#leupi

[rlb-fotofilmart]

Ich wünsche Euch einen besinnlichen und erholsamen 1. Weihnachtstag! 🎄🕯🎅🏼🎁💝 🥰💏 #weihnachten #Christkind #christmas #model #modelshoot #leupi #fotofilmart #rlbfotofilmart #ralfleubner #ralfleubnerphotography #studio #weihnachtsfrau #tannenbaum #weihnachtsfeier https://www.instagram.com/p/CmmCrWIK9DR/?igshid=NGJjMDIxMWI=

[liestdochkeiner]

Interessiere ich mich noch für den Bachmann-Preis? Einwenig, und ich sage mir, ich sollte mich mehr interessieren. Zu mehr als einem hier knapp formulierten Eindruck reichts dennoch nicht. Belasse es bei diesen fünf: Valeria Gordeev: wirkt trotz schöner Stellen teils wie ein durchdekliniertes Schema, ein runtergearbeitetes Thema/Programm, viele (zu viele) Sätze eher banale Informationen rhythmisiert aufeinander stapelnd. Vielleicht führt dieser Text in einer längeren Form zu etwas, in der präsentierten Form springen für mich weder sprachlich noch als (fragmentarische) Geschichte genug ‘Mehrwerte’ heraus. Anna Felnhofer: als psychologische Literatur mir gut gefallend, fast klinisch zu nennende Untersuchung, feine Beobachtungen / Formulierungen, im Lupenhaften freilich fehlt mir zuweilen etwas das sich der Sprache mitteilende Emotionale, der Ausbruch. Yevgeniy Breyger: ich meine klare Herkunft aus der Lyrik zu hören, das wird ihm einen Preis verdorben haben (leider), der sehr eigene und überaus minutiöse Stil (noch mehr als Feinhofer), Szenen mit überraschender Sprunghaftigkeit und Wendungen (”und mir für mehrere Atemzüge die Luft wegbleibt”), könnte für mein Empfinden scharfkantiger sein, aber damit projiziere ich eigene Vorliebe. Laura Leupi: das Alphabet strukturiert, an ihm entlang werden Text u. Lesung (die mir sonstig gut gefielen) entwickelt, aber wiederholt können auftauchende ‘schwere Begriffe’ nicht eigentlich entfaltet werden, die Liste beginnt insofern zu drücken, ihre Stichworte wirken dann beliebig oder selbst wie spitz erhobene Diskurszeigefinger. Martin Piekar: brauche ich wohl nicht viel zu sagen; leicht und dabei tragisch-komisch und auch schnell, Spracharbeit mit den ‘Fehlern’, “ich finde, Gedichte müssen krasser sein”, “ niemals waren meine Lieder Tünche”, “ich verstand, dass Schreiben heißt, mir selbst einen Raum zu schaffen”, der Schrei als Literatur, “ich träume deutsch”, zwei Preise verdient.

[superyachtculinaryacademy-blog]

Wow, it has been a really busy, crazy month with so much to catch-up and share with you. And also a big REVEAL happening soon! Watch this space... But first, we would like to congratulate our awesome graduates who were on our last Superyacht 8 Day Culinary Course, which they completed with flying colours! We will be introducing them to you shortly with an update of the experiences they had with us. A huge congrats to: - Sara Nelson -Jessi Shipley -Sina Leupi #superyachtculinaryacademy #chefsinagalley #galleycheftraining #cookinginthegalleytraining #chef #cheflife #chefskills #chefintraining #discoveringchefs #professionalchefs #cook #cooiing #cookinglife #cookingtime #cookinghealthy #gourmet #food #foodie #foods #foodlover #foodporn #healthyfood #foodart #experience https://www.instagram.com/p/B2B_jHfJntF/?igshid=gg8uum8pww3l

[serignegorgui]

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A post shared by Le Mouridisme (@lemouridisme)

BAMBA KHAM BEUG ❤️ Bismil_illahi barkep borom magal gui ❤️😍😍❤️ Don mbeutoum Serigne bi dano geuneul leupi adunna #lemouridisme #mouridetv #mouridepost #toubatv #bambafepp #bambam #mouridevisuel #mouridesadikh #bichritv #touba_xassida #serignetouba #team221 #dakar2021 #dakarbuzz #diasdelutadiasdegloria #dakarlives #kebetu #koudoul_baay_faal_bi_baay_faal_bi_mola_gueun #kébetu #diasdelutadiasdegloria #diaspora #diasporasenegalaise (à Touba darou Khoudoss keur Serigne Sonhibou) https://www.instagram.com/p/CWin8YjDT-3/?utm_medium=tumblr

[brokehorrorfan]

Event Report: Carpenter Brut in Concert

Carpenter Brut pays tribute to his namesake, filmmaker/composer John Carpenter, by blending synthesizer sounds akin to 1980s film scores with electronic beats and a dash of heavy metal for good measure. The resultant music is equally ready for dancing, headbanging, or a movie soundtrack. The French musician recently brought that unique combination to Brighton Music Hall in Allston, Massachusetts on March 8.

The man behind Carpenter Brut chooses to remain anonymous. He prefers to keep the focus on his music - and with good reason, as he's one of the best artists in the budding synthwave genre. His live show really sets him apart from his peers, as he performs with a live guitarist and drummer. Not only do the added musicians create a fuller sound, but they also elicit a whole different energy in a live setting. Unsurprisingly, there's no talking on stage between songs, allowing the music speak for itself instead.

Carpenter Brut took the stage to the sound of Laura Branigan's "Hot Night" from the Ghostbusters soundtrack. As the song came to an end, the ominous opening notes of "Escape from Midwitch Valley" rang out across the packed venue. The band performed for over an hour, while obscure horror/exploitation clips and other creepy imagery - all perfectly synced to the music - was projected on the screen behind them. The evening was capped off with a rousing cover of Michael Sembello's Flashdance favorite, "Maniac." The pleasant surprise ended the night on a high note.

Carpenter Brut were joined by Le Matos for the east coast dates. (Unfortunately, the band had to drop off several shows later due to a family emergency.) The Canadian duo gained prominence by composing the score for Turbo Kid, perfectly capturing the style of '80s action and sci-fi movies. They opened with "Intro" and "Wasteland" from the soundtrack, then went on to play more choice cuts from Turbo Kid along with other original material. Jean-Philippe Bernier and Jean-Nicolas Leupi clearly enjoyed playing live, as they were all smiles between songs.

The opening slot went to Chrome Over Brass, the solo project of Alex Garcia-Rivera, who's best known as the drummer of Boston hardcore legends American Nightmare. Garcia-Rivera played drums over pre-recorded tracks, on which he performed all of the instruments. Most of the songs channeled his hardcore/punk roots, but some had more of a groove to give the set a nice ebb and flow. Like any good drum solo, he kept perfect time while showcasing his impressive musicianship.

Massachusetts was the first stop on Carpenter Brut's North American tour, which is currently underway, after which he'll return to Europe for more shows. There's nothing wrong with an artist standing alone on stage behind a keyboard and a laptop, but Carpenter Brut offers more than that. He turns his dark synthesizer songs into a full-blown rock show, further evoking the almighty John Carpenter.

[nightmareonfilmstreet]

[Exclusive Interview] SUMMER OF ’84 Directors Talk Serial Killers and Sundance

I feel a certain pride when talking about directors from Quebec; Xavier Dolan and Denis Villeneuve are a few names that come to mind, but recently my attention has shifted to RKSS (RoadKill SuperStar). The trio, consisting of Anouk Whissel, François Simard and Yoann-Karl Whissel, started off making low-budget horror shorts with their friends, but later gained international recognition for their 2015 feature-length debut Turbo Kid.

Last week, RKSS premiered their second feature Summer of ‘84 at this year’s Sundance Film Festival. Produced by Gunpowder & Sky, Summer of ‘84 is a dark thriller set in an American suburb. Although it’s not fantastical like Turbo Kid, the movie still carries the signature style of RKSS that I’ve come to love. I got a chance to speak to two thirds of RKSS before their final screening at Sundance. Being a huge fan of Turbo Kid, I tried to set aside all my nerd excitement and keep my cool over the phone.

Chris Aitkens for Nightmare on Film Street: What’s it like returning to the Sundance Film Festival now that you’re more established as directors? Do you feel like rockstars?

Anouk Whissel: Not really, but we feel less like impostors, because we felt like we were out of place the first time, that we wouldn’t belong here.

François Simard: The first time we were a bit more shy. My English wasn’t that great. But we did it! This year, we felt more pressure, mainly because we’re returning with a very different movie than Turbo Kid. We were very nervous with the expectations from people who had loved Turbo Kid. This movie is very grounded, it’s the most serious movie we done so far, so we didn’t know how people would react to it.

NOFS: You had the world premiere on January 22nd, what are some of the things you’ve been hearing back from audience members and critics?

FS: The premiere has been insane, it really surpassed my expectations. So we’re very happy. The fans seem to love it. And we knew that some would love it, some would hate it, but nobody is indifferent. We’re happy about that. We were surprised by some of the critics who were really mean, but we don’t do this for them, we do this for the fans, because we’re fans too.

AW: And we got some nice critics as well, but the crowd is really showing us a lot of love, and they’re staying for the Q&As and we got some super cool questions and they’re hanging out with us after, they really love it, so we’re really thankful.

FS: It was the same with Turbo Kid, you can’t please everyone. It’s part of the game. But so far, we’re so grateful to be here and it’s been a blast. Every screening has been sold out and I think the one tonight (the last screening) is sold out too.

NOFS: From what I read, you got the script before this whole 80s nostalgia craze hit its peak with Stranger Things. How did you come across the script and how long ago was this?

AW: We came across the script in the summer of 2015, it was before we knew Stranger Things was happening. When they released the first poster, we were really bummed out. We thought “Oh no, they did it first!”

FS: And we were working on the project for one year at the time. But we saw that there was an audience for that kind of nostalgia and we got the greenlight soon after, very easily.

AW: Yeah, the popularity of Stranger Things really helped with launching our project. I was refusing to watch it for some time because I was so afraid that they would be too much alike. When I actually watched it, I was surprised because it’s really different. I was happy, I could relax and enjoy it.

FS: The only thing we changed was the reference to Dungeons & Dragons. But the kids are older, they drink, they swear, they only talk about sex, like we did in the 80s. It’s an indie thriller, there’s no supernatural stuff. It’s grounded in reality, which for us, makes it more scary. The tone is very different, so it’s its own entity. We’ve gotten good feedback from fans of Stranger Things, they wanted to see something different and they were grateful for that.

NOFS: I’m curious; did you grow up in the suburbs?

AW: Yeah, we did, actually. That’s why we felt so compelled by the script, because we recognized our friends and we recognized our games. We really felt attached to them because these kids are us.

FS: The only difference was that we were talking French, but it’s pretty much the same suburb, the same life. I would add that the reason this story is set in the 80s, it’s not because it’s trendy, we’re not trying to capitalize on the success of IT or Stranger Things, it’s because in the 80s in the suburbs, feelings of safety started to fade away. There were more abductions.

AW: Yeah, they were talking more about it in the news, so people started being paranoid and locking their doors. In the mid-80s, that shift started to happen. That theme is at the core of the story, that’s why it’s set in the 80s.

NOFS: Being in the suburbs, did your imagination ever run wild because there’s nothing better to do there?

FS: Yeah, we had no internet, no Facebook or social media. We had to hang out outside.

AW: I think everyone has had that weird neighbor who nobody really knows, who usually doesn’t like kids.

FS: Yeah, your dog would bring you a bone and you would think “Oh my god! There’s a body buried somewhere.” And when we read the ending (we won’t spoil it), that’s why we jumped into the project. And we didn’t plan for our second feature to be set in the 80s. It’s really because it’s so hard to have a movie financed so you need to be working on different projects. Turbo Kid 2 is one of them. But we didn’t want to do a sequel right after the first, because then we would have to do the third and the fourth, and we didn’t want to be only known as the Turbo Kid guys. We’re happy to have something different and to explore. That being said, Turbo Kid is our baby and we can’t wait to work on the sequel.

NOFS: Going back to Summer of ‘84, I noticed a lot of 80s references like the punk bands and the kids talking about Gremlins. Did you have to do research to make sure it was as historically accurate as possible or were the references all from memory?

AW: I think at first, it was from memory, but we double-checked everything to make sure there weren’t any references to bands or anything that came after the summer of ‘84.

FS: Even for the cars, we had to check if the cars were made before ‘84. So everything is legit.

NOFS: I really liked the mood of the movie, it’s very haunting and uncertain, you never know what’s going to happen. I feel the mood comes across very well thanks to the soundtrack provided by Le Matos (who also did the soundtrack for Turbo Kid). What’s your relationship with Le Matos?

AW: JP Bernier is one of the members of Le Matos, and he’s one of our best friends and our director of photography as well. We started working with him in 2007, I think. It was a while back, and at that time, he didn’t have his band. He created that band with Jean-Nicholas Leupi later on, and from that moment, they started to score our short films as well. We have a very strong relationship with him. It’s natural for us to bring them on board, and because JP is involved in the early process as a DP, I think the music is so connected to the image.

FS: He’s actually the fourth member of the band (RKSS). We’re so happy to have him. When we were younger, in the early 2000s, we started making shorts and we didn’t know anything about the technical side. We met JP because of Despised Icon (the death metal band from Montreal) and he made music videos for them and I was a huge fan. He saw our shorts and he said the only thing we need is a good DP. Since then, he’s been with us and he’s a good friend and we’ll try to bring him on board for every project.

Photo by David Sidaway of the Montreal Gazette. Notice the NAILS and Full of Hell tuques

NOFS: I noticed the Full of Hell patch on François’ hat and I think I saw Anouk wearing a NAILS hat in another picture. Would you ever consider making a movie with a grind or extreme metal soundtrack?

FS: I would love to, but I don’t know if there’s money for that because extreme music is not for everybody.

AW: If we could find a project that fits, it would be crazy, for sure.

FS: We did a short called Le Bagman back in 2004, and all my favorite bands were in that movie. It’s very DIY, though.

NOFS: When it comes to the three of you acting as directors, have you figured out a system where each person has a separate job, where nobody is stepping on each other’s toes? How do you organize working with three directors?

AW: When we write, we write together and we argue a lot and we fight, but nobody sees it. That’s the only time we fight, behind closed doors. When we’re with our team, we don’t want chaos. We’re very strict with our preparation, we have our storyboards and we show up overprepared. So when we’re on set, we can split. Yoann-Karl is with this actors.

FS: He’s the one with the loudest mouth, so it’s a shame he’s not here.

AW: François edited all our short films. He sticks to the storyboard and he’s with JP the DP, just to make sure we’re not missing any shots for the edit. I’m the head of departments and the overseeing eye to make sure everything is following our vision and that we’re on the right track.

FS: On set, if somebody has a question and they don’t know who to ask, or if there’s a problem, we can take care of it, that’s why we split. Rich Sommer (who plays Officer Wayne Mackey) did test us, just to see if we have the same vision and the same answers. He asked the same question to each of us, without us knowing, but we gave him the same answer.

NOFS: As directors from Quebec, do you ever feel there’s a language barrier when you’re talking to the cast?

AW: Not really. I think it’s been going very well. I don’t think we’ve ever had problems getting people to understand us, even if we don’t have the best words every time, it’s never been a problem.

FS: But like I said, at first I was the one struggling with my English. We spent three weeks in New Zealand for the post-production of Turbo Kid and that really helped. Now I can express myself. But we always have storyboards, so at least we can explain what we want very easily to the whole crew, it’s the best way to go.

NOFS: I know you don’t want to be known as the Turbo Kid guys, but are there any details you can tell me about the next Turbo Kid movie?

FS: It’s at the writing stage right now. We want to work on it more to be sure that it’s the best script ever. I think we owe this to the fans, some have tons of tattoos and fan art and cosplay, so we need to take our time.

AW: What we can say is that it’s going to be a sequel, so we’re going to follow The Kid as he travels through the Wasteland after what happened with Apple.

FS: He wants to know what’s on the other side of the Wasteland and that’s where the story takes place. Like I said, we’ll do it once the script is good and when we have a decent budget to be able to take our time with it. Last time, every day we had to cut and we had to sacrifice. It’s a good thing to learn, but we had to cut on the gore, on the action, on the set pieces and the stunts, and we preserved the love story. I know for the sequel, it needs to be bigger, so we’ll need a much bigger budget.

Summer of ’84 had its world premiere at the 2018 Sundance Film Festival. Keep your eyes peeled for future film festival announcements.

Poster for Summer of ‘84

The post [Exclusive Interview] SUMMER OF ’84 Directors Talk Serial Killers and Sundance appeared first on Nightmare on Film Street.

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[tatortbernstrasse]

KRAUT #0 - Paul Lipp Reto Leuthold Esther Leupi Timo Müller Die Ausstellung KRAUT #0 im Tatort Bernstrasse in Luzern von Reto Leuthold, Paul Lipp, Esther Leupi und Timo Müller eröffnet das Kunstfestival Kraut, welches in den Sommermonaten Juli und August an diversen Orten in der Stadt Luzern stattfinden wird. In dieser Initialausstellung an der Bernstrasse 94, welche während der gesamten Dauer des Festivals immer donnerstags geöffnet sein wird, zeigen die vier Kunstschaffenden Arbeiten im Bereich Malerei, Zeichnung und Skulptur. An der Vernissage wird auch das weitere Programm für das Kunstfestival bekanntgegeben. Zusammen mit der Architektin Alice Busani haben Reto Leuthold, Paul Lipp und Esther Leupi Künstler aus Luzern, aus der Schweiz und dem nahen Ausland eingeladen, welche verschiedene öffentliche Orte in der Stadt Luzern bespielen werden.

VERNISSAGE Donnerstag 29. Juni, 19:00 Uhr MUSIK Simon Iten Kontrabass

[rlb-fotofilmart]

Ich wünsche Euch allen ein friedvolles und besinnliches Weihnachtsfest im Kreise Eurer Lieben! Genießt die Tage und lasst es Euch gutgehen! 🎄🕯🎅🏼🎁💝 🥰💏 #weihnachten #Christkind #christmas #model #modelshoot #leupi #fotofilmart #rlbfotofilmart #ralfleubner #ralfleubnerphotography #studio #weihnachtsfrau #tannenbaum #weihnachtsfeier (hier: Bonn, Germany) https://www.instagram.com/p/Cmhh-GYqTc3/?igshid=NGJjMDIxMWI=

[rlb-fotofilmart]

Ich wünsche allen ein frohes, ruhiges und besinnliches Weihnachtsfest. Genießt die Zeit und lasst es Euch gut gehen! 🎄🕯🎁🎅🏼🍪 #weihnachten #weihnachtsfrau #engel #fotofilmart #rlb #rlbfotofilmart #leupi #ralfleubner https://www.instagram.com/p/B6eIaIOJrsi/?igshid=1ol9wsnho4r8p

[rlb-fotofilmart]

In der linken Box!!! Die bezaubernde @carryinked 👍👍🤩 #leupi #ralfleubner #ralfleubnerphotography #rlb #rlbfotofilmart #fotofilmart #fotografie #carryinked #mietstudiobonn #dessous #pinkbox #instagood #instapic #picoftheday #bestpic #bestpicture (hier: Mietstudio-Bonn) https://www.instagram.com/p/BvWp3CMgRi5/?utm_source=ig_tumblr_share&igshid=x3opxv4bwk9u

[rlb-fotofilmart]

#ralfleubner #leupi #outdoor #outdoorshooting #model #nudeart #snow #schnee #schneeshooting #t_alice #farmgirl #sexy #alina #picoftheday #pictureoftheday #instaphoto #instalike #fotofilmart #rlbphotography

[footballghana]

Executive Committee proposes Issa Hayatou as Honorary President of CAF and approves several guidelines for good governance

The CAF Executive Committee met today, Thursday 10 December in Cairo.

The committee approved major reforms aimed at better ways of combating corruption and bad governance, protecting the integrity of the game, as well as several measures in response to the health crisis linked to the Coronavirus. At the opening of the meeting, the members of the Committee observed a minute of silence in memory of the members of the confederation, who died in recent weeks, namely: General Séyi Mémène, former CAF Vice-President and Mr. Augustin Sidy Diallo, President of the Ivorian Football Federation.

HONORARY CAF PRESIDENT

The Executive Committee has decided to propose to the General Assembly of CAF to grant the status of Honorary President of CAF to Mr. Issa Hayatou, the renowned personality of African football for his work.

This distinguished leader presided over CAF for 30 years - from 1987 to 2017 - and this honour salutes his immense role in the development of African football.L

INSPECTION VISITS

TOTAL CHAN CAMEROON 2020

The Committee took note of the last inspection visit report on infrastructure (stadiums, training grounds and hotels) which took place in October 2020 in Cameroon. The three host cities of the competition, Yaoundé, Douala and Limbe received CAF delegation visit The Committee notes with satisfaction that the host country is ready to host the event.

TOTAL AFCON COTE D’IVOIRE 2023

The Committee listened to the report of the inspection visit to infrastructure (stadiums, training grounds and hotels) in Côte d'Ivoire. It noted that the various projects should be completed before the announced deadlines. The Committee congratulated the host country for this satisfactory development.

WOMEN'S CHAMPIONS LEAGUE

The Committee approved the regulations for the Women's Champions League which will be organized annually according to the following guidelines:

The champion club of the last edition of the national league in each association will enter by request from the association.

If the national league has not been organized, the national association takes responsibility for appointing a representative.

The qualifiers will be organized in CAF six (6) zones.

The final tournament will bring together representatives from each zone and will comply with all CAF competitions.

The zone of the title holding club will enter 2 teams.

2020 TOTAL CAF SUPER CUP AND 2020 BEACH SOCCER AFCON

Faced with the difficulty of finding an agreement with the Qatari Football Federation (QFA) for the organization of the 2019/2020 Super Cup, Al Ahly (Egypt) Vs. RS Berkane (Morocco), the Executive Committee decided that the Total CAF Super Cup will take place in the first half of 2021.

Upon the proposal of the Senegalese Football Federation, the Executive Committee approved that the 2020 Beach Soccer Africa Cup of Nations in Senegal will be held from 23 to 29 May 2021.

NEW LICENSE PROCEDURE

The Executive Committee approved a new club licensing process aimed at preserving the integrity and smooth running of club competitions.

In total, the Executive Committee approved the following guidelines:

A new edition of the CAF Men’s Club Licensing Regulations

The inaugural edition of the CAF Women’s Club Licensing Regulations•

A new CAF Stadium regulations

A new CAF Club Licensing Quality Standard

Club Licensing catalogue of sanctions

The criteria for licensing clubs are structured around five pillars: sporting, infrastructural, administrative and personnel, legal and financial.

We retain among others:

The transition from criteria A, B and C to two types of criteria: continental and national

The process of obtaining club licenses will now be done via the CAF online platform.

The process which will be compulsory for continental and national competitions.

The Committee welcomed the fundamental influence that this licensing process will have on the functioning of the clubs. It will make it possible to:

Make sure that men's and women's football clubs have appropriate management and organization;

Continue to promote and continuously improve the quality standard of all aspects of club football in Africa.

Improve the sports infrastructure of clubs;

Improving the economic and financial capacity of clubs, through appropriate corporate governance and control;

Ensure and guarantee the continuity of the clubs' international competitions during the season

OPENING OF HOST BIDDING APPLICATIONS FOR THE NEXT CAF COMPETITIONS

The Executive Committee approved the opening of host bidding applications for the following competitions:

The Final of Total CAF Champions League 2021, 2022 and 2023

The Final of Total CAF Confederation Cup 2021, 2022 and 2023

The 2021 Women's Champions League

Moreover, the following competitions are already allocated within the deadlines set out in CAF's statutes:

2021 AFCON: Cameroon

2023 AFCON: Cote d’Ivoire

2025 AFCON: Guinea

CHAN 2020: Cameroon

CHAN 2022: Algeria

U-17 AFCON 2021: Morocco

U-20 AFCON 2021: Mauritania

ACCOUNTS, GOVERNANCE AND ORGANIZATION

ON GOVERNANCE:

The Committee took note of the report of the Independent Internal Audit and Compliance Committee, which was satisfied with the overall development of new governance practices within the institution and urged the administration to continue its efforts.

To implement the compliance program, the objectives of which for CAF are in particular:

To be the best African sports institution in terms of good governance.

Recognize CAF as the leading African sports institution in the fight against corruption and bad governance.

Protect the integrity of football for the benefit of all football fans in Africa and around the world

The Executive Committee then approved the following directives:

CAF Code of Conduct

Compliance Manual

Conflict-of-Interest Directive

Directive on confidentiality and data protection

Anti-Corruption Directive

 Directive on Gifts and Hospitality

Whistleblower Policy

Compliance Monitoring Program

CAF officials travel policy

The Committee took note that a code of ethics is being studied by the specialized committee.

ON THE ACCOUNTS:

To facilitate the smooth running of the institution, the Executive Committee approved the validated accounts for the financial year ending on June 30, 2019. It ended with a balanced operating result, much better than the deficit of the last year. That was in particular due to cash which increased by 38%. It further shows that more than 85% of the income has been invested directly in football and its development.

The Committee approved the 2020-2021 budget to welcome the new governance-oriented culture being implemented at CAF, and reaffirmed the need to structurally improve CAF's finances through a series of measures:

Reduction and control of expenses;

Consideration of the financial impact of each decision on the financial situation of the institution;

Increased commercial income

The Committee commended the efforts of the administration which it encouraged for the clarity of the documents presented.

ABOUT THE ORGANIZATION:

The Executive Committee confirmed the appointment of Mr. Alexandre Siewe Leupi to the post of CAF Director of Communication, as of October 11, 2020. Expert in Communication and brand management, Alexandre Siewe has considerable experience acquired in various companies and organizations.

The next meeting of the Executive Committee will take place on January 15 * 2021 in Yaoundé, the day before the opening match of CHAN Total Cameroon 2020.

Source: cafonline.com

source: https://footballghana.com/