Latest news with #Oberon
Yahoo
16-05-2025
- Business
- Yahoo
Oberon Uranium Corp. Executes Agreement to Sell Saskatchewan Mineral Claims
Vancouver, British Columbia--(Newsfile Corp. - May 15, 2025) - OBERON URANIUM CORP. (CSE: OBRN) ("Oberon" or the "Company") is pleased to announce that it has signed an asset purchase agreement dated May 15, 2025 (the "Agreement") with 2037881 Alberta Ltd. ("ABCo", a wholly-owned subsidiary of Oberon) and Little Fish Uranium Corp. ("Little Fish" or the "Purchaser"), pursuant to which Oberon and ABCo have agreed to sell to Little Fish 22 mineral claims totaling 18,924 hectares known as the Fusion Uranium Zone Project located in the Athabasca Region of Saskatchewan. Under the Agreement, Little Fish has agreed to pay to Oberon $700,000 in cash on closing of the transaction. Closing is anticipated to take place on May 22, 2025, and the Company will provide an update on closing. The transaction is an arms-length transaction for the Company and does not constitute a fundamental change or result in a change of control of the Company, within the meaning of the policies of the CSE. About the Company Oberon Uranium Corp. is a mineral exploration company with a 100% interest in the past producing Lucky Boy Uranium Property located in Arizona, USA. Oberon also owns a 100% interest in the Fusion Uranium Zone Project located in the Athabasca Region of Saskatchewan, Canada. For further information, please refer to the Company's disclosure record on SEDAR+ ( or contact the Company by email at info@ On Behalf of the Board of Directors "Lawrence Hay"President and CEOTel: 778.317.8754 Email: info@ Forward-Looking Information Certain statements in this news release are forward-looking statements, including with respect to future plans, and other matters. Forward-looking statements consist of statements that are not purely historical, including any statements regarding beliefs, plans, expectations or intentions regarding the future. Such information can generally be identified by the use of forwarding-looking wording such as "may", "expect", "estimate", "anticipate", "intend", "believe" and "continue" or the negative thereof or similar variations. The reader is cautioned that assumptions used in the preparation of any forward-looking information may prove to be incorrect. Events or circumstances may cause actual results to differ materially from those predicted, as a result of numerous known and unknown risks, uncertainties, and other factors, many of which are beyond the control of the Company, including but not limited to, business, economic and capital market conditions, the ability to manage operating expenses, and dependence on key personnel. Such statements and information are based on numerous assumptions regarding present and future business strategies and the environment in which the Company will operate in the future, anticipated costs, and the ability to achieve goals. Factors that could cause the actual results to differ materially from those in forward-looking statements include, the continued availability of capital and financing, litigation, failure of counterparties to perform their contractual obligations, loss of key employees and consultants, and general economic, market or business conditions. Forward-looking statements contained in this news release are expressly qualified by this cautionary statement. The reader is cautioned not to place undue reliance on any forward-looking information. The forward-looking statements contained in this news release are made as of the date of this news release. Except as required by law, the Company disclaims any intention and assumes no obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. The CSE has not reviewed, approved or disapproved the contents of this news release. To view the source version of this press release, please visit Sign in to access your portfolio
Boston Globe
11-05-2025
- Entertainment
- Boston Globe
At Somerville concert, Amanda Palmer says she feels ‘overwhelmed'
'You said you'd quit, but you didn't,' she sang. Another song detailed a 'list of things you've stolen from me.' A third was a cathartic exhortation to herself to 'get divorced.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up A second show at National Sawdust in Brooklyn was Advertisement 'I feel f—ing overwhelmed all the time,' she said, noting that she and the nine-year-old son she has with Gaiman have moved back into the Lexington house where she grew up. Advertisement Many in the audience indicated they were contributors to Palmer's Patreon, the crowd fundraising platform that allowed her to build a solo career outside the corporate music industry. This month's shows in Boston and New York City were intended as 10-year celebrations of the launch of her subscription service. She took the stage with Lance Horne, the nightclub performer who was music director of the 2010 'Cabaret' performances at the former Oberon in Cambridge, in which Palmer played the Emcee. Palmer, dressed in a maid's black dress and apron, joked that her new songs were conceived in her 'Cancel Kitchen.' She grabbed a whisk broom and began sweeping the stage, while Horne, wearing a tall red chef's hat, sat at the white grand piano at center stage. Other than their laughter at that ice breaker, the audience was mostly hushed. 'I used to love playing the piano,' Palmer began one new song, which referenced the psychic toll of the charges against her. A few fans caught their breath. Alone onstage, she let the new songs speak for themselves. When she was finished with those, she noted that going so long without editorializing between songs was 'a new record' for her. Switching from piano to ukulele, she played 'Bigger on the Inside' from her third solo album, 'There Will Be No Intermission' (2019). The song ends with an appeal from a beloved friend who is dying: 'Trying is the point of life/ So don't stop trying/ Promise me.' Horne returned to accompany Palmer on a number from 'Cabaret,' the dramatic 'I Don't Care Much.' 'Cabaret,' Palmer reminded the audience, is about decadence during the rise of Nazi Germany – about 'escaping so far that you go through the other side, and you don't notice the tanks rolling down the street.' Advertisement After ending with the Dresden Dolls' anthemic 'Sing' (2006), on which some of Palmer's friends and family (including her father) joined her onstage, she sat down and took questions from the audience. Noting that she wouldn't directly address the allegations, she answered mostly sympathetic questions about her artistic process and online trolls. Palmer spoke about artists who have been important to her (the comedian Margaret Cho, the writer Ocean Vuong), practicing 'radical compassion,' and her despair over the Internet, which she once saw as an ideal conduit between creators and their admirers. It has been a struggle, she said, 'to watch the court of public opinion tear me apart.' That has 'mangled' me, she said. Earlier, in one of the new songs, she expressed her typical defiance. 'You broke me,' she sang, ''til I'm unbreakable.' James Sullivan can be reached at .
South China Morning Post
30-04-2025
- Entertainment
- South China Morning Post
New game Atomfall turns real British nuclear disaster into something much worse
Northwest England, October 1957. A fire breaks out in the Windscale reactor on the site of the nuclear complex now known as Sellafield. Radioactive gases contaminate an area of several hundred square kilometres. A number of people die in the accident. Advertisement Based on this real event, the British development studio Rebellion has created a fictional scenario for the PC and console game Atomfall. Set in 1962, five years after the Windscale fire, the story is even darker and grimmer than the reality. In this action-survival game, you explore a post-apocalyptic northern England full of horror, secrets and uncertainty. People are suspicious, supplies are scarce and dangers lurk everywhere. You will encounter numerous characters on your journey, some of whom are helpful and informative, while others have ill intentions. The name Oberon recurs repeatedly but what it means and why it seems so important remains a mystery for a long time. The game is played from a first-person perspective. As you move through deserted areas, you must not only be on guard against enemies but also search for new supplies and resources. Ammunition is extremely rare, so fighting should be carefully considered and is often better avoided altogether. In addition to firearms, you can rely on your fists in close combat, and use various helpful objects. Advertisement The gaming world is dark and authentic, while gameplay is enhanced by the excellent soundtrack and the 1960s visuals. The console versions could use some tweaking in terms of graphics as they occasionally experience blurry or flickering textures.
Yahoo
07-03-2025
- Climate
- Yahoo
Bell's Brewery is introducing a new beer on Oberon Day. What's on the way in Michigan
Oberon fans can get their taste buds ready for a lighter version of the Michigan-produced beer ahead of Bell's Brewery's annual springtime release party. Bell's Brewery announced it will unveil Oberon Light as part of its Oberon Day celebrations, which will take place March 24 in Kalamazoo. Oberon Light comes in at only 99 calories while the original has 187, but company officials say it won't sacrifice from the flavor fans of Oberon Ale have come to expect: citrusy, easy drinking and refreshing. As a lighter version beer, Oberon Light will have a lower alcohol by volume (ABV) than traditional Oberon. The lighter version will have 4% ABV and, starting March 24, will be available in 6- and 12-packs of cans. Bell's Brewery describes the flavor profile of Oberon Ale as bright and citrusy with a spicy hop character. 'Oberon Ale is sunshine in a glass,' Bell's Brewery says on its website. 'Get into a summer state of mind and #ReachForTheSun.' Oberon is a wheat ale brewed with wheat, malt, hops, water and Bell's "signature" house ale yeast; it's among the brewery's seasonal selections — available from late March to September. More: Bell's Brewery to open new bar, restaurant at Little Caesars Arena Alcohol by volume is a standard unit of measurement used to show the percentage of alcohol in an alcoholic beverage. The number represents the total volume of liquid in an alcoholic beverage that is made up of pure alcohol. The higher the ABV, the more alcohol in the drink. ABV is an important listing on alcoholic beverages as it helps consumers understand the alcohol content of a beverage so they can make informed decisions about consumption. Oberon Light's total volume of pure alcohol is 4%. Original Oberon Ale has an ABV of 5.8%. Oberon Day in many ways serves as an unofficial start to the summer season, even though spring starts on March 20 — four days before Oberon Day. It has become an annual event to celebrate the approach of warmer weather and the start of the baseball season. More: Bell's Brewery sets Oberon Day 2025 for March 24: What to know With free admission to those who are of legal drinking age, Oberon Day starts at 11 a.m. March 24 in Kalamazoo at Bell's Eccentric Café, 355 E. Kalamazoo Ave. 'You know the drill! Reach for the sun with the first glass of Oberon on Oberon Day,' Bell's website says. Oberon Day pub hours are 11 a.m. to 10 p.m., and the Oberon Day general store hours will be 10 a.m. to 8 p.m. A musical lineup for the celebratory day includes DJ Sarah Riegler, Kait Rose & The Thorns with Special Guests, DJ Tribewalker, The Insiders and Saxsquatch & The Varmints. — Contact reporter Brad Heineman at bheineman@ or follow him on X, formerly Twitter: @LenaweeHeineman. This article originally appeared on The Daily Telegram: Bell's Brewery to celebrate Oberon Day with new Oberon Light
Yahoo
01-03-2025
- Entertainment
- Yahoo
The Unsung Pioneer of the Oscars
In 1935, a young actor named Merle Oberon landed the role of a lifetime. The Hollywood mogul Samuel Goldwyn was planning to remake the 1925 silent film The Dark Angel as a talkie. Oberon, with her coaly hair and olive complexion, did not quite fit into anyone's idea of the heroine, who in the silent film had been a fair-skinned maiden of the English countryside. Goldwyn's colleagues thought her too 'exotic' and 'Oriental' for the part; when the casting was announced, readers wrote into fan magazines taking umbrage with the selection of an 'Asiatic adventuress,' as one letter noted. But Goldwyn was convinced of her promise. His instincts proved correct when reviews praised Oberon as a revelation. 'Miss Oberon, abandoning the Javanese slant of the eyes for the occasion, plays with skill and feeling,' The New York Times stated. Such critical rapture would bring her to the Eighth Academy Awards as a nominee for Best Actress alongside Bette Davis and Katharine Hepburn. At the time, however, the public was not aware of a crucial part of Oberon's life: She was Asian, technically making her the first performer of color to be nominated in any acting category at the Oscars. Oberon, who was born into poverty in Mumbai to a Sri Lankan mother and white father, had followed her publicists' demands to 'pass' as a white woman from Tasmania—a deception that would continue until her death, in 1979, and that was revealed only in the following decade. I first learned about Oberon as an Oscar-obsessed high schooler in the late aughts. I was drawn to her story because of our shared South Asian heritage and our connection to Kolkata, the city where she—like my Bengali father—was raised. Her work as the tragic heroine Cathy Earnshaw in William Wyler's Wuthering Heights, arguably her most famous film, transfixed me. At the time, there were few South Asian faces in Hollywood, and the fact that Oberon had managed to break through more than 50 years earlier beggared belief in my young mind. In writing a biography of Oberon, I came to see her as an early screen pioneer despite her elision from narratives of racial progress in Hollywood. Oberon's race did not overly restrict the roles she was offered; in fact, her entire career refused such tidy outcomes. Through her work, she was an early—if accidental—proponent of so-called color-blind casting, in which a performer's race does not limit the parts available to them, long before such a concern became standard in the industry. She deserves compassion, not judgment, for the constraints she was working under to make this possible. Two years ago, Oberon's name briefly reentered the news cycle when Michelle Yeoh became the second Asian actor to receive an Oscar nomination for Best Actress, 87 years after Oberon's recognition in that category. The complexities that Oberon's story presented had outlets scrambling—some relegated her to a 'technicality,' while others engaged in semantic contortions and called Yeoh the Academy's first 'Asian-identifying' Best Actress nominee. 'Some recordkeepers consider Merle Oberon (1936, The Dark Angel) to be the first Asian best actress nominee, but she hid her ancestry (her mother was reportedly of partial Sri Lankan descent) and passed for white,' wrote The Hollywood Reporter's Rebecca Sun in an article whose headline declared Yeoh to be the 'First Asian Best Actress Nominee,' thus discounting Oberon. But Oberon was no self-hating, assimilationist stooge of whiteness; instead, the social and political conditions of her era forced her to pass. Oberon's mixed-race, lower-class roots alienated her, as a young girl in India, from surrounding society. After immigrating to London in the late '20s by pretending to be the wife of an English jockey, she began her screen career as a contract player with London Films, a company whose studio publicists stipulated that she conceal her heritage and birthplace to increase her appeal. Compliance with this mandate would, in theory, grant Oberon access to the same parts as white performers. The role that made her a star was that of Anne Boleyn in The Private Life of Henry VIII—playing a woman who was, to be clear, white. But in Oberon's early days, most other roles she played were foreign women—French, Spanish, even Japanese—due to her 'exotic' looks, to borrow from that era's dated parlance. Despite this, she made an impression on critics—and, in 1934, Hollywood beckoned. At the time, the United States had outlawed immigration from India and barred Indians from obtaining American citizenship, conditions that would not change until 1946's Luce-Celler Act. Raising the stakes were the injunctions of the Hays Code, whose puritanical rules demanded that studio filmmakers in Hollywood shy away from depictions of interracial romance. South Asian characters were almost always played by white actors in 'brownface,' a cosmetic embellishment that involved the use of dark makeup. These circumstances thus demanded that Oberon continue keeping her heritage a secret—even if it meant enduring procedures as torturous as skin bleaching at the behest of studios. But in Oberon's mental calculus, such sacrifice would allow her to establish herself as a serious performer, as opposed to ornamental eye candy. Upon clinching the role in The Dark Angel, Oberon would express relief that she was at last allowed to abandon the artifice of her former screen persona, which—with the exception of Anne Boleyn—was usually premised on her perceived 'exotic' attributes. She effectively equated playing the parts of foreigners, heavy on makeup, to donning a costume—a child's conception of acting. 'I assumed a personality as unlike myself as possible,' she would tell a journalist about her past roles. Now, she reasoned, she could achieve something closer to artistic truth. As she evaded persistent press rumors about her South Asian heritage, Oberon went on to climb Hollywood's ranks. She would star opposite Gary Cooper, romance Clark Gable, and butt heads with Marlene Dietrich, who called her 'that Singapore streetwalker,' a quip that conveys the disdain with which many in Hollywood's Golden Age regarded Oberon. Despite such coded references to her racial roots—which were 'not by any means a well-kept secret' in Hollywood, her former nephew by marriage Michael Korda wrote in his 1999 book, Another Life—Oberon came to excel in playing genteel, salt of the earth, and, crucially, white characters. In this regard, Wuthering Heights was perhaps her most demonstrative showcase. As Cathy, she toggled among moods—stubbornness, determination, heartbreak—with fluency. Today, one might read irony into the fact that Oberon played a character whom Emily Brontë had conceived as canonically white, while Oberon's white co-star, Laurence Olivier, played Heathcliff, a man of indeterminate racial origin. (References to his potential South Asian heritage abound in Brontë's text and the 1939 film, which explains some of the resistance to director Emerald Fennell's announcement last year that she would adapt the novel with Jacob Elordi, who is white, as Heathcliff.) But the honesty Oberon brought to that character's torment proves that she was the right actor for the part, irrespective of color. Oberon achieved her dreams in a society that asked her to deny who she was. Her struggle had its bittersweet upsides, making it easier for performers in subsequent generations to follow what she put into practice. In 1986—seven years after Oberon's death—the Actors' Equity Association established the Nontraditional Casting Project, an endeavor meant to widen roles for actors of color as well as those with disabilities. These efforts would eventually facilitate an ecosystem more hospitable to South Asian performers. Oberon's strides foretold the ability of Dev Patel, of Gujarati descent, to assume the title role in The Personal History of David Copperfield, based on the Charles Dickens novel. She laid the foundation for Riz Ahmed, of Pakistani origin, to play Ruben in Sound of Metal, whose racial heritage is of subordinate concern in the narrative. Color-blind casting is not without its fierce critics. (Some prefer the term color-conscious, implying sensitivity and awareness rather than studied obliviousness.) The casting of the Black actor Halle Bailey and the half-Colombian Rachel Zegler as two beloved Disney princesses—Ariel and Snow White, respectively—in live-action remakes has made both women targets of conservative ire. More progressive critics may see such choices as a vestige of a distortedly optimistic era that encouraged Americans not to 'see' race, thereby papering over the racial inequities endemic to American society rather than acknowledging them with clear eyes. [Read: Hamilton: casting after colorblindness] Skeptics might also question making Oberon an early emblem of such efforts, because she possessed a privilege—being able to pass—that other performers of color did not. But the more uncomfortable truth is that Oberon was in the lifelong position of a fugitive, constantly forced to dodge hearsay about her heritage that could have ended her career. Rumors about her really being a 'Hindu'—a racial rather than religious classification in early-20th-century America—trailed her from her beginning days in Hollywood, when emigration from India was illegal, until the end of her life. By that point, she had gained the public's trust and established her reputation as one of Old Hollywood's grande dames, yet she kept her secret. She built her life, as one of her relatives told me, on thin ice. Oberon's life, with its deep psychological costs, may seem to be a cautionary tale. What, I have often wondered, would Oberon's career have looked like had an actor of her talent worked in a less hostile time? The intolerances that once straitjacketed Hollywood have faded substantially since Oberon's era. The industry's performers of color can now fight for the same respect granted to their white peers, and do so more freely, on their own terms—without having to hide. When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic. Article originally published at The Atlantic
