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Winston Churchill: Image source: Sunlituplands.org I heard a safety chime system at the University of Toronto that plays a series of tunes when doors are open, including bits of Christmas carols, popular songs and yes, that opening motto in C minor. Okay, so in other words both symphonies seem to have penetrated into our collective unconscious.
How important are they? I don’t propose to evaluate such things. But it’s hard to imagine Liszt and Wagner without these two symphonies, and many other composers besides. And while I can’t trace the direct influence of the concerto on subsequent works, it too is a work of daring & originality. Just when you were mulling over those these great compositions, I’m going to derail your train of thought. Dec 22 nd might be the date of that famous concert, but it’s probably best known–in musical circles at least– as the birthday of Giacomo Puccini, a composer of some of the most popular operas. Speaking of popularity, I will again think of, who tabulate opera performances worldwide, helping companies assess which composers are most likely to help them pack the opera house, and thereby stay afloat in one of the most expensive art-forms.
In their 2012-13 stats Puccini has moved up a spot, nudging out Mozart for #2, behind Giuseppe Verdi who is #1. Here’s what Operabase reported in 2009-10 1 Verdi 2211 (28 Operas) 2 Mozart 2101 (24 Operas) 3 Puccini 1740 (12 Operas) and in 2012-13 1 Verdi 2586 (28 Operas) 2 Puccini 1893 (12 Operas) 3 Mozart 1883 (27 Operas) If Puccini objected to being born so close to Christmas I’ve seen no evidence that he either minded, nor that it hurt him. Still, i won’t be thinking of Happy Birthday for either him nor those famous Beethoven compositions, not when all those amazing tunes are competing inside my head. How about yours? “Press releases and announcements” are presented verbatim without comment. Dame Evelyn Glennie, Winnipeg Symphony Orchestra & Composer Vincent Ho Launch Indiegogo Campaign For New Recording First recording with a major Canadian orchestra & first foray into crowdfunding for Glennie For Immediate Release – Toronto, ON – December 3, 2013: Virtuoso percussionist Dame Evelyn Glennie, the Winnipeg Symphony Orchestra (WSO) and Canadian composer Vincent Ho have teamed up to launch a crowdfunding campaign ( Indiegogo) for a new recording of Ho’s critically-acclaimed percussion concerto, The Shaman. The 60 day campaign is being launched today, Tuesday, December 3, and will end on February 1, 2014.
Since its world premiere in 2011 with Glennie and the WSO, conducted by Alexander Mickelthwate, The Shaman has been hailed as a triumphant success, receiving unanimous acclaim and rave reviews. It has been described as a powerful work that merges the spiritual world of Native American culture with the modern classical world to create a compelling journey. Oscar, Grammy and Pulitzer Prize-winning composer, John Corigliano, says of the work: “I heard the world premiere of The Shaman, and was blown away by it. The work is masterfully written, with gorgeously complex sections contrasting with simple and elegant statements. I love the piece.” While concertgoers in Winnipeg, Toronto and Taipei have experienced Glennie’s phenomenal performances of it first-hand, this new recording would enable listeners to experience it worldwide.
To support this campaign, please visit: Given the success of the work, Glennie, Ho, Mickelthwate and the WSO have made plans to record The Shaman for worldwide distribution. The Shaman is a large-scale work of 33 minutes, and Ho remarks: “the costs for making a high quality recording of a work of this scope are extremely steep.” As such, the team is appealing to the public through the Indiegogo crowdfunding platform in order to raise a minimum of $85,000 CAN. The recording will become the featured work on a Vincent Ho compilation album, to be released for global distribution in the 2014/15 season. The recording sessions are scheduled to take place in May 2014, following Glennie and the WSO’s performances of The Shaman in Winnipeg – just a week before its next performance at Carnegie Hall in New York City on 8 May 2014. About the work, Ho comments: “For me, Dame Evelyn Glennie is a modern-day shaman. I always felt that her performances were more than just visual or aural experiences – they were ‘spiritual’ events.
She has the uncanny ability to draw the audience into a magical world and take us on wondrous journeys that are beyond material existence. Every performance she delivers leaves the audience spellbound and spiritually nourished. So there is no question that she is the perfect interpreter for this piece.” This project is a first foray into crowdfunding for both Glennie and the WSO. In the video of the Indiegogo campaign, Glennie comments: “With The Shaman, I have had this chance to explore a sound world that is always evolving and developing; and that curiosity is always on fire. The fact that we can now communicate together and make it our project is very special indeed.” This will also be her first recording with a major Canadian orchestra, and of a work by a living Canadian composer. There is a range of donation incentives as part of the Indiegogo campaign, including: personal thank you notes, advance downloads of the recording, autographed copies of the score, tickets to a Winnipeg performance of The Shaman, original jewelry designed by Glennie and, at the highest level, an exclusive invitation to dine with Dame Evelyn Glennie, conductor Alexander Mickelthwate and composer Vincent Ho.
Dame Evelyn Glennie is the first person in musical history to successfully create and sustain a full-time career as a solo percussionist. As one of the most eclectic and innovative musicians on the scene today she is constantly redefining the goals and expectations of percussion, and creating performances of such vitality that they almost constitute a new type of performance.
Born in Ottawa, Ontario in 1975, Vincent Ho has emerged as one of the most exciting composers of his generation. His works have been hailed for their profound expressivity and textural beauty. Since his appointment to the WSO as composer-in-residence in 2007, Ho has presented a number of large-scale works that have generated much excitement and critical praise. His Arctic Symphony has been described as “a mature and atmospheric work that firmly establishes Ho among North American composers of note” (Winnipeg Free Press). His percussion concerto, The Shaman, composed for Dame Evelyn Glennie was hailed as a triumph, receiving unanimous acclaim and numerous standing ovations. His cello concerto, City Suite, composed for Canadian cellist Shauna Rolston, received similar praise. In September 2010, Vincent Ho was signed by the prestigious Promethean Editions.
About The Shaman Dame Evelyn Glennie has performed The Shaman with the Winnipeg Symphony Orchestra (January 2011), the Toronto Symphony Orchestra (March 2011) and the Taipei Chinese Orchestra (May 2012). She will reprise the work with the Winnipeg Symphony Orchestra (May 2-3, 2014), and with the Hong Kong Chinese Orchestra (June 27-28, 2014).
On May 8, 2014, Dame Glennie and the WSO will perform The Shaman at New York’s prestigious Carnegie Hall. Praise for The Shaman. “Ho’s work is entrancing and hypnotic even when the music builds to one of its many crashing crescendos.” – Winnipeg Free Press. “Who better to deliver a challenging new work than the unique Dame Evelyn GlennieHer sharp focus on the music never fails to spark a similar rapt response in the audienceThe Shaman has a driven trajectory with jazzy rhythms and cross-rhythms, and contains an energetic cadenza. It rushes to an exciting and abrupt ending – and a totally wild audience response.” – ConcertoNet.com. “The percussion soloist is the shaman and it’s hard to imagine anyone being able to conjure more musical magic on stage than Dame Evelyn Glennie. She moves with an arresting combination of force and grace” – The Toronto Star For more information, please visit: Vincent Ho:.
Promethean Editions:. Evelyn Glennie:. Winnipeg Symphony Orchestra: For further information & interview requests for Vincent Ho and Evelyn Glennie, please contact: Francine Labelle/ flINK 416 654-4406 Media contact for The Winnipeg Symphony Orchestra and Alexander Mickelthwate: Lisa Abram, WSO Director of Marketing & Communications 204 949-3981. I added “my” to the headline because otherwise a reader would assume I’m referencing the annual feature in Time Magazine. Given the usual content in this space you might expect me to pick a composer or a performer. Pollyanna will still offer his picks for 2013,. No, this is a different sort of message I suppose.
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This is a year when I noticed a few people. Nelson Mandela passed away near the end of the year. While the story of his life has been tidied up, the blemishes air-brushed away, he was a real person, genuinely larger than life. What I most admire about him? I am not sure whether I am more impressed by his steadfast opposition to the leadership in South Africa, his willingness to go to jail for his beliefs, or his enlightened refusal to hold grudges.
He is a man for the ages, one of the great men of the 20th Century. Where the 20th Century was a time of heroism, the 21st Century?
More like a century of absurdity and banality so far. The biggest blip on the radar this year is the Ford phenomenon in Toronto, a pair of brothers who seem to be changing the rules. In a real sense Rob Ford must be Man of the Year, the unavoidable topic that has been #1 in the news.
Yet I leave it to others to deal with that story. I don’t pretend to understand it, and most assuredly won’t celebrate either of the brothers in this space.
Hm no that’s not accurate. At one point I actually thanked Mr Ford for helping Torontonians appreciate our library system: one of the best in the world. Without the acrimonious conversation started by his acidic critique, would we ever have properly taken inventory, noticed what fabulous resources we had?.
Pope Francis? I am pleased at his performance so far. Who ever expected a real Christian as a Pope (which is to say, a compassionate champion of the poor, rather than the leader of a big political organization)? Our expectations in the office-holder, after the last one especially, are so low that we jump for joy at the slightest thing. No question, Francis is remarkable, breaking the mold.
But for me he’s not my person of the year. At the same time I keep reading about Edward Snowden.
Today I saw adding to the accumulating pile of evidence already pointing to the importance of this brave figure, one story among many saying the same thing. Was Mandela a moral compass? His choices were –however brave they undoubtedly were—inevitable. But he did not really face anything ambiguous, just daunting, terrifying and evil. He was brave & a perfect role model precisely because he faced down an authority that needed to be challenged and taken down, looming unavoidably. Edward Snowden (Photograph: Sunshinepress/Getty Images) Snowden?
This man discerned wrong where others did not. That is an entirely different sort of bravery.
Indeed, it’s ironic to be putting it alongside a Pope, given that he’s understood to be infallible. But of course it’s one thing to be infallible a priori—which is more or less, being right because you’re the boss—and something else again to be right because of your finely tuned moral sense, without any guarantees, without any support. This story quoted above suggests his vindication, judges confirming that his moral compass points to the true north, when others had no clue, or kept silent when they knew they were doing wrong. Snowden would have been considered a hero in the America of a century or more ago, when freedom was valued above safety.
Since September 11th 2001 the game has changed, if you’ll excuse the choice of words. Given the primal importance of fear in the national psychology –it’s the cornerstone after all—no wonder personal security now trumps respect for our fellow human. Warfare is prosecuted automatically by drones that sometimes hit the right target, and sometimes take out innocent people. But when security is most important, accuracy and respect for life are inevitable casualties.
Michael Moore I admire Noam Chomsky and Michael Moore, Jon Stewart and Adbusters. Like Mandela they say what needs saying. Admiring them makes me feel good because the media make it easy, with Facebook pages, fans, friends with whom i can discuss their positions and laugh at their wit.
They are brave people, but at least they have some kind of consensus of support behind them. And their positions are not just intelligible but well-known to both those in opposition and those in agreement. We know where they are on the moral compass. Snowden is the bravest man I know because he doesn’t have an audience or a cheering section. My mind boggles at his bravery, without any parallel i can think of other than the one we are reminded of at Christmas season: the one generously risking Himself in a higher calling. Hopefully he will not follow the obvious martyr’s path that’s been blazed for him. The Sunday church service the morning after the (and the effort to do it justice in my review) is like a meditation on what does and does not work in a ritual.
As I ponder Christianity I keep coming back to one central idea, that I never see anyone state. It’s important in understanding why people desert the church & to perhaps understand what brings some of us –me for instance—back. (I wonder, too, if it’s relevant to people also deserting opera, but that’s a parenthetical thought, for now). Religion is hard. Is that a crazy idea? I don’t think so.
In other centuries –when churches were full and believers were the norm rather than the exception—I don’t believe (excuse the choice of words) anyone noticed how difficult it is to do Christianity well –or any other religion, I reckon. It’s not a thing, but rather it’s a process, involving human interactions. I suppose we might call Christianity a discipline, both the practice of the faithful and the ministry as well. The main thing though is to recognize that while disciplines are sometimes practiced well, sometimes?
Is it a radical thing to say that Christianity has been let down by shoddy practice, arrogant clergy & entitled elders not putting the stewardship of the religion high enough in their list of priorities? If they were neglecting that care in the service of others –for instance, forgetting to properly recruit members in their lavish care for the sick, or the poor? I’d feel better. But of course that’s not what’s happened, has it As I watched the service this morning my experience –a joyful one to be sure—was thoroughly informed by the ATG Messiah experience from last night.
I was struck by how something that’s overly familiar –whether it be a Christmas carol, or a passage in Messiah—benefits from being made unfamiliar, breaking out of the strait-jacket of ritual. I was going to talk about semiotics and signification, but i am already risking losing the 2 people who might be reading this, so i will stifle the impulse to be pompous & academic. I will try to be simple & intelligible.
In a church –as in the opera house–the newness, the departure from familiarity & ritual is inherently unsafe and risky. While it’s not so uncommon to speak of performances as risky, we don’t usually associate risk with church: and maybe that’s the problem.
But I connect this to one of the central conversations in opera, concerning Regietheater (aka “director’s theatre”). While opera is often understood as moribund –if not dead– for its respectful treatment of a large body of old works, a more radical approach would be to seek to make a familiar piece of text seem unfamiliar.
I am reminded suddenly of a regular blog written by Rev. John Elford, a Methodist Minister friend of mine called. How better to understand the Gospels –or Handel’s Messiah—than to seek to make the repeated and the familiar seem new and even problematic? To seek out the edgy and the strange instead of sweeping it under a rug. That’s what I especially welcomed in the AtG show last night, and i realize, that’s also what I seek out in church each day.
If our texts or performances don’t feel fresh and new, they’re old and stale. It’s true with theatre and opera. It’s true with bread and wine. Why shouldn’t it also be true of ritual?
If that weren’t difficult enough –finding the right creative path– one needs to balance also with the competing preferences of the congregation / audience (between those seeking the preservation of what is, with those seeking something new). I like some familiarity. Am i average, normal?
I first encountered David Ferry as an actor, even though he’s also a director, a dramaturg and a great teacher with extensive experience in theatre, television, film and radio. In that production of Othello Ferry created the most astonishing Iago, a likeable friendly fellow whose latent seething anger propelled the entire tragedy. Ferry has played in most of the country’s major houses including the Stratford Festival, the National Arts Centre, Centaur Theatre, the Royal Alexandra Theatre, Tarragon Theatre, Toronto Free Theatre, the Citadel Theatre, Vancouver Playhouse, Theatre New Brunswick and the Banff Centre for The Arts. He has also worked Off-Broadway and in Los Angeles. An intense actor? And Ferry has also served with Actors’ Equity as vice-president, and ACTRA as the national chair for the Performers section.
He has taught at George Brown College and the National Theatre School, and has served as dramaturge on many new Canadian works. Recently he has edited playtexts for Playwrights Canada Press, including He Speaks, a collection of monologues for men, and a collection of plays by James Reaney. In January Ferry will be Romeo in Talk is Free Theatre’s new production of The Last of Romeo and Juliet. Minna no nihongo chukyu ebook torrents.
In anticipation, I ask him ten questions: five about himself and five more about the upcoming project. 1-Are you more like your father or your mother? A pretty balanced mix. Humour and imagination wise, and emotively, more leaning toward my mother. Intellectually and discipline wise, my father. Both my parents were in creative endeavours (theatre) when I was growing up,and were both very supportive of my going to theatre school. My mother had a zany sense of English humour and was great with my friends.
She used to phone the swimming pool where I worked summers as a lifeguard and play practical jokes on my fellow pool workersdoing things like booking private parties for Queen Elizabeth. My dad had a very Stoic kind of philosophy and was very even handed with me.made me question myself in a good way. He was in broadcasting and every summer as a child he would take me along to the St.
John’s regatta where he would do boat race commentary love on air from his car with me there. He also introduced me to radio acting (I got my ACTRA card at 15) and gave me my early acting input. Both my parents had lived through the warmet in London during the blitz, and that was hugely important in terms of the framework of the world I related to through their eyes. The parties they had with their friends were fabulousjazz on the turntable. Pretty frocks and smart suits. Cigarettes and martinis and scotch on the rocks (Dewers and Johnny Walkerpre single malt fashion) real Mad Men aesthetic. I grew up in a great neighbourhood in St.
John’s with dozens of kids on the street and open doors. John’s is also probably the coolest city in Canada and very unique with a strong creative life. The school system was denominational and made for a very intriquing class structure. I came to creative discovery at a fantastic time of cultural nationalism there and elsewhere in Canada. 2- What is the best thing & worst thing about being an actor? The ‘freedom’ of the creative life.in terms of no real ‘nine to five’, same boss world is certainly an attraction. The pure variety of experiences and worlds that it offers to explore.
Of course it is also an illusionary freedom in a sense. One is always within the decision making hands of someone else for the most part. The jobs are hard to come by and the money terrible.
In Canada there also tends to be a strong sense of actors being frivolous or elitist in the minds of other parts of society. We don’t have a real star system or powerful economic infrastructure with the incentive that success in other cultures can offer. Many theatres are very lacking in the sense of taking chances (Talk is Free is an exception among small town theatre companies in this sense by the way.) Emotionally the hardest thing is probably the best thing. To be good at acting, one has to constantly be willing to be vulnerable and curious. To take life and death chances in front of a room full of strangers (the audience.) This can be painful.
But the rewards in terms of living an “examined life” are grand. 3- Who do you like to listen to or watch? Blue I have a lot of younger colleagues with young children right now. I love watching those children.
They all seem so bright and alive and playful and joyous. And I love watching their parents going through the joys of first time parenting. As a man whose daughter is long an adult, I feel removed from the worries of early parentingI know those kids will grow up just fine.
I loved my dog Blue for somewhat similar reasons when he was alive. Every morning he would greet with a sense of “wow, another great day to explore, let’s get going man!”. Andrew Burashko of Art of Time Ensemble I love watching Peggy Baker dance.
We are about the same age, and she really is extraordinaryher ability to keep dancing and getting better as she ages is an inspiration. I love listening to Andrew Burashko (Art of Time Ensemble) play the piano and to him when he speaks at his concertshe is so smart and I dig his eclectic taste. I love John Pizzarelli and his guitar playing and vocalizing and his sense of humour. I think Chris Abraham (CROWS) is a very smart and inspiring theatre artist.
As is Brendan Healy (Buddies in Bad Times.) I love watching their productions, even if I don’t always get them. I think Tom Rooney is a boss actor. As is Yanna Macintosh, Seana Mckenna, Karen Robinson, Tom McCamus and a slew of others. I love some of our young theatre entrepreneurs and artistsMitchell Cushman, Jordan Tannahill, Claire Armstrong to name a few. Working with them is the hope of my future creativity. I love watching musicians play.
I love experiencing the work of so many of our visual artists. I find art galleries really inspirational. I think Katie Mitchell’s book on directing “The Director’s Craft” is very right on. I like reading plays. I love watching quarterbacks in football games.they have to have such a view of the whole field and game and its second by second evolution of the play.it’s what good leading actors have to learn to do. I am a good cook.
Cooking is love. It is creativity. It is communication. Guilty pleasure: I am hooked on some cooking shows and watch them while I am on the bike or elliptical machine at the gym. Music is the key to so many creative impulses for me. I like listening to financial gurus and stock pickers.
They are like really entertaining tea leaf readers. I love novels and poetry and non-fictionespecially when it’s a real physical object I am reading and not an electronic reader. I love libraries/ especially older ones with the smell of wood polish and old books. I love the sea. It always has ideas to wash ashore to my imagination. Speak “To be or not to be” from a rock where the Atlantic waves break. There is nothing like it.
Oh yeahI love chick flicks. What would Xmas be without “Holiday”? I love this film too. 4- What ability or skill do you wish you had, that you don’t have? To play the saxophone like Sonny Rollins.
To dance like Gene Kelly. To sing like Frank. 5- When you’re just relaxing and not working what is your favourite thing to do?. Five more about the upcoming show. 1-Please talk about the challenges in undertaking your role in The Last of Romeo and Juliet.
Learning and speaking the text well. So that it sounds natural and musical at the same time.
Spontaneous and not “acty”. I am fascinated by the challenges (physical,mental, emotional, spiritual) of ageing in an ageist, sexist and consumerist society. Even (perhaps especially) in our theatre world, older artists are disposed of for the most part like so much used Kleenex. I see so many of my contemporaries simply disappear from the work placeand yet, they have so much to offer younger artistsespecially those who are taking over the establishments that produce art.
In a society where so many people are entering their sixties and seventies, it should behoove us to tell more stories that reflect the reality of that to the publicnot just the youth market take on society. So I feel a real responsibility in having a smart and sexy and passionate discussion (though this production) of elders and their reality regarding love, loneliness, abandonment, sickness and becoming invisible. All the actors on stage with me have particular resonance in my evolution as an actor. Jennifer Phipps was in my first professional production while I was still in theatre school (Electra) and was so generous in sharing with us students the ‘stuff’ she knew, the sisterhood/brotherhood of actors. And several years ago we again shared the stage in a wacky production I starred in of Dostoyevsky’s The Gambler. Diana Leblanc (Lady Capulet), Clare Coulter (The Nurse) and I (Mercutio) acted in a great production of Romeo and Juliet starring Paul Gross 30 years ago.
Alex Poch-Goldin and I have acted together several times and I directed his fine and bold play Life of Jude this past summer. Layne Coleman and I recently worked together on a new play which he was directing and we go very far back as colleagues. Luke Humphrey is the son of actors I have worked with on TV and the grandson of the fine CBC producer Jack Humphrey who produced and directed a cool movie I acted in. Its safe to say I first saw Luke when he was a babe in his father’s arms. Sandi Ross and I were both elected union presidents at ACTRA and lobbied in LA for our film industry together.
And John Gilbert and I know each other going back 40 years to my first jobs as a Toronto based actor at Tarragon theatre. We are all part of the extended family we love being part of called The Theatre. David Ferry as Puck in 1972 A Midsummer Nights’ Dream. I have been Artistic Director at a Shakespeare Theatre (Resurgence in Newmarket) and directed a good many productions of Shakespeare as well as having acted in his plays many times including some of the greatest parts (Hamlet (twice), Puck (twice), Leontes (twice), Iago, Prospero, Mercutio among others) and I relish working on his plays. I was fortunate to have been in Michael Langham’s company at Stratford some years ago. He is the source (along with the writings of Northrop Frye and many other learned critics) of my professional love of the Bard’s work.
2-What do you love about The Last of Romeo and Juliet? I love what Mitchell director Mitchell Cushman has done in terms of deconstruction of the Shakespeare while using the language of Shakespeare. I love his investigation of ageing, loneliness and memory as well as of ‘love among the ruins’. I love his use of other sources within Shakespeare’s writings to explore themes of madness and loss. I love the setting. I love how he has conceptualized his version to sit within a contemporary retirement home.using the age honoured tradition of a preface/part dumb play to set the scene.
It is the kind of play I wish my grandmother could have seen when she was in a retirement home. 3) Do you have a favourite moment in The Last of Romeo and Juliet?
Romeo’s first sight of Juliet. His recovery from depression via love at first sight. His moments at the beginning with the Friar when he is planning suicide. His discovery of Juliet and his own death because he has lost her. 4) How do you feel about The Last of Romeo and Juliet as a citizen of the sandwich generation? I am not really Sandwich generation.
My daughter is 41. My parents both dead some timeand I never had to care for them. I do however remember hitch-hiking to Toronto from Nfld when I was 16, long hair, looking for love and peace amongst the hippies in Yorkville.
I visited my grandfather, who I only knew by phone calls at Christmas. I remember mid conversation he somehow lit the filter end of a cigarette and immediately lost where he was, who I was. It was scary. He had Parkinson’s and was developing a troubling dementia.
My first intimation of a fate that could await me one day. I have based my take on Romeo in this iteration of the story in many ways on the inspiration that moment has offered me. 5) Is there anyone out there who you particularly admire, and who has influenced you? Michael Langham. Click photo for Richard Ouzounian’s obituary from 2011 Michael Langham. James Reaney.
Keith Turnbull. Douglas Campbell. Marshall Mason. Landford Wilson. Katie Mitchell. Deborah Warner. Martha Henry.
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Seana McKenna. Leah Cherniak.
Douglas Rain. Maureen Forrester. Mark Rylance.
Talk is Free Theatre presents The Last of Romeo & Juliet running January 9 to 18, 2014 at the Mady Centre for the Performing Arts in Barrie. Click picture below for more information.
An item that has been used previously. See the seller’s listing for full details and description of any imperfections. Seller Notes: “ ULTRASONICALLY CLEANED. Sharp stereo copy ” Genre: Soundtracks & Musicals Special Attributes: 1st Edition, Promo Style: Film Score/Soundtrack Country/Region of Manufacture: United States Speed: 33 RPM Sub-Genre: CLASSIC movie Record Size: 12' Format: Vinyl Duration: LP Number of Discs: 1 Record Grading: PLEASE SEE LISTIING UPC: Does Not Apply Sleeve Grading: PLEASE SEE LISTING.