GameStop raises $2.8m for St. Jude Children’s Research HospitalRetailer supports charity with annual donation scheme Rachel WeberSenior EditorThursday 7th January 2016Share this article Recommend Tweet ShareCompanies in this articleGameStopRetailer GameStop has raised $2.8 million for St. Jude Children’s Research Hospital through in-store and online donation programs through November and December. “The support of our amazing corporate partners, like GameStop, allows our doctors and scientists to continue our lifesaving work,” said Marlo Thomas, national outreach director for the hospital. “Their unwavering commitment to St. Jude also helps us to keep my father’s founding promise that no family ever pays St. Jude for anything. At St. Jude, we will never stop searching for the cures that will save the lives of children everywhere.”Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games St. Jude Children’s Research Hospital focuses on childhood cancer and life-threatening diseases. Since 2013 Gamestop has raised $4.2 million for the charity. “Our customers are truly amazing,” added Matt Hodges, vice president of public and investor relations at GameStop. “Thanks to each customer that donated. Because of their generosity and the incredible support of our associates, we collected $2.8 million for St. Jude Children’s Research Hospital. Together we are all making a difference in helping the patients and families of St. Jude.”Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesGameStop opening new US east coast fulfillment centerNew 700,000 square-foot Pennsylvania facility opens later this year, intended to support ecommerce “transformation”By Brendan Sinclair 9 days agoGameStop CEO reportedly due to receive $179m windfallOutgoing chief benefits from GameStop stock surgeBy Marie Dealessandri 20 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
Google abandons Stadia Base branding as it launches free tierFree trials of Stadia Pro can essentially transition into free use of the service, now just called StadiaRebekah ValentineSenior Staff WriterFriday 24th April 2020Share this article Recommend Tweet ShareCompanies in this articleGoogleEven though Google has effectively launched its free tier of Stadia, Stadia Base, it’s no longer calling it that.Earlier this month, Google announced it would offer two free months of Stadia Pro, which is normally a paid subscription service costing $9.99 per month.As a part of that announcement, Google added that games purchased as a part of the free Stadia trial would remain accessible even for users who canceled their subscriptions after the two-month free period.Users signing up for Google Stadia also now have an additional option at the end of the process, allowing them to opt-out of the two-month Stadia Pro trial and simply begin purchasing games through Stadia without signing up for Pro at all.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games Google has additionally confirmed to GamesIndustry.biz that users who let subscriptions lapse will still be able to purchase new games for Stadia, play them, and will have their resolution capped at 1080p as originally stated for Stadia Base — with Pro subscribers able to play games in 4k.However, while Stadia Base exists now in spirit, last week Google shared in a community blog post that it had “decided to move away from” the nomenclature of Stadia Base entirely.”We’re very excited that Stadia is now free and open to everyone who wants to create an account in our supported markets,” reads the post.Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Publishing & Retail newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesSix additional staff leave Stadia to join Haven StudiosFormer Stadia Games and Entertainment GM Sebastien Puel is a co-founder of Jade Raymond’s new ventureBy Danielle Partis 6 days agoStadia head of product has departed GoogleJohn Justice had joined the company in 2019 By Marie Dealessandri 7 days agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.
iStock(FORT LAUDERDALE, Fla.) — The U.S. Coast Guard has seized millions of dollars’ worth of cocaine and marijuana at a Florida port.“The Coast Guard Cutter James (WMSL-754) crew is scheduled to offload approximately 28,000 pounds of seized cocaine worth an estimated $367 million and approximately 11,000 pounds of seized marijuana worth an estimated $10.1 million at Port Everglades,” according to a press release from the U.S. Coast Guard.The U.S. Coast Guard shared a video on Twitter of the 28,000 pounds of cocaine that was intercepted.“What you see is 19 tons of narcotics seized from 18 separate Coast Guard interdiction events, with a street value worth more than $375 million,” Capt. Jeffrey Randall, Coast Guard Cutter James commanding officer said in a statement. “These drugs will not reach Main Street USA due to the efforts of the James crew and other Coast Guard cutters involved in these interdictions,”Capt. Randall added that the crew worked in cooperation with “regional partner nations, like Columbia, Costa Rica and alongside the agencies involved in Operation Martillo to stop the flow of illegal narcotics into the United States.”As a result, Randall said, “we maintain an offensive against criminal networks and criminal organizations.”The contraband was interdicted in 18 separate operations of suspected drug smuggling vessels in international waters of the Caribbean Basin and Eastern Pacific Ocean off the coasts of Mexico, Central and South America, officials said.Copyright © 2019, ABC Radio. All rights reserved.
JOHANNES EISELE/AFP via Getty ImagesBy AARON KATERSKY and IVAN PEREIRA, ABC News(NEW YORK) — Michael Cohen, President Donald Trump’s former attorney, will be released from federal prison and return to home confinement in Manhattan.Cohen, serving a three-year sentence for violating campaign finance laws and lying to Congress, was ordered back to the federal facility in Otisville, New York, on July 9 after spending two months on furlough in home confinement. The Federal Bureau of Prisons said Cohen didn’t agree to a clause in his home confinement agreement that forbade him from speaking with the media, including through a book.Cohen contended in a lawsuit that he was being retaliated against by the federal government, which objected to a tell-all book on his experiences with Trump that’s slated to be released soon.Federal Judge Alvin Hellerstein sided with Cohen on Thursday and ordered he be released.“The purpose of transferring Mr. Cohen from furlough and home confinement to jail is retaliatory, and it’s retaliatory because of his desire to exercise his First Amendment rights and to publish a book,” Hellerstein said.Cohen, who had been in solitary confinement, according to his lawsuit, must be released by Friday afternoon, the judge ordered. Hellerstein also said the conditions of Cohen’s home confinement will be renegotiated.The Bureau of Prisons didn’t immediately return requests for comment from ABC News.Cohen was one of several inmates released from federal prison in May after the Department of Justice raised concerns about COVID-19 in facilities. He was active on social media and teased the release of his book, which he said would include anecdotes of Trump using anti-Semitic and racist remarks. He also was photographed by the New York Post dining outdoors in early July.The Bureau of Prisons previously said Cohen turned down the offer to remain at home in exchange for the media gag order, but Cohen contends he never made such an agreement and was taken into custody before he and his lawyer could negotiate terms.Hellerstein blasted the federal government for issuing new guidelines to Cohen’s furlough and home confinement.“How can I take any other inference but that it was retaliatory?” Hellerstein asked rhetorically during a hearing. “In 21 years of being a judge … I’ve never seen such a clause.”“He was put on furlough with no conditions other than hang around your house and be in your neighborhood,” the judge added. “All of a sudden when the New York Post article comes out and the Bureau of Prisons understands he’s writing a book, and it’ll be finished by election time, they impose conditions.”Danya Perry, Cohen’s attorney, said he would abide by the conditions laid out by the Bureau of Prisons once the requirement about media engagement was renegotiated.“He wants to be able to edit and publish his book,” she said.Two other recent books about the president have drawn legal challenges: The Room Where it Happened, by former national security adviser John Bolton, and Too Much and Never Enough, by Mary Trump, the president’s niece.Both were published.Copyright © 2020, ABC Audio. All rights reserved.
Man ZhouMonday 12th April 2021Share this article Recommend Tweet ShareFor game developers and publishers, the current global games market is full of opportunities, with huge strides still to be made.In 2020, Newzoo raised its estimated revenue of the global games market to $180 billion, an increase of 20% compared to the same period in the previous year.During the three years from 2017 to 2019, overseas revenue share of Chinese games continued to rise, by 10.9%, 14.8%, and 19%, respectively, which means that going international has been a major trend for Chinese games.With these great opportunities, however, come great challenges. Although the publishing experience in China has matured, overall overseas marketing strategy remains at an earlier stage of development. Most of the overseas marketing experience we have accumulated comes from the setbacks and lessons we learned in early days. If we try to apply publishing experiences from the Chinese domestic market to overseas markets, the outcome would likely be unsuitable.Gameplay preferences between domestic and overseas markets can be very different. For instance, just because a specific gameplay design may have been proven successful in Southeast Asia where the game became a hit doesn’t necessarily mean that the design suits the preferences of another national market.Gameplay preferences between domestic and overseas markets can be very different Secondly, players’ habits also differ among markets. We once held a user-generated content (UGC) event for Japanese players, where we regularly posted a list of winners to congratulate them. Although this may seem normal in many groups, most Japanese players do not want to release their private information on the Internet.Thirdly, aesthetic preferences are also different. We often have created high quality content that can’t be published globally due to the great range of players’ preferences across regions and platforms. Thus, we can’t strategically use the same content globally to save costs.Because of these differences, we need to refine our localization insights and solutions. Which often means having to understand local players better than the locals themselves. In order to do so, we’ve found the following three points to be critical:Build an efficient, international team that can harness localization insights and overcome the obstacles of time and space.True player insight is gained from thinking about and doing what the players tell you they want. A branding-and-performance approach does not mean “no branding, only performance.”Do not concentrate solely on the big publishing platforms but also on smaller and medium-sized platforms, because those may offer new opportunities for incremental gains.Over the past two years, we have published Arena of Valor, Code: D-Blood, Saint Seiya, and several other titles that have seen good results in Japan, and they have created a series of influential marketing cases. I’m going to share our localization strategies for two of these cases, Code: D-Blood and Saint Seiya, which were released in Japan in 2020.Mobile MMORPG Code: D-Blood released in Japan in 2020How to create successful products for JapanWe consider mobile MMORPG Code: D-Blood a high-quality product, but we faced some uncertainties when publishing it. Firstly, Code: D-Blood was originally a popular novel in China with no translations into other languages. Its IP had little to no influence in Japan, but because the game was set in Tokyo in the near future, an opportunity presented itself.Secondly, according to the Famitsu Game Hakusho 2019 report, there were about 35 million mobile game users in Japan at that time, which is almost 5% the number in China, but only 10% of them having experience with mobile MMOs. That’s about three million users, which was quite different from the situation in China. As the Chinese market was moving from PC games to mobile games, MMOs had been playing an important role with more than 100 billion users. Therefore, we needed a completely different plan, from gameplay design to customer acquisition strategy, in order to publish the game in Japan.Finally, Japan had the highest customer acquisition cost in the world. Earlier data had indicated that the cost was about five to six times that of China, so we needed to spend the marketing budget where it would count the most and understand the Japanese players’ habits to stay on target.We needed to spend the marketing budget where it would count the most and understand the Japanese players’ habits to stay on target Through research and communication with Japanese players, we developed the following profile: extremely privacy-conscious, demanding of high quality games, very creative and drawn to large themed events. Moreover, they tend to behave in game as they would in normal societal interactions.Japanese players were concerned about the design of excessively intimate social relationships in game, for instance. In 2019, we interviewed some Japanese MMOs players, and they mentioned that the raids organized by their guild reminded them of their days in school clubs, where everyone strived for a common goal and the feeling of growing together was positive. However, they also indicated that they didn’t like to see bonding relationships, confidantes, or marriages in game — all common among Chinese MMOs players — because they believe such relationships are too intimate to be publicly displayed within an MMO.Based on this data, we localized Code: D-Blood focusing on four aspects: text, voice actors, versions and operational events. For example, in response to the social distance issue mentioned by the players, we adjusted the Bonding and Soulmate feature of the game to make it different from the Chinese version. At the same time, we also introduced some changes to make our product resemble a single-player game more closely — for instance, we made dungeons more suitable for soloing. We also added events that were only available in Japan to meet the preferences of Japanese players for special timed events in games.In terms of marketing promotion and publishing, we launched two closed Beta tests, from December 2019 to April 2020 and accumulated our first group of seed users. We released eight promotional videos in collaboration with popular Japanese voice actors, such as Yoshitsugu Matsuoka and Miku Itō, to ensure that the market was warmed up.With everything in place, we collaborated with Mai Shiraishi, a famous Japanese influencer. Mai Shiraishi used to be the lead in Nogizaka46, one of the most popular fan groups in Japan. Her overall appearance matched the art style of the game and was similar to that of Uesugi Erii, an in-game character, making her popular in both the otaku and the female markets.We also worked with Mai Shiraishi on two television commercials and several Twitter conversation cards, integrating those into the game so players could take photos with her anywhere.Mai Shiraishi’s Twitter conversation cardsThe number of views on YouTube exceeded seven million in the first week, becoming the top trending commercial of the week. This created high expectations for the launch of the game. On Nogizaka46’s message board, the number of advertising-related posts reached the limit of 999 visible comments within a few hours, while the effective total number of comments after that threshold remains unknown.In addition to the Internet, young players in Japan remain attached to traditional media, particularly to TV. After the Mai Shiraishi commercials aired, Dentsu Japan produced a research report for us, estimating that our customer acquisition costs from these commercials were half or even a third of the normal costs for Japan, which was quite surprising. The overall performance of Code: D-Blood was excellent. It remained the highest ranking game in the Apple Store and Google Play for nine consecutive days after its launch, became the No.1 new game download in Japan in April, and maintained that spot on each platform.The content marketing strategy for Code: D-Blood in Japan90% of Japanese players use YouTube. Combining this information with our understanding of and insight into the Japanese culture, we planned an event called “When a Dragon Visits My Home” after launch.In collaboration with Hajime, a top Japanese cyberstar, we placed a 3D-printed dragon in his room and asked him to bring his friends over. As they entered the room, the roaring dragon suddenly appeared from the ceiling with special effects eliciting shock and awe. After this video premiered on YouTube, reached the top spot on YouTube’s commercial ad list in the first half of 2020. The game was hovering around No.20 on the download charts at the time, before rising to No.5 the day after the video was released. Our second strategy focused on user participation. Since puzzles are a popular part of Japanese culture, we organized the “Tokyo Mystery Solving Event.” We created five clues, leading players from community and subway stations, to mainstream game media and key opinion leaders, and then finally into the game. One clue was related to 4Gamer, the largest video game website in Japan. By searching for “ドラゴン (dragon)” on the website, players received a clue. After getting all the clues by solving riddles, players obtained the numbers 0-4-0-9, the launch date of the game. By entering these numbers in the game, the ultimate puzzle challenge was unlocked.Both game statistics and player reputation indicated that this was a job well done, which once again confirms that a solid understanding of local culture when designing events is fundamental.Finally, Japanese people are fond of the sense of occasion As an example, they hold fireworks events and fairs in major cities every summer, but these were all canceled in 2020 due to the pandemic. So we organized a unique in-game fireworks event on the Japanese servers.This live-streamed event featured a fire-breathing dragon displayed on the big street screens in Shibuya. Players had to tweet to defeat it to obtain a server-wide reward and unlock the final grand fireworks celebration. This event was featured among Twitter’s top search results on that day.The fire-breathing dragon displayed on Shibuya, and people are taking photos of itA “transnational romance” with playersAccording to a popular saying, marketing can be compared to dating one’s users, making researching the overseas market resemble a “transnational romance” with players. Market insights require not only accurate breakthroughs but also quick responses and an accumulation of methodology.We get to know our players through various channels, including market research, user interviews, community voting, customer service feedback, Discord groups and much more. We must be transparent when interacting with players and think about their unspoken preferences instead of basing decisions solely on the product and market.A product can’t be popular in the target area without accurate localization insights, steady content marketing, and a carefully planned final release This path is more challenging than it may seem. Generally speaking, a product can’t be popular in the target area without accurate localization insights, steady content marketing, and a carefully planned final release.It is also worth noting that UGC is an important component of localization marketing. Interestingly enough, as the pandemic kept our merchandise from the Japanese market this year, players took it upon themselves to make their own products, such as toothbrushes, phone cases, and T-shirts, and printed their organization’s logo on those.But how can we truly excite Japanese players go big with their creativity? We have done a lot of work on UGC theme guidance, such as leading players to design wallpapers and character mounts, and steering them into group competitions. Under our guidance, some players proposed collaborating with other series like Sailor Moon and EVA.The Sailor Moon collaboration proposed by playersRe-awakening a national IPOur 3D strategy card mobile game Saint Seiya launched in September 2020 but faced many challenges during its development. It’s never an easy task to bring a Chinese game based on local IP to the Japanese market, but in this case it was even more challenging for us.Firstly, this is a classic childhood memory for many people who grew up in China in the 80s and 90s, but the influence of this IP in Japan is not as big since there hasn’t been a new version of Saint Seiya in recent years. However, Bandai had released two Saint Seiya mobile games in the first half of 2016 and 2020, and those two products generated countless fans in Japan.Our analysis indicated that the core players were male fans, primarily 35 to 40-years-old, with some instances of 50 to 60-years-old. The way they were exposed to media did not follow that of many of our common channels, so we focused on these core users and expanded the territory rhythmically to market more efficiently. Unlike the brand-focused strategy of Code: D-Blood, the key to Saint Seiya was our user acquisition strategy, which we implemented in three main phases.It’s never an easy task to bring a Chinese game based on local IP to the Japanese market Firstly, we formulated weekly UA strategies, with different methods and pacing for each iteration, to maximize acquisition of high-value users. For example, we focused on core IP users in the first two weeks of launch and then switched to high-value users in the second two weeks (where high-value indicated users with good retention, activity, and payment history).Secondly, along with the standard platforms like Google, Twitter and Facebook, we also explored the use of local vertical platforms like Yahoo Japan and Smartnews to ensure our UA effort would take into consideration the older age-group of Saint Seiya fans. It turns out that the overall performance of these local platforms is excellent. The UA proportion of local platforms, which was less than 10% in our past experience, neared 30% for Saint Seiya, with a much higher return on investment.UA content is all about accuracy and conversion rate. People in the industry always point to the 80/20 principle, which states that 80% of traffic is brought in by 20% of the creative ads. But we believe it’s also very important to ensure the quantity of content. Ensuring sufficient quantity allows the marketing department to perform quick trial-and-error exercises aimed to identify genres that meet players’ preferences.Related JobsEnvironment Artists – New IP South East Creative AssemblyLead Sound Designer South East Creative AssemblyRemote Environment Artist Console Studio UK UK & Europe Big PlanetDiscover more jobs in games In the early days of Saint Seiya’s launch, we provided 300 to 400 content assets with more than 30 updates per week, and a complete updating mechanism to quickly build a foundation for our marketing decisions. In addition to the previously mentioned strategies, the key to our UA’s future success is to apply accurate and efficient insights and creative construction capabilities to our vision.On the other hand, when foreign companies go to publish their games in China, they face the same problems. For example, there are many heroes with Chinese elements in League of Legends, such as Wukong and Xin Zhao. Wukong’s weapon is the Golden Cudgel, with the themed skins of Havoc in Heaven and Ocean-Quieting Needle. Xin Zhao uses a spear as a weapon, with the skin of Zilong Zhao. These are incredibly popular characters and well-known objects within Chinese culture.This clearly demonstrates that Riot Games has a deep understanding of Chinese localization and takes it seriously. Both Chinese and foreign games share the same goal when trying to enter one anothers’ markets: to maintain deep localization insights into the publishing trends and statistics of the region they are targeting and to be more local than the locals. Man Zhou is marketing manager of the global publishing department’s product center at Tencent Interactive Entertainment Group. She worked as show director before, specializing in creative work in global marketing industry. She also had experience in operating indie games.
ShareTweetShareShareEmail Related Items: Leave a Reply Cancel replyYour email address will not be published.Comment Name Email Website Save my name, email, and website in this browser for the next time I comment. Click to comment ShareTweetShareShareEmailCommentsExactly 26 teams applied for the Women’s EHF Champions League 2018/2019. Decision about the participants list will be made at EHF Congress in Glasgow on June 18.The draw of the qualification will take place on Wednesday 27 June at the EHF Office in Vienna, while the group matches draw will be held on Friday 29 June also in the Austrian capital.Teams registered based on the EHF ranking list (20):AUT – Hypo NÖCRO – RK Podravka VegetaCZE – DHK Banik MostDEN – Kobenhavn HandboldDEN – Odense HCESP – Super Amara Bera BeraFRA – Metz HandballGER – Thüringer HCHUN – Györi Audi ETO KCHUN – FTC – Rail Cargo HungariaITA – Jomi SalernoMNE – WHC BuducnostNOR – Vipers KristiansandPOL – MKS Perla LublinROU – CSM BucurestiRUS – Rostov-DonSLO – RK Krim MercatorSRB – ZORK JagodinaSWE – IK SävehofTUR – Muratpasa BSKTeams registered based on additional places requests (6):FRA – Brest Bretagne HandballGER – SG BBM BietigheimNOR – Larvik HKROU – SCM CraiovaRUS – Handball Club LadaTUR – Kastamonu Belediyesi GSK
UPDATE: Katie Pearlman will open up the evening!——This Jazz Fest just keeps shaping up to be better and better! Progressive funk/jam outfit Earphunk and up-and-coming NOLA cats Naughty Professor are ready to kick off Jazz Fest weekend one properly with a late-night rager at the Howlin’ Wolf on Thursday, April 23. The two high-energy NOLA bands are the perfect fit for ringing in 10+ days of nonstop music in a city where the party never stops. Earphunk emerged from the Big Easy in recent years but have already established themselves as a staple on the jam scene. College friends Paul Provosty (guitar), Mark Hempe (vocals/guitar), Michael Matthews (drums), Michael Comeaux (Bass), and Christian Galle (keyboards/organ) bring a young energy to the table with a unique blend of jam and funk reminiscent of Umphrey’s McGee topped with some Lettuce. When they’re not making the rounds at premier festivals like Electric Forest, Bear Creek and Wakarusa, they’re touring around the country or recording with New Orleans staples like Eric Benny Bloom and Khris Royal. George Clinton once gave the band his highest accolade: “Y’all ain’t your average white band!”Get a taste of the phunk doing their thing at Bear Creek with Brandon “Taz” Niederauer:Naughty Professor is guaranteed to get the party going as the opening act for the evening. The emerging funk act knows what’s up and is sure to get all bodies movin’ and groovin’ in their hometown. Check out our full guide to Jazz Fest After-Hours!Show Info:Earphunk // Naughty ProfessorThe Howlin Wolf // 907 S Peters St, New Orleans LAApril 23 // Doors at 9 PM // Show at 10 PM$15 advance // $20 day of showGet tickets hereWin (2) tickets by entering the contest below:
A few months back, Marco Benevento, along with bandmates Dave Dreiwitz and Andrew Borger, rocked the Signal Kitchen in Burlington, Vermont with a sold out show and masquerade party on April 4, 2015. The epic performance was recorded by Signal Kitchen and mixed by Benevento.Marco Benevento And Joe Russo Had Strains Of Weed Named After ThemBenevento said of the show, “This was great night! We’d been touring the record (Swift) for about seven months so the energy was high onstage. Plus, it was Signal Kitchen’s Masquerade Ball show, so everyone in the audience was wearing masks and looking freaky,” remembers Benevento. “Our friend even came up on stage and danced for an extended ‘Limbs Of A Pine.’ Oh, and it was a full moon, oh geez, yes, you can hear it all here. We tested out two new tunes that will be on our upcoming record and we wound up, on a whim, segueing ‘RISD’ and ‘Let’s Spend The Night Together’ (the Bowie version) at the end of the show. That even surprised us while we were playing through it!”Download Marco’s Masquerade Ball Live in Burlington, VT here.The JRAD member is currently in the process of recording his next studio effort, and will be making the rounds at festivals and venues throughout the summer. Check out tour dates below.Marco Benevento Tour DatesJune 23 – Brooklyn, NY – Brooklyn Bowl ***Buy This Fracking Album benefitJune 28 – Rothbury, MI – Electric ForestJuly 5 – Quincy, CA – High Sierra Music FestivalJuly 9 – Brooklyn, NY – Knitting Factory ***performing David Bowie’s “Hunky Dory”July 11 – Greenfield, MA – Green River FestivalJuly 18 – Truman, NY – Grassroots Music FestivalJuly 19 – Ardmore, PA – Ardmore Music HallJuly 24 & 25 – Denver, CO – The 1upSeptember 11 – Sherman, NY – Night Light FestivalSeptember 12 – Hector, NY – Stonecat CafeSeptember 13 – Burlington, VT – Grand Point North FestivalSeptember 25 – Guthrie, OK – Taloe FestivalJanuary 8-16 – Miami, FL – Jam Cruise
CLEARWATER, Fla. (WTVT FOX13) – A Clearwater fire truck was responding to an emergency when it had to screech to a halt because a big concrete rock slammed into the windshield. And it was no accident — someone deliberately threw it.
Mrs. Cecilia Comeaux Singleton passed away Monday, March 9, 2020.She resided in Port Arthur for 71 years. A lifetime educator, she was employed in Plaquemine, Louisiana; Sherman, Texas; and her longest tenure was with the Port Arthur Independent School District as a librarian at Lamar Elementary and DeQueen Elementary.Survivors include her nieces, Betty Lee (Jethro), Mitchellville, MD; Myrtle Comeaux Johnson, Houston, TX; Veronica “Gail” Comeaux Doyle, Port Arthur, Texas; Cheryl Singleton Piper, Plaquemine, LA; and Lola Comeaux, Dallas, TX; nephews, Columbus Como; John Comeaux (Cynthia); Spencer Comeaux (Abigail); Gerald Comeaux; Donald Comeaux and Dorie Earl Comeaux all of Port Arthur, TX; Joseph Comeaux (Brenda), New Orleans, LA; James Comeaux, Dallas, TX; Glenn Comeaux (Donna), Tulsa, OK; and Noah Comeaux, Kansas City, MO; special godchild, Alyssa Howard Savannah, Houston, TX; 28 great nephews/nieces; 39 great-great nephews/nieces. Funeral service will be 2 p.m. Saturday, March 14, 2020 at Gabriel Funeral Home Chapel with visitation from 12 noon until service time. Entombment will follow in Greenlawn Memorial Park.