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Is Laufey a jazz artist, or a bona fide pop star? The qualified answer, with asterisks to spare, is “both.” And that’s part of the fun in discussing everyone’s favorite Icelandic-Asian-American singer-songwriter-guitarist-pianist-cellist. Genre discussions can be a drag for artists and fans alike, but they’re suddenly a lot more fun when the overriding question is whether to talk about someone in the same terms as we would an Ella Fitzgerald or push her more toward the Taylor Swift side of the ledger. Good thing that, with Laufey, we don’t really have to choose. Laufey is being honored at Variety’s 2024 Hitmakers event as the Crossover Artist of the Year. Much of the jazz world seems pleased enough to claim her, as there was no resistance when her sophomore album, “Bewitched,” came out in 2023 and made history as the first album ever to top both Billboard’s jazz and traditional jazz charts in its very first week of release. But follow the audience into any one of her shows — which are instant sellouts — and you’d be hard-pressed to be sure you weren’t in line for the Eras Tour, with an average age in the early 20s. An exception to that was the show she did this past summer with the LA Phil at the Hollywood Bowl, where an older demo of subscribers mingled happily with the Gen-Z fans who usually snap up her tickets the moment they go on sale. That mixture of both genres and generations is captured in her new Imax concert movie, “A Night at the Symphony: Hollywood Bowl” (directed by Sam Wrench, who, not incidentally, also helmed Swift’s smash concert film). Laufey (pronounced lay-vay ) grew up in Iceland as a multi-instrumentalist kid prodigy, schooled in classical as well as jazz. Now, living in L.A., she’s one of our unlikeliest as well as most talented pop stars, not to mention a fashion icon for a lot of her followers, the most devoted of which can be spotted with their clearly Laufey-inspired looks at her shows. This has to be the sole modern instance in which we see that kind of rabid fandom on a mass scale and, thanks to songs like “From the Start,” we can truly blame it on the bossa nova. In advance of her honor at the Hitmakers event, Variety spoke with her again about what makes her such a one-of-one — and her eagerness to do culture-crossing shows like her appearance with the Chicago Philharmonic at this year’s Lollapalooza. You don’t claim jazz as your genre, strictly. And yet you have impact in that field in small or big ways, from doing an intimate show at Hollywood’s Catalina Jazz Club last year to having your album debut at No. 1 on the jazz chart. What does it mean for you to be a part of that world, even though you’re also very much a pop artist? I have so much respect for jazz music, and there’s no question that that is where most of my influences come from, especially when it comes to vocal performance and chord writing — that is really very obvious. I think one of the reasons I don’t fully call myself a jazz artist is because I don’t think every single one of my songs falls directly under that category, and it could be insulting to those who do full jazz to say that it is a fully jazz album. That being said, there are lots of tracks in my discography and on “Bewitched” that do resemble jazz standards and would be very, very at home in a jazz setting. So it’s so hard to put me under any kind of category. If I were in a pop category, I wouldn’t feel completely at home, either. So that’s kind of the only reason I haven’t claimed it. I grew up listening mostly to classical and jazz, and jazz music is where all my vocal inspiration has come from. And I’m a trained jazz singer; that’s what I studied. So (topping that chart) was such an honor. I really would’ve never believed it, and especially not with an audience as young as mine, and an audience of listeners that don’t typically listen to jazz music. I think that’s what made it so cool. It would be interesting to take a survey some time of the younger part of your audience and ask them, “What do you consider this music to be?” I wonder how many of them think, “Oh yeah, I’m getting into jazz singing through Laufey,” or whether categories matter so little anymore that that doesn’t enter their minds at all. Right? Yeah, I don’t know. I think there’s definitely kids that will listen to maybe “Valentine” or “Dreamer” or “From the Start” or something like that and think “I’m listening to jazz.” Because in comparison to the other music they’re listening to, it has a lot more color in the chords and it has a lot more of a kind of old sensibility and is played by jazz musicians and is very directly inspired by jazz music. And I’m sure that is the closest thing that resembles jazz that they’ve listened to, and they’ll consider that jazz. But then I think the majority just listens to it and thinks it’s just music, and it’s cozy, or it feels maybe like old-soul music or rain music. You know, I think they connect to it much more with a vibe or an energy rather than a genre. I don’t think many kids my age or even younger are compartmentalizing the music they listen to that much into genre. Just from the way I’ve seen younger fans react to the music at shows, for a lot of them it seems like it might not be in a totally different genre than Taylor Swift or something. I also think that kids nowadays compartmentalize music by lyrics a lot more than they do by sound: lyrics that are happy, lyrics that are sad, or lyrics that are wistful, that have longing. I think because music has become such a visual form with social media, lyrics actually are what people categorize it into. So yeah, for example, when I’m in a setting standing with Olivia (Rodrigo) and Chappell (Roan, on the red carpet at Rodrigo’s recent film premiere), I don’t think people are like, “Whoa, what’s this random jazz singer doing here?” I think also because of my age and the way that I present and market my music, I’m just music for a different vibe, definitely, but I don’t think it’s like a completely different thing. I think to them I am a modern musician. With the classic influences that you do have, how have you adapted that to your modern writing style lyrically? There is a conversational tone that pops up in moments where you sing “blah, blah, blah” — which the audience shouts along with! — in “From the Start.” But the jazz singing that you’ve been influenced by tends to come out of songs with a little bit more of a formal writing style. Was it ever challenging for you to kind of find the balance between that sort of formality that you grew up versus the kind of confessional lyrics that pop fans of your generation tend to love? No, because actually, I would almost argue that I am more lyrically inspired by the lyrics of jazz standards than lyrics in pop music. The lyrics that I love the most are these lyrics in Cole Porter, Irving Berlin and Gershwin songs that are a little funny. There’s a bit of irony to them and they’re very descriptive of what’s going on around the singer. It’s also very first-person, because they’re taken from musicals. So it’s very literal. And especially if the song comes from a musical comedy, then the lyrics are often humorous. And I think that’s actually what I borrow a lot from. But instead of using lingo from the ‘40s that maybe Cole Porter was using, I just exchange it with lingo from my time that I would say. But if you asked a Gen Z-er about the lyrics in my songs, I think a lot of people would think they’re also old-fashioned. Like, it strikes a balance. I actually lyrically am really inspired by the musical theater writers whose songs turned into standards of the ‘30s, ‘40s, ‘50s. I think there’s a level of humor and irony to them that is now creeping into pop. Even three or four years ago, there was less of that. That’s interesting. It’s true, in pop singers of your generation, there really has been a lot more of a sense of humor lately, just looking at Taylor, Sabrina, Olivia and Chappell, for starters. Oh yeah. I mean, that is kind of the common denominator, I think, between music that is really popular nowadays. But I’ve kind of been trying to infuse humor in since I started. You can kind of hear that from even my first EP (2022’s “Everything I Know About Love”), but my influences didn’t come from the current climate. They came from, honestly, songs like “Makin’ Whoopee” (from the 1920s). I’m so obsessed with songs where it’s like you don’t really know what they’re singing about, but if you dig further, you find out that the song is about something like quite racy or funny. Sometimes in some of your songs, there’s a little bit of whimsy in the fact that, while you are taking love so seriously, there’ll be some aspect to the way you express it that’s sort of taking the piss out of it a little bit too. Always, always. And that’s what I like to call Nordic sarcasm. Like, I think Icelanders can never take themselves too seriously. Nothing can be too serious. So, you know, I’ll say something insane like, “Oh, I’ve never been so heartbroken before,” and then follow it up with a line that’s like some humorous line to take a piss at it or diffuse it, and that’s a very Icelandic thing. By the same token, you certainly have written dead serious songs. I don’t know if it portended a new direction or not, but the song “Goddess” you did as a sort of semi-title song for the deluxe edition of “Bewitched” was very emotionally raw. I didn’t know if that was kind of a one-off because that’s how you felt at the time, or whether you were trying to shift your songwriting style in a different direction. No, I mean, “Goddess” came out in tandem with a song called “Bored,” which is maybe one of my most sarcastic songs. With the songs that had been popular — “From the Start,” “Valentine,” “Falling Behind” — so many of the lyrics were so funny and unserious, and I wanted to show a side of myself that was a little more looking in the mirror and facing the facts, you know? I just wanted to showcase that side of my storytelling, and I guess I also just wanted to tell the story of something that was close to my heart. On the so-called crossover front, you’re obviously not on the classical charts and not likely to be, but you did grow up as part of that world, and people do feel at least a bit of that influence when you do your concerts. You always make it a point to perform at least one number on the cello each night. Yeah, it’s something I definitely don’t ignore. And, you know, the amount of classical influences in my music is actually almost just as much as the jazz influences, and I have all these hidden classical little references. I allude to a lot of my favorite classical pieces in “Bewitched,” they’re just quite hidden. And if you know the music, you can find it, but if you don’t know it... You know, I never want to seem unrelatable. But I really have a lot of fun infusing my favorite classical music in, and yeah, I do a lot of the concerts with symphonies or with orchestras. I do really want to make more of an effort also in the coming years to collaborate more with classical musicians, doing something more on the classical front. We released a rework of my song “Bewitched” with the classical pianist Vikingur Olafsson. He’s Icelandic, and is I think one of the greatest living pianists. He has a big following right now, and coincidentally, we went to the same conservatory growing up in Iceland. You should go listen to it if you haven’t. It’s so beautiful, very austere, recorded on three pianos. All of his recordings are just extremely classical, so this was a fun one to dip into. But yeah, I think more things like that are really important to me, and it’s something that I really don’t ignore and really hope to do more in that space in the coming years. And then there’s the idea of crossing over into different spaces. You did the Hollywood Bowl, obviously, as seen in your new concert movie, and Radio City Music Hall was another iconic venue. But doing Lollapalooza sounds like it might have been amazing. You probably don’t like to think of yourself as an ambassador, but there has to a little bit of aspect of that when you’re at Lollapalooza — so far astray, in a good way, from most of what’s there, and certainly in the sheer physicality of having an orchestra there. Was that a pretty cool thing for you? It was so cool. I was so scared. I’ve been very careful with festivals like that because, as much as I may belong to a lot of the same playlists as the other artists playing there ... I don’t know. My idea of a festival is people going to have fun and maybe being with their friends and being a little rowdy and having a drink. But also, I just literally had never visited a festival before, so I didn’t know what it would be like or how it would be received. My thought with having an orchestra there was, at the very least, I’m doing something memorable, and hopefully even if I’m turning one person on to maybe go listen to the Chicago Philharmonic next week, or just introducing that soundscape to even one person, I will have done a good job. That was kind of my goal with it. Like, people will either love it and they’ll remember it, or they’ll hate it and remember it, but either way it will be remembered. So it was definitely scary, but it turned out really well in the end, and I’ll definitely try to do it again at different festivals. Before getting on the Zoom with you, I did check your tour schedule and saw it was clear, so I wondered if you might be working on stuff in the studio. Yeah, I’m literally, as we speak, outside the studio where I’m working on my third album. I’m happy to have a little break from touring to make music and breathe and live a little bit. But I’m super, super excited about this next one and really curious to see how... I feel like this is the first year where I am needing to look for some sort of growth. I never want to stay stagnant, but also want to stay true to myself and true to my sound... I’m not going to do anything insanely different, but an artist always wants to grow. So that’s kind of the balance I’m trying to strike right now — in a very happy and exciting way, not in like a scary way. Just in a “this is a really exciting puzzle ahead” way, if you will. You haven’t released a full Christmas album, but you add some holiday songs to your recorded repertoire every year. Yeah, I wrote my first original Christmas song, “Christmas Magic,” for this film “Red One,” and it’s very classic and very playful, in the vein of Ella Fitzgerald and Bing Crosby and Nat King Cole. So there’s that one as well as “Santa Baby” this year. “Christmas Magic” is the first time I’ve also written a song for a movie, which is exciting to me regardless. But the fact that it’s a Christmas song just feels super appropriate given that I love Christmas and I love Christmas music. It is the one time of year that I do feel like the whole world listens to my favorite genre of music.

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Commerce Bank grew its stake in shares of Cleveland-Cliffs Inc. ( NYSE:CLF – Free Report ) by 342.8% in the third quarter, according to the company in its most recent filing with the Securities and Exchange Commission (SEC). The fund owned 116,870 shares of the mining company’s stock after acquiring an additional 90,477 shares during the quarter. Commerce Bank’s holdings in Cleveland-Cliffs were worth $1,492,000 at the end of the most recent quarter. Other large investors have also modified their holdings of the company. Strengthening Families & Communities LLC increased its position in Cleveland-Cliffs by 299.8% during the third quarter. Strengthening Families & Communities LLC now owns 1,987 shares of the mining company’s stock worth $25,000 after purchasing an additional 1,490 shares during the last quarter. Altshuler Shaham Ltd acquired a new position in Cleveland-Cliffs in the second quarter valued at $26,000. Hobbs Group Advisors LLC acquired a new position in Cleveland-Cliffs in the second quarter valued at $31,000. Gradient Investments LLC grew its position in Cleveland-Cliffs by 138.8% during the second quarter. Gradient Investments LLC now owns 2,149 shares of the mining company’s stock valued at $33,000 after acquiring an additional 1,249 shares during the period. Finally, EverSource Wealth Advisors LLC increased its stake in Cleveland-Cliffs by 247.8% during the first quarter. EverSource Wealth Advisors LLC now owns 1,885 shares of the mining company’s stock worth $43,000 after acquiring an additional 1,343 shares during the last quarter. 67.68% of the stock is currently owned by hedge funds and other institutional investors. Analyst Ratings Changes A number of analysts have recently issued reports on CLF shares. Morgan Stanley decreased their target price on Cleveland-Cliffs from $15.00 to $13.50 and set an “equal weight” rating for the company in a report on Wednesday, September 18th. Seaport Res Ptn upgraded shares of Cleveland-Cliffs from a “hold” rating to a “strong-buy” rating in a research note on Tuesday, August 27th. Citigroup cut their target price on shares of Cleveland-Cliffs from $18.00 to $12.50 and set a “neutral” rating on the stock in a research note on Tuesday, September 10th. Finally, StockNews.com cut shares of Cleveland-Cliffs from a “hold” rating to a “sell” rating in a research report on Thursday, November 7th. Three investment analysts have rated the stock with a sell rating, five have given a hold rating, two have given a buy rating and one has given a strong buy rating to the stock. According to MarketBeat, Cleveland-Cliffs presently has a consensus rating of “Hold” and a consensus target price of $17.56. Cleveland-Cliffs Trading Up 4.9 % Shares of CLF opened at $12.46 on Friday. Cleveland-Cliffs Inc. has a one year low of $10.21 and a one year high of $22.97. The stock has a 50-day moving average price of $12.64 and a 200 day moving average price of $14.08. The company has a debt-to-equity ratio of 0.53, a quick ratio of 0.55 and a current ratio of 1.85. The company has a market capitalization of $6.15 billion, a P/E ratio of -12.85 and a beta of 1.97. Cleveland-Cliffs ( NYSE:CLF – Get Free Report ) last released its earnings results on Monday, November 4th. The mining company reported ($0.33) EPS for the quarter, missing the consensus estimate of ($0.31) by ($0.02). The business had revenue of $4.57 billion for the quarter, compared to analysts’ expectations of $4.72 billion. Cleveland-Cliffs had a negative net margin of 2.31% and a negative return on equity of 0.59%. The business’s quarterly revenue was down 18.5% compared to the same quarter last year. During the same quarter last year, the company posted $0.54 earnings per share. Sell-side analysts forecast that Cleveland-Cliffs Inc. will post -0.4 EPS for the current fiscal year. About Cleveland-Cliffs ( Free Report ) Cleveland-Cliffs is the largest flat-rolled steel company and the largest iron ore pellet producer in North America. The company is vertically integrated from mining through iron making, steelmaking, rolling, finishing and downstream with hot and cold stamping of steel parts and components. The company was formerly known as Cliffs Natural Resources Inc and changed its name to Cleveland-Cliffs Inc in August 2017. Featured Articles Want to see what other hedge funds are holding CLF? Visit HoldingsChannel.com to get the latest 13F filings and insider trades for Cleveland-Cliffs Inc. ( NYSE:CLF – Free Report ). Receive News & Ratings for Cleveland-Cliffs Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for Cleveland-Cliffs and related companies with MarketBeat.com's FREE daily email newsletter .

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Wake Forest keeps Detroit Mercy at arm's length for winCupertino City Council: Ray Wang wins second seatLAS VEGAS (AP) — The Broncos are 0-4 in Las Vegas, but in a matchup of teams heading in opposite directions, Denver has more at stake than trying to end a series skid. A victory over the Raiders puts the Broncos that much closer to an unexpected playoff berth, playing with a rookie quarterback and just a year after they went 8-9. The Broncos are 6-5 and coming off a 38-6 victory over the Atlanta Falcons , and would be in the playoff field if the season ended entering Week 12. Not bad for a team given a win total of 5 1/2 games at BetMGM Sportsbook. “Everyone understands the significance of where we are at this point in the season,” Broncos wide receiver Courtland Sutton said. The situation is quite different for the Raiders. They are 2-8, on a six-game losing streak and decimated by injuries. Las Vegas could enter this game without its top two running backs and a reshuffled line on offense, and defensively, the Raiders could have two linemen, three cornerbacks and a safety out of action. “Just been having some bad breaks, but nobody feels sorry for us,” Raiders coach Antonio Pierce said. "Nobody feels sorry for me. You’ve got to roll out there with 11 players, and that’s what we’re going to do come Sunday.” The Raiders are badly in a need of a franchise quarterback and are in a logjam for the top pick in next year's NFL draft. Denver showed with this year's draft how valuable landing such a QB can be to an organization. Bo Nix was selected 12th — one spot ahead of the Raiders — and he is pushing for AP Offensive Rookie of the Year. He was this week's top AFC player and rookie after completing 28 of 33 passes for 307 yards and four touchdowns in the rout of the Falcons. “I think as we’ve gone on, Coach (Sean Payton) and I have found a good rhythm of what we both like, what we can kind of put out there on the field and what we can execute," Nix said. "Then the guys have kind of adapted to it, found our roles within the offense and executed at a high level. It’s just all about slowing the game down and processing things in a manner that you can handle.” Raiders tight end Brock Bowers also could have a say in who wins the season's top offensive rookie award. He is second in the NFL with 70 catches and his 706 yards receiving is 10th among all receivers. His numbers from a historical perspective are even more impressive. Bowers, the 13th pick in this year's draft , is fourth all time among all tight ends in catches through the first 11 weeks and he and Jeremy Shockey in 2002 are the only rookies at that position to have more than one game with at least 10 receptions. “This week's a brand new week,” Bowers said. “I've always got something to prove.” Payton still isn't entirely comfortable splitting carries between running backs Javonte Williams, Jaleel McLaughlin and rookie Audric Estime. Asked how he determines the right balance in his rotation, Payton said, “That's the $6 million question. It’s difficult. We know kind of what we have with those three players. I think it’s always hard to feed three. "I'm used to — and it’s easy — to feed two. So we kind of do that a little bit. I thought Javonte had some really good runs (last week). Certainly the game ends and we’re like, ‘Gosh, we have to get Jaleel more touches.’ So it’s a tough, but a good problem to have.” With injuries to running backs Alexander Mattison (ankle) and Zamir White (quadriceps), 10-year veteran Ameer Abdullah could get the start for the Raiders this weekend. He has just 17 carries for 82 yards and a touchdown this season and started just one game his previous six seasons. “I see myself as a starter,” Abdullah said. “I think every guy in the room does. I consider myself the best back on this team just like every back does. This is my opportunity to go out there and put my best foot forward.” Patrick Surtain II had a pair of interceptions, including one he returned for 100 yards and a touchdown, in the team's first meeting this season and that fueled the Broncos' 34-18 win in Denver . Both of the passes were intended for Bowers, who caught a 57-yard touchdown pass in the first quarter. Surtain isn't expecting the Raiders to avoid him Sunday, however. “You don't want to go into a game thinking they're not gonna throw it your way,” Surtain said, “because it's the pros at the end of the day, everybody's ready, everybody's capable.” AP Pro Football Writer Arnie Stapleton in Englewood, Colorado, contributed to this report. AP NFL: https://apnews.com/hub/nfl

An online debate over foreign workers in tech shows tensions in Trump’s political coalitionUN watchdog to conduct probe into sexual misconduct allegations against top international prosecutorCortland, N.Y., Dec. 03, 2024 (GLOBE NEWSWIRE) -- Guthrie was thrilled to cut the ribbon today on the next stage of state-of-the-art health care in the Cortland community. The Guthrie Cortland Renzi Health Campus opens to patients on Monday, Dec. 9. The 32,000 square foot health campus will initially offer imaging, lab, walk-in and expanded primary care services in a primary care clinic named in honor of Deborah and Stephen Geibel. “We understand that a primary care provider is important on many fronts,” said Marie Darling, Sr. Director, Guthrie Medical Group, Northern Region. “The relationship that is built with a primary care provider assists in achieving health goals and is the gateway to preventative screenings and specialty care services needed along the way. We respect the importance of this relationship and are actively recruiting more primary care providers to this region to support the community’s engagement in their overall health.” Beginning in the spring of 2025, the new space will welcome multiple specialty care services, including orthopedics, general surgery, plastic surgery, obstetrics and gynecology, and pain management. Additionally, in Guthrie’s ongoing efforts to expand care in rural communities, this health campus will be home to a tele-medicine hub, expanding virtual access to Guthrie experts from across our health system. The opening of this new health campus is the fulfillment of continued investment in the Cortland community by Guthrie, in our ongoing mission to be the most trusted local health care partner. It’s a vision shared by valued community partner and donor, Nicholas Renzi. “At Guthrie, we invest when and where there is a need, and we will continue to do so, because we understand the challenges of accessing health care in rural communities,” said Edmund Sabanegh, President and CEO, The Guthrie Clinic. “Through generous gifts such as Nick’s, we’re able to set the standard for rural health care across the nation by delivering innovative, compassionate, and accessible medical services tailored to the unique needs of rural communities.” “It has been a privilege and a pleasure to support this new health campus project,” said Nicholas Renzi. “The consolidation of existing Guthrie medical services into one building together with the requisite support services is a major step in making The Guthrie Clinic a leader in the Cortland community. For a small town, we have health care facilities that are well suited to service the needs of our people in terms of the breadth of services, availability of services, and the competency of the medical professionals and staff.” We are thrilled to work on this project with a strong community partner, in The McNeil Development Company, bringing new life to the former JM Murray Center, choosing to redevelop a vacant property that holds fond memories for members of our community. “They say it takes a community to raise a child. I like to say it takes a community to raise a community,” said David McNeil, Owner, McNeil Development Company. “We have got to continue working together to provide the resources that make a community healthy. Our health care organizations need to provide a high level of quality care in our community, so our residents do not have to travel. There is no one person that can do it by themself.” The Guthrie Cortland Renzi Health Campus is a NYS Clean Heat facility, which means its design incorporates state-of-the-art technology to save energy and reduce carbon footprint. The Guthrie Clinic is a non-profit multispecialty health system integrating clinical and hospital care along with research and education. Headquartered in Sayre, Pennsylvania, The Guthrie Clinic stands as one of the nation’s longest established group practices, founded in 1910 by the visionary Dr. Donald Guthrie. The organization’s patient-centered approach revolves around a clinically integrated network of employed providers. Among The Guthrie Clinic’s more than 9,000 caregivers are close to 1,000 highly skilled physicians and advanced practice providers representing the spectrum of medical Specialties and sub-specialties. Situated across 10,000 square miles in northeastern Pennsylvania and upstate New York, The Guthrie Clinic’s comprehensive six hospital campuses also encompass an expansive network of outpatient facilities across 13 counties. Post-acute care includes acute rehabilitation, skilled nursing, personal care home, home care and hospice services, completing the continuum of care. With a commitment to shaping the future of health care, the organization offers eleven residencies and five fellowships, serving as a training ground for the next generation of leaders in the field. Visit us at www.Guthrie.org . Follow us at Twitter.com/GuthrieClinic, Facebook.com/TheGuthrieClinic, Linkedin.com/company/TheGuthrieClinic, and Instagram.com/TheGuthrieClinic. Attachments Guthrie Cortland Renzi Health Campus Ribbon Cutting Guthrie Cortland Renzi Health Campus Ribbon CuttingHunter Sallis poured in 31 points and Wake Forest needed most of those in a 67-57 home victory against Detroit Mercy on Saturday at Winston-Salem, N.C. Davin Cosby had 11 points as the Demon Deacons (6-1) won their second straight since their only loss, which came a week earlier at Xavier. But it wasn't easy as the visiting Titans (3-3) were persistent as they trimmed a 19-point deficit to nine points with plenty of time remaining (5:54). Orlando Lovejoy led the Titans with 15 points and TJ Nadeau had 13 points and nine rebounds off the Detroit Mercy bench despite shooting 1-for-8 on 3-pointers. Jared Lary added 10 points. Wake Forest doubled up the Titans in 3-point production by making 10 compared to Detroit Mercy's five. But the Demon Deacons took more than half of their attempts (61) from beyond the 3-point arc (35). As a result, they were just 9-for-13 on free throws. The Titans also held a 48-31 advantage in rebounding. Some of that might have been attributed to the absence of Wake Forest center Efton Reid III, who has been dealing with migraines. Detroit Mercy trailed 36-23 at halftime, but Wake Forest couldn't put the Titans away. Sallis shot 12-for-18 from the field and made five 3-point shots. He ended up two points shy of his career-high mark. Sallis came through with clutch shots, including a 3-pointer to go up by 12 with 4:59 left. Cosby had three 3-pointers before hitting his lone 2-point basket with 3:33 left to push the lead back to 14. The Titans shot only 5-for-19 on 3-pointers and they checked in at 33.3 percent overall from the field. Detroit Mercy was charged with 14 turnovers compared to only five for Wake Forest. Detroit Mercy was coming off Wednesday night's victory at Ball State. That outcome marked the team's first true road triumph since February 2023, but the Titans couldn't duplicate it. --Field Level Media

The AP Top 25 men’s college basketball poll is back every week throughout the season! Get the poll delivered straight to your inbox with AP Top 25 Poll Alerts. Sign up here . FORT MYERS, Fla. (AP) — Dashon Gittens led Florida International with 16 points, including the the game-winning layup with 22 seconds remaining in the overtime, and the Panthers knocked off CSU Bakersfield 76-73 on Saturday. Gittens, whose 3-pointer with2.2 seconds left forced overtime, shot 4 of 10 from the field, including 2 for 4 from 3-point range, and went 6 for 6 from the line for the Panthers (2-4). Jonathan Aybar added 14 points while shooting 3 for 8 (2 for 4 from 3-point range) and 6 of 6 from the free-throw line and he also had three steals. Asim Jones shot 2 of 7 from the field, including 2 for 5 from 3-point range, and went 6 for 6 from the line to finish with 12 points. Jemel Jones finished with 18 points for the Roadrunners (3-3). Marvin McGhee added 15 points and six rebounds for CSU Bakersfield. Fidelis Okereke also had 14 points, six rebounds and four blocks. ___ The Associated Press created this story using technology provided by Data Skrive and data from Sportradar .Americans certainly have a sweet tooth. We consume about 17 teaspoons of added sugar daily , about five more than our recommended allotment. We add sugar to almost everything, including beverages, snacks, and many processed and prepared foods. While our sugar intake isn't good for our waistlines, it is great for the bottom lines of companies that sell us all the sweet things we desire. Many of these companies make so much money satisfying our sugar cravings that they can lavishly pay dividends to their investors. Because of that, they can help satisfy an investor's craving for passive income. Here are two great sugar stocks to buy for a sweet stream of dividend income . Coca-Cola Coca-Cola ( KO 0.25% ) likely doesn't need much introduction to those with a sweet tooth. The global beverage giant sells sweetened sparkling soft drink brands Coca-Cola, Sprite, and Fanta. It also sells water, sports, coffee, tea, juice, value-added dairy, and plant-based beverage brands, many of which it sweetens. While Coca-Cola is working to reduce the sugar in its drinks through innovative new products, it's certainly a contributor to our high sugar intake. The company has been a sweet dividend stock over the years. It has increased its payment for 62 straight years, qualifying it as an elite Dividend King , a company with 50 or more years of annual dividend growth. The beverage giant most recently increased its dividend payment by 5.4%. It paid $8 billion in dividends last year and has dished out over $80 billion in cash to its shareholders since 2010. Coca-Cola's dividend currently yields roughly 3%. That's a sweet payout, considering the S&P 500 's dividend yield currently sits near a 20-year low of around 1.2%. The company should be able to continue building on its legacy and increasing its payout in the future. Coca-Cola expects to organically grow its revenue by 4% to 6% annually, which should drive 7% to 9% annual earnings-per-share growth over the long term. That should enable the beverage behemoth to continue satisfying its investors' cravings for a growing stream of passive dividend income. Hershey Hershey ( HSY -0.08% ) is the country's top confectioner. It's also the No. 2 player in the U.S. snacking industry. Its iconic confectionary brands include Hershey's, Reese's, Kisses, Kit Kat, Jolly Ranger, and Twizzlers. Hershey also sells salty snacks, like SkinnyPop, Pirate's Booty, and Dot's Homestyle Pretzels. The chocolatier pays a sweet dividend. Like Coca-Cola, its dividend currently yields more than 3%. The company has increased its payment for 15 straight years and has grown it at a more than 10% annual rate over the past decade. Hershey expects to continue growing in the future. It's targeting 2%-4% annual net sales growth and 6% to 8% adjusted earnings-per-share growth over the long term. The company is also investing in developing innovative new products to drive growth. It will also make acquisitions as opportunities arise. For example, it recently expanded its sweets portfolio by acquiring Sour Strips to bolster its presence in the fast-growing sour candy segment. The company's ability to develop new products and further its expansion through acquisition should enable it to continue increasing its delicious dividend. Satisfying income streams Coca-Cola and Hershey make a lot of money by feeding into our sugar addictions. That gives them the cash to pay lavish dividends. They have great records of growing their dividends, which seems likely to continue. Those features make them tasty stocks to buy for those seeking to collect some sweet passive income .

INDIANAPOLIS -- There's more than just school pride and bragging rights to all that bellyaching over who might be in and who might be out of college football 's first 12-team playoff. Try the more than $115 million that will be spread across the conferences at the end of the season, all depending on who gets in and which teams go the farthest. According to the College Football Playoff website , the 12 teams simply making the bracket earn their conferences $4 million each. Another $4 million goes to conferences whose teams get into the quarterfinals. Then, there's $6 million more for teams that make the semifinals and another $6 million for those who play for the title. Most of this bonanza comes courtesy of ESPN, which is forking over $1.3 billion a year to televise the new postseason. A lot of that money is already earmarked — more goes to the Big Ten and Southeastern Conference than the Big 12 or Atlantic Coast — but a lot is up for grabs in the 11 games that will play out between the opening round on Dec. 20 and the final on Jan. 20. In all, the teams that make the title game will bring $20 million to their conferences, all of which distribute that money, along with billions in TV revenue and other sources, in different ways. In fiscal 2022-23, the Big Ten, for instance, reported revenue of nearly $880 million and distributed about $60.5 million to most of its members. The massive stakes might help explain the unabashed lobbying coming from some corners of the football world, as the tension grows in advance of Sunday's final rankings, which will set the bracket. Earlier this week, Big 12 commissioner Brett Yormark lit into the selection committee, which doesn't have a single team higher than 15 in the rankings. That does two things: It positions the Big 12 as a one-bid league, and also threatens to makes its champion — either Arizona State or Iowa State — the fifth-best among conference titlists that get automatic bids. Only the top four of those get byes, which could cost the Big 12 a spot in the quarterfinals — or $4 million. “The committee continues to show time and time again that they are paying attention to logos versus resumes,” Yormark said this week, while slamming the idea of teams with two losses in his conference being ranked worse than teams with three in the SEC. The ACC is also staring at a one-bid season with only No. 8 SMU inside the cut line of this week's projected bracket. Miami's loss last week all but bumped the Hurricanes out of the playoffs, a snub that ACC commissioner Jim Phillips said left him “incredibly shocked and disappointed." “As we look ahead to the final rankings, we hope the committee will reconsider and put a deserving Miami in the field," Phillips said in a statement. The lobbying and bickering filters down to the campuses that feel the impact. And, of course, to social media. One of the most entertaining episodes came earlier this week when athletic directors at Iowa State and SMU went back and forth about whose team was more deserving. There are a few stray millions that the selection committee cannot really influence, including a $3 million payment to conferences that make the playoff. In a reminder that all these kids are going to school, after all, the conferences get $300,000 per football team that meets academic requirements to participate in the postseason. (That's basically everyone). ___ Get poll alerts and updates on the AP Top 25 throughout the season. Sign up here . AP college football: https://apnews.com/hub/ap-top-25-college-football-poll and https://apnews.com/hub/college-football

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