#SPAC

[balanchine-ballet-master]

Balanchine's Coppelia

In today's Times, Roslyn Sulcas has an article about the New York City Ballet's production of Coppelia, which celebrated its 50th anniversary this summer. It had its premiere at the Saratoga Performing Arts Center during the company's annual residency.

One thing that Sulcas fails to mention is that the role of Swanilda was originally supposed to have been shared by Patricia McBride and Gelsey Kirkland. But when Kirkland announced she was leaving the company, Balanchine gave all performances to McBride

‘Coppelia’ at 50: When City Ballet Took a Turn for ‘Fun and Funny’

Original cast members look back at George Balanchine and Alexandra Danilova’s staging of the 19th-century ballet. “Everyone knows when something is good,” one said.

By Roslyn Sulcas Sept. 23, 2024, 5:02 a.m. ET

George Balanchine’s decision to stage the 19th-century ballet “Coppelia,” in 1974, was a surprise. Although Balanchine, the co-founder and leader of New York City Ballet, occasionally created narrative ballets, like “The Nutcracker” and “A Midsummer Night’s Dream,” the company was identified with a lean, no-frills approach to classical dance. It was turned toward innovation and experimentation, rather than story, characters and elaborate costumes.

But the three-act “Coppelia,” with its lush, melodic Delibes score, fairy-tale set and extensive ensemble dances, was anything but experimental. City Ballet audiences were anticipating it “with a mixture of delight, incredulity and awe, and in some cases horror,” the critic Marcia B. Siegel wrote, shortly before the ballet’s July 17 premiere at the Saratoga Performing Arts Center in upstate New York. But Balanchine, who asked his Russian compatriot (and former romantic partner), the ballerina Alexandra Danilova, to assist him on staging the ballet, knew what he was doing. “Coppelia,” starring Patricia McBride as the heroine Swanilda, Helgi Tomasson as her swain Franz and Shaun O’Brien as the eccentric toymaker Doctor Coppelius, was a roaring success, and has been performed regularly ever since. This season’s performances—Sept. 27 to 29 and Oct. 5-6—are City Ballet’s 50th anniversary celebration of the ballet.

Above: Patricia McBride rehearsing Coppelia, 1974. Seated at left are Susan Hendl, who led the Waltz of the Golden Hours in Act 3 and Stephanie Saland, McBride's understudy, who also performed Swanilda. Standing, center: Lincoln Kirstein, Patricia McBride, George Balanchine. Leaning against the piano at right is Rosemary Dunleavy, the ballet mistress. Seated at right are Colleen Neary, who led the Discord & War divertissement in the third act, and Merrill Ashley, who danced the Dawn solo in the same act. Photo: Martha Swope via NYPL/NY Times

“Coppelia” was first choreographed by Arthur Saint-Léon for the Paris Opera Ballet in 1870, and then reworked by Marius Petipa in 1884 into the version we know today. The story is simple: Franz and Swanilda are happily affianced village sweethearts, until Franz falls for a pretty girl who turns out to be a life-size doll—the creation of Doctor Coppelius. By the end of the tale, which involves Swanilda impersonating the doll, Franz has learned a lesson about fantasy and Swanilda has secured her man. Cue wedding celebrations.

Balanchine asked Danilova, a famous Swanilda with a pitch-perfect memory of the Petipa version she had performed with the Ballets Russes de Monte Carlo, to set Acts I and II, although he added a few new dances. But Act III, omitted in many productions, is his alone, a series of divertissements that are a pure-dance coda to the story.

Megan Fairchild, who first performed Swanilda at 19, said she loved the character’s sassy personality. “It’s a more casual vibe,” she said. “She’s not a princess, and that resonates.”

“We do a lot of ballets that are sophisticated and intellectual, for highly developed dance watchers,” said Wendy Whelan, City Ballet’s associate artistic director. “This is lighthearted and warm and easy to watch. It’s a reminder of the beginnings of ballet: the storytelling, the classical dance, the pantomime.” Plus, Whelan added, “it’s fun and it’s funny.” In interviews, five original cast members talked about their memories of creating the ballet. Below are edited excerpts.

Above: Patricia McBride in Act I, 1975. Swanilda's friends in the background are Judith Fugate, unidentified, Delia Peters, and Debra Austin. Photo: Martha Swope via NYPL

Patricia McBride, Swanilda Madame Danilova’s memory was uncanny. She remembered every step for every character in the ballet, and she danced full out when she showed you the choreography. She wanted me to play it straight when I impersonated the doll, not for laughs, and she was very precise about the musicality and phrasing, and the intent of each step. We hadn’t done a lot of mime at City Ballet, but she was so clear, she made it easy to learn. I loved that beautiful Russian port de bras she had. You could see what a great Swanilda she had been.

Balanchine was very specific about the way I held my arms and body as the doll. He never spoke about characterization, or how he wanted it to look, but the musicality of the choreography was so natural and wonderful. He would show you the steps and it was done.

Madame Danilova and Balanchine would keep going all day long, moving from one scene to the next, talking together. It was like seeing history, the two of them in the room together. Mr. B never interfered with her staging. I think he really respected her knowledge and memory.

Sometimes I would feel quite choked up to think of their lives and history together. They were both in their 70s, but they had so much energy and vitality and love, and they had a lot of fun together. They were so young in spirit. I felt so fortunate to work with them, and to see their respect for each other and their love of dance.

Above: Helgi Tomasson in Act 3, Saratoga, 1974. Photo: Martha Swope via NYPL

Helgi Tomasson, Franz I was surprised and not surprised at Balanchine deciding to do “Coppelia.” He spoke about programming like creating a menu; he knew that he had to give the public varied dishes. And I think he loved those old Petipa pieces.

We were up in Saratoga when he started to choreograph my first-act variation. For some reason, he didn’t feel it was right. John Taras, the ballet master, was sitting next to him, and asked if I knew Balanchine’s “Sylvia” pas de deux, also to Delibes music. I had danced it with the Harkness Ballet, and Balanchine said, “Do you remember the variation? Let’s see it.” I did it, and he said, “Good, let’s keep that!”

For me, most of the dancing was in the third act. I loved the way Balanchine constructed the coda and how Patty and I came in and out of the group. He created speedy yet articulate steps that I think he felt suited me.

I remember that Patty and I did every performance of “Coppelia” in the first week, seven or eight in a row. At some point during that first week, I was so tired that in the scene where Franz is supposed to be asleep, I actually fell asleep. But the whole experience was a highlight of my career.

Above: Alexandra Danilova rehearsing Patricia McBride. Photo: Martha Swope via NYPL

Jean-Pierre Frohlich, Corps de Ballet I had been in the company two years and was just 19. I remember so well Balanchine and Danilova standing in front of the mirrors at the front of the studio. She was so elegant. I knew they had been an item in the Diaghilev era, and I was trying to see how those dynamics would have worked! You could see she still adored him.

Danilova loved to demonstrate steps. She wore ballet slippers with a little heel and ribbons. She had beautiful legs, and liked showing them off. She loved men; she was harder on the women than the men.

There was a very good ambience in the studio. They spoke in English, maybe occasionally in Russian, but I think they wanted the dancers to understand. She would never contradict him or say no to his suggestions. I felt she was very happy to be involved. But he was also very accommodating; he knew how much she had to offer.

Above: Gelsey Kirkland, originally scheduled to share the role of Swanilda with McBride, at rehearsal with ballet mistress Rosemary Dunleavy. Photo: Martha Swope via NYPL

Christine Redpath, Prayer Solo Madame Danilova was so charming. She would wear a gorgeous green sleeveless leotard, with a scoop neck and back, a belt and chiffon skirt, hiked up to show her fantastic legs, and her hair coifed with a little scarf tied behind her ears. You could see she still loved to dance, and it was very sweet to see she still loved Balanchine.

[In “Coppelia,” three allegorical female solos, Prayer, Dawn and Spinner, come near the start of Act III. ]

I learned my solo with Balanchine, but Madame Danilova was there because she had danced the Prayer solo in Russia. I think what he created on me was based on that. Balanchine never spoke about the meaning of the solo, but all the gestures are “up,” and the music seems spiritual to me. If you take what he has given you, it’s all there to tell you who you are and what this is.

At some point he showed me a picture of Marie Taglioni in a blue skirt and little top with puffed sleeves and a horseshoe crown with stars, and that’s what Karinska designed for my costume.

Danilova sent me a lovely card and flowers on the opening night. We were all very excited. Everyone knows when something is good.

Above: Merrill Ashley in the "Dawn" variation in Act 3. The costumes are the originals; they were replaced when the ballet was performed in New York the following year. Photo: Martha Swope via NYPL

Merrill Ashley, Dawn Solo The solo he made for me was fiendishly difficult, and it never became easier. There was fast footwork, lots of changes of direction and it ended in plié on pointe on one foot. I liked dancing it, but it scared me. There was one bit on a diagonal that was impossible, and it repeated three times. Eventually I said, I’m really struggling, would you consider changing it, and he said, “Dear, it’s yours, do what you want.”

Danilova choreographed the introduction to the solo, and that had more of a feeling of gentleness, awakening, offering something. Then the sun comes up over the horizon and, boom! Pyrotechnics!

You felt that Balanchine and Danilova were really friends and colleagues. He turned to her a lot; he really respected the knowledge and tradition she brought. I loved watching their interaction.

Above: Children from the School of American Ballet in Coppelia. The pink costumes replaced the golden ones used in Saratoga. Photo: Martha Swope via NYPL

Charlotte d’Amboise, Child Dancer David Richardson, a dancer in the company, was in charge of the kids, and to my twin sister and me he was God. We knew Balanchine was famous, but it was all about David. I was in the big dance in the last act, which I loved. We wore pink tutus and it was really dancey, and we had a whole section that was just us.

Balanchine really loved to have children involved and he could choreograph for them. He did it so easily, almost as if he didn’t think about it, just “go here, do this.” But he must have planned it.

At the first performance in Saratoga, one side of the elastic on my ballet slippers came off and was dangling while I was dancing. All I remember is thinking, David is seeing this—and he was so mad at me. I have never not paid attention to my shoes again!

I did pretty much all of the Balanchine ballets that had children in them, but “Coppelia” was my favorite. You felt like a ballerina, you had to have technique to dance it, and you felt like you were part of the corps de ballet. The best part of being a kid in these ballets was dancing next to these ballerinas and dancers who are goddesses and princes. To be surrounded by high art, to be part of it, affects you forever.

[prismatica-the-strange]

Big Time Rush at SPAC July 3rd, 2023

Reblog and Credit if you download/use!

[heatseeker-22]

Today marks exactly 11 years since I saw Def Leppard play live in Saratoga Springs, NY. I was 10 yrs old at the time and it's still a big moment of my life that I'll never forget 🥹

[thechillseekr]

Finally saw Garbage. Another high school checklist item.

[isopodonanescalator]

BTR CONCERT AT SPAC LAST NIGHT!! ‘twas my first concert (my aunt brought me as a surprise!!) and it was super awesome! i’m super glad that it was my first concert because i knew EVERY song (gonna be honest FOB will be great but idk if it will level with this cuz we had better seats at BTR and only have lawn seats for FOB)

sorry my pics are super bad the videos are too cuz i was jumping around and screaming lmao

[globalmarketwatch]

Crown LNG ($CGBS)'s Penny-Stock Label Won't Stick Much Longer

The stock market is a master at brand-labelling, and nothing triggers reflexive disdain faster than the phrase penny stock. We see a sub-dollar quote and instantly imagine empty office parks, one-well oil explorers, or biotech long shots with cash burn as their only distinguishing metric. Yet every so often, a company slips under that low-price ceiling not because its prospects are microscopic, but because the spreadsheet set never bothered to zoom the map out far enough. I’m convinced Crown LNG Holdings—ticker CGBS, last traded around eleven cents—fits that mislabelled mould, and the sooner investors recognise it, the less regret they’ll have to rationalise later.

Let’s deal with the obvious objection: Crown is pre-revenue, pre-FID, and yes, a de-SPAC. Those three facts alone put 90 percent of asset managers on “hard pass.” But Crown is also developing industrial hardware that dwarfs its equity value. Its flagship asset, the Kakinada terminal on India’s cyclone-battered east coast, carries a billion-dollar budget and—crucially—a licence for uninterrupted, 365-day operation. That licence matters. Most floating solutions flee or shut down during the June–September monsoon window; Kakinada’s gravity-based design does not. In the LNG world, three months of downtime can evaporate half a project’s EBITDA. Permanence is a moat. Meanwhile, management is importing the same blueprint to Scotland's Firth of Forth, where winter price spikes have made security-of-supply a front-page political issue, and exploring Vietnam, where rising data-centre loads all but guarantee a gas shortfall. Toss in a planned floating export hub in the US Gulf, and Crown has built a four-continent supply loop that looks suspiciously like something we’d credit to a blue-chip energy major—if only the quote weren’t stuck at pocket-change levels.

Sceptics argue that plenty of LNG hopefuls never cross the financing finish line. True. But context matters. ExxonMobil is doubling its LNG portfolio by 2030, Shell publicly pegs demand growth at roughly 60 percent by 2040, and Berkshire Hathaway forked over $3.3 billion for control of a single US terminal. These aren’t speculative capital pools; they’re the game’s steadiest allocators answering the same supply-gap signal Crown is trying to monetise. A rising tide will not guarantee Crown’s hull is seaworthy, but when heavy tonnage is racing into the harbour you ignore the draft at your peril.

Here’s the detail that should silence “pump-and-dump” arm-chair analysts: more than two years post-merger, not one senior executive has sold a single share. Zero Form 4 filings. If the people writing EPC cheques and haggling with sovereign lenders aren’t cashing out, either they are catastrophically bad portfolio managers or they know something the open market does not. In a sector notorious for sponsor quick-flips, that total lockdown is as bullish as insider behaviour gets.

There’s another catalyst lurking beneath the LNG story: the artificial-intelligence energy crunch. Every hyper scale data hall now entering site prep in India or Southeast Asia will require steadier electrons than regional grids can furnish with renewables alone. Gas-fired turbines remain the only practical buffer, and LNG is the flexible bridge fuel everyone grudgingly agrees on. The International Energy Agency projects data-centre electricity demand to double this decade; World Bank research suggests South and Southeast Asia will be the tightest markets. Crown’s sites sit right where investors will soon discover a queue of AI landlords begging for firm power contracts.

At eleven cents a share, Crown’s fully diluted equity clocks in at around $60 million. For perspective, that is less than the annual consulting budget Big Oil spends on policy white-papers—or, put differently, roughly six per-cent of the steel cost for one average-sized LNG jetty. Industry convention values a de-risked terminal at ten to fifteen per-cent of its build cost at Final Investment Decision. Apply that haircut to Kakinada’s billion-dollar tab and Crown’s equity should sit somewhere between $100 million and $150 million on that asset alone. Add Scotland, Vietnam, and the export hub, and the current quote looks almost comically detached from replacement-cost reality.

Markets often remedy mis-labelling abruptly. Sabine Pass transformed Cheniere from a swap-spread skeleton into a $30-plus-billion juggernaut almost overnight once first cargo sailed. The rerate didn’t wait for full trains; it happened when investors realised the engineering risk was gone and the cash-flow math was inevitable. Crown is effectively one FID announcement away from nudging investors toward the same epiphany: that a “penny stock” might in fact be the keystone feeding Asia’s hungry electrons.

Opinion pieces are, by nature, wagers written in prose. Mine is simple: the market is misplacing Crown LNG because the sticker says eleven cents, not because the fundamentals say zero. I’m willing to align with the insiders who refuse to sell, the majors piling billions into the same thesis, and the data-centre builders who will need every cubic metre Kakinada can regasify. If I’m wrong, my downside is a coffee-money stake. If I’m right, I’ll be loudly reminding anyone who will listen that price is not the same as value and that occasionally the penny-stock label hides the most scalable business in the room.

[aboutdancers]

Sophia Mestan - Sophisticated 🤍

[evkkmag]

《ソトワコラム》

Netflixみたい、というと失礼なのかしら。ストラスブール国立劇場(フランス)の『ラクリマ、涙』は、初めてみる演劇だった。

初めて……ほんとうに初めてかなあと思いをめぐらせていたのだけれど、スポーツを軸にしたものなら構図的にはありそうな気がする。優勝をめざして困難にうちかちライバルとしのぎを削る、のような。

この作品の軸は「ウェディングドレス製作」しかも英国王妃の。この過程で、家族問題や労働問題などの困難に直面しながら物語は進んでいく。

弱小球団が皆のがむしゃらな努力とほんの少しの才能によって優勝を勝ち得ていく、――というようなことではなく、いや、いくらエースでも１００球しか投げてはいけないし連投もＮＧ、お��さんが生まれたら大谷だって試合を休む、そんな中で結果を残さなければならないという実に現代的な構図である。

しかもゴールは英国王妃のウェディングなので、期日・品質は絶対、そのプロセスにおいてもフェアなものが求められるのだ（外国の労働者の環境も含めて）

この強烈なプレッシャーと、任命された栄誉の中で主人公は次第においつめられていく。

舞台は、フランスのオートクチュールのメゾンを基本に、さまざまな場所に変化する。この舞台装置がきわめて美しい。ライブカメラがそこここにあり、複数の映像が組み合わさって中央の大きなスクリーンパネルに投影される

パリとイギリス、インドの工房などとのやりとりが、WEB会議の形で再現され、国外も含めた複数拠点の視点が新鮮だった。まさにWorld Wide WEBが舞台で展開する。こういうのが初めてだなあ。インドの工房の俳優がインド系というのもリアリティを醸し出す

(写真はSHIZUOKAせかい演劇祭 HPから) https://festival-shizuoka.jp/

そんな美しい舞台美術なのに、中央のスクリーンパネルと日本語字幕をみてしまうのですよ。構成舞台なので、客席によっては見えない場所があって、そのフォローのためのカメラなのかもしれないけれど、舞台は３Ｄなんだから見えないところがあってもいたしかたなし、とか常々考えているワタシは、舞台上の芝居をもっと見たいと思いました（自分がちゃんとみりゃいいんだけど）

予告編はこちら(クリックで再生します。音が出ます)　Netflixみたいでしょ（ほめてますよ）非常に面白い作品でした

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A post shared by SPAC - 静岡県舞台芸術センター (@spac_shizuoka)

宮城聰さんの新作『ラーマーヤナ物語』は���彩豊かな作品だった。『マハーバーラタ』が白を基調にしたものだったけれど、いろどりがあるのも楽しい。

（写真はステージナタリーから） https://natalie.mu/stage/news/622390

ストレンジシードは２本、

『グルーヴィ・グレイヴ』は駿府城の発掘調査現場でのコンテンポラリーダンス。広大な場所に十人程度のダンサーで挑む姿が頼もしい

『ベンチ』は、みている人を巻きこんでのセリフのないパフォーマンス。

ホームページをみると、ホール公演もされているようなのでその場合は違ったかたちなのかもしれません。とても面白かったので（関西公演とかを）チェックしておこうと思いました

https://www.zeroko.net/

せめて年一回は行こうと思っているspac、今回もいろいろな体験・発見がありました

去年の様子はこちら

https://evkkmag.tumblr.com/post/750356339215171584/

[alaturkaamerika]

Trump, Nikola'nın Kurucusu Trevor Milton'a Affetti: 680 Milyon Dolarlık Tazminat da Silindi

Nikola Motors’un kurucusu Trevor Milton, yatırımcıları dolandırmak suçundan mahkum edilmişti. Ancak Başkan Donald Trump, hem hapis cezasını hem de milyonlarca dolarlık tazminatı affetti. Karar, adalet sistemi ve siyasi destek ilişkisi konusunda yeni tartışmalar yarattı. Trump, Nikola’nın Kurucusu Trevor Milton’a Af Verdi 🚛 ABD Başkanı Donald Trump, dolandırıcılıktan mahkum edilen Nikola Motors‘un…

[papaija]

Violette Verdy on a tractor in matching tutu, partnered by driver, 1966 p: Martha Swope

[3garcons]

Caffe Lena at SPAC 2024 early edition with

Kat & Brad ,Rachel Sumner & Traveling Light, Alice Howe & Freebo, Wild Adriatic, and Nation Beat with Melanie Scholtz

[snekky-arts]

A Free Lothal

~~~

hiiii did i ever mention i LOVE star wars rebels?

[globalmarketwatch]

How Crown LNG ($CGBS) Could Quietly Make Early Shareholders Very Loudly Rich

There is something deliciously deceptive about a stock that costs less than a subway swipe yet straddles the same mega-trends driving Exxon, Shell and Berkshire Hathaway to write multi-billion-dollar cheques. Crown LNG Holdings, ticker CGBS, finished the week at $0.11—a price that screams “penny stock” even while the company’s to-do list reads like a Fortune 500 growth plan. The mismatch is so stark that it feels less like a valuation gap and more like a time warp: Wall Street is still pricing yesterday’s risk while Crown is sprinting toward tomorrow’s cash flow.

The macro tailwind nobody can ignore Start with demand. Shell’s 2025 LNG Outlook forecasts about a 60 % surge in global liquefied-gas consumption by 2040, propelled largely by Asia’s industrial boom and the electricity hunger of digital infrastructure. ExxonMobil echoes the theme, saying it is “on track to nearly double its LNG portfolio by 2030,” with projects on four continents already under construction. Berkshire Hathaway, which rarely overpays for hype, bought a 75 % stake in the Cove Point terminal for roughly $3.3 billion—just one facility—because Warren Buffett sees decades of toll-booth cash flows in LNG. If the world’s most disciplined capital allocators are leaning hard into liquefied gas, a developer trading for sixty-odd million dollars begins to look like buried treasure.

The second tailwind is artificial intelligence. The International Energy Agency projects that global data-centre power demand will more than double to about 945 TWh by 2030—roughly Japan’s entire electricity use today—and calls out AI workloads as the prime culprit. Gas-fired turbines remain the only dispatchable source that can ramp fast enough to keep GPUs humming around the clock. A Reuters deep-dive last week made the connection explicit: energy majors are piling into Southeast-Asian gas precisely because data-centre developers have nowhere else to turn for reliable electrons. Crown’s planned terminals sit squarely in that power-hunger corridor.

A four-continent supply web hiding in plain sight. Crown’s blueprint begins with Kakinada, the first gravity-based LNG terminal ever licensed for 365-day operation on India’s cyclone-prone east coast. Its seven-million-tonne capacity would feed power plants and, increasingly, India’s hyper-scale server farms—just as New Delhi pushes gas to 15 % of the national energy mix. Cross half a world to Scotland’s Firth of Forth, where Crown is engineering an import hub aimed at taming Britain’s winter gas price spikes. Slide south-east to Vietnam, an economy whose data-centre footprint is exploding and whose planners forecast multi-million-tonne LNG deficits by 2030. Close the circuit in the U.S. Gulf of Mexico, where Crown’s proposed floating export platform would funnel cheap Permian and Haynesville molecules straight into its own receiving terminals. That is a vertically stitched, four-continent network—a micro-cap doing an impression of an integrated major.

Sceptics will note that Crown has no revenue yet, and they are right. But those same sceptics must grapple with an anomaly: not one core Crown executive has sold a single share in two years. In SPAC land, insiders usually sprint for the exits the day lock-ups expire. Here, they have welded their wallets to the rails. Either they are terrible traders—or they see value invisible to the wider market. For investors who prize alignment, that zero-sale streak is the loudest bullish klaxon in the small-cap universe.

Consider replacement cost. Building just one Kakinada-scale terminal runs to about $1 billion. Crown plans at least two such assets plus an export platform, yet its enterprise value sits around $60 million. Berkshire’s single Cove Point stake, again, cost fifty-plus times Crown’s entire market cap. Even a modest industry rule of thumb—valuing an LNG project at 10-15 % of cap-ex at Final Investment Decision—would catapult Crown’s equity into nine-figure territory the moment financing is nailed down. Eleven cents simply does not compute once steel hits seawater.

Management says it is targeting FID on the Scottish project as early as 2025 and Kakinada by 2026. Each milestone tends to unlock construction debt, long-term offtake contracts, and fresh equity interest. For context, Excelerate Energy’s valuation lifted immediately after its first FSRU charter passed bankable diligence—even before gas flowed—because the market finally trusted the revenue model.  Crown is racing toward the same credibility inflection, but from a share price barely scraping double digits.

Wall Street’s crowded trades, mega cap tech, AI chips, large-cap energy, are priced for perfection. Crown LNG is priced as if the future never arrives. Yet Shell, Exxon and Berkshire believe that same future requires vastly more LNG than the world can currently deliver. If even one of Crown’s projects crosses the debt-financing finish line, the stock’s denominator changes faster than most portfolio screens can refresh.

Investors love to say they learn from missed chances. Apple at four, Amazon at eighty, Tesla at twenty. The common thread is that each looked too small, too risky, too early—right until reality rewrote the narrative. Crown LNG sits in that uncomfortable limbo now: tiny quote, giant ambitions, insiders all-in, macro winds at its back. When the first concrete caisson sinks into Indian waters or the first seabed pile is driven in Scotland, today’s eleven-cent tape will feel like ancient history.

History does not repeat, but it certainly rhymes. If you have ever sworn you would never again overlook the bargain hiding beneath an ugly price, Crown LNG is quietly offering you a redo. The only question is whether you will hear the keystone drop before the rest of the market wakes up.

[jjbizconsult]

Trump's Truth Social on the Brink of Collapse?

Trump’s Truth Social on the Brink of Collapse? In recent days, the fate of Donald Trump’s ambitious venture, Truth Social, hangs in the balance. The outcome of a critical vote, set to take place later this week, may determine whether this right-wing Twitter alternative survives or succumbs to dissolution. As reported by the Washington Post on September 2, Truth Social is standing at the…

[therealtorasia]

Investors in VinFast’s SPAC cash out most shares: Reuters

Shareholders of Black Spade Acquisition (BSAQ.A), a special purpose acquisition company (SPAC) that has plans to merge with Vietnam’s electric automaker VinFast to allow a U.S. listing, have redeemed over 80% of their shares, the SPAC said on Friday. It was a setback for VinFast, which had initially planned a U.S. listing on its own and has struggled to start production and ramp up sales outside…