Japan dominates world’s costliest Michelin-starred eating places

While Michelin star meals can cost as little as $ 1.50 per plate, most of the restaurants that have received the prestigious award, charge a lot more.

Many cost $ 300 to $ 400 for a meal, but some are even higher.

To find the most expensive Michelin-starred restaurants, the cooking website Chef’s Pencil has researched tasting menus for dinner in more than 450 restaurants around the world, according to its website.

The top 10

According to Chef’s Pencil, this is 10 most expensive restaurants * who have either received a Michelin star – or are managed by a chef who has one – are:

1. Sublimotion, Ibiza, Spain – $ 1,740

2. Ultraviolet from Paul Pairet, Shanghai, China – $ 1,422

3. Kitcho Arashiyama Honten, Kyoto, Japan – $ 910

4. Azabu Kadowaki, Tokyo, Japan – $ 825

5. Masa, New York City, USA – $ 800

6. (tie) Joel Robuchon, Tokyo, Japan – $ 637

6. (tie) Kikunoi Honten, Kyoto, Japan – $ 637

6. (tie) Gion Maruyama, Kyoto, Japan – $ 637

9. Guy Savoy, Paris, France – $ 615

10. Piazza Duomo, Alba, Italy – $ 580

* Price per person, usually excluding drinks and service fees.

Japan is the only country to appear on this list more than once, and its restaurants – located in Kyoto and Tokyo – dominate half of the 10 spots. It’s worth noting, however, that Tokyo-based Joel Robuchon, who ranked number 6 on the list, serves French cuisine.

The only restaurant in the United States that made it into the top 10, Masa, is also a Japanese restaurant.

Japan is home to the world with the highest number of Michelin restaurants per capita, with Tokyo having more Michelin star restaurants than any other city. according to Chef’s Pencil.

Why Japanese restaurants can be so expensive

There are reasons why many Japanese restaurants are expensive, said chef Masaharu Morimoto, who is known to millions as the star of television cookery shows “Iron Chef” and “Iron Chef America”.

“Japanese restaurants source seasonal fish from around the world, which increases the cost of the ingredients,” he said. “There is also a cost to properly ship and store these ingredients considering that fresh seafood has a short shelf life.”

Chef Masaharu Morimoto has 15 restaurants around the world, from Tokyo to New York City.

Dave Kotinsky | Getty Images Entertainment | Getty Images

Morimoto said “the chef’s skills – the precision and artistry in preparing and serving the dishes” are other factors.

Japanese restaurants can be quite small, with guests being looked after personally by the chef.

“Restaurants with a limited number of seats usually try to provide their diners with an intimate and meaningful dining experience,” said Morimoto. “Many well-known sushi restaurants have a maximum of eight seats – no waiters or additional staff.”

A chef prepares sushi in a restaurant in Tokyo, Japan.

BEHROUZ MEHRI | AFP | Getty Images

Many meals in high-end Japanese restaurants are served in an omakase style, where the chefs choose what to serve. This allows chefs to prepare “an adventure like no other” for “an unforgettable multi-course dining experience with fresh fish and various other specialty ingredients reserved for this truly unique meal,” said Morimoto.

Most expensive meals by country

While Japan dominates the list of the most expensive restaurants, it may not be the most expensive country overall for people looking for a top Michelin-starred experience.

ONE separate analysis by Chef’s Pencil The study, published in September, analyzed the prices of the most expensive tasting menus in restaurants with two and three Michelin stars.

Japan was fourth on this list.

Denmark is home to Noma, the world’s # 1 restaurant in 2021, according to The World’s 50 Best Restaurants.

THIBAULT SAVARY | AFP | Getty Images

Denmark is the most expensive country to dine in a Michelin-starred restaurant, with tasting menus averaging $ 404 per person. The restaurants in Singapore averaged $ 364 and in Sweden $ 327.

The average cost of dinner at a two- or three-Michelin-starred restaurant in Japan is $ 322, according to the report.

A meal for $ 1,740?

While Japanese restaurants are often simple, the most expensive restaurant on Chef Pencil’s restaurant list is the opposite.

Located on the Spanish island of Ibiza, Sublimotion is the world’s first “gastronomic performance,” said founder Eduardo Gonzales.

Part of a 20-course menu in the Sublimotion restaurant on Ibiza.

Courtesy of Sublimotion

The most expensive tasting menu is $ 1,740 per person for a 20-course meal. The 12-seat restaurant uses virtual reality and special effects to add elements of light and sound to the food, he said.

In addition to chefs, a team of engineers, illusionists, screenwriters and composers “worked together for more than 10 years with the aim of maximizing the pleasure at the table,” says Gonzales.

The restaurant, which opened in 2014, is managed by Michelin star chef Paco Roncero, although it has not yet received a star itself.

World’s Finest Cap Pre In Model

The final session of the Prefontaine Classic on Saturday at Hayward Field featured eight meet records, six world records and two American records as the venue crowned its first year since its redesign with a memorable afternoon of action.

Tokyo teen sensation and Olympic gold medalist Athing Mu won the 800 meters in an American record time of 1: 55.04, with Olympic bronze medalist Raevyn Rogers fourth in 1: 58.01 and her Oregon alum Sabrina Southerland in 2: 01.87 crossed. Ryan Crouser and Dalilah Muhammed also set new American records, with Crouser setting the shot 75 feet, 11.5 inches and Muhammed winning the 400 hurdles in 52.77.

Crouser’s shot put was a record in the Diamond League. Elaine Thompson-Herah led Jamaica to a 1-2-3 100 meter sweep in 10.54 seconds and Jakob Ingebrigtsen also set a Diamond League record by winning the Bowerman Mile in 3: 47.24.

Rogers and Southerland were two of the seven UO alums that were on duty on Saturday. Jenna Prandini was fourth over 200 yards in 22.36, Cravon Gillespie was ninth over 100 in 10.09 and Matthew Centrowitz was ninth over the mile in 3: 53.32. Jessica Hull ran the 1,500 in 4: 05.4 while Kyree King was eliminated from the 200s after a false start.

The Prefontaine Classic session on Saturday followed the evening program on Friday, when Francine Niyonsaba’s record 9: 00.75 in the 2-mile race was unveiled along with a formal opening ceremony for the redesigned venue for the 2022 World Championships. It promises to be an unforgettable event, and the Pre Classic star parade was a worthy preview.

On Saturday, records were also set by Norah Jeruto in the obstacle course (8: 53.56), Noah Lyles in the 200 (19.52), Joshua Cheptegei over 2 miles (8: 09.55) and Faith Kipyegon in the 1,500 (3:53, 23) presented. The second American record of the meeting was set by Courtney Frerichs, who finished second in the obstacle course in 8: 57.77 minutes.

New theater, golf equipment spotlight Resorts World’s leisure choices

Ask Bobby Reynolds if he’s slept a lot lately.

“Eh, no.”

The senior vice president of AEG Presents Las Vegas was in the driver’s seat as the local concert industry sped from idle to idle at a COVID-19 stop sign to brick-on-the-gas pedal speeds.

Not only is Reynolds directing the new theater at the Virgin Hotels and the first concert at Allegiant Stadium when EDM star Illenium christened the venue next month, he is also leading one of his most ambitious projects to date: the opening of the luxurious The Theater at Resorts World.

“Since I’ve been in town, and it’s been 16 years, nothing like this has opened up – or really nowhere else in the world,” says Reynolds, his lively voice revealing, despite the aforementioned lack of nightly “The level of sophistication,” that Level of class – it’s just a higher experience than anything else. It’s a more luxurious feel than anything else on the strip. It’s easy.”

The 4,700-seat venue – with a potential capacity of 5,000 – shines with mostly gold and silver-colored décor that deserves a walk-in jewelry box, and aims to set a new bar for concert generosity. A four-story lobby, which is illuminated by a large modern chandelier, opens into the main hall with two balcony levels, where no seat is more than 50 meters away from the stage.

While The Theater won’t open until later in the year, four residencies have been announced, including country superstars Carrie Underwood and Luke Bryan, popster Katy Perry, and one of Vegas’ most popular artists of all time, Celine Dion.

What was Reynolds looking for when booking resident acts?

“We were looking for what we got, honestly,” he says. “We don’t just want to identify a genre, but also recruit artists who have a legacy in Las Vegas. There is no one with a greater, richer, or more impressive legacy than Celine.

“And then we wanted to get artists who didn’t have a legacy in Las Vegas and build that legacy with them in Las Vegas,” he continues. “All three other artists fall into this category.”

When said artists perform at The Theater, they perform on a 13,550-square-foot stage, one of the largest and tallest on the Strip.

“We’ll be able to do major arena-sized productions,” says Reynolds. “The nice thing about these residences is that you load them once and unload them once. During this time you will receive X shows. We have the ability to keep all those massive, massive, massive shows going and amortizing those costs over a certain number of shows.

“We also have one of the largest stage lifts in the world,” he adds, “with this we have the option of assembling set pieces, placing them directly on the lift at stage level and bringing them up or down.” Two stories. So if we wanted to bring a late night comedian or get creative at a corporate event or something like that, we could mix the pieces. We don’t just have to take these set pieces apart. “

The video presentation of the theater should be just as flexible.

“The video isn’t just a huge screen,” explains Reynolds. “We can put many different screens together into one giant screen, or split this screen and move it into different pods to have different looks throughout the show or different looks at the same time during the show.”

When Reynolds tells it, it all boils down to “wow”.

“In fact, I think it’s the most technologically advanced and production-wise advanced venue in the world,” says Reynolds. “People will walk in there and be overwhelmed by the aesthetics and the first look you get when you see something.

“The ‘wow’ factor will not only exist through the property,” he adds, “but if you cross the line from the property to the theater, that ‘wow’ factor will only increase in my opinion.”

From A to Z: New night club and day club bring big names to Resorts World

He was used to arranging meetings.

He just wasn’t used to one of those.

Ronn Nicolli explains.

“In my previous life, a design meeting started in a room and everyone was looking at Pinterest boards and things they were printing out,” said Nicolli, a longtime Vegas nightlife executive who spent over 13 years at the Wynn Las Vegas .

And then he was hired as vice president of Zouk Group Las Vegas, which oversees Resorts World’s nightlife.

“My first day at the company began with a trip to Bali,” recalls Nicolli of a work trip that was supposed to catalyze ideas for the Resorts World day club. “On this trip, the design was based on what inspires you. One of the most prominent words was “authenticity”.

“How do we bring a Balinese-inspired paradise to Las Vegas Boulevard, a place that feels transformed when you step into it?” He continues. “Basically a second trip on a trip, a destination and a trip.”

The result: Ayu Dayclub, whose Southeast Asian island theme should be exotic and inviting at the same time.

Well-known DJ producers such as Tiesto and Zedd will set Ayu to music, who also offer nightly shows.

Later that summer, Ayu’s counterpart, the “Boutique Megaclub” Zouk, will open.

The 26,000-square-foot, multi-room nightclub will be positioned on a free-running musical aesthetic, and its residents will include hip-hop (G-Eazy), country (Dee Jay Silver), Latin (Becky G), and deep house (Disclosure). along with the required EDM stars.

“There are different genres, demographics, and audiences that want different experiences night after night,” notes Nicolli, who is also Vice President of Lifestyle Marketing at Resorts World. “Suddenly the Latin artists came into play and the hip-hop artists came into play and the deep house artists came into play. When you looked at it all on a whiteboard, it felt more like a crazy, haunted festival than a Las Vegas nightclub. “

The emphasis on diversification depends not only on genre, but also on gender.

“There are a lot of talented female artists out there and many of them had never played in Vegas before,” says Nicolli. “Peggy Gou is one that I got to see first hand during my trip to Bali. How do I get you to do a residency with us?

“It was meaningful because it was something else,” he continues. “She hadn’t played a show in Vegas before. One of the personal goals in trying to create this really well-curated line-up is to get those pieces that are very different from the competition. “

Although the Zouk brand is new to Vegas, the company has a remarkable 30 year history in Asia.

This became an advantage in recruiting artists.

“My knowledge base of how much the talent industry knew about Zouk was a cause for concern,” Nicollia admits. “Suddenly I started talking on the phone. Tiesto says, ‘Oh, my first show in Asia was in Zouk.’ This became very common in discussions with the management teams. Not only did they know Zouk, they also knew the high standards and notoriety Zoul had in the market. It was credible almost immediately. “

Now is the time to put that credibility to the test here.

The plan?

So that one club feels like several.

“Think about the opportunity to be at the Zouk club on a Friday night performing G-Eazy, and the visuals make you feel like you are in something different and new,” says Nicolli. “And then, on Saturday, Tiesto suddenly appears – different visuals, different music styles, different performance styles.

“In the same room, we have the opportunity to convey two different experiences that make you feel like you are in two different places,” he continues. “That was the goal.”

For more coverage on Resorts World, visit lvrj.com/resortsworld.

Contact Jason Bracelin at jbracelin@reviewjournal.com or 702-383-0476. consequences @JasonBracelin on Twitter and @ jbracelin76 on Instagram

World’s Most Bubbly Housing Markets Flash 2008 Fashion Warnings

(Bloomberg) – Real estate prices around the world are showing the kind of bubble warnings that haven’t been seen since the lead-up to the 2008 financial crisis, according to Bloomberg Economics.

New Zealand, Canada and Sweden are considered to be the foamy real estate markets in the world based on the key indicators used in the Bloomberg Economics dashboard. The UK and the US are also at the top of the risk rankings.

Where house prices have risen the most

“A cocktail of ingredients is driving house prices worldwide to unprecedented levels,” wrote economist Niraj Shah in the report. “Record low interest rates, unprecedented fiscal incentives, lockdown savings that can be used as deposits, limited housing stocks and expectations of a robust global economic recovery all contribute.”

Domestic workers who need more space and tax incentives that some governments are offering to home buyers are also fueling demand.

The Bloomberg Economics dashboard compiles five indicators to estimate a country’s “bubble rank”, with a higher value indicating a greater risk of a correction. Among the indicators, the price-rent and price-income ratios help to assess the sustainability of price increases. The growth in house prices measures the current momentum.

For many countries in the Organization for Economic Co-operation and Development, prices are higher than they were before the 2008 financial crisis, according to Bloomberg Economics’ analysis.

Bubble ranking

Analysis shows that even if risk metrics are rising, interest rates are still low, lending standards are generally higher than in the past, and macroprudential guidelines apply, the trigger for a crash is not obvious. Shah said the period ahead would be more of a slowdown than a collapse.

Bloomberg Terminal readers can access the full report here: GLOBAL INSIGHT: Property Bubble Gauges Flash 2008 Level Alert

However, the risk is greater when there is a synchronized boom in house prices – as Shah said there is in the current cycle.

The story goes on

“As borrowing costs begin to rise, real estate markets – and broader measures to ensure financial stability – will be critically tested,” wrote Shah.

There are more stories like this on Bloomberg.com

Subscribe now to stay on top with the most trusted source of business news.

© 2021 Bloomberg LP

XPOP Launches World’s First Polkadot-based Leisure NFT Market

SEOUL, South Korea, June 11, 2021 – (BUSINESS WIRE) –XPOP, a Korean blockchain technology company, announced that the Polkadot blockchain-based entertainment marketplace for non-fungible tokens (NFT) will be the first worldwide to launch in late June.

This press release contains multimedia. Check out the full version here: https://www.businesswire.com/news/home/20210610005384/en/

XPOP ​​announced that the Polkadot blockchain-based entertainment NFT marketplace will be the first to hit the global market in late June. XPOP ​​NFT Marketplace provides a decentralized service to certify the originality of content and content ownership of each artist and to ensure the secure distribution of content on the XPOP blockchain network. XPOP ​​Parachain is formed on the basis of Polkadot, a smart contract that can be changed according to different content distribution companies. The entertainment NFT marketplace to be launched by the XPOP Project Team will be the world’s first service to be combined with the Polkadot blockchain ecosystem that provides interoperability with various blockchain networks. (Graphic: Business Wire)

Based on various content partnerships with a number of K-pop entertainment companies, the XPOP project team is preparing to register and distribute large content on XPOP’s new NFT marketplace through the participation of famous K-pop artists.

XPOP ​​NFT Marketplace provides a decentralized service to certify the originality of content and content ownership of each artist and to ensure the secure distribution of content on the XPOP blockchain network. XPOP ​​Parachain is formed on the basis of Polkadot, a smart contract that can be changed according to different content distribution companies. The entertainment NFT marketplace launched by the XPOP project team with unmatched technological performance will be the world’s first service to be combined with the Polkadot blockchain ecosystem that provides interoperability with different blockchain networks.

The story goes on

This Polkadot-based marketplace allows the use of various cryptocurrency-based and collectable content in addition to XPOP. It will be a truly decentralized content marketplace where users can safely and conveniently register and trade content. XPOP ​​NFT Marketplace has been tested with collectable content such as digital photo cards and illustrations by K-Pop artists. Prominent blockchain media showed interest in the XPOP project in the early stages of its opening. Now all eyes are drawn to the value of the XPOP token in time for its listing on the major crypto exchanges.

XPOP ​​is a Korean company of experts in blockchain technology and entertainment content. In line with the fast changing recent trend, XPOP offers various content players the entertainment NFT marketplace, the blockchain smart contract trading in the entertainment market, and the web 3.0-based future-oriented development of the digital content industry using the NFT Technology enables. XPOP ​​is currently preparing to partner up and start the K-pop entertainment business in Southeast Asian countries such as Indonesia, Malaysia and Singapore.

Currently listed on Melon Exchange (https://www.melonex.io) and Hotbit Korea (https://www.hotbit.co.kr) the XPOP Foundation will run investment campaigns with individual investors and investment companies around the world.

Details of the official announcements and activities of the XPOP Foundation can be found on the XPOP Official Telegram Channel (https://t.me/xpopblockchain).

View source version on businesswire.com: https://www.businesswire.com/news/home/20210610005384/en/

contacts

XPOP ​​Foundation
James Choi
administration
xpop@xpop.io

Human Condiiton: Being a mother is the world’s hardest job | Leisure/Life

Recently Pam, my wife of 40, the mother of our two children, and I were talking about our mothers. We remembered that their time as mothers was different and similar to the life of mothers today.

Before our mothers became mothers, they had to endure great difficulties. Our mothers grew up as small children during the Great Depression.

Pam’s mother grew up on a farm in the country where she and her siblings worked on the farm and went to school.

Although my mother was of French descent, she grew up in the Irish Channel from New Orleans without a father.

As young adults, they watched their brothers, cousins, and friends go into battle during World War II. Most came home; Some didn’t.

After World War II, husbands, both veterans of the war, met and became mothers. Vivian, my mother, had three children. Helen, Pam’s mother, had two.

We laughed as we thought about how they had to hang them on a clothesline to dry after washing their clothes. And if that wasn’t bad enough, most of them had to be starched and ironed after the clothes were dried.

I remember my mother dropping a blue bar of Argo starch into a pan of boiling water to dissolve it, then straining out the undissolved lumps of starch in a sheet of cheesecloth. Then she ironed everything – shirts, pants, sheets, pillow cases – everything but our underwear. It’s good she didn’t iron our underwear, because if the memory serves me properly, starched clothes were rough and scratchy.

Our mothers cooked dinner from scratch every day. Pam’s family grew their own vegetables so they always had fresh vegetables for dinner. We got our fresh vegetables from Schwegmann’s. Fast food was virtually unknown and nothing our families could afford anyway. Dinner delivered to your door? Are you kidding me?

In our minds, our mothers could do anything.

They could fix any broken toy (even without tape), make a skinned knee feel better, and make the medicine taste sweeter. You were magical.

Some things may be different for mothers today, but it is by no means easier.

It’s just as stressful for a mother today to comfort a sick child when they have a high fever, just as difficult to find the right words if they made fun of themselves in school, and just as difficult to discipline them when they did have it are disobedient.

And it’s just as hard not to cry when they hurt your feelings as a teenager.

I think the following is appropriate: “Any woman can be a mother, but it takes a special woman to be a mother.”

Being a mother is the toughest job in the world and that’s why today I say to all mothers: Happy Mother’s Day and thank you for being a wonderful mother.

– Papia lives in Metairie

Advocate readers can submit approximately 500 word stories to The Human Condition at features@theadvocate.com. No payment will be made and the stories will be processed. Authors should include their place of residence and, if writing about themselves, a photo.

WHO says 87% of the world’s provide has gone to higher-income nations

Wealthy countries have received the vast majority of the world’s supply of Covid-19 vaccine doses, while poor countries have received less than 1%, the World Health Organization said at a news conference on Friday.

Of the 700 million vaccine doses distributed worldwide, “over 87% went to high-income or high- and middle-income countries, while low-income countries received just 0.2%,” said WHO Director General Tedros Adhanom Ghebreyesus.

On average, 1 in 4 people in high-income countries have received one Coronavirus Vaccine, compared to just 1 in more than 500 in low-income countries, Tedros said.

“There is still a shocking imbalance in the global distribution of vaccines,” he said.

Tedros said there is a shortage of doses for COVAX, a global alliance that aims to provide coronavirus vaccines to poor nations.

“We understand that some countries and companies plan to make their own bilateral vaccine donations and bypass COVAX for their own political or commercial reasons,” said Tedros. “These bilateral agreements run the risk of igniting the flames of vaccine inequality.”

According to Tedros, COVAX partners – including the WHO, the Coalition for Epidemic Preparedness Innovations and Gavi, the Vaccine Alliance – are pursuing strategies to accelerate production and supply.

The alliance seeks donations from countries with an oversupply of vaccines, is accelerating the review of further vaccines and is discussing ways to expand global production capacity with several countries, said Tedros and Gavi CEO Dr. Seth Berkley.

Battle of the Platforms’ Mega Boxing and Leisure Occasion That includes The World’s Largest Social Media Stars from TikTok and YouTube to Take Place in June 2021

“Social Gloves: Battle of the Platforms” mega boxing and entertainment event PPV event in partnership with LiveXLive

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“Social Gloves: Battle of the Platforms” is a unique, unprecedented live PPV entertainment mega-event that features an over-the-top Gatsby-style production boxing competition that features the world’s biggest social media stars from YouTube Compete against the new symbols from the explosive TikTok platform. Austin McBroom, Founder of The ACE familywill compete against TikTok star and teen idol Bryce Hall for the main event with additional matches Danny Duncan, DDG, Deji, FaZe Jarvis, Michael le, Nate Wyatt, Tanner Fox, Tayler Holder and Vinnie Hacker. The colossal event will also feature live music performances from some of the world’s greatest pop and hip hop stars, to be announced in the coming weeks, all of which culminate in a legendary day and legendary live entertainment of pop culture.

The first in a series of major Social Gloves events planned in partnership with LiveXLive, Social Gloves: Battle of the Platforms, is being produced by a visionary and social media elite Hollywood Playmaker Paul Cazers and is represented by an entertainment lawyer Jason Ziven at Sanders Roberts, LLP.

“This graduation is the culmination of every major learning I’ve had while at the forefront of the social media industry, including the first social media PPV event, Logan vs KSI, that I put together. Got there we’ve seen it’s rabid The international fan base of these social media moguls has had more audiences and sales than traditional professional professional sports events, “said the executive producer Paul Cazers. “This event is a perfect storm of celebrities, social media, technology, digital marketing, pop culture and, ultimately, good old people Hollywood 101 Celebrity and Industry Magic. Every component of this unique moment is designed to be a larger than life spectacle and drive viewers across all social media platforms around the world. Every model we see tracks this as the biggest PPV event in history. “

“We are proud to partner with Paul and his team on Social Gloves, the largest boxing competition between TikTokers and YouTubers. By combining sports and music into a new franchise for a range of mega entertainment events, we can advertise beyond our flywheel do – hear, see I’ve innovated some of the biggest and best PPVs including boxing, music, home run derby, and movies, and we’ve finally got to a point where technology is advancing and brands, fans, and talent are coming We’re excited that LiveXLive has the opportunity to be part of the delivery of the largest global PPV in history. The social media heavyweights and their fans become one voice on all social platforms, and the ultimate champions will be decided on fight night. “specified Robert Ellin, Chairman and CEO of LiveXLive.

Further details on Social Gloves: Battle of the Platforms, including ticket and PPV information, will be announced in the coming weeks.

About LiveXLive Media, Inc.
Headquarters in Los Angeles, California, LiveXLive Media, Inc. (NASDAQ: LIVX) (the “Company”) (pronounced “Live” by “Live”) is a leading global all-in-one platform for streaming artists, providing world-class music and entertainment content as well as live streams from the world’s leading and professional artists curated streaming radio stations, podcasts and original video and audio-on-demand content, as well as personalized merchandise that connects artists with millions of fans every day. The company has streamed over 1,800 artists since then January 2020 and has created a valuable link between bands, fans and brands by building long-term franchises in audio, video, podcasting, pay-per-view (PPV), live streaming and specialty goods. LiveXLive is available for iOS, Android, Roku, Apple TV and Amazon Fire as well as OTT, Samsung TV, STIRR, Sling and XUMO, in addition to its own app, online website and social channels. The wholly owned subsidiary of the company PodcastOnegenerates more than 2.25 billion downloads per year with more than 400 episodes per week spread across a stall of hundreds of top podcasts. The company’s other major wholly owned subsidiaries are LiveXLive, Slacker radio, Gifts respondand custom personalization solutions. For more information, visit www.livexlive.com and follow us on Facebook, Instagram, TikTok and Twitter at @livexlive.

Forward-Looking Statements
All statements in this press release, other than historical facts, are “forward-looking statements” which often but not always can be identified by the use of words such as “may”, “could”, “will”. “will likely result”, “would”, “should”, “estimate”, “plan”, “project”, “forecast”, “intend”, “expect”, “anticipate”, “believe”, “seek”, “search” “further”, “aim” or the negative of such terms or other similar expressions. These statements involve known and unknown risks, uncertainties, and other factors that could cause actual results, performance or accomplishments to differ materially from those expressed or implied in these statements, including: the company’s reliance on a major customer for a material one Percentage of its sales ;; the ability of the entity to complete any proposed financing, acquisition or transaction; the timing of the completion of any such proposed event, including the risk that a condition for the completion will not be met within the expected timeframe or not met at all, or that the completion of a proposed Event financing, acquisition or transaction will not occur or whether such an event increases shareholder value; the company’s ability to continue in business; the company’s ability to attract, maintain, and increase the number of its users and paid subscribers; the company identifies, acquires, secures and develops content; the company’s ability to maintain compliance with certain financial and other requirements; the company is successfully executing its growth strategy, including in relation to its technology platforms and applications; Management relationships with industry stakeholders; the impact of the global Covid-19 pandemic; Changes in economic conditions; Competition; Risks and uncertainties affecting the business of the company’s subsidiaries; and other risks, uncertainties and factors including, but not limited to, those described in the Company’s Annual Report on Form 10-K for the past fiscal year March 31, 2020, filed with the US Securities and Exchange Commission (the “SEC”) on June 26, 2020, Quarterly report on Form 10-Q for the past quarter December 31, 2020, filed with the SEC on February 16, 2021and in the company’s other filings and filings with the SEC. These forward-looking statements speak only as of the date of this document and the company disclaims any obligation to update these statements unless required by law. The Company intends that all forward-looking statements be subject to the safe harbor provisions of the Private Securities Litigation Reform Act of 1995.

Contacts:

LiveXLive press contact:
The group of roses
[email protected]
424.645.4620
[email protected]
614.226.9542

IR contact:
[email protected]
310.601.2505

“Social Gloves: Battle of the Platforms” Press contact:
Rogers & Cowan PMK
Jennifer Cruz / Chaima Mennana
[email protected] /. [email protected]

Sponsoring contact:
For sponsorship inquiries, please contact: [email protected]

SOURCE LiveXLive Media, Inc.

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