text:
SEMAFO Reports Record 2010 Cash Flow From Operations of $147.5 Million
Record Production - Revenues - Net Income - Cash Margins
March 16, 2011 17:15 ET | Source: SEMAFO Inc.
MONTREAL, QUEBEC--(Marketwire - March 16, 2011) - SEMAFO (TSX:SMF) today announced its financial and operational results for the fourth quarter and year ended December 31, 2010. All amounts are in US dollars unless otherwise stated.
In 2010 SEMAFO had its best year ever with production totaling 261,100 ounces of gold for sales of $323.3 million, compared to gold production of 242,400 ounces and sales of $240.8 million in 2009. Cash flow from operating activities increased to a record $147.5 million, compared to $92.1 million in 2009. Highlights for the year ended December 31, 2010 include:
Record gold production of 261,100 ounces, a 8% increase over the same period last year
Record gold sales of $323.3 million, an increase of 34% compared to last year
Cash operating cost of $466 per ounce produced compared to $463 for the same period in 2009
Record operating income of $128.9 million, an increase of 112% compared to 2009
Record total cash margin of $723 per ounce
Record net income of $103.2 million or $0.39 per share, an improvement of 137% over the same period last year
Record cash flow from operating activities of $147.5 million or $0.56 per share, an increase of 60% over last year
Increase of 180% in proven and probable reserves at Mana
Continued exploration success at Mana
Successful completion of Phases I, II and III of the Mana plant expansion
Encouraging exploration results at Samira Hill
Fourth Quarter Highlights
Gold production of 61,500 ounces, a 6% increase over the same period last year
Gold sales of $86.4 million, an increase of 18% compared to last year
Cash operating cost of $533 per ounce produced compared to $506 for the fourth quarter 2009
Cash operating cost of $ $408 per ounce produced at Mana compared to $399 for the same period in 2009
Operating income of $33.2 million, an increase of 90% compared to 2009
Net income of $27.0 million or $0.09 per share, an improvement of 157% over the same period last year
Cash flow from operating activities of $38.7 million or $0.14 per share, an increase of 62% over last year
Successful completion of Phase III of the Mana plant expansion
A Word from the CEO
SEMAFO has grown from a grassroots exploration company to a three-mine gold producer. Our operations have evolved, essentially owing to our unique savoir-faire, and today provide our Corporation with a solid platform for sustainable growth. In 2010, we achieved record production, revenues, net income, cash flow from operating activities and operating cash flow per share, while our cash operating cost remained comparable to the previous year.
Over the past five years our cash margin rose from $45 to $723 per ounce, outpacing the average gold price increase. Our cash flow from operating activities totaled $147.5 million in 2010 compared to negative cash flow of $ 4 million in 2006, and our basic net income per share increased from a $0.11 basic net loss per share to a $0.39 basic net income per share for the same period.
In 2010, we celebrated the production of our one-millionth ounce of gold, an accomplishment unmatched by the majority of companies in our industry.
Energized by a 180% increase in reserves and 195% in inferred resources at Mana, our team continues to focus on this property as a flagship asset in our value creation model. Recognizing that the structures identified thus far represents less than 10% of the property, in 2010 we invested $18 million in accelerated exploration programs. We are motivated by the excellent 2010 exploration results and hence have established an initial $30-million exploration budget for the Mana property in 2011.
We are pleased with the successful completion of our Mana plant expansion, which increased plant capacity from 4,000 tonnes per day to 6,000 tonnes per day in hard rock. The construction and commissioning of all three phases of the plant expansion were efficiently scheduled and executed on time and on budget with little or no impact on our operations.
The next few years promise to be an exciting time for SEMAFO, as our expanded Mana property continues to strengthen our production profile. As part of this initiative, we will continue to maximize Mana's on-surface and at-depth exploration programs to ultimately increase shareholder value.
In the past five years we have proven that our growth is sustainable and that our unique savoir-faire is present at all levels of our operations. We are now considered a significant player in our industry and remain committed to continue to grow responsibly to create value for our shareholders.
SEMAFO's Consolidated Financial Statements and Management's Discussion and Analysis and other relevant financial materials are available in the Investor Relations section of the Company's website at www.semafo.com. These and other Company reports are also available on the website maintained by the Canadian Securities regulators at www.sedar.com.
2010 Fourth Quarter and Year-End Conference Call
SEMAFO will host a conference call to discuss the results, as well as to provide an update on operations.
Time: 10:00 AM (ET)
Tel. local & overseas: 416 641-6699
Tel. North America: 1 888 223-4512
The conference call will feature Benoit La Salle, President and Chief Executive Officer, Benoit Desormeaux, Executive Vice-President and Chief Operating Officer, Martin Milette, Chief Financial Officer, Michel Crevier, SEMAFO's Geology Manager and Qualified Person, and Patrick Moryoussef, Mining Operations Manager.
The conference call will be archived for replay until April 7, 2011. To access the archived conference call, please dial 1 800 558-5253 and enter pass code 21512810.
A live audio webcast of the conference can be accessed through SEMAFO's website at www.semafo.com. The webcast will be available for replay for a period of 90 days.
Annual and Special Shareholders Meeting
SEMAFO's Annual Meeting of Shareholders will be held on Tuesday, May 10, 2011 at 4:00 p.m. at Hotel Reine-Élizabeth, Salle Duluth, 900 René-Lévesque Boulevard West, in Montreal, Quebec. Attendees will have the opportunity to ask questions and meet the management team and Board of Directors.
Consolidated Results and Mining Operations
2010 2009 Variation
Operating Highlights
Gold ounces produced 261,100 242,400 8 %
Gold ounces sold 260,800 243,800 7 %
(In thousands of dollars, except amounts per ounce
and per tonne)
Revenues – Gold sales 323,275 240,788 34 %
Mining operating costs 122,144 114,795 6 %
Government royalties 12,712 9,470 34 %
Operating income 128,873 60,905 112 %
Income tax expense 20,204 10,875 86 %
Non-controlling interest 1,752 - -
Net income 103,246 43,505 137 %
Adjusted net income 1 103,246 39,968 158 %
Cash flow from operating activities 2 147,451 92,147 60 %
Basic net income per share 0.39 0.18 117 %
Diluted net income per share 0.38 0.18 111 %
Operating cash flow per share 3 0.56 0.38 47 %
Average realized price (per ounce) 1,240 988 26 %
Cash operating cost (per ounce produced) 4 466 463 1 %
Cash operating cost (per tonne processed) 4 33 33 -
Total cash cost (per ounce sold) 5 517 510 1 %
Total cash margin (per ounce sold) 6 723 478 51 %
1 Adjusted net income is a non-GAAP measure. For 2009, the adjusted net income represents the net income excluding a gain on settlement of advances payable totaling $3,537,000.
2 Cash flow from operating activities excludes changes in non-cash working capital items and settlement of liabilities related to asset retirement obligations.
3 Operating cash flow per share is a non-GAAP measure. See the "Non-GAAP Measures" section of the Corporation's MD&A.
4 Cash operating cost is a non-GAAP measure and is calculated using ounces produced and tonnes processed. See the "Non-GAAP Measures" section of the Corporation's MD&A.
5 Total cash cost is a non-GAAP measure and represents the mining operating costs and government royalties per ounce sold.
6 Total cash margin is a non-GAAP measure and is calculated using the average realized price and the total cash cost.
As at December 31, 2010 and 2009
(Expressed in thousands of US dollars)
Cash on hand 220,439 62,481
Restricted cash (note 8) 3,750 -
Accounts receivable 6,021 9,894
Inventories (note 4) 68,952 60,300
Other short-term assets (note 5) 5,238 4,556
Restricted cash 657 4,407
Property, plant and equipment (note 6) 257,413 200,375
Investment and other assets (note 7) 19,600 19,743
Accounts payable and accrued liabilities 36,789 33,658
Income tax payable 21,231 5,019
Current portion of long-term debt (note 8) 14,824 18,808
Long-term debt (note 8) - 15,612
Advance payable (note 9) 3,007 3,007
Asset retirement obligations (note 10) 7,008 5,879
Future income taxes (note 14) 3,023 7,110
Non-controlling interest 1,752 -
Shareholders' Equity
Share capital (note 11) 452,542 329,759
Contributed surplus (note 12) 8,053 5,998
Retained earnings (Deficit) 33,841 (63,094 )
Consolidated Statement of Operations
For the Years Ended December 31, 2010 and 2009
Revenue – Gold sales 323,275 240,788
Mining operations 122,144 114,795
Government royalties 12,712 9,470
Amortization of property, plant and equipment 41,931 40,863
Administration 17,145 14,367
Accretion expense of asset retirement obligations 470 388
Operating income 128,873 60,905
Charitable donations – Fondation SEMAFO 1,068 722
Interest, banking fees and other income 128 355
Interest on long-term debt 2,728 4,947
Stock-based compensation 3,525 1,337
Change to the fair value of derivative financial instruments (note 13) 145 2,383
Write-down of exploration property – Datambi project (note 6 b) - 827
Gain on settlement of advances payable (note 9) - (3,537 )
Foreign exchange gain (3,923 ) (509 )
Net income before income taxes and non-controlling interest 125,202 54,380
Income tax expense (recovery) (note 14)
Current 23,776 5,019
Future (3,572 ) 5,856
Net income for the year 103,246 43,505
Basic net income per share (note 15) 0.39 0.18
Diluted net income per share (note 15) 0.38 0.18
Cash flows from :
Adjustment for :
Change to fair value of derivative financial instruments 145 2,383
Amortization of deferred transaction costs 503 871
Gain on settlement of advances payable - (3,537 )
Write-down of exploration property - 827
Unrealized foreign exchange gain (549 ) (346 )
Future income taxes (recovery) expense (3,572 ) 5,856
Changes in non-cash working capital items and settlement of liabilities related to asset retirement obligations (note 17 a) 12,311 (6,984 )
Reimbursement of long-term debt (20,065 ) (26,951 )
Settlement of advances payable - (3,000 )
Issuance of share capital 121,313 35,713
Share issue expenses (6,311 ) (2,212 )
Additions to property, plant and equipment (96,741 ) (35,084 )
Financial instruments settled - (15,483 )
Decrease in restricted cash - 893
Change in cash on hand during the year 157,958 39,039
Cash on hand – beginning of year 62,481 23,442
Cash on hand – end of year 220,439 62,481
About SEMAFO
SEMAFO is a Canadian-based mining company with gold production and exploration activities in West Africa. The Company currently operates three gold mines: the Mana Mine in Burkina Faso, the Samira Hill Mine in Niger and the Kiniero Mine in Guinea. SEMAFO is committed to evolve in a conscientious manner to become a major player in its geographical area of interest. SEMAFO's strategic focus is to maximize shareholder value by effectively managing its existing assets as well as pursuing organic and strategic growth opportunities.
Caution Concerning Forward-Looking Statements
This press release contains forward-looking statements. Forward-looking statements involve known and unknown risks, uncertainties and assumptions and accordingly, actual results and future events could differ materially from those expressed or implied in such statements. You are hence cautioned not to place undue reliance on forward-looking statements. Forward-looking statements include words or expressions such as "continues", "will", "growth", "create", "evolve", "become", "focus", "maximize", "pursuing" and other similar words or expressions. Factors that could cause future results or events to differ materially from current expectations expressed or implied by the forward-looking statements include the ability to complete our $30 million exploration program for the Mana property in 2011, the ability to continue to maximize Mana's on-surface and at-depth exploration programs to ultimately increase shareholder value, the ability to continue to grow responsibly to create value for our shareholders, the ability to execute on our strategic focus, fluctuation in the price of currencies, gold or operating costs, mining industry risks, uncertainty as to calculation of mineral reserves and resources, delays, political and social stability in Africa (including our ability to maintain or renew licenses and permits) and other risks described in SEMAFO's documents filed with Canadian securities regulatory authorities. You can find further information with respect to these and other risks in SEMAFO's 2010 Annual MD&A and other filings made with Canadian securities regulatory authorities and available at www.sedar.com. These documents are also available on our website at www.semafo.com. SEMAFO disclaims any obligation to update or revise these forward-looking statements, except as required by applicable law.
Contact Information: SEMAFO
Benoit La Salle, CA
blasalle@semafo.com
Sofia St Laurent
sstlaurent@semafo.com
SEMAFO Inc.


Testosterone propionate is an anabolic drug, which has a huge prevalence in almost all sports associated with the demonstration of human speed and strength. And, of course, like any other testosterone ester – this drug is especially loved by almost all bodybuilders and is widely used in this sport. Testosterone is attractive for athletes primarily due to minor side effects, as well as unlimited flexibility in the application. In short, the drug can be used in any phase of preparation, whether it is "drying", mass gain, or even at all – preparing for a race or a boxing match. Most often, it is used during the preparation for the performance (on drying), as it perfectly copes with the preservation of the athlete's muscle mass.
Testosterone propionate has the side effect of the same as other drugs of this series, but less unpleasant. At the injection site, redness and light pain, allergies may appear. There may be seborrhea, acne, swelling, frequent erections, increased libido, nausea, dizziness. If women continue to use the drug for a long time, the voice may become coarse, masculine-type hair loss or head hair loss, increased development of muscular muscles, atrophy of the mammary glands.
But with a properly selected dosage, organs such as the liver and kidneys do not suffer; And other side effects may not appear. With prolonged use of the drug, sometimes the body stops producing its own testosterone, after stopping its application in a month or two, everything comes back to normal. If this does not happen, then other medicinal substances are prescribed that help restore the production of testosterone proper by the body.


Weight Watchers is known in the diet arena for their Points Plus platform. Inspired by their model, I am introducing my own points program. It is a diet, but not of the food variety. My points program is based on overall attitude rather than foods and exercise. I am naming it "Mood Minders"™, an alliteration to assure successful branding.
Mood Minders"™ works like this. We start out with twenty points per day, with an extra 40 points for the week to use at your discretion. You can use a portion of your weekly points daily, or you can save them up and have a full fledged tantrum at the end of the week, if you like.
Neutral moods are zero points. So if I'm observing a situation but not getting upset or making it personal, then it's a zero points experience. For instance, if I'm watching a driver parallel park on my block, and I notice they must be from the suburbs where they normally park in a lot, but I am not critical of the many maneuvers they make to come as close as 10 inches from the curb, then it's zero points. However, if I make a nasty comment to my husband and we banter on about our superior parking acumen as compared to the shnook in the car, then it goes from zero points to costing me four points. Two points for being catty, two points for innocuous gossiping. Cruel gossip can cost as much as ten points, since it's not just a mood, but can be mean spirited.
We earn the most points, eight, by volunteering, random acts of kindness, and true forgiveness. Laughter and joy earn us a hefty five. Patience and generosity are also worth six points. And, the good news is patience for yourself, as well as for others, is counted as well. I was able to earn my six points when I made a mistake in my Mood Minders™ meeting by pronouncing omniscient, "omni cent." While being corrected by one of the self proclaimed intellectuals in the group, I felt my face flush, thanked him for correcting me, and smiled meekly. If it weren't for my minding my points, I might have made a pathetic excuse, while silently cursing him for saying anything. Instead of costing me points, I gained points, forgiving myself for my error, and forgiving him for using my mistake to show off.
Based on my new program, my well wishing to Weight Watchers gave me three bonus points. I can later use those points in the event I find myself being critical, like when I ask tight-lipped that my husband pick up his dirty socks, again, as I did yesterday and the day before that. Of course, a program as rigorous as Mood Minders™ should be done with the support of a group and a group leader (me). Note: I do not lose any points for arrogance since I did not claim to be a great leader. I merely stated my role within the group.
Let's take a look to see how some of patients, I mean Mood Minders™ group members, have fared.
Norma wasn't quite depressed, but she was constantly comparing herself to others, whining that her life wasn't as good. She had been known to describe herself as miserable. This always cost her four points, two for complaining, and two for burdening others with her gloom. It took the loss of many points in meetings to get Norma to finally track her points. She as appalled and dismayed to find out that while she viewed her misery to be the fault of others, in the end she was in a points deficit herself. She started recording, and has now created herself anew.
Then there's middle-aged Paul. He was a rageaholic. If something didn't meet his expectations he would yell, bullying others to change things so he could be appeased. He would become virtually apoplectic when on the phone with his cable server when there was a service failure. But once he started working the Mood Minders™ technique, he thought twice before he reacted. He realized he had a choice about instantly becoming irate. He learned to take a moment before reacting. He started to think before he went into a complete frenzy. It's not that Paul doesn't ever get angry anymore. But he knows he only has a certain amount of set points for his rage, so he judicially uses them when a situation is worthy of that response. Paul can now manage to stay relatively calm when speaking with his IT manager, even when his computer is on the fritz, because he knows that being patient with him will help him get the result he wants. He still yells at sales people from time to time. But not always, and never in the few hours on Tuesday before he attends his Mood Minders™ meeting.
Amy started Mood Minders™ when her anxiety was at an all time high. She was a worrier. Once she found out that she could earn points for laughing she had would intersperse her angst with mirth. She stopped frowning as much, saving her countless thousands in botox injections.
Although Norma, Paul and Amy are a mere sampling of the possibilities of Mood Minders,™, there are all kinds of unhappy people. And, if you're reading this and thinking you are above Mood Minders,™ Think twice. Self-righteous indignation is a lonely path, and a holier-than-thou attitude will cost you a hefty 5 points. But by following MM's simple outline, life can be more enjoyable.
*You have the power to choose how you react to situations.
If you want more information, or you think the Mood Minders™ itinerary is right for you, you can become a founding member of Mood Minders™ for a generous fee. The high cost will ensure you extra weekly points since you will be contributing to the growing prosperity of this amazing program.
Last week I visited a museum. I was excited to see a new exhibit. I went to the membership desk to get my pass, and was partially greeted by a 20-something intern or part-time employee. She was having a laugh with a co-worker and was in no rush to help me. After she finished her exchange with the other intern, she turned to me, looked at my card, and gave me my day pass. I said, "Thank you." Though perhaps I was less gracious than I would have been for a more professional interaction. She said, "No Problem." unfortunately, this is not unusual. When did "You're Welcome" become ubiquitous? When I thank a service provider what I now often get in return is "No Problem." As in "Thank you for helping me with the party." Mary was hired to help serve and clean-up at a party we gave this summer. At the end of the evening, I thanked her for the work. She responded with "No Problem." My thought was, it shouldn't be a problem, it was your job. "My pleasure," is an appropriate response. "No Problem" should be reserved for those times when you want to put someone at ease. When my friend takes me out to lunch and I thank her, she says, "No Problem." Lovely. It is a kind response and it equalizes the imbalance of having her pay. When my cousin went out of her way to visit my parents, and I acknowledge her for it. She said, "No Problem." It was generous to say that since she spent time and took the time and effort to do a nice thing. However, more often I hear "No Problem" in situations in which there was never an implied problem in the first place. And, I hear this all the time, at the grocery check out, the coffee shop, restaurants, sales people, help desks, and more.


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Coronavirus New
Stephen Curry is known as an American professional basketball player of the Golden State Warriors He is most famous for being the first player to be named Most Valuable Player by unanimous vote
Charlotte Christian School
Pseudonym:
Splash Brother
Fathers name:
Sydel Curry
TwitterID:
Stephencurry30
Facebook id:
StephenCurryOfficial
Instagram id:
Ayesha Curry [M. 2011]
Stephen Curry is known as an American professional basketball player of the Golden State Warriors. He is most famous for being the first player to be named Most Valuable Player by unanimous vote.
Biography and Age
Wardell Stephen Curry II was born on March 14, 1988, in Akron, Ohio. He mainly experienced childhood in Charlotte, North Carolina. The most seasoned child of former NBA player Dell Curry, Curry took in the basics of basketball by watching and training with his father. It was mother Sonya, a former Division I volleyball star, who ingrained the confidence to prepare in her child while Dell Sr. was with his team on travels. Curry has two kin. His more youthful sibling, Seth Curry, went on to a career in professional basketball subsequent to featuring at Duke University. Stephen's sister Sydel turned into a volleyball player at Elon University.
Curry enrolled at modest Davidson College close to his old neighborhood. He immediately exhibited his abilities by scoring 32 points against the University of Michigan in his subsequent game and ended up winning Southern Conference rookie of the year honors. Curry turned into a national star in March of his sophomore year when he helped the Wildcats to a spot in the regional finals of the NCAA tournament with a series of high-scoring performances.
Wife, Kids, and Controversy
Curry married his school sweetheart, Ayesha Alexander, on July 30, 2011. Ayesha Curry is an entrepreneur and former actress known for the HBO series Ballers and as the host of Ayesha's Home Kitchen on the Food Network. The Currys have two girls together. On July 19, 2012, they gave birth to their first daughter named Riley. Their next little girl, Ryan, was born on July 10, 2015. After three years on July 4, 2018, Ayesha brought forth their first son, Canon W. Jack.
In December 2019, there were leaked naked photographs that seemed to be Steph Curry. The photos instantly set off a Twitter reaction. A Warriors source told the media that the photographs were not of Steph and should be considered a prank.
Career and Net Worth
Curry was drafted in 2009 by the Golden State Warriors and eventually formed into one of pro basketball's top players with his excellent shooting abilities. Subsequent to earning Most Valuable Player praises and helping the Warriors win the NBA championship in 2015, Curry drove the team to a class record 73 successes the accompanying season. In May 2016, Curry turned into the first individual to be named MVP by unanimous vote in NBA history.
Date modified: May 14, 2020
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redpajama_set_name: RedPajamaCommonCrawl


The CM-46CB Series push plate switches have an aluminum faceplate, 'best in class' manufacturing quality and 'super quiet' operation. The powder coat blue paint and polyester (white) silk screened graphics are designed to provide years of service in high traffic applications. They're in stock and ready for distributor orders.


Want a pair of cheap mens 42" waist jeans? You're in the right place! Here at Bigdude, we have a huge selection of mens 42 inch waist jeans in a variety of colours and styles. Whether you are after something fashionable or just a pair of plain jeans, we have something for you. From dark denim to black, bootcut jeans or simply straight cut styles, check out the full range to find the pair that suits. All of our large jeans are a great fit and offer mens big size jeans with short, regular or long leg lengths. We offer jeans from top brand names such as KAM, Wrangler and Raphael Valencino to ensure fantastic quality as well as a good range of price points. Pick up your next pair of 42 inch jeans here and be sure you are getting a great deal. We trust in our cheap prices and offer a price promise so you can buy in confidence with Bigdude.


text:
Big steps up when Little needs a new basketball coach
Big Brother Kevin and Little Brother Aden
When Big Brother Kevin was growing up, his father wasn't home much. He worked 13-15 hours a day. "Not once do I remember throwing a football or baseball to him," Kevin says. "It was like he was there, but he wasn't there." So Kevin relied on his uncles to be role models. Knowing that there were many boys growing up like he did, with a dad not involved or not present, he decided to become a Big Brother.
Kevin was matched with Little Brother Aden six years ago, when Aden's mom decided to enroll her son as a Little Brother because his dad's involvement was inconsistent at best. "I wanted Aden to have a consistent, positive role model in his life who could take him to experience new things and help improve his self-esteem," she says.
"He helped me become the young man I am today."
– Little Brother Aden
Together, Little Brother Aden and Big Brother Kevin have gone golfing, participated in Bowl for Kids' Sake, and completed projects around the house. They even visited the local police department once so Aden could learn what it would be like to be a police officer. In college, he hopes to study criminal justice.
Kevin's goal with Aden is always to plan activities that help him gain confidence and self-respect. "The activities Aden and I do are infused with lessons to ensure he's developing into a young man who understands his potential is unlimited," Kevin says.
In the middle of last season, Little Brother Aden's basketball coach quit the team. Without a coach, they wouldn't be able to play the rest of the season, so Big Brother Kevin stepped up and became the new coach.
He had always been at every game, and as coach he was now at every practice, showing his Little Brother what it meant to follow through on a commitment. "I make this commitment to him because it's important that he knows I'm there for him," Kevin says, "because we all benefit from having extra people in our lives who remind us that we matter."
Little Brother Aden couldn't agree more. "He's helped me with lots of my problems and tells me how to deal with future ones," he says.
Whether it's on the court or off of it, current problems or future problems, Aden knows he always has a Big he can count on.


Plounéour-Trez is a small coastal village in North Finistère. At the seaside you can find 7km of sandy beaches along a rocky coastline. Paradise of birds, the bay attracts thousands of seabirds in search of food. A destination for those looking for a preserved natural environment. In Plounéour-Trez enjoy a seaview holiday rental.
Large House 210sqm with garden 1000sqm and swimming pool heated 28 ° . Terrace, outdoor furniture and barbecue.
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3 rooms House. Terrace, garden with outdoor furniture. Distance to the sea: 20 m. View of the sea and the beach.


Gus & Lina Ocamposilva use strong aluminum to create their sculptures but yet make it appear as though it is soft and fluid. They have manipulated the material to a point where it no longer looks as though it has been overly manipulated. These forms incorporate tubes and exposed bolts into the design. Color also plays an important role in their sculptures as well as in our everyday lives. A colorful sculpture will draw attention and encourage observers to ponder the meaning of the sculpture.
"Twin Souls" is reminiscent of love and is an abstract rendering of two figures hugging. The Ocamposilva's have incorporated contemporary and realistic elements into their work, while also continuing to include nature and the human form.
*45th Ward Placemaking Committee Sponsors: Alderman John Arena, Gale Street Inn, Mega Properties, Inc., Jeff Park Chamber of Commerce.


*Website information currently being translated.... please check back soon.
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Olympia Indoor Soccer Moves to The Evergreen State College!
We are excited to announce that Olympia Indoor Soccer is once again open in a new location at The Pavilion on the campus of The Evergreen State College!
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Over 40 Drop-In is only for those 40 and over.


This environmentally friendly product safely cleans and restores wooden docks without harming marine life. It's also an excellent cleaner for exterior vinyl, aluminum, fiberglass and concrete surfaces. Unlike chlorine bleach based cleaners, Marine Seal Wood Cleaner is biodegradable and will not harm wood fibers, grass, plants or marine life. Marine Seal Wood Cleaner is a powdered concentrate that is mixed with water.
Marine Seal Wood Cleaner removes dirt, grime, mildew stains, previous coatings (not paint) and weathered graying from horizontal and vertical wood surfaces. This product is recommended for surface preparation prior to application or reapplication of clear finishes and stains (for best results use Marine Seal Wood Dock Stain).
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text:
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namespace Nette\Database;

use Nette;

/**
 * Information about tables and columns structure.
 */
interface IReflection
{
	const
		FIELD_TEXT = 'string',
		FIELD_BINARY = 'bin',
		FIELD_BOOL = 'bool',
		FIELD_INTEGER = 'int',
		FIELD_FLOAT = 'float',
		FIELD_DATE = 'date',
		FIELD_TIME = 'time',
		FIELD_DATETIME = 'datetime';

	/**
	 * Gets primary key of $table.
	 * @param  string
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	 */
	function getPrimary($table);

	/**
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	 *
	 * @param  string  source table
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	 * @return array   array(referenced table, referenced column)
	 * @throws Reflection\MissingReferenceException
	 * @throws Reflection\AmbiguousReferenceKeyException
	 */
	function getHasManyReference($table, $key);

	/**
	 * Gets referenced table & referencing column.
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	 *     book, author      returns array(author, author_id)
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ALBANY, N.Y. – The SUNY Poly men's basketball team (4-3) fell to Sage (4-4) on Saturday in a game that came right down to the wire. The Wildcats were down eight at the half. The Gators expanded their lead to 15 at its peak before the Wildcats made a run. The game came down to a last minute highly contested shot to tie the game that rattled in and out of the rim.
For the Wildcats, Redell Freeman (Rochester, N.Y.) had a team high 23 points, three steals, three assists, and five rebounds. Frank Reali (Staten Island, N.Y.) had a big second half for the Wildcats. The freshman scored 14 of his 19 total points in the second half including a three pointer with just seconds left on the clock in the second half to bring the game within one point. Kevin Williams (Brooklyn, N.Y.) had 16 points, four rebounds, three steals and two assists.
Sage's Isaiah Scurry led all players with 31 points in the game. Scurry also had six rebounds and three assists. Barceem Dukes nearly had a double-double with 21 points and nine assists.
The Wildcats will host Hobart next week. The game is scheduled for Sunday, December 17th at SUNY Poly's Campus Center Gym. Tip-off is at 2:00 PM.


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District 3 residents discuss 'community action…
NewsGovernment
District 3 residents discuss 'community action plan'
Plan could become a blueprint for future land use
Aidan Freeman/Lake County Publishing
At a 'community action plan' meeting in Lucerne, Western Region Town Hall Chair Gene Paleno (right) speaks on the importance of local area planning next to guest speaker and Redwood Valley Municipal Advisory Council Chair Dolly Riley.
At Lucerne's New Paradigm College on Tuesday, a group convened to discuss drafting a land use plan for Lake County's District 3. (From left) Redwood Valley Municipal Advisory Council Chair Dolly Riley, Western Region Town Hall Chair Gene Paleno, Lucerne Area Town Hall member Lani Urquiza and Lake County District 3 Supervisor E.J. Crandell provided guidance.
LUCERNE — A contingent of residents and local town hall leaders from Lake County's District 3 gathered at New Paradigm College on Tuesday to strategize about creating a "community action plan" that could guide future land use and development rules in the area.
In September 2019, the Lake County Board of Supervisors called for an update to the county's general plan, via the rolling overhaul of the county's eight "local area plans," two of which—the Upper Lake-Nice Area Plan and the Shoreline Communities Area Plan—cover District 3.
Local area plans, after being approved by the board of supervisors, become chapters in the countywide general plan, which is a state mandated, legally-binding blueprint for future land use.
Although the board of supervisors has indicated it will start updates with the oldest of the eight local area plans—the Lower Lake Area Plan, which was adopted in 1988—discussions have already begun in District 3 to prepare for an eventual update there.
Tuesday's meeting, hosted by Western Region Town Hall (a District 3 municipal advisory council) Chair Gene Paleno, was focused on gaining an understanding of the process needed to draft a plan on the initiative of the community, to be submitted in due time to the board of supervisors for approval.
Dolly Riley, the chairperson of Mendocino County's Redwood Valley Municipal Advisory Council, was invited to speak at the meeting. The RVMAC is most of the way through developing its own community action plan, which it began in 2017.
"We've had four town hall meetings," Riley said. One more is planned before finalizing the document, she noted. "Our community action plan…is almost complete."
Still, the adoption of that plan by the county is not guaranteed.
"We will do everything we can to make it part of the Mendocino County General Plan," Riley said. "When we're done with our plan and we have a draft…we will then turn it over to (Mendocino County Planning and Building departments)," who will make the plan "consistent" with other local plans in nearby communities. Finally, after the plan is taken to the county's planning commission for preliminary approval, it will be submitted to the board of supervisors, who will consider adopting it into the general plan.
RVMAC's success in hosting town halls to draft its community action plan has been due to several factors which Riley noted on Tuesday. Despite receiving little funding from the state, the council has been able to secure small grants from entities like Pacific Gas & Electric Company to pay for individual town hall meetings. In addition, the council has hired a land use attorney to "collate and combine" public input into coherent documents after each meeting.
Advertising has been important as well, she said. RVMAC has gathered the addresses of all the business owners and landowners in the area and mailed them postcards to promote the council's meetings. The meetings have drawn crowds of as many as 80 people, Riley said.
WRTH member Tim Chiara commented that the development of a community action plan for District 3 is an opportunity to lend more weight to the causes the town halls have been pushing for in recent years.
"Everything we've talked about in the last two years," Chiara said, "We have to make it official in the plan…You've got to write it in stone, if you will."
District 3 Supervisor E.J. Crandell noted that the development of the community action plan for District 3 can help local residents better represent their region's goals when future developments are proposed at the county level, to which the community is opposed. "When (locals) come to the board meeting, when something's going to get passed, because of these plans that you've developed, it really takes the air out of their arguments."
WRTH Chair Paleno, in an announcement letter for Tuesday's meeting, noted, "A Community Action Plan is a necessary first step" toward creating a better Lake County. On Tuesday, he added: "If we find people that want to make these changes and they're willing to do it, what's going to happen is that we'll be better represented as citizens to the boards who are making the decisions."
Secure Act of 2019 and the Stretch IRA
Cards hold off Timberwolves, improve to 5-0 in league
MVPs Barrio, Tingle head All-County football team
Blue Lakes green beans
Storms should clear for weekend


To put it simply, I personally don't collect any data from you, unless you sign up to get notifications of my posts via e-mail. In that case, I collect your e-mail address. That's it. And I use it for notifying you of new posts. That's it. If you contact me through my contact form, I'll obviously then have your e-mail address and whatever other information you tell me when you contact me. I'll only use this information for the purpose of answering your query, and then it will be lost in the dustbin of old e-mails. I hate marketing, and even if you really want to buy my stuff and beg me to put you on my mailing list, I'm highly unlikely to send you an e-mail advertising my latest book or whatever. It's possible I'll get better about this in the future … but unlikely.
If at any point you're being bombarded with stuff from me you don't want or if you have any questions about my use of your data, please contact me immediately, and I'll do my best to sort it out for you.


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Archive for category: Outreach
EEPS Supports Rice's 4th Annual Science Olympiad Invitational
February 11, 2020 /0 Comments/in Activities, Outreach/by Linda Welzenbach
Rice undergraduates Annelise Goldman and Muthu Chidambaram talking with a participant of the Rice Science Olympiad Invitational "Sounds of Music" science event on January 18, 2020.
Three Rice undergraduates including EEPS own Annelise Goldman with the Rice University Science Olympiad Alumni Association (Rice SOAA) hosted the 4th consecutive Science Olympiad Invitational on January 18, 2020.
Rice undergraduates Alan Jin (co-president), Muthu Chidambaram (co-president), Annelise Goldman (vice president) managed a challenging set of science events that attracted 525 high school students from 36 teams from 21 high schools across the U.S.
Approximately 45 volunteers, mostly Rice undergraduate members of Rice SOAA, some graduate students and Rice Alumni, wrote and graded tests, proctored exams and managed science events. Nearly all the volunteers put in a long day starting with the arrival of visitors before 8 a.m. and concluding with the awards ceremony in the RMC Grand Hall around 8 p.m.
"I think it was a great science outreach effort for Rice, connecting with the greater Houston (and far beyond in some cases) community," says says Dr. Richard Gordon, Keck Professor of Geophysics in the department of Earth, Environmental and Planetary Sciences and faculty sponsor of Rice SOAA.
This is the second Rice University Science Olympiad for Sophomore Annelise Goldman, who volunteered in 2018 and then joined the organizing committee in 2019. She went from writing one exam her first year, to writing three exams and helping to manage all the 2020 event activities. But this isn't her first brush with Science Olympiad.
Annelise has been participating since middle school. "I am a long-term fan. At my middle school it was really competitive. At the time I thought that science was really cool, but was like, 'I'm not a person who's cut out to do science'. But my mom suggested I try out anyway, to see if I might like it." Like it she did, going on to participate throughout high school.
Science Olympiad is the reason why she is a science major at Rice.
Annelise Goldman evaluates one of the student-built instruments submitted for the "Sounds of Music" event at the 2020 Rice Science Olympiad Invitational.
Now she is giving back to the program that brought her where she is today. "I'm very grateful to this program for inspiring me and introducing me to different fields. I wanted to help other students have a similar experience," says Goldman.
Science Olympiad invitationals are practical competitions that help Science Olympiad teams from across the country prepare for regional and national competitions. Invitational events are themselves competitive among host schools. Universities seek to not only provide high quality exams that lure nationally ranked teams, but to expose those "elite" students to what the host University has to offer.
Science Olympiad Invitationals also include key-note lectures by host institution faculty that connect and inform students about careers in science. This year's key-note speaker was EEPS own assistant professor Dr. Sylvia Dee, who shared her pathway to science, the impact of her research, and the variety of careers available to scientists.
https://earthscience.rice.edu/wp-content/uploads/2020/02/2020-Rice-SOI-AG-sound-event-scaled-e1581446728175.jpg 1105 1428 Linda Welzenbach https://earthscience.rice.edu/wp-content/uploads/2019/08/Rice_Natural_Sciences_Earth-Environmental-and-Planetary-Sciences_Earth-Environmental-and-Planetary-Sciences_Informal_Digital_Horizontal_Color.jpg Linda Welzenbach2020-02-11 12:56:352020-02-11 12:57:25EEPS Supports Rice's 4th Annual Science Olympiad Invitational
Advocates For Science
April 28, 2018 /0 Comments/in Blog, Outreach/by Sriparna Saha
From a steadily growing interest by the scientific community along with increased demand by educators and policy makers, science communication has become the need of the hour. The American Geophysical Union (AGU) launched the Voices for Science Program to help the geoscience community meet those needs. The program aims to help train scientists from all stages in their careers to be better science communicators and advocates for public engagement.
With two different tracks, communications and policy, the Voices for Science program provides the opportunity to actively participate and explore different facets of science communication. Only 30 individuals were chosen from a pool of 100 candidates to be a part of the inaugural program. Doctoral candidate Sriparna Saha has been selected as a part of the initial cohort for the communications track.
Read about the Voices for Science Program in the following article published in EOS:
New Program Enables Scientists to Be Voices for Science
https://earthscience.rice.edu/wp-content/uploads/2018/04/IMG_7404.jpg 511 669 Sriparna Saha https://earthscience.rice.edu/wp-content/uploads/2019/08/Rice_Natural_Sciences_Earth-Environmental-and-Planetary-Sciences_Earth-Environmental-and-Planetary-Sciences_Informal_Digital_Horizontal_Color.jpg Sriparna Saha2018-04-28 00:29:352018-04-30 09:15:51Advocates For Science
Reach for the Stars STEM Festival 2018
The twelfth annual 'Reach for the Stars Stem Festival' , co-sponsored by the Ride Family Foundation and Rice Space Institute, was held at Rice University on Saturday, April 21st. It was a spectacular success. This festival, which targets middle school girls, includes a street fair, an inspiring talk by a woman astronaut, and roughly thirty women-led science and engineering workshops. The plenary talk was given by NASA astronaut Peggy Whitson, who also happens to be a Rice Alum. This event turned out to be another opportunity for the Rice Earth, Environmental and Planetary Sciences Department to showcase its commitment towards science outreach and education.
The EEPS exhibit table engaged young girls with fun, hands-on activities like the plate tectonics (using Oreo cookies), along with the tried and true rock and mineral identification. Some of the modules presented were developed as a part of the EEPS Reach teaching program, and successfully kickstarted part of the workshop sessions.
It was amazing to see that the young girls were ecstatic to learn about science- and geology in particular- even if some of the girls only cared about eating the Oreo cookie continents. Not just the young girls were engaged. Some of the teachers accompanying the girls actually took notes on the hands-on activities (the Oreo cookie plate tectonic activity was an instant hit with both young and old alike), telling us that they would incorporate them in their classroom teaching. Perhaps this is the beauty of public outreach activities, to be able to connect with people in such a way that they start to care about science.
Graduate students Alana Semple, Juliana Spector, Laura Carter and Sriparna Saha represented the department at this event and mentored two 45-minute workshops focused on the Earth's Interior (Differentiation and Convection) and the Earth's Exterior (Wet Texas: from Floodplains to the Coast). Known formerly as the 'Sally Ride Festival', this annual fair brings in hundreds of young girls to the Rice University campus, giving them a glimpse into the world of science in a way that excites them and encourages them to explore the world around them.
https://earthscience.rice.edu/wp-content/uploads/2018/04/IMG_7344.jpg 3024 4032 Sriparna Saha https://earthscience.rice.edu/wp-content/uploads/2019/08/Rice_Natural_Sciences_Earth-Environmental-and-Planetary-Sciences_Earth-Environmental-and-Planetary-Sciences_Informal_Digital_Horizontal_Color.jpg Sriparna Saha2018-04-26 22:21:502018-04-27 11:43:06Reach for the Stars STEM Festival 2018


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Peter Oundjian, on the Yale Philharmonia's "spontaneity and commitment"
Peter Oundjian conducts the Yale Philharmonia
Yale Philharmonia Principal Conductor Peter Oundjian has conducted Scheherazade many times. Still, he said last week after he and the orchestra rehearsed the piece in preparation for a concert this Thursday night, "For me, it's always the first time. You have to have fresh energy for every single performance."
It's something he learned as the first violinist of the Tokyo String Quartet—and something he's brought to the podium. The Yale Philharmonia has energy in abundance, in addition to the professionalism one finds in and around ensembles like the Toronto Symphony Orchestra, which Oundjian led for a decade and a half.
Professional groups like the TSO have a repertoire that includes pieces like Scheherazade, which are programmed every so often. Musicians who've been in a particular orchestra for a number of years might perform a piece like Scheherazade many times. The Yale Philharmonia, though, is an orchestra whose roster turns over by half every year, as students graduate from the School of Music. While the Philharmonia has performed Scheherazade in recent years, the musicians who'll perform the piece on Thursday night have not—at least not together.
"This orchestra has never and will never play this music again," Oundjian said. That means, performance-wise, "there's no preconception and there's no habit." For Oundjian, and for audiences, this means an "incredible amount of spontaneity and commitment" in each performance.
"There's an element of risk that makes this so exciting," he said. This is why live performance is the experience that it is. "You don't know what's going to happen or how it's going to happen."
So far this season, Philharmonia audiences have heard the orchestra deliver memorable performances of Mahler's Fifth Symphony and Prokofiev's Fifth Symphony, along with music by Debussy, Mozart, and Szymanowski. On Thursday night, the Philharmonia will perform Rimsky-Korsakov's Scheherazade on a program that also includes Debussy's Nocturnes, with the treble voices of the Yale Schola Cantorum, and Weber's Bassoon Concerto, with Woolsey Hall Concerto Competition winner Eleni Katz '20MM.
What audiences can expect from this orchestra, Oundjian said, is a "huge amount of talent and instinct."
The musicians, he said, "turn up for orchestra ready for anything that's possible, which, for them, is limitless."
Principal Conductor Peter Oundjian will lead the Yale Philharmonia in a performance of Debussy's Nocturnes, with the treble voices of the Yale Schola Cantorum, Weber's Bassoon Concerto, with Woolsey Hall Concerto Competition winner Eleni Katz '20MM, and Rimsky-Korsakov's Scheherazade on Thursday, November 21, at 7:30 p.m., in Woolsey Hall.
DETAILS & TICKETS (FREE for students)
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Drummer Louis Hayes pays tribute to hard-bop pioneer Horace Silver
Louis Hayes. Photo courtesy of the artist.
In 1956, teenage drummer Louis Hayes joined a new quintet led by pianist Horace Silver. While Hayes had found early success in Detroit playing alongside Kenny Burrell, Yusef Lateef, and Doug Watkins, Silver was in New York developing the hard-bop style, having already worked with the likes of Stan Getz, Miles Davis, and the Jazz Messengers with Art Blakey. The Washington Post described Silver's stylistic leanings this way upon his 2014 passing:
"When other jazz musicians were becoming more and more esoteric, reaching levels of musical abstraction where few listeners would follow, Mr. Silver remained grounded in the traditions of gospel and the blues. … 'They got so sophisticated that it seemed like they were afraid to play the blues, like it was demeaning to be funky,' Mr. Silver told Newsday in 1994, describing his populist musical approach. 'And I tried to bring that. I didn't do it consciously at first. But it started to happen.'"
Silver didn't reimagine the jazz landscape alone. Those who played in his band were part of the new sounds. For Hayes, playing with Silver was an entrée to working subsequently alongside such iconic artists as Cannonball Adderley, Freddie Hubbard, and Oscar Peterson. The list of musicians with whom Hayes has worked is almost surreal and includes John Coltrane, Dexter Gordon, Freddie Hubbard, Thelonious Monk, Wes Montgomery, and McCoy Tyner, among others. "Look who he's played with," Ellington Jazz Series Artistic Director Thomas Duffy said. "Everybody."
"His oxygen was being breathed by all the greats," Duffy said. Putting it another way, Duffy asked, "What do all these people have in common?"
Louis Hayes.
Hayes comes to Yale on Friday, November 15, to perform a program called Serenade for Horace, the name of the 2017 album its label, Blue Note Records, described as "his splendid tribute to his mentor and friend." Hayes told Blue Note that Silver said, "Louis, you are a part of my legacy."
Of Hayes' 2017 tribute album, DownBeat said, "Serenade for Horace isn't just homage paid to a jazz great; it's also a testament to the vitality of Silver's songbook." All About Jazz offered, "(Hayes) brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate."
On November 15, Hayes will be joined by tenor saxophonist Abraham Burton, vibraphonist Steve Nelson, pianist Anthony Wonsey, and bassist Dezron Douglas. Burton, Douglas, and Nelson played on Serenade for Horace.
Drummer Louis Hayes' quintet will perform an Ellington Jazz Series program called Serenade for Horace on Friday, November 15, at 7:30 p.m., in Morse Recital Hall. Free student-rush tickets will be offered at the box office for students in college and K-12 with a valid ID. Tickets will be distributed starting 30 minutes before each concert. One ticket per ID, subject to availability.
DETAILS & TICKETS
Yale Choral Artists to perform all-Brahms program
Tomorrow, the Yale Choral Artists will perform a program that "is intended to showcase Brahms' mastery of the choral idiom and the incredible emotional range of his choral output," the group's founding director, Jeffrey Douma, said, "from the intricate counterpoint of the two a cappella motets Schaffe in mir, Gott and Warum ist das Licht gegeben, to the moving elegy Nänie, a work originally for chorus and full orchestra but performed this weekend in a piano four-hands reduction (a practice common in the era before recorded music)."
"We finish the program," Douma said, "with the Liebeslieder, one of Brahms' most popular works during his lifetime, adding a unique dimension by alternating between solo quartets and tutti choir from movement to movement, highlighting the individual character of each of the 18 exquisite miniatures that comprise the set."
Douma founded the Yale Choral Artists, a professional project-based group, nearly a decade ago. "In recent years in the United States, the emergence of the professional project choir has added an exciting and rich new dimension to the choral landscape," he said, "and I think it has been important to have that model as part of the range of ensemble singing at Yale."
Many of the Choral Artists are products of Yale. "Just over half of YCA's singers for this project are YSM alums from both the voice program and choral conducting program," Douma, a professor of choral conducting at the Yale School of Music, said. "We also have two Yale College alums in the group this time."
In addition to solo careers, members of the Choral Artists perform with such ensembles as Chanticleer, Conspirare, the Handel and Haydn Society Chorus, Seraphic Fire, the Trinity Wall Street Choir, and Voices of Ascension, among others. The vocalists' successes are in large measure a reflection of the potential they brought to and realized during their time at Yale.
"We are fortunate to have some of the best young musicians in the world studying here," Douma said. "Like all of my colleagues, I am so proud to be able to send them out into the world and am thrilled when we are able to invite them back to compose and perform both for the YSM community and for our broader audiences."
Founding Director Jeffrey Douma will lead the Yale Choral Artists and faculty pianists Robert Blocker and Melvin Chen in an all-Brahms program on Saturday, Oct. 26, at 7:30 p.m., in Morse Recital Hall. The concert is free and open to the public.
Program notes offer insight into Yale Philharmonia's Oct. 25 concert repertoire
By Rachel Glodo
On Friday, Oct. 25, guest conductor Ludovic Morlot will lead the Yale Philharmonia in a performance of Debussy's Prélude à L'après-midi d'un faune, Szymanowski's First Violin Concerto, with Woolsey Hall Concerto Competition winner Jung Eun Kang, and Prokofiev's Fifth Symphony.
Here are the program notes that we'll share with concertgoers and audiences watching online.
Debussy's Prélude à L'après-midi d'un faune
The plot of Stéphane Mallarmé's symbolist poem L'Aprés-midi d'un faune (The Afternoon of a Faun) cannot be called action-packed: "Faun awakens. Faun recounts seeing two nymphs. It may or may not have been all a dream." The poem (translated in part below) is a series of indefinite but connected images that evoke the sensual pastoralism of Greek mythology:
These nymphs I would make last.
Their rose lightness arches in the air,
Torpid with tufted sleep.
I loved: a dream?
This was precisely the nebulous imagery that most appealed to Claude Debussy, who met Mallarmé in Paris' salon scene in the 1880s. Like Mallarmé's work, Debussy's symphonic poem does not express a clear programmatic narrative. Instead, it uses orchestral and chromatic color to paint contours, suggest hazy images, and invite the listener to join the faun's dreamworld. Debussy's faun awakens to a sinuous flute melody, which returns throughout the piece like the nymphs' elusive forms glimpsed through the trees.
While Debussy's Prélude was generally well-received at its 1894 premiere, it was not until 1912 that it entered a different type of mythology. Presented by the Ballets Russes with dancer and choreographer Vaslav Nijinsky in the title role, the ballet shocked (and delighted) Parisian audiences: Nijinsky's faun ended his afternoon with an intimate, luxurious orgasm.
Szymanowski's Violin Concerto No. 1, Op. 35
For 19th century listeners, a "concerto" meant a composition for a solo instrument and orchestra that highlighted the soloist's virtuosity and artistry. It typically unfolded in three movements, each movement with its own prototypical patterns. This was, after all, what made concertos fun: everyone knew the "rules," and it was exciting to see how a composer would play with and bend these rules. The early 20th century saw rules bent to a breaking point. Established norms—from concert attire to musical forms—were challenged and refashioned.
Szymanowski's First Violin Concerto (1916) exemplifies this tension. For example, the concerto is through-composed—that is, it is presented as a single movement. While there are five identifiable sections, one proceeds after another with a restless energy, without pause.
Szymanowski's musical language fuses 19th century "Romantic" elements—cantabile violin melodies, a lush orchestral palette, and impassioned melodic sighs—with the traumas of the new century: jagged, sometimes wandering solo lines, anxious flutters from the woodwinds, and above all, perhaps, the final ambiguous whispers of the violin. Wistful and ironic, the concerto's conclusion is reminiscent of T.S. Eliot's famous line: "This is the way the world ends, not with a bang but with a whimper" (1925).
Prokofiev's Symphony No. 5 in B-flat major, Op. 100
Like many well-known artists, Prokofiev was shuffled around the Soviet Union during the war years, spending time in the northern Caucasus, Tbilisi (Georgia), Alma-Ata (Almaty, Kazakhstan), and Perm (in the Urals) before returning to Moscow in 1943. Though the Second World War still raged, the tide had turned for the Allied forces. In the summer of 1944, Prokofiev departed war-time Moscow for the state-sponsored "Composer's House" in rural Ivanovo.
Despite the temptation of pastoral beauty and a cohort of fellow composers—including Shostakovich, Khachaturian, and Kabalevsky—Prokofiev maintained a disciplined schedule and produced the piano score of his Fifth Symphony in a single month. (Khachaturian recalled, "The regularity with which he worked amazed us all!")
The result is a symphonic journey that is simultaneously expansive and tightly designed, suggesting both the shared and private experiences of nations at war. As Prokofiev told Time magazine, a little dryly perhaps, his symphony was "about the spirit of man, his soul or something like that." Prokofiev conducted the premiere in Moscow on January 13, 1945. As the composer raised his baton, the audience heard a celebratory artillery volley: the Red Army had begun the Vistula-Oder Offensive in Poland, Nazi forces were being pushed westward, and victory was only nine months off.
Rachel Glodo is the Assistant to the Associate Dean at the Yale School of Music. She has a bachelor of arts degree from Yale University and a master of music degree in musicology from Northwestern University.
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Faculty tubist Carol Jantsch, on exploration and perpetual study
Carol Jantsch
In 2006, Carol Jantsch was named Principal Tubist of the Philadelphia Orchestra. She further explains on her website that "she won the position during her senior year at the University of Michigan, becoming the first female tuba player in a major symphony orchestra." We reached out to Jantsch, who joined the Yale School of Music faculty in 2012, to talk about teaching, arranging music for her instrument, and musical pursuits beyond her work with the Philadelphia Orchestra.
Q: When, where, and how did you choose the tuba—or did the instrument choose you? I know your family is quite musical. Were you encouraged to pursue music as a field of study and a profession?
A: My mom forced me to start piano lessons when I was 6, and she sent me and my brother to Interlochen Arts Camp a few years later. That first summer at Interlochen I took a class called "Instrument Exploration," where we were introduced to all the instruments and chose one to learn. I wanted something weird and different, so the euphonium fit the bill perfectly. I made the switch to tuba a few years later, when I was around 12 years old.
Q: To what extent have you learned through teaching? In other words, to what degree has working with students informed your approach to the instrument? In what ways have you grown as a musician since 2006?
A: Teaching forces you to put your values and techniques into words, and this process has been hugely educational for me. I always had strong opinions about how I wanted to sound, but now my ideas have more clarity and refinement. I'm also much more conscious of how I'm doing what I'm doing from having to explain it to others.
I feel very fortunate to have come of age as a member of the Philadelphia Orchestra. I'm constantly drawing inspiration from my amazing colleagues, and I absolutely believe that I'm a much better musician for getting to hear them for the past 13 years.
Q: I'm always curious to learn about an artist's routines. How do you juggle individual practice, arranging, rehearsing with the orchestra and other groups, teaching, recording, and other aspects of your life?
A: I get a lot of emails and arranging done on the train to Yale!
The orchestra is and always will be my primary focus; I'm very grateful to have such a wonderful job, and it's also the thing that enables me to do everything else. I'll definitely get more practice time when the orchestra is playing "New World" Symphony than I will in a Mahler week, and the time for other projects ebbs and flows with my Philadelphia Orchestra responsibilities. While it can be hectic to have so many side projects, I think it's important to make the time for them because they keep me growing as a musician and person.
Q: With limited repertoire composed specifically for tuba, you necessarily perform a good number of arrangements. How do you go about choosing which pieces to arrange for your instrument—what are the important considerations beyond a desire to play a particular piece? How much do you and your students discuss and work on arranging?
A: Just like teaching, arranging has had a profound influence on my musicianship. Arranging a piece of music is like solving a puzzle: How do you fundamentally change the nature of something while still capturing the essence of the original? What specifically makes Beethoven sound like Beethoven, or Led Zeppelin sound like Led Zeppelin—and then how do I preserve that when I write for tubas?! They're fun questions to tackle, and I think having that sense of the big picture is really helpful as a performer. I find it so helpful in fact that I've started requiring my students to create at least one transcription or arrangement for their graduation recital.
Q: Is Tubular currently active? If so, what's your set list like?
A: Yes we are! For the uninitiated, Tubular is my cover band comprised of two euphoniums, two tubas, drums, and all of us do vocals. In September, we performed the entire Beatles album Sgt. Pepper's Lonely Hearts Club Band—that was a pretty epic night. But normally our shows span a lot of eras and styles—Queen, Beyoncé, the Jackson 5, Bruno Mars, the Eagles, Kesha, Flight of the Conchords, really anything we think will be awesome and/or hilarious. I'm currently working on a '70s rock medley that will include Styx, Heart, AC/DC, and more …
What have you been listening to and reading lately?
I've been on a classic rock kick because of my current arranging project! Spotify makes some pretty great playlists, and the one called "Classic Rock Workout" is pretty much solid gold; exercise or not, I highly recommend it.
Faculty tubist Carol Jantsch will perform a free Faculty Artist Series recital on Sunday, Oct. 13, at 3 p.m., in Morse Recital Hall.
Recital as reflection: pianist and Dean Robert Blocker tells a story through a concert program
Robert Blocker
Yale School of Music faculty pianist and Dean Robert Blocker was introduced to the music of Bach as an elementary school student in South Carolina, learning from and singing with part-time music teachers in the cafeteria. Today, in spaces created in a demanding administrative schedule, Blocker finds comfort and authenticity at the piano.
Tonight, Blocker will perform a program built on reflection and appreciation. Recounting a trip to Vienna during which he visited Beethoven's and Schubert's grave, Blocker lamented the absence of a place where admirers can pay similar respect to Mozart, whose exact burial site in Vienna's St. Marx Cemeteryis unknown.
Blocker said Mozart's Piano Sonata No. 4 in E-flat major, K. 282, an early sonata that opens tonight's program, is "one of my very favorites." He's performed Mozart's music frequently, and tonight's Horowitz Piano Series concert is another opportunity to pay respect to the composer and to share with audiences something of himself.
Perhaps thinking of his own experiences with those part-time music teachers in South Carolina, and about his own grandchildren, Blocker will follow the Mozart with Ravel's Sonatine, Op. 40 and the fairy-tale based Ma Mère l'Oye (Mother Goose Suite) for piano four-hands. Ravel dedicated the Sonatine to his friends Ida and Cipa Godebski and the suite to their piano-playing children, Mimie and Jean. Faculty pianist Wei-Yi Yang will perform the second piano part, and faculty composer Martin Bresnick will read the text that accompanies the music. Programming Ma Mère l'Oye, Blocker said, was in part a reflection on what stories and sound can mean to a child.
Brahms composed his Liebeslieder Waltzes, Op. 52 for voices and piano four-hands. Tonight, Blocker will perform the composer's arrangement for piano four-hands without voices (Op. 52a) with faculty pianist Melvin Chen. Blocker described the love-song waltzes as "incredibly joyful pieces" and said, "Without text you can take more liberties with how you want to express your music." Brahms' friend Clara Schumann described the pieces as "exceptionally fetching and delightful, even without the vocal parts," according to notes in Blocker's piano score.
Tying Blocker's childhood to his place at the School of Music is a grouping of music that starts with and pays homage to Bach. "I've always loved the music of Bach," Blocker said, "and I'm continually reminded of how adaptable it is." He'll perform "Wachet Auf, ruft uns die Stimme," the opening chorus from Bach's cantata of the same name, Busoni's arrangement of the music (which Bach based on a hymn by Philipp Nicolai). and faculty composer Christopher Theofanidis' Wake Up, Called the Voice, a piece that borrows from and reimagines "Wachet Auf" and was written for and premiered by Blocker in 2016. Blocker will close his recital program with a performance of the Modern Jazz Quartet's "Rise Up in the Morning," an arrangement of Wachet Auf, with percussionist Jisu Jung '19MM '20AD. "I was a devotee of (MJQ's) music-making in the '70s. What they did with Bach was just magical," Blocker said.
It's a program that reflects on youth, on the music that has informed Blocker's life and work, and on the friends here at the School whom he considers family. Join us tonight in Morse Recital Hall or watch and listen to the performance online.
Sofya Gulyak opens 2019-2020 Horowitz Piano Series
Sofya Gulyak
The 2019-2020 Horowitz Piano Series will introduce audiences to a number of ascendant artists, beginning with Sofya Gulyak, who opens the series with a recital on September 18. "This wonderful pianist became noticed through her winning of important competitions, most notably the Leeds International competition in 2009, when she became the first woman ever to take the first prize at this prestigious event," series Artistic Director Boris Berman said.
Gulyak has appeared in recitals and concerts around the world and has performed as a soloist with such ensembles as the London Philharmonic Orchestra and the St. Petersburg Philharmonic Orchestra, among others. Gulyak's performances and recital programs have been praised by the international music press. Her eagerly anticipated recital at YSM features a number of fascinating transcriptions. Gulyak's program opens with Ferruccio Busoni's virtuosic rendering of Bach's famous Chaconne from the Violin Partita No. 2 in D minor and closes with Liszt's transcription of the climactic "Liebestod" from Wagner's Tristan und Isolde and Ravel's La Valse, the composer's own transcription of his orchestral masterpiece. Brahms' Variations and Fugue on a Theme by Handel, a monumental composition that uses an unassuming movement from a suite by Handel as a point of departure, is also on the program, as is Cesar Franck's Prélude, Fugue et Variation, a significant triptych dedicated by the composer to his teacher Camille Saint-Saëns.
In March, Alessio Bax and Lucille Chung will present a two-piano and piano four-hands program of music by Debussy, Stravinsky, Poulenc, and Lutosławski. The husband-wife duo has been praised by Gramophone for "[applying] their effortless synchronicity to unlocking the music's pianistic potential."
This year's Horowitz Piano Series also introduces audiences to Boris Slutsky, YSM's new Visiting Professor in the Practice of Piano, to the Morse Recital Hall stage. A "distinguished artist," in Berman's estimation, Slutsky will perform music by Haydn, Schumann, and Chopin in December. Slutsky joins faculty pianists Berman, Robert Blocker, Hung-Kuan Chen, Melvin Chen, and Wei-Yi Yang in presenting recitals during the 2019-2020 season.
Collection of Musical Instruments closes for renovations
As the academic year comes to an end, we are looking forward to making some much-needed improvements to the Yale Collection of Musical Instruments building at 15 Hillhouse Ave. Restoration work on the exterior of the building will necessitate the Collection being closed from May 3 through fall 2019.
To prepare for the renovation work, staff at the Collection and the School of Music have worked with the construction team and with fine-art handlers to ensure the safeguarding of the Collection's instruments.
Throughout the renovation project, Collection staff will be relocated to the Adams Center for Musical Arts at the School of Music. From there, we will continue to work on the upcoming brass-instrument exhibit, which is scheduled to open November 2019.
The Collection's concert series will take place in 2020. Please visit collection.yale.edu for updates as they become available. For the most up-to-date news, please consider joining our email list at music.yale.edu/email-signup.
Carolyn Kuan to conduct the Yale Philharmonia
Carolyn Kuan
On Friday, April 5, Carolyn Kuan, the Music Director of the Hartford Symphony Orchestra, will lead the Yale Philharmonia in a performance of Igor Stravinsky's Symphony in Three Movements, Aaron Copland's Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau's Concerto for Tuba and Strings with Woolsey Hall Concerto Competition winner Jake Fewx '18MM '19MMA. We spoke with Kuan about the repertoire and the experience she wants the audience to have.
Q: The works by Copland and Stravinsky on this program were all composed during World War II, though with different inspirations and motivations. Copland's Fanfare for the Common Man celebrates the everyday American, and his Appalachian Spring, a ballet (and, later, the orchestral suite) for Martha Graham, is a musical portrait of new beginnings. Stravinsky's Symphony in Three Movements is a more direct and personal effort to capture and share impressions of war. What went into your thinking, from a musical standpoint, in putting this program together?
A: I fell in love with Stravinsky's Symphony in Three Movements at my first job as a conductor-in-residence at the New York City Ballet. It is one of George Balanchine's most striking ballets and an impressive piece of the company's core repertoire. Balanchine's choreography comes from an in-depth understanding of the music, and for a long time I associated the piece more as a ballet than a symphonic work. Stravinsky wrote the piece in his early 60s and was revising TheRite of Spring around the same time. Influences from TheRite of Spring (written when Stravinsky was 31) can certainly be heard in the symphony, blended with elegance, maturity, life experiences, and world events. Interestingly, Stravinsky and Copland were writing their respective pieces at the same time. As artists, we are influenced by the world around us. It is fascinating to hear these two pieces in the same evening, especially in the chaotic world we live in today.
I am very excited to work with Jake Fewx and to share with the audience Arild Plau's Tuba Concerto. Since it is just under 20 minutes, we thought preceding the concerto with Fanfare for the Common Man, which highlights the majestic brass sounds, and following it with Appalachian Spring, would be a fascinating and rare auditory journey for the audience.
Q: What background information if any do you want the audience to have before hearing these pieces performed?
A: Many people are familiar with the song "Simple Gifts," with its opening lyrics "'Tis the gift to be simple, 'tis the gift to be free." I love how Copland was inspired by the melody and borrowed it for use in Appalachian Spring. Ultimately, both Copland and Stravinsky encouraged the audience to appreciate their music without thinking too much about any potentially relevant programs or stories. For its 1946 premiere, Stravinsky insisted that the Symphony in Three Movements was absolute music, although inspired "by this arduous time of sharp and shifting events, of despair and hope, of continual torments, of tension, and at last, cessation and relief." He wrote in one of his letters that "if passages from the program notes are used to imply extramusical connotations in my work, I have to disclaim any responsibility for such interpretations." Supposedly, Stravinsky later provided detailed comments about the symphony, and we know he used music from a previous piano concerto, as well as music for a movie. Nevertheless, it is always wonderful to just listen to the music, and let it move you and take you on a journey. For Appalachian Spring, either before or after coming to our concert, it is fascinating to explore Martha Graham's original choreography. Understanding Graham's original ballet, her movements, and dance languages has certainly influenced my approach to the piece.
Guest conductor Carolyn Kuan and the Yale Philharmonia in rehearsal.
Q: Arild Plau's Tuba Concerto—any tuba concerto, for that matter—will be a new experience for most audience members. Does that place any extra responsibility on you?
A: For me, when it comes to a concerto, my job is to accompany and support the soloist, not unlike a piano accompanist. Almost always, soloists have spent countless hours shaping their vision and relationship with the concerto. I love sharing new sounds with the audience—sometimes in the form of unusual solo instruments such as the tuba, koto, pipa, sheng, bagpipe, etc; other times in the form of unusual sounds created by composers through fascinating instrumentation.
Q: Do you take a different approach to conducting a student ensemble than you do a more seasoned orchestra?
A: The Yale Philharmonia is an impressive orchestra, and in many ways stronger than many professional orchestras. All the orchestras I work with, including the Yale Philharmonia, play at an incredibly high level. For me, the approach is always the same, which is to make music and give everything we have in the pursuit of excellence, passion, depth, and exploration.
Q: Many recordings have been made of the works by Copland and Stravinsky that you'll be performing with the Yale Philharmonia. Why are live performances of this music important? Why should people seek out concerts like this?
A: There are so many reasons! Attending live performances is a shared experience that is completely different than listening to music on Spotify, Pandora, or on a CD. Audience members often don't realize they are an active and integral part of a concert experience. As performers, we can feel the energy of an audience. There is often an unspoken chemistry—as the energy between performers and audience builds, it sometimes becomes electrifying, and there is nothing quite like it. Technology has come a long way. However, watching a movie on TV is still a very different experience than seeing it in the movie theater. Even with the best sound system, there is no comparison to hearing these great symphonic works live—the glorious full strings, the exquisite beauty of a flute, the magnificent brass, the powerful drums, and so much more!
Guest conductor Carolyn Kuan leads the Yale Philharmonia in a performance of Stravinsky's Symphony in Three Movements, Copland's Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau's Concerto for Tuba and Strings with Woolsey Hall Concerto Competition Jake Fewx, on Friday, April 5, at 7:30 p.m. in Woolsey Hall.
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Jake Fewx '18MM '19MMA, on being an ambassador for the tuba community
Jake Fewx
On April 5, tubist and Woolsey Hall Concerto Competition winner Jake Fewx '18MM '19MMA will perform Arild Plau's Concerto for Tuba and Strings with guest conductor Carolyn Kuan and the Yale Philharmonia. We spoke with Fewx about his eagerness to challenge people's expectations of the tuba as a solo instrument.
Q: You're the first tubist to be a winner of the Woolsey Hall Concerto Competition. Is the tuba at a disadvantage when it comes to competitions like this?
A: This is a huge honor for me. One of the philosophies that has been deeply ingrained from my studies is that the tuba is at a disadvantage in the sense that it has several negative connotations associated with it. When an audience sees a tubist walk on stage there are several stereotypes that run through their brains (heavy, loud, brassy, oom-pah, etc.), giving them low expectations about what they are going to hear. As a classical tubist, it is always my goal to shatter these expectations by performing with a great sound and always playing with high-quality musicianship. I am very excited to have this opportunity to act as an ambassador for the tuba community and to show the world that the tuba is a beautiful solo instrument.
Q: You'll be performing Arild Plau's Concerto for Tuba and Strings. Is this standard repertoire for tubists?
A: It's a little bit of a hidden gem in the tuba repertoire but is growing very quickly in popularity. There are some great recordings of it out there and it has been on several competition lists.
Q: Musically, what can you tell us about the Plau concerto? What would you want the audience to know about this piece before hearing it?
A: This piece is very emotionally dense. Plau composed this piece in memory of his wife shortly after she passed away. The music, understandably, is filled with a lot of sadness and grief. The piece, in my opinion, depicts the composer's own emotional journey through his loss, including a quasi-funeral march at the end of the second movement, and closes with a very odd, confused scherzo, leaving the journey (open-ended) in a way. There is a lot of fluctuation in the mood of the piece, with the music evoking some very sad, soft-spoken melodies, some very fast, passionate runs, and some very mournful kinds of shouts in the upper register of the tuba. The writing for strings is absolutely gorgeous. They provide this very lush backdrop for the tuba melody to sink into and they provide some very fiery, passionate interludes between sections. There are a few melody trade-offs between the tuba and solo violin that are particularly effective. This piece is really beautiful and I can't wait for the audience to hear it!
Q: Does the fact that there are fewer tuba concertos out there than repertoire for other instruments make it more difficult to choose solo repertoire?
A: Yes and no. The tuba's lineage is very young compared to the rest of the orchestra and even younger when you consider solo literature. Ralph Vaughan Williams' Concerto, written in 1954, was one of the first, if not the first, solo pieces for tuba by a major composer. There are some other excellent tuba concertos by John Williams, Edward Gregson, and more recently by Jennifer Higdon, but, generally, there aren't a ton to choose from. Since tubists don't get a chance to perform as soloists too often, it is very common to hear the standard concertos. The rest of the solo repertoire for tuba is increasing in size and quality as time goes on, which is providing us with more and more great, original music for the tuba.
Q: In what ways does your mindset change when you're a soloist?
A: When playing in an ensemble I have to wear a different hat, so to speak. Solo playing allows me to be freer and more expressive, but in a large ensemble I have to act as a foundation, always striving to produce rock-solid sound, pitch, and tempo. I often act as the bottom voice of the brass section and am most often paired with the trombones; however, depending on the piece, my role can extend outside of this. We (the Yale Philharmonia) recently performed selections from Prokofiev's Romeo and Juliet, and I was often paired with the basses, piano, and low winds, which kept me on my toes in terms of how I approached the performance. I'm particularly fond of chamber playing because it is kind of an amalgamation of playing styles. In a brass quintet, the tuba parts are often very active and challenging, forcing me to provide a foundation for the group while also having to provide the occasional melody. All in all, each of these mediums has helped me become a more well-rounded musician.
Q: How does it feel to be performing a concerto with an orchestra of your peers?
A: It is amazing! I am so fortunate to be in a school where I am surrounded by so many awesome, talented people. I am very humbled to have been given this opportunity. I can't wait to get on stage and share this piece with the audience!
Guest conductor Carolyn Kuan leads the Yale Philharmonia in a performance of Stravinsky's Symphony in Three Movements, Copland's Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau's Concerto for Tuba and Strings, with Woolsey Hall Concerto Competition Jake Fewx, on Friday, April 5, at 7:30 p.m. in Woolsey Hall.
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I wanted to use a ruby environment inside a Ubuntu VM but still be able to edit text files in Textmate. So I shared out my project folder and fired up a watchr script I made. Unfortunately, it didn't work at all.
And it wasn't just watchr (as I said), every ruby library was seeing the same thing. So I gave up on the shared folders through VMware and just installed netatalk.
I can edit files in Textmate this way and watchr works as expected. So why is this important? Because a tight REPL is important. And watchr / wtchr makes the tight loop happen. This is also probably going to happen if you use autotest in a project with lib/* test/* too.
Pretty specific but I hope it helps someone.


text:
Herman Sergo (*  im Dorf Jausa, heute Landgemeinde Hiiumaa, Estland; † 28. September 1989 in Tallinn) war ein estnischer Schriftsteller.

Leben
Herman Sergo wurde auf der zweitgrößten estnischen Insel, Hiiumaa (deutsch Dagö), geboren. In seiner Jugend fuhr er als Matrose und Steuermann zur See. 1941 schloss er sein Studium als Hochseekapitän an der Tallinner Seeschifffahrtsschule ab. Während des Zweiten Weltkriegs diente er von 1942 bis 1945 in der sowjetischen Roten Armee.

Nach dem Krieg war Sergo von 1945 bis 1948 in Leningrad als Lotse beschäftigt. Anschließend war er von 1948 bis 1966 in hoher Stellung am Tallinner Handelshafen tätig. Von 1948 bis 1955 unterrichtete er am Fischereitechnikum in der estnischen Hauptstadt.

Literarisches Werk
Hermann Sergo hat zahlreiche belletristische Werke verfasst, in denen das Meer eine tragende Rolle spielt. Seeleute und Küstenbewohner stehen im Mittelpunkt seiner Erzählungen und Romane. Sie spiegeln oft eigene Erfahrungen wider, so die Erzählung Meri kutsub (1960) und der Erzählband Kui ma alles veel noor olin (1980). Der Roman Põgenike laev (1966) behandelt erstmals die Flucht der estnischen Küstenbewohner 1944 vor der sowjetischen Besetzung Estlands.

1984 erschien in drei Bänden Sergos Roman Näkimadalad. Der Titel leitet sich von der gleichnamigen Untiefe (deutsch Neckmans-Grund) nordnordwestlich der Insel Hiiumaa ab. Sergo schildert das tragische Schicksal der Estlandschweden des 18. Jahrhunderts im Dorf Reigi auf der Insel Hiiumaa, die schließlich ihre Freiheit verlieren und auf Befehl der russischen Zarin in die Südukraine deportiert werden. Der Roman beginnt mit der russischen Eroberung des schwedischen Estlands im Jahr 1710. Sergo erhielt dafür im folgenden Jahr den Johan-Smuul-Preis. 1989 wurde das Buch verfilmt.

Der Roman Randröövel behandelt das Leben des verschlagenen deutschbaltischen Adligen Otto Reinhold Ludwig von Ungern-Sternberg (1744–1811). Daneben veröffentlichte Sergo den im 14. Jahrhundert spielenden Abenteuerroman Vihavald (1970). Weitere Werke sind der Roman Rukkirahu (1990) sowie die Erzählbände Lootsitoa jutud (1965) und Kauge tule kuma (1975).

1992 erschienen postum seine Memoiren unter dem Titel Viis aastat võõra nime all.

Literatur
 Cornelius Hasselblatt: Geschichte der estnischen Literatur. Berlin, New York 2006 (ISBN 3-11-018025-1), S. 608

Weblinks
 Linda Kaljundi: Eesti lugu: Herman Sergo "Näkimadalad" (Eesti Päevaleht, 19. Dezember 2008)

Einzelnachweise

Autor
Literatur (Estnisch)
Literatur (20. Jahrhundert)
Este
Geboren 1911
Gestorben 1989
Mann

redpajama_set_name: RedPajamaWikipedia


text:
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USTR aims to reduce trade deficit in NAFTA negotiating
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Trump administration will seek a much better agreement that reduces the U.S. trade deficit and is fair for all Americans by improving market access in Canada and Mexico for U.S. manufacturing, agriculture and services.
Source: U.S. Trade Representative Office
U.S. Trade Representative Robert Lighthizer today released a detailed and comprehensive summary of the negotiating objectives for the renegotiation of the North American Free Trade Agreement.
Through the renegotiation of NAFTA, the Trump administration will seek a much better agreement that reduces the U.S. trade deficit and is fair for all Americans by improving market access in Canada and Mexico for U.S. manufacturing, agriculture and services.
In addition to President Trump being the first American president to begin renegotiating a comprehensive free trade agreement like NAFTA, for the first time USTR has included deficit reduction as a specific objective for the NAFTA negotiations. Since NAFTA was implemented in 1994, the U.S. bilateral goods trade balance with Mexico has gone from a $1.3 billion surplus to a $64 billion deficit in 2016. Market access issues have arisen in Canada with respect to dairy, wine, grain and other products — barriers that the current agreement is unequipped to address.
The negotiating objectives also include adding a digital economy chapter and incorporating and strengthening labor and environment obligations that are currently in NAFTA side agreements. Additionally, among other objectives, the administration will work to eliminate unfair subsidies, market-distorting practices by state-owned enterprises and burdensome restrictions on intellectual property.
The negotiating objectives aim to apply the highest standards covering the broadest possible range of goods and services to ensure truly free and fair trade that supports higher-paying jobs and economic growth in the United States.
"President Trump continues to fulfill his promise to renegotiate NAFTA to get a much better deal for all Americans," says Lighthizer. "Too many Americans have been hurt by closed factories, exported jobs and broken political promises. Under President Trump's leadership, USTR will negotiate a fair deal. We will seek to address America's persistent trade imbalances, break down trade barriers, and give Americans new opportunities to grow their exports. President Trump is reclaiming American prosperity and making our country great again."
At the direction of the president, on May 18, Lighthizer sent a letter notifying Congress of the administration's intent to initiate NAFTA renegotiations.
Since then, USTR has been conducting extensive consultations with Congress, stakeholders and the public at large. USTR sought public comments, received more than 12,000 responses, and heard directly from over 140 witnesses over three days of public hearings. During this process, the administration received valuable advice that directly impacted the development of the negotiating objectives.
Further, these objectives reflect the negotiating standards established by Congress in the Bipartisan Congressional Trade Priorities and Accountability Act of 2015, which requires that the USTR release objectives at least 30 days prior to formal negotiations. Negotiations will begin no earlier than Aug. 16.
Through these negotiations, the administration seeks an effectively implemented and enforced agreement for more open, equitable, secure and reciprocal market access. The administration remains committed to conducting the negotiations with timely and substantive results for America's workers, farmers, ranchers and businesses.
USDA reconciles issues with CFAP
President Trump impeached for second time


With Veterans Day approaching, it's time to take a moment to remember our heroes. Many names were mentioned of Butler County residents who have served their countries with honor.
In this edition read the stories of Harvey Carolus of Shell Rock and Dean Deuell of Allison. More stories from local veterans will be featured in subsequent editions of the Star and Tribune.
Dean Deuell of Allison served in the U.S. Army from Dec. 1952 to Nov. 1954. He was drafted at the age of 20.
Harvey Carolus, who currently resides in Shell Rock, was drafted in 1943 and assigned to the Army Air Force. He was inducted at Clarksville, and sent to Des Moines for paperwork. From there, he was sent to Sheppard Field in Texas for basic training.
"We'd get up early in the morning to exercise in the cow pasture. You might say it was how an athlete is building up nowadays, that's what we did," Carolus said.


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