs 215 per share. The retail investors are required to bid for a minimum lot size of 69 shares for which the minimum amount of investment is Rs 14,835. The Non-Institutional Investor (NII) category investors are mandated to apply for a minimum lot size of 14 lots for which one has to invest Rs 2,07,690, and for bNII portion the minimum application is of 68 lots. Indo Farm Equipment IPO allotment is expected on January 3, 2025 while the process to initiate refunds is likely to begin on January 6. The shares are expected to be credited to the demat accounts of eligible investors on 6th January while the stock will list on BSE and NSE tentatively on January 7. Indo Farm Equipment IPO GMP According to investorgain, Indo Farm Equipment IPO GMP stood at Rs 80 on December 30 morning. With the price band of Rs 215, the shares are expected to be listed at Rs 295, indicating that the counter will list with around 37 per cent gains. Grey market figures are not official. The Indo Farm Equipment IPO is a combination of fresh issue of 0.86 crore share aggregating to Rs 184.90 crore and offer for sale of 0.35 crore shares aggregating to Rs 75.25 crores. Indo Farm Equipment IPO’s book running lead manager is Aryaman Financial Services Limited, while Mas Services Limited is the registrar for the issue. Indo Farm Equipment Limited is crane and tractor manufacturing company located in Baddi, Himachal Pradesh. The company came into existence in 2000. It is a leading manufacturer of agriculture tractors, cranes, and various other agricultural implements in India. ( Disclaimer: This article is only meant to provide information. News9 does not recommend buying or selling shares or subscriptions of any IPO and Mutual Funds .) Click for more latest Markets news . Also get top headlines and latest news from India and around the world at News9. Biplob Ghosal is Online News Editor (Business) at TV9’s digital arm - News9live.com. Leading the english business editorial team, he writes on various issues related to stock markets, economy and companies. Having over a decade of experience in financial and political journalism, Biplob has been previously associated with Timesnownews.com, Zeenews. He is an alumnus of Makhanlal Chaturvedi Rashtriya Patrakarita Vishwavidyalaya. Follow him at @Biplob_ghosal.
Disney+ Adds ESPN Tile To Its App To Lure Bundle SubscribersUndefeated Oregon and No. 23 Texas A&M will collide Tuesday afternoon in Las Vegas in the second game of the new Players Era Festival. Both teams are in the "Power" group of the eight-team event. All eight teams are receiving $1 million for their name, image and likeness (NIL) collectives, but placing fourth or higher in the tourney in order will net them anywhere from $1.1 million to $1.5 million. The Aggies (4-1) opened the season with a three-point loss at UCF, but since then have won four straight, all in convincing fashion. Texas A&M upset then-No. 21 Ohio State 78-64 on Nov. 15 at home in College Station, Texas. Then the Aggies crushed Southern 71-54 last Wednesday, when Wade Taylor IV led the way with 17 points and six assists. All of Texas A&M's wins have been by double digits. The Aggies and Ducks (5-0) have split the two previous meetings against each other. Until March 2022 in an NIT second-round game, they had not met since the 1970-71 season. Texas A&M tied the overall series with a 75-60 win at home in 2022. The only player on the Ducks' current roster who played in that game was 7-foot senior Nate Bittle, who has been one of Oregon's best players so far this season. Bittle's 16.2 points and 10.2 rebounds per game lead the Ducks so far this season, and the big man also averages two blocked shots per game. Texas A&M guard Zhuric Phelps, a transfer from SMU, leads the Aggies in scoring at 16 points per game. Taylor adds 14 points per game. The Aggies could be the best defensive team the Ducks will have seen this season. A&M is allowing teams to shoot only 36.6 percent in games. Head coach Buzz Williams and his staff are hoping the team gets better at taking charges on defense, as the Aggies have just one so far this season. "I guess the thing that you work on most is verticality around the rim," Texas A&M assistant coach Steve Roccaforte told KBTX television. "‘Hey, once you get there, if you try and take a charge, it's going to be a block. Just jump as high as you can, stay vertical, try to go chest-to-chest. Make it a hard shot.'" Oregon is coming off a 78-75 win at Oregon State, the Ducks' first road game of the season. The Ducks trailed by 10 points at halftime but, as they have in several games this season, they found a rhythm on offense in the second half and came up with a comeback win. Bittle's 23 points and 14 rebounds led the way. Jackson Shelstad had 15 points and Jadrian Tracey and Keeshawn Barthelemy both added 10. "We started rebounding the ball a little better. Nate really got it going inside and our guys got him the ball," Oregon head coach Dana Altman told the school's athletics website. "He had a heck of a game." --Field Level MediaLopetegui came into the game under pressure following some poor displays from the Hammers in recent weeks but they earned a hard-fought victory to end the Magpies’ three-game winning spell. Despite a promising opening from the hosts, Tomas Soucek headed West Ham in front before Aaron Wan-Bissaka’s first goal for the club after the break wrapped up victory. Lopetegui was pleased with his side’s display following a “tough match”. He said: “I am happy for the three points and am very happy against a good team like Newcastle, who have good players and a fantastic coach. “I think today was a tough match and we were able to compete as a team. “I think we deserved to win. Today they had many moments in the first half, but I think the second half we deserved to win and we are happy because you have to do these kind of matches against this type of team if you want to overcome them.” Newcastle started brightly and had plenty of chances in the first half especially, but the visitors responded after the break by retaining possession well. The win eases the pressure on Lopetegui, whose West Ham side face Arsenal on Saturday, and he believes the victory is an important feeling for his players. He said: “I think the only thing that is under our control is to play football, to improve, to defend well, to convince the players we are able to do better. “Today we did, but I think the only thing we can do is to do the things that are under our control, not today but every day. “So we had to keep with this mentality, but above all let me say we are happy for the players because they need this kind of feeling as a team to believe that we are able to do well as a team, to put the best for each player of the team.” Newcastle boss Eddie Howe admitted defeat was a missed opportunity for his side. The Magpies missed a series of chances in the first half, including efforts from Joe Willock and Sean Longstaff, before Alexander Isak blasted a chance off target. Anthony Gordon also rolled an effort just wide of the post after the break and Isak headed wide of goal. Three points could have seen Newcastle move into the top six and Howe admitted his side need to learn from the match. “Yes, massive because the league is so tight that a couple of wins and the whole picture looks very different,” Howe said. “We’ll kick ourselves tonight because we knew the opportunity we had, a home game, Monday night, a great moment for us potentially in our season, so we have to learn from that and come back stronger.”
It comes as Propertymark, which represents estate agents, said selling property or turning to the short-term letting market is becoming a "more attractive" option for landlords. Provisional figures from the Office for National Statistics show the average private rent in St Helens reached £708 per month in the year to October – up 9% from £650 a year prior. It was also up 34% from an estimated £527 a month five years ago. Valuation Office Agency rent officers collect prices from a variety of sources, including landlords and letting agents, with the aim to collect data on approximately 10% of the market. Across the North West, the average rent was £870 – rising 10% from the year before. Trafford had the highest rental cost in the region at £1,278 per month, while the lowest was in Burnley at £582. Sarah Coles, head of personal finance at Hargreaves Lansdown, said: "Getting good news about your rent is about as common as discovering your housemates have washed up for you, or your landlord suggesting you get a dog. "It means for many, the only way out of the endless cycle of rising costs is to buy, but this is far easier said than done when rents absorb so much of your income." In October, the average private rent in Great Britain was £1,307 per month. This was £105, or 9%, higher than 12 months ago. Nathan Emerson, chief executive at Propertymark, said: "As we continue to see a further increase in rental prices across the UK, our members continue to emphasise key concerns regarding the ongoing trend of lack of rental stock versus an ever-growing number of tenants looking for homes. "Selling up altogether or turning to the short-term letting market is becoming a more attractive option for landlords due to the challenging legislative changes and increased financial liabilities they face." The figures also show the different costs for various homes in St Helens, from £518 for a one-bed property to £1,165 for a home with four or more bedrooms in October. Among the property types in the area: A detached housed cost £1,036 to rent per month A semi-detached cost £774 per month A terraced house was £697 per month And a flat or maisonette was £604 a monthFollowing the Central Economic Work Conference, several provinces and regions that are considered major economic driving forces in China have held meetings to arrange economic work for 2025, including major initiatives to further support the national economy. On Saturday, Southwest China's Sichuan Province held a meeting on development and reform in the provincial capital of Chengdu. Among the major highlights of the meeting, Sichuan, which is considered a major economic powerhouse, will implement 810 major projects in an effort to revitalize private investment. The meeting pointed out that it is necessary to stimulate domestic demand, and give full play to the key role of investment and the basic role of consumption, according to a post on the official website of the Central Government on Sunday. The province also pledged to step up efforts in areas such as bolstering innovation and infrastructure. In terms of innovation, Sichuan aims to build a nationally influential science and technology innovation center, jointly build a low-altitude economic development highland, promote high-quality development of the digital economy, and accelerate the creation of a modern industrial system with Sichuan's characteristics. Other major economic powerhouses also held similar meetings to arrange economic work for 2025. On December 24, East China's Jiangsu, which plays a critical role in the overall Chinese economy, held a meeting on economic work. The meeting noted that as a major economy and a province that focuses on opening-up, Jiangsu has maintained stable economic operations, and the resilience of the economy has continuously improved, further accumulating advantages in areas such as industry, science and technology, talent and business environment. Central China's Henan Province also held a meeting on the economy, according to Henan Daily on December 25. For economic work in 2025, the meeting said that the province will also focus on unleashing the potential for consumption, stepping up investment in innovation, and improving the business environment. These are just three examples of Chinese economic powerhouses looking to further boost the economy, but they also underscored efforts nationwide to ensure stable economic growth in 2025, an economist said on Sunday. In particular, in the field of boosting domestic demand, "China is focused on major economic powerhouses leveraging their roles in leading the national economy," Li Changan, a professor at the Academy of China Open Economy Studies at the University of International Business and Economics, told the Global Times on Sunday. Li said that through the efforts of the leading economic bases, other areas will also follow suit. "Through these measures to stabilize growth in these economically developed provinces, the development of other places can be effectively lifted. This is a typical feature of the Chinese economy," the economist said. Xi Junyang, a professor at the Shanghai University of Finance and Economics, said that the economic powerhouses are also planning their development goals based on their own advantages, with each province and region focusing on their own industries. "However, these provinces have a relatively large impact on the national economy and account for a relatively high proportion of the GDP. Therefore, if these development goals are pursued by the provinces, they will play an important role in driving the economic development of our entire country. They will promote the economic development of our entire country next year," Xi Junyang told the Global Times on Sunday.
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Gaza Talks May Resume After Trump’s Pressure For Hostage DealThe excitement around the upcoming film Game Changer is reaching new heights as the trailer of this much-awaited mega-budget political actioner is set to release on January 1, 2024. Producer Dil Raju made the big announcement at a recent pre-release event in Dallas, USA, and confirmed that a grand launch event for the trailer will take place on the first day of the new year. Dil Raju, known for his successful productions, shared his enthusiasm for the film’s journey, stating, "These days, a trailer decides the range of the film. We have been preparing a lot to come in front of you guys. On the first day of the new year, you will see the trailer." The trailer’s release is set to give fans a glimpse into the high-octane world of Game Changer, which is expected to be a game-changer in itself for the film industry. Adding to the buzz, Dil Raju revealed that Megastar Chiranjeevi had already watched the film and had great faith in its success. "Chiranjeevi gaaru watched the film. He called me and asked me to tell the fans that this Sankranti, we are going to hit, not in an ordinary way, but in the most impactful way. He asked me to tell all the fans that on January 10, you will see Mega and the power of Mega Power Star Ram Charan," Dil Raju shared with the audience. This message from Chiranjeevi himself has undoubtedly fueled anticipation for the film's release. Directed by the legendary Shankar, Game Changer marks his Telugu debut and promises to be a visual spectacle, blending political intrigue with gripping action. The film is said to showcase Ram Charan in two distinct roles, adding to the curiosity and excitement surrounding his performance. Written by director Karthik Subbaraj, the screenplay is a collaboration between Shankar and Venkatesan. The film also boasts an impressive ensemble cast. Apart from Ram Charan, Game Changer features Kiara Advani, Anjali, Samuthirakani, SJ Suryah, Srikanth, Prakash Raj, and Sunil in pivotal roles. The technical team includes renowned cinematographers Tirru and Rathnavelu, and editors Shameer Muhammed and Ruben, who are all working to bring the film's ambitious vision to life. Set for release on January 10, 2024, during the festive Sankranti season, Game Changer is poised to captivate audiences with its compelling story and larger-than-life visuals. The trailer's release on January 1 will surely set the stage for a highly anticipated debut that could set new benchmarks in Telugu cinema. With the combined star power of Ram Charan and the visionary direction of Shankar, Game Changer is expected to dominate the box office and leave an unforgettable mark on the hearts of moviegoers.
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