Earlier this week, Vulfpeck released their seventh studio record, Mr. Finish Line. While the album is largely the product of mastermind and bandleader Jack Stratton, Tuesday was the first time anyone in the band got to hear the tracks following the day they were recorded (in 1-2 takes) at the studio earlier in the year. Mr. Finish Line features vocal contributors Antwaun Stanley and Christine Hucal, legendary session guitarist David T. Walker, Danish vocalist Coco O., legendary session drummer James Gadson, funk bassist/singer/songwriter and member of Parliament Funkadelic Bootsy Collins, drummer for Prince during The New Power Generation era Michael Bland, Game Winner keyboardist/vocalist Charles Jones, vocalist Theo Katzman, keyboardist/saxophonist Joey Dosik–leading vocals on his first-ever Vulf recording–and guitarist/honorary 5th member Cory Wong. The ten-track, guest-filled album furthers the unexpected brand of Vulfpeck and places itself right in line with the band’s growing trajectory.Ahead of the release, bassist Joe Dart sat down to discuss his perception of the band with longtime Vulf inquirer Allegra Rosenberg. Check out what Joe has to say about Vulcpeck, Mr. Finish Line, and his other projects in the video below!Stream the new album below:
Technology has also taken art global, contributing to changing tastes by exporting a vision of Western culture, art, and architecture to a range of buyers willing and able to pay, said Diker. “Twenty to 30 years ago, Chinese buyers would be buying Chinese bronzes and ceramics,” he said. “Now they are much more interested in prized Western modern and contemporary art, and that interest is raising the stakes.”Auction houses are also helping create a buzz in the market by taking works coming up for sale on global tours that let potential buyers see the art in person before they buy. “The houses will move major works around the world in the three to six months before the auction because most people won’t buy a masterpiece with a huge price unless they can preview it,” said Diker. Helping promote the art further are auction house catalogs, which have gone from modest directories with a simple photo and brief provenance for each item to “200-page glossy publications with extensive curatorial notes on many of the higher-priced works,” he said.Another common practice that helps keep prices high is the use of third-party guarantors who place a guaranteed bid on a piece prior to auction, ensuring the work sells at that price if no one else has offered to buy it for more when the gavel falls. If someone does place a higher bid at auction, the third party will share in the profit. “That has become a big movement in the art market over the past 20 years,” said Diker. “A collector who is comfortable acquiring a work for a specific price will ‘backstop,’ and if the piece goes for over that price, the collector shares in the upside.”But Diker, whose interest in art was sparked as a child and fueled by the art and architecture courses and studio classes he took at Harvard, said he and his wife collect for “the intellectual challenge and visceral enjoyment of bringing together works that as a collection create a unique dialogue.”“It’s a lifelong passion,” Diker said, “and it has brought a huge and very important dimension to my life.”As for the shredded Banksy, its new allure has made it a keeper, at least for now. The winning bidder announced in a Sotheby’s statement that she has decided not to sell. “I was at first shocked,” said the woman, a longtime European collector, “but gradually I began to realize that I would end up with my own piece of art history.” ‘Salvator Mundi’ smashes auction record despite worries on authenticity, condition Must-see guest for campus art lovers Last October, seconds after it sold at Sotheby’s in London for $1.4 million, Banksy’s “Girl With Balloon” self-destructed as a shredder hidden in the picture’s frame began grinding up the image from inside. It was a perfectly timed trick by the reclusive graffiti artist, who immediately posted a video about his art punk online and renamed the piece “Love Is in the Bin.”Onlookers were stunned. Later, an auction house official said in a statement what was by then likely obvious to everyone: “It appears we just got Banksy-ed.”Harvard’s Mary Schneider Enriquez wasn’t surprised.“I think this showed his control and manipulation of us in the most brilliant manner possible,” said Enriquez, Houghton Associate Curator of Modern and Contemporary Art at the Harvard Art Museums. “He took his practice a step further in the sanctity of this heated auction house market and said, ‘Look at what I’ve done to you.’”Experts agree that the ruined image by the anonymous artist with a flair for the dramatic and for tagging prominent buildings and landmarks with his politically charged satirical works may well be worth more now in its partially shredded state (the shredder stalled halfway through the job). Some even think the prank may have doubled the picture’s price. But how did the work of this street artist turned trickster and gallery darling become so valuable in the first place? For many, the answer involves mystique. Banksy is renowned as much for his antics and anonymity as for his art, they say. His skill, combined with his secret identity and the stealth surrounding his practice, have helped fuel his reputation and the interest of the art world. “His trick makes [the piece] more valuable. It makes me chuckle and also recognize there’s an absurdity to this art world right now that’s both painful and ridiculous.” — Harvard Art Museums’ Mary Schneider Enriquez on Banksy’s ‘Girl With Balloon’ Fragonard portrait shows value of Harvard curators’ loan efforts How a curator sees $450M Leonardo The magic and moonlight of Winslow Homer “At some level Banksy’s work originally had been about doing hidden graffiti, and he’s incredibly talented. Then there is the phenomenon of who he is. The mystery plays into this whole idea of the genius of the artist,” said Enriquez. “This to me seems like the perfect game he played on some level,” she added of his Sotheby’s stunt. “The flip side of that is because the market is the way it is, his trick makes [the piece] more valuable. It makes me chuckle and also recognize there’s an absurdity to this art world right now that’s both painful and ridiculous.”If Banksy’s “ruined” work were to come back on the market, it could fetch a figure close to $3 million — but it still sits at the low end of the stratospheric art market scale. Works from old masters to contemporary hands and even a painting by a living artist have set a steady stream of record-breaking sales in recent months. In November, Edward Hopper’s 1929 painting “Chop Suey” sold for $91.9 million at Christie’s auction house. Two days later, David Hockney’s 1972 “Portrait of an Artist (Pool with Two Figures”) sold for $90.3 million, the highest amount ever paid for a work by a living artist. In November 2017, Leonardo da Vinci’s “Salvator Mundi,” or “Savior of the World,” a portrait of Christ dating to about 1500, fetched a record-smashing $450.3 million.To get at exactly how the market drives up such numbers, the Gazette spoke with some experts in the field.A historic perspectiveWhen considering the value of a work of art, factors such as rarity, quality, condition, and provenance all play a role. A piece such as “Salvator Mundi” commands a high price tag because it is both unique and the product of an artist universally considered a truly great master. But the question of who formerly owned a painting is also important to its final price tag, said Soyoung Lee, the chief curator at the Harvard Art Museums. The fame or reputation of a previous owner can often elevate an artwork’s worth, she said, inspire more interest in the piece, and help confirm its authenticity.Today, celebrity owners regularly generate buzz in the market when they sell art from their collections. The chance for a buyer to know they hold some direct connection to the rich and famous can be a powerful driver. For a historic perspective on that trend Lee, a former curator of Asian art at the Metropolitan Museum of Art in New York, looked to China and its imperial court, where the value of a painting or scroll often had as much to do with whom it may have belonged to as with its quality. And those previous owners, Lee noted, weren’t shy about adding their own flourish to a great work.“In the Western tradition the idea that somebody other than the artist would mark the painting is blasphemy. That would ruin the value of the art,” she said. “But with Chinese painting — scrolls, for example — if produced for the emperor, it would have his seal right on the painting,” augmenting its value. Over time, she explained, as the work traded hands, subsequent owners — often artists or critics of note — would add their own seals directly onto the piece.“The more marks you accumulated and the more you accumulated of people of worthy names,” Lee said, “the more the value of that painting increased.”,Today, knowing where a painting came from can boost its worth and help assure interested buyers that the transaction is lawful. “It’s important for museums to know that the work was collected or exchanged hands legally,” said Lee. “That’s a big issue and in a sense elevates the value of a work for a museum when considering acquisition.”Some prices turn on whimsy or personal preference. Often the value of art rises and falls depending on the public’s changing tastes, or the likes and dislikes of the critics and experts who judge artworks. When the Impressionists broke from tradition in the 1800s, turning from realism to a more undefined technique that used vivid colors and rougher brush strokes to capture light and movement on the canvas, some in the art establishment were elated; others were appalled. Today a work by Claude Monet or Pierre-Auguste Renoir commands the highest prices.“It was radical at the time,” said Lee. “Now it is the most traditional, the most beloved type of art that is just an automatic draw. That often happens with artists who are trailblazers.”On the auction blockThe skyrocketing art market is a boon for auction houses and those with the means to buy and sell such expensive works. But for most — including museums — those weighty price tags can mean limited direct access to masterpieces.“You go into an auction with a limit and there’s no way you can win if somebody else comes in willing to go higher,” said Lee. “And with these trends of catastrophic prices, museums really have been shut out of auctions. It’s unfortunate because most of these individuals will not be showing these works for the benefit of the public.”However, not every collector is intent on taking masterpieces out of public view. “Just because someone is buying art and putting it in storage doesn’t mean they are just simply interested in selling or trading it as a financial asset,” said Mark Diker ’88, M.B.A. ’96, founder, managing partner and CEO of Diker Management LLC, who is also a longtime collector. Donations from Diker and his parents, Chuck Diker ’56, M.B.A. ’58, and his wife, Valerie, support the Diker Gallery, an exhibition space on the Harvard Art Museums’ first floor devoted to mid-century abstract works. “Many owners are creating private museums where the public can come and enjoy their collections,” he added. “Many owners are creating private museums where the public can come and enjoy their collections.” — Mark Diker ’88, M.B.A. ’96,Collectors who use their expert eye and their passion to amass art that others will see include Mitchell Rales, the billionaire investor who opened the private museum Glenstone in 2008 in Potomac, Maryland. The Menil Collection in Houston houses the once-private holdings of its founders, the art collectors and patrons John and Dominique de Menil. California’s J. Paul Getty Museum was founded by its namesake art enthusiast and businessman, who established a museum trust “for the diffusion of artistic and general knowledge.” J. Tomilson Hill is the billionaire behind a new arts-focused development in Hong Kong and a private museum that recently opened in the Chelsea neighborhood of New York City.Still, the soaring prices at auctions have left most museums behind.“They don’t have the resources to buy some of these incredible artists at the prices they are now demanding. And that means that the needs we want to fill — and that many museums need to fill — is a serious challenge,” said Enriquez. “It means that you raise money or may receive important works as gifts from your gracious and wonderfully generous donors, but it adds a level of uncertainty and complication to what a museum can have in their collection.”Yet the auctions themselves can be a time to glimpse a masterpiece, said Lee, who encourages those interested to attend preview weeks at Sotheby’s or Christie’s where such works are often exhibited to the public before going on sale. The auction’s day sales — as opposed to the evening events, which are typically reserved for the works in higher demand by the more famous artists — often feature less-expensive pieces that are within reach of first-time buyers on a budget.“There are auctions of all kinds of art and many things are actually quite affordable,” said Lee. “It’s a kind of open-to-all, fun experience that really lets people see great master works and even dabble in buying.”Wealth, globalization, and technologyThe jump in the number of U.S. and European billionaires over the past several decades and the success of emerging markets has introduced new players to the high-stakes world of fine art collecting and driven prices up. In the past, big buyers typically hailed from the U.S. and Europe, said Diker, but as Chinese and Russian wealth has grown so too has the number of super-rich from those countries who are interested in art for its aesthetic appeal and its worth as an alternative “real” asset that can retain or even increase its value.“For someone to buy one painting for $50 million I would think their net worth has to be at over $1 billion,” said Diker. “Thirty years ago, there were just over 100 billionaires in the world. Today there are over 2,200 who can spend that amount.” Beyond their visual beauty, the limited supply of work from famous and deceased “blue-chip” artists such as Pablo Picasso or Mark Rothko means prices will likely continue to climb as demand increases, he added. “Art has become not only an asset class for the super-wealthy, to complement holdings in real estate, stocks, and fixed income, but also a status symbol.” With borrowed seascape as backdrop, Harvard Art Museums director explores what made the artist so singular Related At Art Museums, a new Kara Walker work Massive drawing and collage by the contemporary artist explores slavery’s history and ongoing legacy The Daily Gazette Sign up for daily emails to get the latest Harvard news.
THE HAGUE, Netherlands (AP) — Dutch police say that the fourth night of the Netherlands’ coronavirus curfew passed more peacefully than the previous three nights that were marred by rioting. Even so, officers arrested 131 people, mainly for public order offenses and incitement. Underscoring the role of young people who have been forced to stay home from school for weeks due to the country’s tough lockdown, police said Wednesday that most suspects arrested for inciting riots using social media were under age 18. The rioting has rocked the Netherlands, which has a caretaker government after Prime Minister Mark Rutte’s ruling coalition resigned earlier this month. The pandemic is expected to be a key campaign issue ahead of a general election scheduled for March 17.
FacebookTwitterLinkedInEmailPrint分享Bloomberg:Solar battery sales in Germany are poised to boom as prices for the facilities continue to drop and homeowners turn to generate their own electricity to shield against rising power prices, the BSW solar lobby said.Total solar battery installs in Germany exceeded 100,000 units this summer and at the current rate of growth may double by 2020, the group said on its website. Prices for batteries have halved since 2013 and now every second builder of a rooftop solar system buys a storage unit, the industry body said.“Price, protection from ever rising power prices, a notion to do something for the environment — these are the sentiments driving sales,” said BSW spokesman Christian Hillerberg on the phone from Berlin. “Power prices and how they’ll develop are fast becoming issues for consumers.”The average price of power for households in Germany this year will reach a record 29.44 euro cents per kilowatt-hour, the BDEW utilities federation said in May. Power generation costs for a small solar rooftop installation range between 4 and 11 euro cents per kilowatt-hour, the ISE Fraunhofer said in a March report.Solar system and storage prices are falling at a rate that makes domestic generation attractive. Buyers are weighing the costs of amortizing units and of generating and storing green power against average retail power costs, and are detecting savings, the group said.More: Germany Kicking Off Home Solar Battery Boom as Prices Drop German solar plus storage installations climbing quickly
Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York A Glen Cove advertising business owner has admitted to defrauding the U.S. Postal Service out of $2 million in bulk mailing payments.Community Coupons owner Matthew Rosencrans, 50, pleaded guilty at Central Islip federal court to mail fraud.“A theft from the Postal Service is a theft from the American Public,” said Philip Bartlett, U.S. Postal Inspector in Charge of the agency’s New York office.Prosecutors said Rosencrans submitted more than 15 million pieces of bulk mail for distribution throughout the New York Metro area between July 2010 and August 2013, but only paid for delivery of about 3.4 million pieces.Rosencrans faces a sentence of up to 20 years in prison and $2.1 million in restitution to the the USPS.
Although the National Credit Union Administration has not issued any overarching guidance on model risk management, it has published various comments on model validator independence and the importance of a risk-focused approach. Absent more explicit NCUA direction, many credit unions have adopted other regulators’ supervisory guidance on model risk management, e.g., the Office of the Comptroller of Currency’s 2011-12 bulletin or the Federal Reserve’s SR 11-7 supervisory letter. Regardless of the standard, resource limitations frequently make independent, competent, risk-focused model risk management a challenge for credit unions.This article is a guide for deciding between staffing a fully independent internal model validation department, outsourcing the entire operation, or a combination of the two.Striking the appropriate balance is a function of at least four factors:control and independence,cost,financial risk, andexternal (regulatory, market, and other) risk considerations. continue reading » 13SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr
No other term is more broadly misinterpreted in our industry than digital transformation, narrowing the lens of growth opportunities within the credit union scope.Mislabeled as home-banking and mobile-app updates, fintech investments, cloud initiatives, AI advancements, and short-run projects, digital transformation has a complicated and non-standard connotation. Referred to as, “the Trojan Horse of modern business model,” this misunderstood construct often serves as a trigger to an overarching, “business transformation, a time to review many aspects of a business’s operations from top to bottom—the talent, the organizational structure, the operating model, products, services, etcetera,” James Bilefeild, serial digital entrepreneur at Mckinsey. Clint Boulton, CIO, simply describes, “digital transformation is a necessary disruption,” and this constructive ability is the catalyst to long-term profitability and overall organizational health. Digital transporting is an ongoing, dynamic process requiring human capital, open innovation, and willingness to forge into uncharted territory to meet changing membership demands. In a 2018 Gartner poll of CUNA CIOs, results pointed to the digital transformation focus. Nearly half of CU CIOs report the need for business model change, where “87% measure the ROI on digital” to meet the growing demand changes from their membership. Drivers for digital transformation start with demographical preference shifts, and have tackled environmental and efficiency categories, enticing the use of practical alterations to established business processes and structures. As the cost of poor technology outweighs the price to install it, digitization era is in full swing. If the a fully digital world is seen as a finished house, then, it is imperative to lay a proper, secure, strong and confident foundation. This digital foundation acts as the ladder to which a credit union may climb into the digital era, establishing a structural requirement for future nimble and agile digital capacities. True digital transformation complies aggregate analog and manual processes, business practices, and evolves dated systems into lean machines of efficiency and results. This transformation surpasses superficial feature implementations and attractive interfaces but is an evolutionary process enacting business change. By adopting new digital forms, technology and business strategy have merged into one cohesive road map, no longer existing as independent fragment from one another. For credit union, this will not change ethos and fundamental purpose igniting our utility but will elevate the credit union into a dynamic institutional capable of modern value demanded service. Digital transformation acts as a churning machine, grinding out innovative solutions to both external credit union publics, while mitigating internal process configurations, streamlining processes, and creating an efficient and agile technical internal infrastructure. Think your not effected by this digital revolution? Think again. When your organization starts noticing process changes, the digital transformation has knocked on your door. We suggest a full embrace of digital transformation, maximizing the potential of your credit union, while eliminating inefficient, and dated, constraints. Hear this? Then Your Digital Transformation Has Begun“We’ve never been able to do that before, that fast, and that way““This is only the beginning of the value we add to members lives, how they can interact with us, how our credit union helps our members”“Technology and Business strategy, roadmaps, & projects are the same thing at our credit union – one does not exist without the other” 4SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr,Rebekah Schlichting Rebekah Schlichting expedites marketing for Pure IT Credit Union Services, where she strategically aligns the marketing, public relations, communications and advertising efforts into cohesive messaging. With her undergraduate degree in … Web: PureITCUSO.com Details SourcesBilefeild, J. (2016, April). Digital transformation: The three steps to success. Retrieved April 1, 2019, from https://www.mckinsey.com/business-functions/digital-mckinsey/our-insights/digital-transformation-the-three-steps-to-successBoulton, C. (2018, December 11). What is digital transformation? A necessary disruption. Retrieved April 1, 2019, from https://www.cio.com/article/3211428/what-is-digital-transformation-a-necessary-disruption.htmlGartner. (2018). CUNO CIO Poll. Webinar, accessed on April 1, 2019, from https://www.gartner.com/en/webinars/3899294/the-2019-cio-agenda-securing-a-new-foundation. Kyle Stutzman, VP Business Development at PureIT CUSO, “when your leaders, employees, and members start saying these things, then digital transformation is starting to happen.” Foundation to Launch a CU Digital Transformation, Pure IT CUSO, 2019.
Darren Fletcher on Sky Sports:“Unbelievable! The shoot-out was excruciating! I am buzzing! David Marshall is a hero to the whole country! But the standards of all the penalties was brilliant.“Talk about character. Those lads weren’t stepping up thinking, ‘Imagine if I’m the one to miss’. They were positive – and then Marshall was the hero.“I fancied every one of them stepping up. There was something about Mitrovic; he was saving himself for fifth. Our main striker stepped up first – bang, into the back of the net. People thinking about glory and headlines; that’s what I thought about Mitrovic.“Then Big ‘Marsh’ – what a hand.” – Advertisement – Scotland’s reward for the win in Belgrade is a place in Group D alongside England, Croatia and Czech Republic – and a mouth-watering Euro 2020 schedule that will see two of their matches – against Croatia and Czech Republic – played in Glasgow. – Advertisement – Image:Aleksandar Mitrovic is consoled after his decisive missed penalty Ryan Christie was moved to tears after helping Scotland secure their place at Euro 2020 with a penalty shoot-out win against Serbia. Scotland have been turned upside down by Clarke’s influence in the dugout with a run of nine matches unbeaten and the boss couldn’t hide his emotions at full time despite claiming “he was calm” during the shootout.Clarke told Sky Sports: “It took a bit of time to get people onside, but we’ve been positive and no one can be more proud than the players on the pitch. One or two of the boys have been in tears and that shows how much it means.“When David Marshall saved the last penalty, I had a little glint in my eye. I may have a cry when I get to my room later. 4:02 Scotland manager Steve Clarke said he may shed a tear back in his hotel room after his side qualified for their first major tournament since 1998. Highlights of the European Championship Qualifying Path C play-off final between Serbia and Scotland. 8:53 1:42 – Advertisement – “Normally, we fall at the final hurdle or we have the glorious failure, but I thought we were the better team in the game and deserved to be in front. We just couldn’t get the second goal to kill them off.“To concede then from a set play when they were throwing everybody into the box was a big setback, but you have to be so proud of the players, the way they responded to that.“That was a sore one as we were really close to where we wanted to be. The reaction was to dig in during extra time, and we managed to do that. We got to penalties and we’ve managed to produce again from the penalty spot. It’s a magnificent night for everyone in Scotland.“We said we’d try to put smiles back on faces and I hope they managed to enjoy the match as we did here in Belgrade. They can smile tomorrow.”Tearful Christie: An amazing night Christie thought he had netted the winning goal during normal time but a Luka Jovic injury-time equaliser forced extra time. The Celtic man linked the play between the lines with great maturity and this was on show for what looked to be his match-winning moment from 22 yards – a goal that would have graced any major tournament.He was replaced in the closing stages of normal time, so had to watch on from the touchline as the drama unfolded.“It is just an amazing night,” a tearful Christie said.“From the start, we kind of believed. Obviously, the last few camps we have picked up so much belief in each other. Even the way the game went tonight, conceding that late equaliser and still digging in. Penalties and you’re away from home but big Marshy again comes up. He’s unbelievable.“When you are on the pitch, you always feel like you can influence it. When you are off, you can’t watch. Those penalties are the worst thing I have ever been through. It’s just everything. Oh, I’m gone.“It is just for the whole nation. It has been a horrible year for everyone. We knew coming into the game that we could give a little something to this country. I hope everyone back home is having a party tonight because we deserve it.“We have been through so many years. We know it, you know it, everybody knows it. It’s a monkey off the back now. We are just going to move on from here.”Robertson: Most emotional I’ve beenScotland captain and Liverpool full-back Andy Robertson admitted it was “the most emotional he had been after a game” and praised his team-mates’ mentality.“I don’t think I can [sum it up]. There was so much emotion going into the game, and then you get so close and they end up equalising. You have to pick yourself up for extra-time, which we did. When you get to penalties, you always back Marshy and it’s just whether the lads can hold their nerve, and they managed to do it.“We’ve come so far with this squad and I back every one of them as they’ve come through a lot of criticism and a lot of negativity at times.“We’ve stuck together and battled through it. I really hope everyone back home can see the positive side to this as we’re absolutely delighted. I really hope that during a really tough time, we’ve managed to put a smile on a lot of faces.“It’s the most emotional I’ve been after a game but we can look forward to next summer now.”Analysis: Mitrovic was going for glory Ryan Christie poured his heart out while the usually reserved Steve Clarke admitted he may “go for a cry later” as emotions were on show after Scotland’s triumph in Serbia to qualify for Euro 2020.Scotland put their fans through the wringer as they qualified for their first major tournament since 1998 after David Marshall saved Aleksandar Mitrovic’s penalty in a shootout to send them to Euro 2020.- Advertisement –
Nkengasong said it was inevitable that as cases rise, hospitals will become overwhelmed.”That is something that is happening already. We will continue to see it as the pandemic expands,” he added.Although many have also started gradually easing lockdowns to reopen hard-hit economies, governments are conscious that opening up too quickly could lead to a spike in new cases.The African Union Commission said on Thursday it had launched a consortium for vaccine clinical trials to be headed by the Africa CDC, which aimed to secure more than 10 late stage vaccine clinical trials as early as possible.South Africa and Egypt are already running human trials for a potential vaccine. African countries must carry out more coronavirus testing and make people use masks, a regional disease control body said on Thursday as cases topped half a million in the continent.New cases in Africa were up 24% over the past week, with data from governments and the World Health Organization showing it had 512,499 confirmed COVID-19 cases, with 11,930 deaths.”The pandemic is gaining full momentum,” John Nkengasong, head of the Africa Centers for Disease Control and Prevention (CDC), told a virtual news briefing from Addis Ababa. Nkengasong said African countries, many of which do not have reliable data, must adopt an aggressive approach to encourage the wearing of face masks and ramp up testing and tracing.”This will save lives and save (the) economy.”Egypt, Nigeria, South Africa, Ghana, and Algeria account for 71% of infections on the continent, Nkengasong said.Some governments have been reluctant to acknowledge epidemics or to expose crumbling health systems to outside scrutiny, while others are either too poor or conflict-ridden to carry out significant testing. Topics :
South Korean shipbuilder Samsung Heavy Industries (SHI) has inked a contract with compatriot natural gas company Korea Gas Corporation (KOGAS) for the construction of two small-scale liquefied natural gas (LNG) carriers. Under the terms of the USD 100 million contract, the ships are expected to be delivered in May and December 2019.The 7,500 cbm vessels, to be equipped with KC-1 cargo containment system, will transport LNG from Tongyeong, Gyeongsangnam-do, to Jeju Island, according to the shipbuilder.As informed, one of the two carriers will be capable of LNG bunkering.The new deal marks SHI’s entering into “promising” small-scale LNG carrier and LNG-bunkering markets, SHI said.So far, SHI has won orders worth USD 2.3 billion. They include eight tankers, two LNG carriers, one LNG floating storage and regasification unit (FSRU) and one floating production unit (FPU).