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> Positive Adolescent Mental Health: Resilience

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The U.S. Substance Abuse and Mental Health Services Administration has free mobile apps that help users prevent underage drinking, opioid use disorders, and bullying .

“Resilient” adolescents are those who have managed to cope effectively, even in the face of stress and other difficult circumstances, and are poised to enter adulthood with a good chance of positive mental health. 1,2 A number of factors promote resilience in adolescents—among the most important are caring relationships with adults and an easy-going disposition. 3 Adolescents themselves can use a number of strategies, including exercising regularly, to reduce stress and promote resilience. 4 Schools and communities are also recognizing the importance of resilience and general “emotional intelligence” in adolescents’ lives—a growing number of courses and community programs focus on adolescents’ social-emotional learning and coping skills. 5,6

Zolkoski, S., Bullock, L. (2012). Resilience in children and youth: A Review. Children and Youth Services Review, 34, 2295-2303. Retrieved May 17, 2016, from - PDF .
Steinberg, L. (2005). 7th ed. Boston, MA: McGraw Hill.
Carr, A. (Ed.). (2011). (Second ed.). New York, NY: Routledge.
American Academy of Child Adolescent Psychiatry. (2013). . Retrieved February 16, 2016, from
Snyder, F. J., Flay, B. R., Vucinich, S., Acock, A., Washburn, I. J., Beets, M. W., et al. (2010). Impact of a social-emotional and character development program on school-level indicators of academic achievement, absenteeism, and disciplinary outcomes: A matched-pair, cluster randomized, controlled trial. (1), 26-55
Durlak, J. A., Dymnicki, A. B., Taylor, R. D., Weissberg, R. P., Schellinger, K. B. (2011). The impact of enhancing students' social and emotional learning: A meta-analysis of school-based universal interventions. (1), 405-432.
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SAN FRANCISCO — Madison Bumgarner returned to the Giants earlier this month, but in his three starts preceding Thursday night, he had not resembled the dominant, overpowering force we have become so accustomed to watching.

He was Thursday night.

In San Francisco’s 3-0 win, Bumgarner pitched eight brilliant innings, allowing no runs and three hits on eight strikeouts. Hours before Thursday’s series opener with the Padres, Giants manager Bruce Bochy said Bumgarner was ‘real close’ to raising his levels of stamina and endurance back to normalcy. There is no longer a doubt that San Francisco’s ace has fully returned to prime form, coming at a pivotal time, as Johnny Cueto and Jeff Samardzija recover from injuries.

Bumgarner retired the first six Padres batters before allowing a double to start the third inning. He buckled down, though, producing a strikeout, popout, and another strikeout to escape the early jam. After a 1-2-3 fourth inning, Bumgarner faced danger for the first, and ultimately only, time all night in the fifth inning.

He got some help.

Bumgarner allowed a Jose Pirela single to start the inning, then retired Freddy Galvis on a lineout. Next up, outfielder Manuel Margot doubled down the right field line. Andrew McCutchen fielded the one-hopper off the wall, pivoted, and threw the relay to Joe Panik, who gunned down Pirela at home plate. Bumgarner followed with a strikeout to maintain his clean sheet.

A half-inning later, Bumgarner— the slugger— approached the plate with runners on second and third with one out. A lifetime .182 hitter entering Thursday, Bumgarner connected on a fastball to left field. The ball carried enough for Pablo Sandoval to tag up from third base and score, giving the Giants the lead they would not relinquish.

San Francisco had yielded only five hits entering the eighth inning, but its bats woke up to provide insurance. Alen Hanson tripled to start the eighth inning, and Buster Posey knocked him in with a single. McCutchen subsequently walked. Brandon Belt flied out, and Brandon Crawford struck out. Sandoval followed with a bloop to right field. Pirela, who never looked comfortable on the play, back-pedaled and bobbled the ball. Posey scored to extend the Giants’ lead to 3-0. McCutchen was then caught stealing to end the inning.

Giants reliever Mark Melancon shut down the ninth inning to give Bumgarner his first win of the 2018 season.

Thursday night featured vintage Bumgarner, accentuated with the RBI sacrifice fly and bookended with masterful pitching from start to finish. The Giants have now won three straight games, pulling them to 38-38 on the year.

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With our new twice-daily train direct from London St Pancras International to Rotterdam Centraal, it takes just 3hrs 1 min to speed from city centre to city centre.

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London to Rotterdam timetable

You’ll need to arrive at St Pancras International 45-60 minutes before departure.

That way there’ll be plenty of time to scan your ticket at the ticket gates and breeze through security and passport control.

Once you’re through, you can pick up a few refreshments for the journey or just sit back and relax until it’s time to board.

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Please be sure to keep your ticket handy for arrival. You’ll need to scan it at the NS ticket gates to exit your destination station.

Looking for local information? Pick up maps, flyers for attractions, and ask for handy travel tips at Rotterdam Tourist Information. You’ll find it just inside the main entrance to Rotterdam Centraal.

On the way back, take a Thalys train from Rotterdam Centraal to Brussels-Midi/Zuid. Then, take a direct Eurostar train from Brussels to London St Pancras International which takes under two hours.

Our booking system will find the best possible price for your combined Thalys and Eurostar ticket.

To change at Brussels, hop off the Thalys train (don’t forget your luggage), then head to the ground floor. You’ll find the Eurostar departure area under platforms 1 and 2.

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Our Industry How record labels invest
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Investing in music

Record companies are estimated to annually invest $4.5 billion worldwide in artists and repertoire (AR) combined with marketing. This represents 26% of industry revenues.

The major labels combined have around 7,500 artists on their rosters and tens of thousands more are signed to independent labels. New talent is the lifeblood of the industry and one fifth of those artists was signed in the previous 12 months.

The majority of artists still aspire to be signed by a major or independent record company. Both research and a multitude of anecdotal evidence support this.

In September 2014, IFPI partnered with - an almanac of information for unsigned artists in the UK. Seven in ten of the unsigned artists (70 per cent) said they wanted a record deal.

While each recording deal is different, there are common areas of investment that usually feature, particularly in an agreement involving emerging artists. These are the payment of an advance, the funding of a recording, music video production, tour support and promotional costs. It can cost between US$500,000 and US$2,000,000 to break an artist in a major recorded music market.

Record companies commonly pay advances to enable artists to concentrate on writing, rehearsing, recording and performing music. Advances are recoupable against future royalties from sales and streaming, but are not recouped if revenues fail to reach a certain level. The record label is therefore bearing the risk of the investment in a highly competitive marketplace. The growth of streaming services in many markets has adapted but not reduced the financial role of the record company. Investment in successful artists has traditionally been recouped from sales of their album, typically within around 18 months of signing a recording deal. Under the streaming model, recoupment typically takes place over a longer period of time, making the label's upfront financial investment potentially more important. A typical advance from a major record company to a new pop act in a significant market is estimated to be between US$50,000 and US$350,000 and this rate can be much higher in competitive situations. In other cases, advances may be very small or non-existent, with the artist benefiting from more revenue-sharing than upfront expenditure by the record company.

Recording costs can vary widely between individual projects, with the average being driven by projects that involve superstar producers and the most sought after session musicians. Recording costs for an emerging pop act in a major market are estimated to be between US$150,000 and US$500,000.


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