The price of the dollar against the Egyptian pound today, May 6, 2021

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Al-Masry Al-Youm publishes foreign currency rates in Egyptian banks according to daily price updates that are set by the banks on a daily basis. The dollar tops the list of the most traded foreign currencies, and thus one of the important indicators receiving interest from market watchers.

In the next report, Al-Masry Al-Youm monitors the exchange rate of the dollar against the Egyptian pound in a number of Egyptian banks, today, Thursday, May 6, 2021.

Despite the increase in the price of the dollar against a basket of foreign currencies in the global market, its price in Egypt was stable.

The price of the dollar against the Egyptian pound in the Central Bank of Egypt:

Purchase: 15.62

Sale: 15.72

The price of the dollar against the pound in the National Bank:

Purchase price: 15.61

Sales price: 15.71

The price of the dollar against the pound in the cib bank:

Purchase price: 15.63

Sales price: 15.73

The price of the dollar against the Egyptian pound in Banque Misr:

Purchase price: 15.61

Sales price: 15.71

The data shows the differences in the price of the dollar against the Egyptian pound between the various banks in Egypt, which include the Central Bank, the National Bank, Banque Misr and Cib Bank. Prices witness daily variations in the levels of dollar prices in banks.

In the global market, the price of the US dollar rose after optimistic data on the income and spending of US consumers and the manufacturing sector in the states of the Midwest. But the dollar index ends April down 2.1, its biggest loss in one month since December.


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The price of the dollar against the Egyptian pound today, Wednesday, May 5, 2021

Subscribe to receive economic news

Al-Masry Al-Youm publishes foreign currency rates in Egyptian banks according to daily price updates that are set by the banks on a daily basis. The dollar tops the list of the most traded foreign currencies, and thus one of the important indicators receiving interest from market watchers.

In the following report, Al-Masry Al-Youm monitors the exchange rate of the dollar against the Egyptian pound in a number of Egyptian banks, today, Wednesday, May 5, 2021.

Despite the increase in the price of the dollar against a basket of foreign currencies in the global market, its price in Egypt was stable.

The price of the dollar against the Egyptian pound in the Central Bank of Egypt:

Purchase: 15.62

Sale: 15.72

The price of the dollar against the pound in the National Bank:

Purchase price: 15.61

Sales price: 15.71

The price of the dollar against the pound in the cib bank:

Purchase price: 15.63

Sales price: 15.73

The price of the dollar against the Egyptian pound in Banque Misr:

Purchase price: 15.61

Sales price: 15.71

The data shows the differences in the price of the dollar against the Egyptian pound between the various banks in Egypt, which include the Central Bank, the National Bank, Banque Misr and Cib Bank. Prices witness daily variations in the levels of dollar prices in banks.

In the global market, the price of the US dollar rose after optimistic data on the income and spending of US consumers and the manufacturing sector in the states of the Midwest.

But the dollar index ends April down 2.1, its biggest loss in one month since December.


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The price of the Saudi riyal against the Egyptian pound today, Wednesday, May 5, 2021

Subscribe to receive economic news

Al-Masry Al-Youm publishes foreign currency rates in Egyptian banks according to today’s price updates that are determined by banks daily.

In the following report, we monitor the exchange rate of the Saudi riyal against the Egyptian pound in a number of Egyptian banks today, Wednesday, May 5, 2021.

The following report includes the price of the Saudi riyal in Egypt today, Wednesday, May 5, 2021, in Egyptian banks as follows:

1- The price of the Saudi riyal in the National Bank:

Purchase price: 4.15

Sales price: 4.18

2- The price of the Saudi riyal in the central bank:

Price to buy: 4.16

Sales price: 4.19

3 The price of the Saudi riyal in the Commercial International Bank, cib

Purchase price: 4.15

Sales price: 4.19

4 – The price of the Saudi riyal in Banque Misr:

Purchase price: 4.15

Sales price: 4:18

To find out more “daily updated” foreign currency rates at the Central Bank of Egypt Press here.

The prices of foreign currencies are witnessing stability during the past days without noticeable changes in the rates of prices against the pound as a result of the stability of the rates of supply and demand. Which led to the decline of Umrah trips and that they take place on conditions that are no longer suitable for many, and there has been stability in the price of the Saudi riyal, although the current period is one of the important seasons for increasing demand for it.


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The young man who retired at 39 thanks to Elon Musk, now follows him with a "dogs cryptocurrency" – Bae Business

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UVA fixed-term boom: how this investment works

Month by month, inflationary pressure grows worryingly. Currently, to cope with this situation, savers choose this type of investment

The fixed terms UVA they continue to stand out among term deposits in pesos. In this context, the balance of credit to the private sector in pesos fell 1.7% throughout February, while fixed terms grew again driven by UVAs, according to the Central Bank.

“The balance of credit to the private sector in pesos fell 1.7% in real terms in the month -referring to February-, although it accumulated a real year-on-year growth of 9.4%,” said a report by the entity.

The monetary authority stated that “in February the non-performing ratio of credit to the private sector for the financial system continued to decline, reaching 3.8%.”

Meanwhile, the balance of private sector deposits in pesos fell 0.8% in real terms in February, mainly due to the performance of demand accounts

“In a year-on-year comparison, private sector deposits in pesos increased by 19.3% in real terms, with growth in demand and time accounts,” the monetary authority said.

In particular, term deposits denominated in UVA “continued to grow at high rates” and reached a real 36.9% for those with early cancellation and a real 20.4% for the traditional ones. Meanwhile, he stressed that “liquidity in the broad sense of the aggregate financial system increased 0.3 points of total deposits in February, to represent 65%”

Term deposits denominated in UVA continued to grow at high rates

How does it work?

Once the deposit of the term capital has been made, it becomes GRAPES, which is adjusted according to the CER (Reference Stabilization Coefficient) index, according to the daily publication of the BCRA.

When the established period ends, it is converted back into pesos at the value of the UVA at that moment, which will have risen along with inflation.

On top of this variation, an additional is paid that each bank has but which, in general, is between 0.5% and 1.5% nominal per year.

While traditional fixed terms allow 30-day deposits, the minimum period of time for UVAs is 90 days.

UVA fixed terms in two versions

The fixed terms UVA They have two versions: the traditional, whose minimum term of permanence is 90 days, and the pre-cancelable, which also has a base term of three months but can be disarmed from the first. In the latter, banks are obliged by their regulator to offer a minimum yield of UVA + 1%, while in the other cases, entities barely pay above the inflation adjustment. In both, the client is guaranteed a positive real rate, which beats inflation.

When disaggregating the increase in the March stock according to the type of UVA deposit, the BCRA indicated that traditional placements rose 16.7% while prepayable deposits increased their stock by 35.7%.

When referring to customer type, the monetary authority pointed out that companies account for 54.6% of traditional UVA fixed terms and individuals are holders of 38% of the total.

Pesce highlighted the “accelerated growth” that the capital market had last year

The leading body Miguel Angel Pesce He highlighted that both types of holders show sustained growth since mid-November 2020 and that since the beginning of this year an acceleration has been seen in the growth of human deposits. At the same time, he pointed out that this greater dynamism was also verified in the case of prepayable deposits, whose holders are mainly retail customers.

The UVA deposits increased their stock in the first five months of 2020, when inflation remained high, and then fell between June and September, after the inflationary slowdown that was seen in the April and May data, which marked a monthly minimum of 1.5% due to strict isolation. As prices woke up, in the last quarter of last year and the first of 2021, interest in these placements in pesos rose again.

Why the interest of savers grew

Given the acceleration of the price index measured by the INDEC since December, when the price increase marked a 4% monthly that was repeated in January and later marked 3.6% in February, the interest of savers for these instruments grew strongly.

To give an example: if a person had deposited $ 100,000 in a traditional fixed term of 90 days on December 1 of last year, they would have earned $ 9,250 in interest at maturity, while if they had made a “UVA + 1%” the yield would have been $ 11,283.

Although time deposits at “UVA + 1%” still represent a small percentage of the total volume of time deposits, the proportion of UVA deposits almost doubled in recent months, going from 2.27% at the beginning of December to the current 3.95%.

“It is mandatory that banks offer in the homebanking the fixed term ‘UVA + 1%’, with which people receive inflation plus one percent per year. It is a way to protect savings of people who believe that the nominal rate offered by banks is not convenient, “said Miguel Angel Pesce, president of the BCRA, days ago.

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Hal Singer, death of a jazz memory

«Nobody knows the troubles I’ve seen.» This sentence highlighted on his website, Hal Singer had chosen on purpose. The man born October 8, 1919 in Tulsa (Oklahoma) who was the scene of a massacre when he was barely old enough to walk, will have seen all the colors, before congratulating himself on the election of Barack Obama, in 2008. The venerable saxophonist who was then preparing to blow out his 90th birthday party could not be more lucid: “The US government has made a lot of mistakes in the world with its policy. When you are this powerful you dictate your law… and history teaches us that it is seldom good. ”

His story is that of the epic of jazz: he was not even 20 when he learned the trade in Kansas City, hardly more when he surveyed the 52e street and then all the clubs in Harlem. Jay McShann, Roy Eldridge, Red Allen, Billie Holiday… He practiced them all, even before being hired at Ellington, in 1948. The same year, he signed Corn Bread, a terrible rhythm’n’blues which hoisted him to the top of the charts of “race records”, these discs marked with the seal of segregation. This 45-round under his name for Savoy will earn him a nickname. From then on, this old-fashioned tenor, always ready to exchange with the so-called “moderns”, will assert his sound, harsh to the blues, sensual on ballads, quite simply a powerful swing. Everything is there in Blue Stompin’, a Prestige vintage engraved at the turn of the 1960s. At the time, it toured a lot, with the pulpit of large orchestras as well as in the limelight. This is how he meets the one who will change the course of his life: the saxophonist has love at first sight for a «petite» came to listen to it in club.

His love affair with Arlette will last the rest of his life, materialized by two daughters and grandchildren. In France, of which he had officially become a citizen since 1986, Hal Singer will record records that will count for a whole generation of fans of a jazz that is now said to be spiritual: among these, Paris Soul Food in 1969 on Polydor where he composed a funky Malcom X, the same one of which he will deliver an extended version two years later for the visionary label Futura, and of course Soul of Africa who associates him with the pianist Jef Gilson, composer at the forefront of jazz made in France, where they venture as much on a happy highlife as they honor Marcus Garvey. At the time, he made a series of gigs in the clubs of the capital, from the Cat fishing at the Riverbop, playing with Manu Dibango and soon the South African Kippie Moeketsi… Enough to enter the legend for those who over time will become the patriarch of a community of African-American musicians who set down on this side of the Atlantic, often inviting them to barbecues in his house in Chatou (Yvelines). Even where this tireless defender of minority rights – “The passport is today the real discrimination in Europe”, he told us a dozen years ago – has passed away “peacefully” according to his relatives, at the age of 100.

Jacques Denis

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Italian composer Ennio Morricone dies at 91

Author of hundreds of film scores and Oscar-winning double, the famous Italian maestro Ennio Morricone, renowned for the soundtracks of spaghetti westerns, died Monday at dawn in Rome.

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The composer died at the age of 91 in a clinic in the Italian capital where he was hospitalized following a fall which caused a fracture of the femur. Morricone had created more than 500 musics for the cinema, with melodies as legendary as that of the film “The good, the bad and the ugly” (1966). Its most memorable composition will undoubtedly remain the haunting harmonica air played by Charles Bronson in Once upon a Time in the West (1968). Ennio Morricone “Died at dawn with the comfort of faith”, says a press release from lawyer and family friend Giorgio Assumma. “He remained fully lucid and of great dignity until the last moment”says the statement.

The most famous Italian in the world

The death of one of the most famous Italians in the world has provoked many reactions. “We will remember forever and with infinite gratitude the artistic genius of Maestro Ennio Morricone. It made us dream, it moved us and made us think, writing unforgettable notes that will forever remain in the history of music and cinema ”, Italian government chief Giuseppe Conte reacted on Twitter.

“Farewell maestro and thank you for the emotions you offered us”, commented on Twitter Roberto Speranza, Minister of Health. The homage of the Italian political class was unanimous, from the left to the extreme right and a deputy immediately proposed to give his name to a street in Rome.

“Ennio Morricone the emperor of music in the cinema, a harmonica, rhythms, melodies, unexpected instruments, trills, 3 notes easy to remember, the lavishness of his scores”, reacted on Twitter Gilles Jacob, former director of the Cannes film festival. “So sad for the disappearance of the immense Ennio Morricone. The little Toto from Cinéma Paradiso and all the composer’s lovers are upset today », commented for his part the French violinist Renaud Capuçon.

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Important concerts

For this demanding musician, concerts were also important to fully appreciate his compositions. “Because in the cinema, you can’t listen to the music carefully, there are the dialogues, the noises, the special effects, all that distracts the public. However, the music must be listened to and the concerts allow the public to listen to my music, only my music ”, he explained to AFP in 2017 in the studio he set up in his large Roman apartment.

From the age of six, Ennio Morricone, born November 10, 1928 in Rome, began to compose. At ten years old, he enrolled in the trumpet course of the prestigious National Academy of St. Cecilia in Rome. He also studies composition, orchestration, organ and is introduced to serial music. After having started with “serious” music, he started in 1961 at 33 years old in the cinema with Ultra-secret mission by Luciano Salce.

Read also,
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Celebrity arrives with For a handful of dollars (1964) by Sergio Leone. His fruitful collaboration with the master of the spaghetti western brings him an international reputation. But Morricone is not confined to the western. This Roman composes soundtracks for period films like 1900 or Vatel, comedies such as The cage of the mad and sets committed films to music: Sacco et Vanzetti (“Here’s to You” sung by Joan Baez), The working class goes to heaven or The battle of Algiers.

LIBERATION (avec AFP)

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Dumama + Kechou, a large grigri heart

Day after day, the health crisis, only serving to highlight the healing powers of music. Heal the bodies and souls, that is the whole point of this record, to be adapted to this period of great anxiety, does not allow less out gently. Listen to it in a loop open the windows to sensory while rummaging around in the depths of our unconscious, as suggested by its title, Buffering Juju, “a process of excavation content spiritually in charge of the interior”, according to its authors. The juju, this is the grigri, which recalls the magical powers of the animist religions of pre-colonial times, including this soundtrack, would be some sort of memory buffer, that of a former world sublimated in the light of new technologies.

“The ancient healing systems my people are filled with music, trance, of movement and empathy, radical, that I’m trying to connect with my own healing process”, analysis Dumama, a native of the Cape province and elevated to Pretoria in a family of singers, nurses, doctors, herbalists, “where the music and the care have always been points of connection-important”. This is why it speaks of transcendence and resilience, two key listening of an album constructed around a single narrative : the story of a black woman who comes out of prison. “It has to do with a myriad of oppressions, traumas, responsibilities, reflections, dreams, gifts…” This female figure could also symbolize South Africa, this country split where Dumama – Gugulethu Duma for the state-civil – was born at the same time as the end of apartheid. “The injustices frightening aspects of this world that occurred well before my birth and which will continue to last long after my death are certainly points of reflection in my meditations and my music. The imbalance seems to be urgent, and therefore love holds a place in the face of all the fears that emerge.” This deep trauma is emerging now is a generation which makes South Africa an attractive poles of the current creativity.

“Empathy”

It is as well as Dumama has found in Kechou – Kerim Melik Becker, his real name – a partner that can build a universe conducive to live in each of the evils with which the singer describes, the better to exorcise the microphone. Even more than it, this artisan composer embodies the globalized world : a father algerian musician and a German mother, a feminist, it is fed within the scene, multicultural Berlin. The young man will lead to first experiences trend in hip-hop and afro-jazz (as Dumama, for that matter) before leaving Africa. In Cape town, where he would study three years at the university, he is confronted with the collision between two worlds, the western values and the african roots that are not echo-free, with his own quest for identity. This cultural shock will be synonymous of click creative for the one whose rhythmic hypnotics and son melodic interwoven instruments, organic hand made, guitar do-it-yourself, percussions traficotées, and electronic sounds, samples and synths. As a soundtrack, which is located in a perspective of healing in the face of the impending disaster. “Music is a source of hope. It alone will not save the wretched of the earth, but, in connection with the social activism and global, it can create the spirituality and the empathy necessary to imagine new systems and, finally, a humanity conscious.”

No doubt, to be both complementary and similar, these are two prototypes of a hybrid regenerative were made to meet. This was done in November 2017, when Dumama contact Kechou, following the good advice of the bassist Shakeel Sohail Gibran Cullis, with whom she worked. “A week later, our first jam was made without effort”, remembers the singer and guitarist who learned then the uhadi, a musical bow cousin to the berimbau of brazil. Feelings shared by Kechou, three years her junior, in search of an originality, a quality that he perceives a posteriori the vast brewing aesthetic, which qualifies the creation of the southern Africa. “The traditional music of the Xhosa, Zulus, Pedis coexists with the jazz, pop and electronic music. The mix seems to be without limits.” And resolutely out of the constraints of time and space as defined by an industry obsolescence artistic scheduled. They will find in the Mushroom Hour Half Hour the label ad hoc, arty and craft.

Mantra

The day before yesterday, like the day after tomorrow, this intense ubiquity of postmodern nourishes their inflections sound that they name “nomadic future folk”, engraved in the wax after two years of back and twists-beyond the blinders that surround it. Nomadism, future, folk, every word counts in this way to define that which cannot be reduced to a stylistic a world that is not their own. You can see other echoes, post-jazz, proto-ambient, in this drive concept the intuition manifest. Object to the multiple reflections, depending on the time and mood, it unfolds like a long mantra, following a plot that weaves and weaves the narrative threads to form a cocoon, haunting the space in which to curl up in another reality, the ambiguity is assumed. If far away from the noises that dissipate for too long our understanding of the essential. It is the relevance of this duo that takes care of every sound, as it invites sparingly guests. The perfomeur Odwa Bongo here, as the clarinetist Angel Beats Dawid there. A few notes, a presence, all to the tune of this introspection at the heart of the feelings, which closes by Mother Time, a beautiful lullaby, where beats the pulse of a mother – the Earth, nature, one never knows… – “that has given birth to so many men to the feelings surface that curse the world right from their birth. She is sitting facing the unknown, knowingly making confidence to the mysteries of the void”.

Jacques Denis

Dumama + Kechou Buffering Juju (Mushroom Hour Half Hour/BigWax).

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Under the Reefs Orchestra: “An imaginary disorder”

The author “At first we thought we would use a magnificent painting, the work of an American named Dan Hernandez. We gave it up because it didn’t lend itself well to album art. Finally, we worked with David Delruelle, a very talented Brussels artist. He had already made covers for friends (River Into Lake, Great Mountain Fire). We contacted him first to take care of the singles Tucuman and Sumo. We found that it corresponded so much to our music and was so punchy that, just before pressing, we changed the initial cover to use his work, slightly modified for the occasion through this collage. This image works like our songs: it tells a story intensely, but does not explain anything. It is strange, and as if suspended. An invitation to listen. For me, it’s about childhood, mystery, ritual and the full moon. This is how I feel about this album of the Under the Reefs Orchestra: at night, innocent and loaded with invisible invisible forces. “

Children “They remind me of the children of William Golding’s novel, His majesty flies. A group of survivors of a shipwreck on a desert island, without an adult. The usual rules are abolished, they play outside at night, half naked. Their situation may be dramatic, dizzying, but they live their joy with total innocence. They may be climbing the side of the extinct volcano that dominates every imaginary desert island. ”

The background “If I allow myself to imagine a symbolist interpretation: the night sky, in all its vertiginous and magical immensity, is an invitation to contemplation, with the full moon as a reminder of the hidden forces. Two column trees evoke a primitive ritual; the sprawling shade of the trees as a watchful presence. What I like about this picture is its ambivalence. It does not lean to any side, it is balanced on the edge of a ridge. But it causes trouble and summons the imagination. It seems perfect to listen to this album! ”

Patrice bardot

Under The Reefs Orchestra

Under the Reefs Orchestra (Capitane Records)

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Video remix, a long-standing practice

The mashup comes from English mashed potatoes, metaphorically “reduced to puree”, a way of designating these practices which divert images from others to create new text. Inseparable from web culture and new digital tools, this art of sampling has grown on a huge family tree going back at least toOdyssey Homer’s, including Lettrists, Situationists, Dada, Jean-Luc Godard, Guy Debord, The Beat Generation, and so on. It derives more closely from the experimental tradition of found footage, literally “record found”. Both practices celebrate the primacy of editing over the script, but if the mashup generally starts from hypermedia to get it off its pedestal, found footage often operates the reverse, upward movement, by mediating the forgotten. In any case, Julien Lahmi, director of the Mashup Film Festival, who defines mashup as “Found footage pop bastard”. Below, some essential milestones in the long life of video remix, partly drawn from the research work of plastic artist Nicolas Boillot, Implications of the remix in the era of digital dematerialization, available online on its Fluate.net site.

1936. Artist Joseph Cornell, involved in the Dada movement, invents the practice of found footage by making the short film Rose Hobart, surreal montage of a 1931 film, East of Borneo, of which he only kept the passages showing the main actress, Rose Hobart.

1941. Charles A. Ridley employee of the British Ministry of Information creates one of the first viral remixes by republishing extracts from the Nazi propaganda film the Triumph of the will so as to give the impression that the soldiers are dancing to the musical song The Lambeth Walk. Joseph Goebbels had placed Ridley on a Gestapo list for elimination if Britain was defeated.

1973. A member of the situationist movement initiated by Guy Debord, René Viénet realizes Can dialectics break bricks? using Maoist propaganda and kung fu films to criticize Chinese totalitarianism at the time. It is one of the first French political remixes.

1998. Jean-Luc Godard completes a sprawling project on which he has been working for ten years: History (s) of cinema, anthology made from the juxtaposition, dissection, aggregation of hundreds of video recordings archived by him. By this way of treating the history of cinema solely from cinema, and of positioning oneself, in his words, less as a theorist than as “The recording lady”, Godard acquired for good the status of patron saint of remixers.

1993. To mark Warner’s 70th anniversary, the production company is offering Canal + permission to use extracts from its catalog (approximately 30,000 films) for promotional purposes. Via the Dune company, Michel Hazanavicius and Dominique Mézerette realize the American Class, a “Flim” composed of excerpts from classics of American cinema, with John Wayne, Robert Redford, Dustin Hoffman, Frank Sinatra, Paul Newman … and their French voices. Officially projected on the big screen at the Pompidou center in April 2009, this parody UFO will experience a new youth thanks to a digitized version, then a restoration project undertaken on the initiative of a fan, Sam Hocevar, who was able to obtain almost – all films used in better quality DVD editions.

2011. Swiss-American musician, composer and visual artist Christian Marclay creates the event at the Venice Biennale with The Clock, twenty-four hour video montage made up of thousands of cinematographic or televised sequences showing all the time (via a watch, an alarm or a dialogue) and functioning like a huge clock synchronized in real time: when a plan indicates 2:30 p.m. , it is also 2:30 p.m. on the spectator’s watch. Made in three years, the film has received no authorizations and is available in six versions – the sales of which constitute the largest sales of video art on the primary market.

2019. In his first documentary feature, Above all, don’t think I’m screaming, director Frank Beauvais recounts his depressed state through a montage of 27,000 shots taken from 400 rare films he watched, cut off from the world for seven months. The film, released in theaters in 2019 and now available in SVOD on the MyCanal platform, remained on the border of legality, as the director explained in an interview given to the CNC. The policy has been to discharge no rights but to “Credit the films from which I chose the excerpts in the final credits, to make people want to see them”.

Eve Beauvallet

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