Research, Education, Outreach March-April 1998

For years Chesapeake Bay watermen have captured theimaginations of writers, photographers, filmmakersand others who love the region. The solitary oyster-

man balanced on the edge of his workboat tonging foroysters, the skipjack under full sail dredging dark watersfor Chesapeake gold, the crabber hauling out pot after potor scooping crabs along a trotline — these are the iconicimages that evoke an independent life lived in the open.

Watermen are quintessentially American.When peoplethink of Chesapeake watermen, though, rarely do theythink of blacks — and yet African Americans have beenharvesting and sailing the Bay since first coming to itsshores. Though long and rich, this tradition has until re-cently remained largely undocumented. Does the life ex-perience of a black waterman differ from that of a whitewaterman? Some of the similarities and differences emergein the interviews that follow. These stories provide aglimpse into the lives of men — Sam Turner, Wilson Can-non and William Wallace — from three generations of

Research, Education, Outreach March-April 1998

A Maryland Sea Grant Publication

Please turn page

M.E

. W

arre

n

SPOTLIGHT ON CULTURE

Black Men, Blue WatersAfrican Americans on the ChesapeakeBY HAROLD ANDERSON

2 • MARYLAND MARINE NOTES

black watermen on Maryland’s East-ern Shore, whose collective memoriesspan much of this century.

Captain Sam Turner, Bellevue

Dapper and eloquent, CaptainSam Turner is a dynamic presence atthe age of 85. Turner was born andstill lives in Bellevue, Maryland, a tinyhistorically black community nestledon the Tred Avon River just oppositethe town of Oxford. Turner and twoof his sons own and operate BellevueSeafood Company, Inc., located ontheir property along the river, wherethey process, package and sell oystersand crabs. Turner’s conversationranges from working the water andbuilding boats to social policy toseafood marketing strategies on theWorld Wide Web.

Turner’s father and grandfatherwere both watermen who made a liv-ing oystering, crabbing and haulingfreight on their boat to and from Bal-timore. They were poor, says Turner,but “everybody was poor, black andwhite.” According to Turner, most lo-cal black people made their living onthe water because there was moremoney doing that than anything else.They also grew vegetables and raiseda few animals; there was alwayssomething to eat: “We didn’t knowwe were poor — we had a place toeat, we had friends.”

Turner began tonging for oysterswhen he was in high school. “At thattime, people would start up here atthe ferry wharf and go all the way toBenham’s Point, which is about threemiles. . . you could catch oysters allthe way down there.” Atypically forthe time, Turner went on to obtain ahigh school diploma. “A high schooleducation then,” he says, “was morethan a college education now.”

On the subject of black-white rela-tions, Turner says, “You hear a lotabout discrimination and all that stuff,but you didn’t have none of that onthe water. White folks and black folksall worked out there together.” Theschools weren’t integrated, he says,but the life of the black and white

watermen was thesame. “That waswhat made us getalong so well —he was just aspoor as I was. Wehad white friends,we had blackfriends, but therewasn’t no frictiondown hereamongst the wa-termen. We’dwork on the same[oyster] bar rightalongside them.There ain’t no col-or line out thereon that river.”

During the De-pression, thingswere difficult forTurner and hisfamily, as theywere for everyone,though the hardtimes also broughtnew opportunities.Turner joined theCivilian Conserva-tion Corps and fortwo years workedin Dinwiddy, Vir-ginia. He sent hismoney home, andwhen he returnedin 1939, he andhis father used theaccumulated capi-tal to buy the landwhere his businessis still located to-day. “My father bought from a [white]man down here and that was unusualthen, selling property to black folks.But somehow he sold it to us.” Turn-er’s father had a head for businessand the family did well. During WorldWar II, Turner served for two years inEurope and Japan, and when he re-turned his father had expanded thebusiness, putting up a second, largerbuilding next to the first and employ-ing more than 40 oyster shuckers.

Turner’s father often bought oys-ters from whites, who caught most ofthe oysters. “Money ain’t got no col-or,” says Turner. After the war, heand his father managed the business

together, selling in Baltimore as manyoysters as they could process. In the’50s, Turner expanded his business toinclude shucking clams, and he even-tually bought clamming boats as well.

While business continued to gosmoothly, social change was in theair, says Turner. “I remember in ’54when the school segregation thing[Brown vs. the Board of Education]happened. A [white] friend of mine,well, he didn’t think it was a goodthing! He surfaced — [his attitude]never revealed itself until they passedthat law.”

In rural areas like the EasternShore, and particularly among water-

Black Men, continued

Above: Captain Sam Turner stands on the shore near his homein front of one of the boats he built. Below: the seafood process-ing business Turner founded with his father in 1939. Oppositepage: At left black watermen hand tong for oysters in years past.At right is Wilson Cannon, who began tonging for oysters in theearly ’50s.

Har

old

Ander

son

Har

old

Ander

son

men with their self-sufficient ethosand independent lifestyles, racismand conflict were more muted than incities. “We knew that racial mess wasgoing on — we felt it,” says Turner. Ifyou went out, you felt it, even if itdidn’t show itself.” Turner’s son Edzeladds, “This was a part of the cultureand it’s almost like the hum of anelectric motor — it’s there but youdon’t really hear it until somethingcalls your attention to it . . .” Turner’schildren were in high school at thetime. “They had me out there in thatstuff, demonstrating in front of restau-rants. A lot of older people had toomuch to lose. They had bank mort-gages and other responsibilities. Butwe was all for it! Those college boyswent in there and really broke itopen.”

Turner’s business took a beatingduring the ’70s when HurricaneAgnes hit the Bay, flooding it withfresh water and wiping out clams, the

most lucrative part of his business atthe time. “Agnes was the one that al-most put us out of business,” he says.Turner had to borrow money, whichhe eventually paid back, but he saysthat his business never returned towhat it was before Agnes. Even so,the business does well enough tosupport his sons Edzel and Hayward,who run it these days, while CaptainTurner keeps busy helping out.

As for black men working on thewater, Turner says, things havechanged. “My generation was the lastof the Mohicans. None of my boysfollowed the water. They went toschool and got educated. Just abouteverybody down here went to col-lege. It’s much better than on the wa-ter. More opportunities. We didn’thave opportunities the children havenow. There ain’t no excuse for themnot doing nothing.”

Says Edzel, “We did have [limitedopportunities] when I came along.Most of us went to school and movedout of the area. What prejudices therewere here, we ran away from them.”Yet he and Hayward later returned tojoin the family business. “It’s a goodplace to raise children,” he says.

Bellevue is unchanged in manyways, but some things are different.Turner now has white neighbors too,people who moved there from thecity. “A lot of white folks are coming

down here because it’s nice country,”Turner notes. “They’re welcome.They come down here and go to thechurches. The churches couldn’t sur-vive without some of these whitefolks’ donations. The old people aredying out.” Asked to compare the pastto the present, Turner sums it up likethis, “You know they talk about thegood old days, well they really wasn’tthat good. I’d rather have it like it isnow. Even with its problems.”

Wilson Cannon, St. Michael’s

“Of all the work I’ve ever done I’drather work on the water than any-thing in the world.” says Wilson Can-non, who began life 63 years ago inCrisfield, Maryland. “[Working the wa-ter] is the hardest work in the world,you know,” he says. “And I still loveit — nothing like working on the wa-ter for me. You can get up in themorning and see the sun when it’scoming up.”

Cannon left Crisfield as a youngman in the early ’50s for St. Michael’sand an opportunity to work as a wa-terman. He didn’t know any blackwatermen in Crisfield at the time.Most of the work for blacks there wasin packing houses picking crabs andshucking oysters. When he left Cris-field, there were 26 oyster and crabhouses with “plenty of work for any-body who wanted it.” But Crisfielddid not fare well economically overthe years. “There are only two or

MARCH-APRIL 1998 • 3

“There wasn’t nofriction down here

amongst the watermen.There ain’t no color lineout there on that river.”

Continued on page 6

M.E

. W

arre

n

Har

old

Ander

son

4 • MARYLAND MARINE NOTES4 • MARYLAND MARINE NOTES

In the days before the U.S. CivilWar blacks in America had aprofoundly different view

of work on the water thandid whites. For black peoplewho sailed ships the harshlife on the sea was a step upfrom the lot of a slave onland. Sailing ships represent-ed economic opportunityand the possibility for selfdetermination and dignity.Black sailors traveled todistant places and encoun-tered other cultures, bringing knowl-edge back to their slave counterpartswho usually spent their lives in onesmall region. These sailors linked far-flung black communities and unitedplantations to urban centers.

As early as 1796, the federal gov-ernment issued Seamen’s ProtectionCertificates which defined these blackmerchant mariners as “citizens” —America’s first black citizens. “Blackjacks,” as they were known, were socommon by the mid 19th centurythat Eastern Shore-born FrederickDouglass, when he escaped to free-dom, did so by borrowing the uni-form and papers of a free black sail-or and then simply taking the trainnorth from Baltimore.

The Roots of SlaveryThe first slaves were brought to

the Chesapeake region in the 1600sto work in the fields and homes ofcolonists, largely because of the de-cline in the number of indenturedservants. At first the numbers ofslaves were small, but the evolutionof an economy based on growing la-bor-intensive tobacco caused a mas-sive upsurge in their numbers, so thatby 1750 there were an estimated165,000 blacks, mostly slaves, on theEastern Shore of Maryland.

By 1790 the soil in the region wasdepleted from overplanting, and themarket for tobacco collapsed. Thiscollapse rendered the keeping ofslaves — especially in the numbersformerly required for the farming of

tobacco — economically impractical.This economic reality, coupled withmoral forces like the MethodistChurch’s stance against slavery andthe endorsement of freedom and hu-man dignity explicit in the Declara-tion of Independence, resulted in thefreeing of many slaves by the late18th and early 19th centuries. En-claves of free blacks eventually be-came full-fledged African Americancommunities.

The transition from small enclavesto free black communities with cul-tural identities and potential econo-mies of their own did not sit wellwith many whites on the EasternShore, particularly while the greaternumber of blacks were still held asslaves. White fears were exacerbatedby slave uprisings like the Nat Turnerinsurrection of 1831 in nearby easternVirginia.

As a consequence, extremely re-strictive laws were passed to regulatethe advancement of black economicand social interests in the region, and

to discourage migration. Freeblacks were excluded from pub-

lic schools, from combat rolesin the military and from giv-ing legal testimony againstwhites. Historian KayMcKelvey, Eastern Shore co-ordinator for Sojourner-Dou-glas College, has researchedBlack History in the late 18thto the mid-19th centuries in Dorch-ester County on the EasternShore. According to Dr.

McKelvey, some of the laws wereespecially arbitrary and petty. “[A freeblack] could only sell certain productsto other blacks — he couldn’t sell towhites. He had to be off the streetsooner than [whites]. He couldn’t owna dog. If he didn’t have a job, he hadto pay a $15 fine and leave the state.These laws were set so that youcould not rise.”

Some of the most restrictive legis-lation was designed to prevent blacksfrom participating in maritime indus-tries, the oystering business in partic-ular, and especially in a managementor ownership capacity. In 1836, a billwas enacted that forbade blacks fromcaptaining any vessel large enough torequire being registered. Owners ofboats in violation of the law wouldhave their boats seized and sold. Halfof the proceeds went to the informerwho reported the offense. This kindof law contributed to a culture of le-gal and institutionalized suppression.

Still, legally or not, blacks contin-ued to work the water in variouscapacities, from shipbuilders to crew,even captaining by subterfuge —frequently with the complicity or pro-tection of whites. Many of these in-grained cultural patterns persisted inthe form of discrimination and pater-nalism long after the repeal of themost pernicious laws. Says McKelvey,“The white people in this area moreor less had a feeling of ‘I am yourboss. I am to take care of you. I willmake everything O.K. for you. Butdon’t you rise higher than me.’ ”

Slavery, Freedom and the Chesapeake BY HAROLD ANDERSON

Some of the mostrestrictive legislation

was designed toprevent blacks from

participating inmaritime industries.


The Promise of FreedomAt the end of the Civil War black

labor was well established as an es-sential part of the Chesapeake region,just as it was in many other areas ofthe South. Since the Chesapeake Baywas, by 1860, the main supplier ofoysters in the United States, oysteringwas a natural pursuit for blacks, as itwas for others. With little capital out-lay required and a high demand forseafood, which had begun to boomin the late nineteenth century, indi-viduals could make a modest livingalongside larger companies that wereoperating for much bigger stakes.“Oystering was one of the highestpaying jobs for black men,” saysMcKelvey.

Along with harvesting oysters,there was work on vegetable farmsand in the canning, preserving andfood packing industries that grew intandem with oystering and agricul-ture on the Eastern Shore. For mostof the 20th century, blacks comprisedthe majority of workers in oyster andcrab processing houses. Men, womenand children worked year round can-ning tomatoes and vegetables, pick-ing crabs and shucking and packingoysters.

By the early part of this century, anew kind of repressive system wascreated in an attempt to disenfran-chise blacks. In addition to the grow-ing acceptance of white violence as ameans of race control, African Ameri-cans were subjected to “Jim Crow”

laws that segregated hotels, steam-boats and passenger trains that hadnever been segregated formerly. Thusbegan the period of so-called “sepa-rate but equal.”

Despite legal and social repres-sion, the next few decades began tobring incremental improvements inthe lot of blacks. The pace quickenedin the period following World War II,as America sought to demonstrate itsdemocratic and egalitarian principlesto the world. In 1954, the SupremeCourt in “Brown v. Board of Educa-tion of Topeka” struck down raciallysegregated schools. Ignoring the Su-preme Court’s decision, all nine coun-ties of the Eastern Shore retainedracially segregated school systemsuntil 1968 when the last impedimentsof racial segregation were finally re-moved from education on the Shore.

Federal and state laws have sinceeliminated any legal basis for discrim-ination, yet in many communitiesthroughout the nation, coastal andinland, difficult problems of race per-sist and admit of no easy solution.While blacks and whites on the East-ern Shore, as in many other places,have often lived separately and un-equally on land, some of themworked together, side by side on thewater, where nature held the upperhand, and harvests did not knowracial boundaries._________________________________

Sandy Rodgers contributed to thisarticle.

For Further Reading

Black Jacks: African American Seamenin the Age of Sail, W. Jeffrey Bolster,Harvard University Press, 1997.Few Americans recognize the degreeto which early African American his-tory is a maritime history, says theauthor of this book, which chroniclesseafaring among enslaved and freeblack men from 1740 to 1865. Theyendured the often extreme hardshipsof life at sea, while also serving asthe eyes and ears to worlds beyondthe limited horizon of black commu-nities ashore. An epic tale of the riseand fall of black seafaring, this ac-count reveals the critical role sailorsplayed in helping forge new identi-ties for black people in America.

Maryland’s Eastern Shore: A Journeyin Time and Place, John R. Wenner-sten, Tidewater Publishers, Center-ville, Maryland, 1992. HistorianWennersten has divided this bookinto three sections — Soil, Soul andSea — and in them gives a thoroughaccounting of the ways in whichagriculture, slavery and water-relatedindustries have shaped the EasternShore from its earliest days to thepresent.

The Weather Gauge, a scholarly jour-nal produced by the Chesapeake BayMaritime Museum in St. Michael’s,has published the articles listed be-low about African American maritimehistory on the Eastern Shore.

“Bellevue Seafood Company,” J.E.Aliyetti, Volume 33, Number 2, 1997.

“Black Oystermen of the Bay Coun-try,” L.W. Harvey, Volume 30, Num-ber 1, 1994.

“Black Pioneers of Seafood Packing,”R.J.S. Dodds, Volume 22, Number 1,1986.

“Curtis Downes, Sailmaker,” D.Hanks, Jr., Volume 33, Number 2,1997.

Mar

ylan

d S

tate

Arc

hiv

es

three crab houses left in the town.You wouldn’t believe that place hasgone from being the biggest seafood[processing] industry in the world towhere it is now. Half the town isclosed up — no work or anythingdown there now. The poorest placearound,” says Cannon.

In contrast to Crisfield, St. Michael’shad not only a well established com-munity of black watermen, but oncehad two black-owned processingbusinesses — Colbourne and Jewett,which went out of business around1946, and the Turner family’s opera-tion, in nearby Bellevue. Cannonmoved up from Crisfield to learn howto work the water from his brother-in-law. He went on to make his livingtonging for oysters and crabbing. Sixor seven years ago he stopped tong-ing because of the decline in oysters,but he still crabs occasionally. Overthe years, when he wasn’t out on thewater, Cannon also worked for Belle-vue Seafood shucking oysters.

According to Cannon, when hefirst started working in St. Michael’s,“there were so many black watermen,you couldn’t count them. Today thereare only three.”

As far as differences betweenwhites and blacks on the water, Can-non says he saw very little. “Bothhave to go through the same hard-ship,” he says. At one time there weresome differences in the way somebuyers treated the black watermen,Cannon remembers. Whites got paid“a few dollars more than we did.There used to be a little bit of that,but not a lot.” There were also timeswhen he says he would catch thesame quality oyster and the buyerwould say that his weren’t as good asthose being sold by a white man. Hesays it’s changed a lot since then.

Life for watermen, both black andwhite, began to change in the late’70s, says Cannon. He recalls one yearwhen the river froze up during Christ-mas week and didn’t thaw until thefirst week in March, leaving them idle.What little credit they had was goneand it was a tough time. Cannon feelsthat the business has been slowing

ever since. “Most of the young peopleare not getting into the water businessanymore,” he says. “It used to be apretty good living, but not anymore.You might only have a couple ofmonths of the year that you might dowell. Young people are looking for abetter job with more security.”

Everybody wonders about him, hesays. “How did I manage to sendthree kids to college when I didn’tknow what I was going to make fromone day to the next?” It wasn’t easy,he concedes, and Cannon has lookedfor an easier time for his children. “Iseen it coming and I talked mine outof [working on the water]. You gottalook for something better than that,”he says. “And they’re glad they did.”

Reverend William Wallace, Deal Island

William Wallace started early get-ting “that salt water in your face.” Heremembers being on the water withhis father before he even startedschool.

At age 47, Reverend William Wal-lace is now pastor of the Waugh Unit-ed Methodist Church in Cambridge.Though he eventually left the water— entering the ministry in 1974 —Wallace comes from a long line ofwatermen. Both his father and grand-father were watermen, as were sever-al uncles and cousins. Wallace grewup surrounded by water on remoteDeal Island, where he was born. Atone time his grandfather owned sev-eral boats, but they were lost to acci-dents over the years — and lost com-pletely, Wallace says, because thefamily was unable to obtain insuranceon them.

The Wallaces were one of fiveblack families that lived in a predomi-nantly white neighborhood on DealIsland. “I remember having to go tothe store and having to fight to getthere. Then when I got to the store,I’d have to fight with the clerk be-cause I’d buy two things and she’dput three on the books. Then I’d haveto put down my purchase [on the wayback and fight] to get home again. Butthen [at other times], you went togeth-er, white and black, as a group and ifyou picked on one, you picked onall.”

All his father ever did was workon the water, says Wallace. He triedsome inland jobs, but was never satis-fied with them. “I think it’s the free-dom, the freedom of being able todetermine your own fate. If you wentout there and worked hard, then youmade money. If you went out thereand didn’t do anything, then you did-n’t make any money. You determinedthat — no one else.”

Wallace also saw an intellectualchallenge. On a skipjack, he says, youhave to know where to find the oys-ters and at the same time you have toknow the wind and current and theforce of that current and know whento drop the dredges and when to pullthem in. Then there is the physicalchallenge and the danger. Dredgingfor oysters meant living on a boatduring the winter, without the com-forts of home. It meant sleeping on aberth the size of a table and not be-ing able to take a bath because theboat would be away from home forfive days at a time. “You only get theday off if it’s too windy,” he says. “Ifit’s rain, you’re out there; if it’s hail orsnow, as long as it’s not blinding,you’re out there.”

“The water,” Wallace says, “doessomething to you. To view a sunrisefrom your backyard . . . somehow failsto capture the beauty of the sunrisethat comes up over the water in themorning. Even the cold and thewind . . . to feel it in your bones. Thathas some kind of mystic attraction to


Black Men, continued

Above: Reverend Wallace, who grew upworking on the water, stands before theWaugh United Methodist Church in Cam-bridge, Maryland, where he is pastor. Atright: Skipjacks similar to those captainedby Wallace’s father.

Sandy

Rodge

rs


it. It might take me out of here, butit’s not a frightening kind of thing.You welcome it. You go home in theevening soaking wet and get up thenext morning and start all over again.You’re either crazy or there’s some-thing else that pulls you there.”

Though most of the people, whiteand black, who lived on Deal Islandworked the water, his father and oneother man were the only black skip-jack captains on the island (the boatswere owned by white men). “Thereis a strong bond between watermen,”says Wallace, “regardless of race. . . .Somehow that water bonds them to-gether. There were no secrets, asmuch as others might have likedthere to be.” He remembers thatword got around — about price forexample. “My father would arguewith buyers that were giving whiteguys $10 a bushel and only givinghim $8,” Wallace says. “Needless tosay, he stopped selling to that partic-ular buyer.”

Wallace also remembers the civilrights movement and demonstrationsby college students in SomersetCounty in the ’60s. Most of thedemonstrators were not from the area

— the localpeople tend-ed to avoidinvolvementbecausethere was aheavy de-pendence byblacks onwhites. “A lotof them didnot havebread thenext day un-less they gotthe quarterfrom whitefolk to feed

their children.” Some locals did boy-cott local businesses, opting to go tothe trouble of taking a bus toPrincess Anne or Salisbury to shopinstead. He remembers his parentstalking about the rioting and subse-quent burning of the black section ofCambridge in 1967 after H. RapBrown spoke there. “It scared every-body .. . to death.” Somerset Countynever experienced that kind of vio-lence, he says.

Wallace’s father’s dream was toown a skipjack, but it was difficultfor blacks to get financing to buyboats. He recalls his father talkingabout trying to get a loan from thebank. The owner of the skipjack hisfather captained heard about it andwent to the banker and said, “If yougive him the money, who’s going todredge my boat?” So, Wallace says,his father didn’t get the loan. A fewyears later he had another opportuni-ty to purchase a boat: “I remembermy dad went to the banker and thecredit references are fine, no problemthere, and the banker refuses him theloan. At the same time there’s awhite fellow who is interested. Myfather overheard the banker saying tohim, ‘Well you owe me money now,you’re behind in your payments, butI’m going to let you have the money.’So my dad didn’t get the boat.”

Despite the obstacles, Wallace’s fa-ther persisted. Years later, in 1975, hewas finally able to purchase the skip-jack Claude Somers. Before he couldcomplete needed repairs, dredgingseason began and he couldn’t afford

to miss an opportunity to work. Heand his crew worked through thewinter with no problems — untilmid-March, two days before the endof dredging season. The Somers wentout on a day when the weatherseemed workable, with no signs oftrouble, but a violent storm blew inlate that afternoon, one of the worststorms Wallace says he had heard of.“There was wind, rain, fog and light-ning,” says Wallace. The batterieswent dead on the pushboat and theywere forced to sail — the skipjackbegan taking on water and eventuallyfoundered. Lack of radio communica-tion and dense fog prevented res-cuers from locating them. His fatherand the crew, including Wallace’solder brother, uncle, two cousins anda family friend, all perished of hypo-thermia. “They were in Hooper Straits— if you go to Deal Island and lookacross you can see where they were.They were that close to home.”

Though Wallace still has a brotheron Deal Island who works as a wa-terman, he says that as much as heloved it, he doesn’t do it anymore. “Ithink now that I’ve been out of it fortoo many years — I think I’ve grownsoft,” he says. Still he appreciateswhat it takes to live that kind of life.“I never appreciated the wisdom ofmy father [years ago] and the skill ofbeing a water person.”

Wallace remains connected to thewater, he says, because water is alsovery significant in the black experi-ence. Water in African American tra-dition, he says, “is symbolic of free-dom, of separation, of purity. It’ssymbolic of birth and death. Thewhole world’s experiences are trans-formed by that water. The [Middle]Passage [the forced transportation ofslaves from Africa across the Atlanticto America] is part of that. The untoldnumbers that are a part of that expe-rience. With all of the ugliness, yetthe beauty of that — being able toendure and survive.” _________________________________

Harold Anderson is a freelanceresearcher, writer, lecturer andmusician who specializes in AfricanAmerican social history and arts.

“It’s the freedom, thefreedom of being able

to determine your own fate.”

Skip

Bro

wn


Think of the Bay as a large lavalamp say scientists involved in the

high-tech monitoring of the Chesa-peake Bay. “We have known thatstratified waters tilt from east to westin the Bay,” notes researcher BillBoicourt of the University of Mary-land Center for Environmental Sci-ence (UMCES). “But the dynamic isnot a simple one.” The picture, cap-tured by Scanfish, a towed electronic“wing,” is indeed that of a lava lamp-like wavy pattern, what Boicourt callsan “internal wave.” These waves arecreated as lower salinity water flow-ing from the Bay’s rivers mixes withhigh salinity water from the sea.

This picture of the Bay’s internalcurrents — a kind of estuarine equiv-alent to the medical system’s MRI —has been made possible by advancesin electronic data gathering. In addi-tion to the towed wing (see “A HighTech Fish,” Maryland Marine Notes,January-February 1996), scientistshave used scanners from aircraft(ODAS) and, now, from satellites(SeaWiFS). The backbone of this hightech monitoring of the Bay is a buoysystem known as CBOS, the Chesa-peake Bay Observing System.

Unlike towed instruments and air-craft overflights, or even researchvessels, buoys can remain on stationday and night, week after week,month after month, gathering basic

data, such as salinity, temperature,wind speed and oxygen levels. Justas a physician can tell much about apatient by monitoring blood pressure,heart rate and body temperature, sci-entists can track the Bay’s vital signsto determine its changing character.

This is a particularly crucial timeto track the Bay. According to WalterBoynton, also of UMCES, “For thefirst time since John Smith showedup, nitrogen levels are actually goingdown in the Patuxent River.” Thattrend downward results from a con-certed effort to lower inputs of nutri-ents into the Bay, an expensive andexpansive effort that has set as itsgoal a 40 percent reduction by theyear 2000.

To know how the Bay is respond-ing to such efforts, these scientistssay, we need to take its pulse oftenand in different places.

“Imagine if the Dow Jones onlyreported stock prices once a month,”Boynton asks. “People would gonuts.” He compares this to changesin the Bay, where algae and other or-ganisms may have life cycles on theorder of two days or two weeks. Amonthly measurement might easilymiss a bloom or other event.

As Grant Gross, head of the Ches-apeake Research Consortium, andothers point out, changes in the Bayare often driven by “events.” Some

events, such as the 1972 stormAgnes, gain wide attention, butmany other events — suddensqualls, sustained winds thatdrive water out of the Bay,rapid temperature shifts — maygo largely unnoticed. It is oftenthese events which influencethe movement of the Bay’s “in-ternal waves,” shifting poorlyoxygenated bottom waters up-ward, for example, and mixingwarmer and cooler waters.

Conventional monitoringmethods may well miss thesekey events, but the CBOS arrayof buoys can capture them,since they are constantly onstation. At present there arefour CBOS buoys, including a

“rover” buoy deployed to target spe-cific areas such as the Patuxent River,at specific times. The original aim hasbeen to have eight CBOS buoys sta-tioned up and down the Bay, thoughat $60 to $70 thousand the system re-mains an expensive proposition.

“We need partnerships,” saysBoicourt, who encourages otherresearchers to participate. Federalagencies will be key partners in thesuccess of the effort, including theNational Oceanic and AtmosphericAdministration, the U.S. Coast Guard,and the Department of Defense, toname a few.

To help people access the data,Lowell Bahner from the U.S. EPA andothers are working to link web sites,search engines and databases. Ac-cording to Bahner, users will eventu-ally be able both to query lists of in-formation and to search for specificdetails from databases in a singlestroke. Such data and informationwill not be held in at one largesource, but will be distributed amonga number of sources, each of whichwill maintain their own systems.

Of course consistency will be key,says Bahner, as will understandablemethods of presenting the data to awide range of users.

“We need to develop a set of in-dices,” said Boicourt, so users caneasily track specific trends in the Bay.“Let’s face it,” he added, “Americanslove to keep score.”

Ocean Pioneer DiesAthelstan Spilhaus, 86, a geophysicist,meteorologist, inventor, and a leadingproponent of encouraging oceanog-raphy studies through the establish-ment of the Sea Grant Program in1966, died in March. A native ofSouth Africa, he became a U.S. citi-zen in 1946 and served as the U.S.ambassador to UNESCO in 1954.With a masters degree in aeronauticalengineering from MIT and a doctor-ate in oceanography from CapeTown, he spent the bulk of his careerat the University of Minnesota, wherehe became a meteorology professorand dean of the university’s technolo-gy institute.

Buoys Track the Bay BY JACK GREER

On the web: Track real-time changes on the Baywith CBOS at http://cbos.hpl.umces.edu.

Virtual ResearchVIRTUE (VIRtual University Educa-tion) is the name of the virtual inter-national university component of acollaborative project developed bythe University of Goteborg, Sweden,the University of Bergen, Norway andthe University of Maryland Biotech-nology Institute.

The aim of VIRTUE is two-fold.First, the program has established anumber of collaborative marine sci-ence projects that emphasize marinebiotechnology. Second, using the col-laborative research as a base, stepshave recently begun to implement avirtual university concept to providejoint graduate courses within thethree universities.

State-of-the-art information andcommunications technologies em-ploying both real time video confer-encing and asynchronous internet-based forums will be employed forlectures, class discussion and study.VIRTUE will serve as a unique dem-onstration of the benefits of universitycollaboration internationally on a dai-ly and operational manner.

Among the collaborative projects,each with multinational investigators,are the following: finfish reproductionand growth enabling the intensifica-tion of aquaculture; novel gonado-tropin-releasing hormone of fish, itsfunction, regulation of synthesis andrelease, and potential use for spawn-ing manipulations in important fishspecies; microbial processes and reg-ulation of biofilm formation; the dis-tribution and temporal dynamics ofVibrio in estuarine environments; theuse of luciferinase reporter gene fu-sions as sensitive and specific moni-tors of environmental pollution; themetabolic strategies of hyperther-mophilic Archaea; and the sequestra-tion of uranium and other heavy met-al pollutants using a newly isolatedPseudomonas strain.

For more information about VIR-TUE, contact William Busch, Associ-ate Vice President, Academic Affairs,University of Maryland BiotechnologyInstitute, 701 East Pratt Street, Balti-more, Maryland 21202, phone (410)234-8856, e-mail: [email protected].


Visitors can explore theworld of marine science atan UMCES Horn Point Labo-ratory open house on Satur-day, May 16 from 10 a.m. to2:30 p.m. The laboratory, lo-cated on the banks of theChoptank River near Cam-bridge, will open its doorsto the public for self-guidedtours, exhibits, presenta-tions, and hands-on activi-ties. This year’s theme is“Exploring Changes in YourEnvironment: From Microor-ganisms to Chesapeake Bayand Planet Earth.”

The open house providespeople of all ages a chance to take aclose look at coastal environmentalresearch. UMCES scientists, students,and staff will highlight current envi-ronmental changes — from localEastern Shore issues to global chal-lenges. Visitors can talk with expertsabout ongoing efforts to understandthe Choptank River watershed, ex-plore high-tech sensing equipmentused to monitor the Chesapeake Bay,and learn more about the link be-tween nutrients and dinoflagellateslike Pfiesteria.

Kids can enjoy special activitiesand projects throughout the campusincluding a touch tank filled with Bayanimals. In addition to the HornPoint open house, other events in thearea include:

Saturday, May 166:30 to 8:30 AMBird watch walk led by UMCES VicePresident Dr. Wayne Bell. Meet at thecampus entrance off Horns PointRoad, wear comfortable shoes, andbring binoculars and/or scopes. Birdwalk will be canceled if weather isinclement. Free.

Saturday & Sunday, May 16 & 179:00 AM to 5:00 PMAntique Aircraft Fly-In: a two-dayevent featuring 300 antique aircrafton display at the Horn Point airstripadjacent to the laboratory. Free.

Sunday, May 1711:00 AM and 1:00 PMOne-hour skipjack cruises aboard theNathan of Dorchester leaving fromthe Horn Point marina. Tickets are$10 and can be purchased by calling(410) 221-0776.

Taking part in activities will re-quire some walking so comfortableshoes are recommended. Refresh-ments will be available and picnic ar-eas are plentiful. For more informa-tion about the open house, call (410)228-9250, ext. 609.

UMCES is the lead institution forcoastal environmental research withinthe University System of Maryland. Itsthree laboratories — AppalachianLaboratory in western Maryland,Chesapeake Biological Laboratory insouthern Maryland, and Horn PointLaboratory on Maryland’s EasternShore — are strategically located toprovide access to Maryland’s princi-pal environments and their naturalresources. UMCES faculty membersconduct research on coastal environ-mental problems locally, nationallyand worldwide.

Directions to HPL: From Rt. 50in Cambridge, take Rt. 343 west(Washington Street) for 3.5 miles toHorns Point Road and turn right. Pro-ceed 1.5 miles to the “Ram” gate; fol-low parking attendant’s instructions.

UMCES Lab Holds Open House

Oceans Should ComeFirst, Says PollA national poll conducted last Augustshows that Americans feel ocean ex-ploration should take precedenceover space funding. Of those polled,55% said that ocean explorationshould be the priority, while only35% chose space. The poll alsoshowed that most Americans aregreatly concerned about the state ofthe world’s oceans. The public, con-cludes SeaWeb, who commissionedthe poll, is both aware of and trou-bled by declining ocean conditions.

More than half of those polled rat-ed the overall health of the oceannegatively; 85% said that the destruc-tion of the ocean represents a threatto quality of life; and 60% believedthat the condition of the ocean hasgotten worse over the past few years.In addition, 80% said that we aredumping too much waste, oil andagricultural runoff into the oceanwhile half felt that too much is being

taken from the ocean in terms ofcommercial fishing and oil drilling.The poll was conducted by the Mell-man Group for SeaWeb, a non-parti-san, multimedia educational initiativeon the ocean and a project of ThePew Charitable Trusts.

On the WebThe NOAA ReportThe NOAA Report, an in-house publi-cation that comes out every monthand highlights various NOAA activi-ties, is now available on the web,http://www.publicaffairs.noaa. gov/nr.This month’s feature is about the“Classroom at Sea Program” and theonline issue of the publication in-cludes color photos of teachers andstudents on board the research vesselMcArthur. The program began asNOAA’s Teacher-At-Sea Program sev-eral years ago, but it now involvesstudents, websites, NMFS, the Univer-sity of Washington and others.

Connecticut’s Year of the OceanConnecticut Sea Grant is promotingthe International Year of the OceanCelebration through a variety of activ-ities including a new website. Thesite includes activities taking place inConnecticut as well as links to othersites with information about the cele-bration. On the site’s calendar ofevents is Mystic Seaport’s laying thekeel for the replica it is building ofthe vessel Amistad, recently feature inthe Steven Spielberg movie by thesame name. In addition, the MysticAquarium has a new Institute for Un-derwater Exploration. To see theseand other educational resources relat-ed to the ocean, visit http://www.Ocean98CT.org.

Conferences Striped Bass Research

“STRIPER 2000: Research Advanceson Striped Bass and Its Hybrids,”June 6-7, 1998, University ofMaryland, University College Innand Conference Center, CollegePark, Maryland.

The conference will bring togetherthe nation’s leading scientists onstriped bass to discuss the currentstate of issues critical for the aquacul-ture industry.

Those issues include genetics, re-production and growth, nutrition andfeeding, production technology,disease and utilization. Dr. JamesCarlberg, Kent Seafarms will givethe keynote address, “The Growth ofthe Striped Bass Aquaculture Indus-try.” In addition, state aquaculture co-ordinators from Maryland, North Car-olina and South Carolina will addresspolicy issues and a panel represent-ing industry, government and non-governmental organizations will dis-cuss needed priorities.

The conference is sponsored bythe Maryland Agriculture ExperimentStation, the Maryland Sea Grant Col-lege and the Striped Bass GrowersAssociation. Registration costs $125($75 for students) and includes con-ference materials, reception, lunchand dinner. For conference agenda orto register, visit the web, http://www.mdsg.umd.edu/striper2000, or con-tact: Fred Wheaton, Biological Re-source Engineering, 1439 Animal Sci-ence/Agricultural Engineering Build-ing, University of Maryland, CollegePark, Maryland 20742, phone (301)405-1198, fax (301) 314-9023, e-mail,[email protected].


Maryland Marine NotesVolume 16, Number 2March-April 1998

Maryland Marine Notes is published six times a year by the Maryland SeaGrant College for and about the marineresearch, education and outreach commu-nity around the state.

This newsletter is produced and fund-ed by the Maryland Sea Grant CollegeProgram, which receives support from theNational Oceanic and Atmospheric Ad-ministration. Managing Editor, SandyRodgers; Contributing Editors, Jack Greerand Merrill Leffler. Send items for thenewsletter to:

Maryland Marine NotesMaryland Sea Grant College0112 Skinner HallUniversity of MarylandCollege Park, Maryland 20742(301) 405-6376, fax (301) 314-9581e-mail: [email protected]

For more information about Maryland SeaGrant, visit our web site:

http://www.mdsg.umd.edu/MDSG


End NotesPublications■ El Niño. A new publication fromOregon Sea Grant explains in wordsand vivid images the climate phen-omenon called El Niño that hascaused so much havoc with thisyear’s weather from California to theEast Coast.

Titled El Niño, the full-color eight-page publication is intended for abroad audience, including peoplewho live and work on the Pacificcoast, weather buffs and anyone in-terested in understanding the com-plex interplay between wind, currentand water temperature in the PacificOcean.

The publication outlines what sci-entists know — and what they stilldo not know — about how El Niñomay affect Pacific weather and fish-eries.

To order the publication, whichcosts 50 cents per copy, write: Ore-gon Sea Grant Communications, 402Kerr Administration Building, OregonState University, Corvallis, OR 97331;orders may also be placed via theOregon Sea Grant world wide website at http://seagrant.orst.edu. Teach-ers can e-mail or call (541) 737-2716for classroom rates.

■ Stream Water Quality Dataon CD-ROMs. The U.S. GeologicalSurvey recently published a two CD-ROM set consisting of stream waterquality data from two national net-works operated during the past 30years. The CD-ROMs are a source ofinformation for tracking water qualityconditions in major rivers of the U.S.(618 stations from 1962-1995) andselected streams in small minimally-developed watersheds (63 stationsfrom 1962-1995).

The CD-ROMs include measure-ments for 122 physical, chemical, andbiological properties of water anddata on watershed population andlandcover characteristics. To test thisresource, access one of the disksthrough the Internet at http://www.rvares.er.usgs. gov/wqun96. Further

information on the purchase or ques-tions regarding the disks can befound at: http://water.usgs.gov/lookup/get?/fs01397.

Call for Abstracts

■ Shellfish Restoration. TheSecond International Conference onShellfish Restoration (ICSR ‘98) willbe held November 18-21, 1998, onHilton Head Island, South Carolina.The conference will provide anopportunity for government officials,resource managers, users andresidents to discuss approaches torestore coastal shellfish ecosystems.

Sessions at the conference will beorganized around three generalthemes: habitat assessment and res-toration, stock enhancement, man-agement and restoration, and remedi-ation through watershed managementand pollution abatement.

Abstracts are being accepted forconsideration by the Conference Pro-gram Committee through June 30from those with experience in shell-fish management, research or restora-tion.

For more information, contactElaine Knight at S.C. Sea Grant, 287Meeting Street, Charleston, SC 29401,phone (843) 727-6406, fax (843) 727-2080, e-mail: [email protected].

■ Wetlands Workshop. TheRegulatory Interagency SteeringCommittee is hosting the firstWetlands Regulatory Workshop onNovember 4-6, 1998 at the HolidayInn on the Boardwalk in AtlanticCity, New Jersey. The purpose of theworkshop is to increase dialogue andfoster partnerships between federal,

state and local regulatory agenciesand communities.

Representatives from federal, stateand local governments, the privatesector and academia are invited tosubmit abstracts on any aspect oftidal and non-tidal wetlands. For de-tails about submitting abstracts,which are due May 22, 1998, contact:Ralph Spagnolo (3ES30), U.S. Envi-ronmental Protection Agency, RegionIII, 841 Chestnut Building, Philadel-phia, PA 19107, phone (215) 566-2718, fax (215) 566-2782, e-mail,[email protected].

Request for Proposals■ Chesapeake Bay Program.The Chesapeake Bay Program (CBP)is announcing the availability of chal-lenge grants for on-the-groundhabitat restoration projects that willsupport CBP living resource andhabitat commitments. Grantstypically range from $10,000 to$75,000.

This is the sixth year of the chal-lenge grant offer. Projects involvingriparian zones, in-stream habitat,emergent freshwater wetlands, forest-ed wetlands, and similar freshwaterhabitats are being solicited. Grantscannot be awarded without a mini-mum of one-to-one nonfederalmatch.

Guidelines for submitting a pro-posal are available at the CBP web-site, http://www.chesapeakebay.net/bayprogram/new/newhome.htm.Those without web access may con-tact Amy Zimmerling by e-mail [email protected] orby phone at (410) 267-9842 to re-ceive a copy of the RFP guidelines.

O2@@@@@@@6K??O2@@@@@@@@@@@@@6K O2@@6K

?O2@6Ke?O2@@(M?gI4@@@@@6K? ?O2@@@@@@@@@@@@6X??O2@@@@@@@@@@@@Hhe?I4@@@@@@@6K ?W2(M?hI4@@)K

?W2@@@@0MI4@@@@@@L ?I4@@@@@@6?2@@@@@@@6K? O&0Yhf?I4@6KW&@@@(M?g?I'1he?@f?I4@@@@@@@@@@@@@@@@@6K ?@(M ?I'@6X

?W&@@@0YheV'he?@g?I4@@0M??I'@eI4@@@@6X J@H? V4@)K?O&@(M? ?@ N@fI4@@@)K? ?W&5h?O2@6KhI'@6X?

?@@@0Y ?@gI'@@@@6K W&0Yg?O2@@@@@6Kg?V'@)K?@(M ?V4@@@@@@@@6K? ?O.Mf?O2@@@@@@@@(R'6Kg?@@@6X

O2@0Y? I4@@@@@@@@@@@6K? ?W20Y?e?W2@@?@@@@@@@He@@@@6K?O&@@@@)K??O2@@0M? ?I4@@@@@@@@6K? ?O26K? ?.M?fW&@@@@@@@@@@@?O&@@@@@@@@@@@@@@@@

?O2@(M @? ?I4@@@@6K? ?O2@@@@@@@ 7@@@@@@@@@@@@@@@@@@@@@@@0MeI'@@L??O2@@0Y? I4@@@@@6KO2@@@@@@6K? O2@6K?f?@@@0Mg?@@@@@6K ?J@@@@@@@@@@@@@@@@@@@0M?g?V4@)K

?W2@@0M? @@ I4@@@@@@@@@@@@@@@@@@@@@@@@6Khf?O2@@@@@@@@@@@@@@@@@@? I4@@@@@6K? @?g?7@@@@0M @@6XW&@(M?h?)X?f@@ @@ I4@@@@@@@@@@@@g?I4@@@@@@@@@@@@@@@0M ?I4@@@@@@@?@@@@@@6K? J@@(M? 3@@1

?O&@(Yhe?@)?f@@ ?I4@@@@@@@L?g?I'@@@@@@@@@0M I4@@@@e?I4@@@@@6K ?@h7@(Y V'@@L??W2@@@ @? ?I4@@@)KhN@@@(Me@? I4@@@6K? ?J@(Y? ?N@@)X?7@@@@)Kf?@ ?@g@? I'@@6Kg?@@@Y?e@@6X I4@@@@@@@6K? ?@h?7@Hf?W-X @@@)K?J@@@@@@@@? ?@ ?N@@@@6KeO2@@@@@@@@@@@)K??O2@@@6KhW2@@@@@@@@@@@6?2@@@@6K I4@@@@@@6X ?@@Lf?7@)X? 3@@@@@

?W&@@@@@@@@? @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@6KO)X??W&@@@@@@@@@@@@@@@@@@@@@@6K? I4@@@)K? @@@@@@@@@@@6K? W2@@@)X?e?@@@)?@@@@@? N@e?@L??7@@@@@0M? W&K?f?J@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@)KO&@@@@@@@@@@@@@@(MgI4@@@@6K ?I4@@6K? ?@@@@?hI'@@@@@@@@@6K? @@@?h?W&@@@@@)Kh3@@@5? ?@e?31?J@(Mhf'@6Xh?W&? *@@@@6K?O&@@@0?4@@@@0Mg?I4@@0MI4@@@@@@@@@@@@@@@@@@@@@@@@@@@H?h?I'@@@@@ ?I4@@@@6K? ?N@@@(M?eI4@@@6K? ?@e@MheO&@@@@@@@@6KgV4@0Y?eW2@@@@@6X?he?N@?7@H?hfV4@)X?g?*@? V4@@@@@@@@@0M? I4@@@@@@@@@@@@@@@@@@@@hfV'@@@@L?e@6X? I4@@@@@@@6K? @@@HhI4@@@@e?@@@@@@@@6KO2@6K ?@ W2@@@@(MeI'@@6Xhf7@@@@@@@)Xhf@?

?J@5 ?@)Xg?V'? ?I4@@0M? I4@@@@@@@@@@6Kg?V'@@@1?eN@)X I4@@@@@@@@@6K? @@@? ?@@@@@@@@@@@@@@@@@@@@6K?hf?O2@@( *@@@@0Y?e?V4@@)K?h?J@@(M?@@@@1hf@LW&(Yhe)Xf?3@1 I4@@@@@@@@@6X?fN@@@@?e?@@)K?O2@@@@@@6Khf?W@@@@@@@@@6K? W2@@@@@@6X ?I'@@@@@@@@@@@@@@@@@@@0Y N@@(M?g?I'@@6X?g?7@(Y??@@@@@L?he317@H?he@)f?V4@ I4@@@@@@)?2@@6X@@@@?e?@@@@@0M?I4@@@@@6KheO&@@@@@@@@@@@@@@@@@@@@6K O2@? ?O&@@@@@@@@)X? N@@@@@@@@@@@@@@@@@0Mh?O2@@@f?@(YheV'@@)Xg?@0Ye?@@@@@1?f?@fN@@@ ?@ ?I4@@@@@@@@@@@@@@?O2@@@@(MhI4@@@6?@K?O2@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@6K ?O2@@@@@@@@?he?@@@@@@@@@@@?I4@@@)X?@@@6K ?@@@@@@@@@@@@@@@0MhW2@@@@@@fC(Y?he?V'@@1hf?@@@@@@?f?3L?e?@

?J@5h@? ?@ I4@@@@@@@@@@@@@@@@H?he?I4@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@6K?g?O20M?eI4@@@?heJ@@@@@f?@L??I'@@1?@@@@@@6K??O2@@6K? ?@@@@@@@@@@@0Mhe?O&@@@@@@@eO2@H V'@@L?he?@@@@@@?f?N)Xe?@L??7@H @@hf@@@? ?I4@@@@@@@@@@@@@ ?I'@@@0Me?I4@@@@@@@@@@0M?fI4@@@@@@@@@0M?gI'@@6Kh7@@@@@L?e?@)XeN@@@?@@@@@@@@@@@@@@@@6?2@@@@6KO2@@@@@@@@@@@@@@0Mhe?O2@@0?'@@@@@@@@@? ?V'@)X @@@Lg31e?31?J@5? @@@? ?I'@@@@@@@@@ ?@h?I4@@@@@@@X?he?I4@@0M?he@@@@@@@?f@@@@@@)Ke?@@)X?J@@@@@@@@?e@@@@@@@@@@@@@@@@@@@@@@@@@@@0M?hf?O2@@@@@f@@@@@@0M V4@)K?hf@@@1gV'e?N@L

?W&(Y?W& @? V4@@@@@@@@@@@@6X ?W&@hfI'@@@@)X W&@@@@@@@?hI4@@@?J@@@)?&@@@@@@@5?e@@@@f@@@@@@@@@@@@@@@@(M ?W2@@@@@@@eO&@@@0M? I'@6X?he3@@@L?he@1?7(Ye&@ ?@6X I4@@@@@@@@@@@)K??O2@@@@@@@@@@@@@@@6KfW&@@@6X?h?N@@@@@)K? O2@@@?*@@@@@@X @@@@@@@@@@@@@@H?e@@@@f@@@@@@@@@@@@@@@0Y? O&0Me?W@@W2@@0M ?V'@)XheN@@@)Xhe3@J@H? @?hf?@@)h@? I4@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@6KO&@@@@@)Kh?J@@@@@@@6X?he?O2@@@@@@?eV'@@@@@)X? I4@@e?J@@@@f@@@@@@@@@@0M ?O2@(Mf?7@@@@(M V'@)X?h?@@@@)X?hN@

?W&5hf?W2@(? @L ?I@?4@@@@@@@@Xf@@@@@@@@@@0?4@@@@@@@6Kf?@@@@@@@@@)Kh?O2@@@@@@@@Lf@@@@@@)K ?7@@@@L? O2@@@(Y?fJ@@@@0Y? ?V'@)XheI'@@)Kh?@W&@HhfO&@0Y?f?W2@@( @1 I4@@@)K?e@@@@@@@@(Mg?I4@@@@@@?gI4@@@@@@@@6?2@@@@@@@@@@@@)K?O&@@@@@@@@@6K? ?3@@@@1? ?O2@@@@@@Hf?O&@@(M? V4@)K?h?V'@@@6Xg?@L?

?W&@@?heO2@<hW&@@0Y @@ I4@@@@@@@@@@@@@@ ?I4@@@@@@@@@@@@@@@@@@@@@@@(Me?I4@@@@@@@6K ?N@@@@@? ?O2@@@@@@@@?e?O2@@@0Y I'@@6KhV'@@@)X?fJ@)X?7@@@?h'@@@5?g?W&@0M @@ I@?4@@@@@@@@)K I4@@@@@@@@@@@@@@@@@@@(Y?heI4@@@@@6K? @@(M ?O2@(Mf@@@@@@@@@@0M ?V'@@@6Xg?V'@@@)Xe?W&@@1J@@@@?hV4@0Y?gO&@?h?'@6X? ?I4@@@@@@6K? I4@@@@@@@@@@@@@@@@(Y I4@@@@@@@@@? @(Y? O2@@@(Y?f@@@@@0M? V4@@@1hV4@@@)K?O&@@@@L?

?W&@e@@@@ ?@@@@?h?V4@)? I4@@@@@@6Ke?O2@6K ?I4@@0Y? ?I4@@@@@@?eO2@@6KO@K?f(Y ?W2@@@@@@@@@@He?W2@@(M? ?@@6X? ?@@@L?h?I'@@@@@@@@@)XW&@5e3@@@ ?@@@5? I4@@@@@@@@@@@@@@@@@@@@6K ?I4@@@@@@@@@@@@@@@ W&@@@@@@@@@@@?eO&@@0Y ?@@@,? ?3@@1?heV'@@@@e?@@)X?7@(YeV4@@ I(Y? ?@g@? I4@@@@@@@@@@@@@@@@@6K? ?I@M &@@0MI'@@@@@@@@@@(M? ?W&K?@@(Y? ?V'@@Lhe?V'@@@e?3@@)X

?J@@H? @? I4@@@@@@@@@@@@@@6K W2@? ?W2@hV'@@@@@@@@0Y W.e?7@@@@@H V'@)X?heV'@5e?V'@@)X??7@5 ?@@? ?@@? ?)X? ?I4@@@@@@@@6K? 7@@? W&@Hh?V4@@@@@0M .YeJ@@@@@@? ?V'@1?he?V+YfN@@@)XJ@@H ?@@? @K ?@@? ?@)? ?I4@@@@@@@@@6Kg@@@Le?W2@@? ?O&@@? @@0M N@@? ?@@@@)X?

?W&@@?h?@g?@@? @@@? I4@@@@@@@@@@@@@@@@@)K?O&@@@?fO26K ?O2@@@@?eW26X ?O@K ?3@? ?3@@@@)X?7@@@? @? I4@@@@@@@@@@@@@@@@@@6?2@@@@@@@@@6KO26K?O2@@@6?2@@@@@@@@@@?e7@@, W&KO2@@@@@@@ ?N@Lhf@?f?V'@@@@)K??@@@@@@? I4@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@?@@0Y 7@@@@@@@@@@5 ?@K? 31hf@?gN@?I'@@@?@@@@@@= ?'@? ?I4@@0M?eI4@@@0M? @Me@@?I4@0Y ?@@@@@@6X? N@hf@?g?@eV4@@?3@@eI4@? ?V'? ?)X? ?W-Xh@5 J@@@@@@@1? ?3@6X? ?3L?eI'@6X??N@@ ?@1? ?@ @?hW2@@ ?*@)h(Y 7@@@@@@@@L ?N@@1? ?N1?e?V'@)X3@L? ?@@? ?@ &0M?gW-X? ?N@H @@@@@@@@@1 3@@Lh?/K?g3LfV'@)X?N@1? W2@? W& 7@1?he?)X?e?W&? ?@e?J@? ?W2@6Xg?J@@@@@@@@@@ N@@@h?N@@(?fV/f?N@@1??3@Lf?W&K *@@? 7@h)Xhf@?he?@ @@@?he?@)?e?7@? /Xg?7@? ?7(?'1gW&@X?@@@@@@@ ?@@Hhe@0Y?hf@@@L?N@1f?*@@@?hf'@ V4@? W&g@5h3)X?he@?g?@ 3@5?e@?hf?3@L N)X?f?@@? J@H?V'g&@@)X@@@@@@@L? ?@@? @@@)X?3@L?e?V4@@?hfV' '@@? 7@L?f@HhN@)X ?@ V+Y?e@?hf?V4@hW& ?W2@f?@1? ?O&@he?I'@@@@@@@@@)X ?@@L @@@@)XN@1? V4@? ?W2@h@@1?f@?h?@@)X? ?W2@ 75 @? ?7@5f?@@? ?@@@@@L?he?@@@@@@@@@@1 ?@@1 I'@)X??@@? ?*@5h@@@? J@@@)Xg@6X? ?7@@ (Yf)X @?hf?W2@ ?@(Y ?/X?f?3@@@@)Xhe7@@@(?'@@@@@ ?@@@L? ?@f?V'@)X?@@?he@@ ?@ ?V+Yhe@@6Xe?@6Xg7@@@@)X?f3@1?g?@@@fJ@@5h)X 31 ?@@?f@@6Xhe?7@5 ?(Y? ?V/?f?N@@@@@(eO)X?e?J@@@@H?N@@@@5 J@@@)X N@@1?@@? ?@ @@@,e?@@1g@?I'@@1?fV'@?g?@@5e?W&@@Hh@1 N@ ?@@Lf@@@1he?@0Y @@@@(Y?'@@)Xe?7@@@5e?@@@@Hhf?W&@@@@) ?@@@L?J@5?fW& ?@ ?@@@ ?J@@(Ye?@@@g@??N@@@?f?V'?g?@@He?7@@@??O26X??J@5h?W.? ?@ ?3@1f@@@@ ?J@@@@H??V'@@)K??@@@(Ye?@@@@?hfW&@@@@@H ?/X?he?3@@1?

?W&@H?f*@ ?/X?f?3@@he@@fO&@@H?eJ@@@@6X??J@?e@@@? ?@@?e?3@?e@@@@,??7@HhW&H?f@@f?@g?@ ?N@@L??J@@@@L? /X W&@@@@fV'@@@@@@@@H?W2@@@@@Lhe?O&@@@@@@L ?N)Xhe?N@@@LO&@5gV' ?N)Xf?V4@he@@e@@@@@5f7@@@@@1??7@Le3@@? ?@@?e?V'?e3@@(Y??@@?h7@f?J@@ @@1??'@@@@)X V/f@? ?W&@@@@@L?e?V'@@@@@@@?O&@@@@@@1he@@@@@@@@@)X? @)X?he3@@1

O2@@0Y ?@ ?W26X?f31hf?'6Xg3@@@@Hf@Me?I@??3@1eN@@LhW2@?e?@@?hV40Ye?@@?h@@fO&@@ 3@5??V'@@@@, ?7@@@@@@)XfV'@@@@@@@@@@@@@@@@he3@@@@@@@@@)X ?I/?heV'@@O2@@0M ?&@@)XfV'hf?V')K?fV'@@@?hf?N@@e?3@1h7@@?e?@@? ?@@?h@@e?@@@@5 V+Y?eV4@@0Y ?3@@e?@@1f?V'@@@@@@@@@@@@@@@L?hV'@@@@@@@@@)K? @@@(e?V4@@6X?

O2@@(M @@ @1 N@@@6Ke?V'@@LgW&K?f3@L??V'@L?g3@5?e?@5? ?@@LeW2@?e@@L??@@@@Hf?O2@ @( O2@??N@@e?@@@gN@@(MI'@@@@@@@@@1?h?V'@@@@@@@@@@6K? @@(Yf?I4@)X?@@@@(Y? @@ ?@@@@@@?eV'@)K?e?O&@@@6XeN@1?eV'1?gV+Y?e?(Y?hW2@@e?@@1e7@@?e@@1??@@@5?eW2@@@@ (Y ?@@@H?e3@e?@@5g?@@?e?@@@@@@@@@@LheV4@@@@@@@@@@@@6K 3@H?g?I')X??@@@@Hh?W2@ ?@6X ?@@@h3@ ?@@@@@@@@Le?V'@@@@@@@@@@@@)X?J@@?e?N@L ?@@?e7@@5e?@@@e@@@Le@@@??3@@H?e7@@@@@ @? ?@@5fN@@@@@@?gJ@@)KO&@@@(M?I'@@)X?heI'@@@@@@@@@@@@@@ ?@heN@1??3@@@?h?&@@he?@@? I/ ?3@5hN@g@KheJ@@(M??I4@fV4@@@@@@(MI4@@)?&@@Lf@)K? ?@@?e@@0Ye?3@@L?@@@)K?@@@?e@@f@@@@@@fW2@?gW2@@ @? ?@@@@@(Yf?@(?'@@)X?f@@@@@@@@@@H?eN@@@)Xhe?V'@@@@@@@@@(M 7@he?3@L?N@@@? ?V+YhJ@g@@6Kh'@(Yhf?I4@@0Y?eI'@@@@@,f3@@@@6X?hf?@@?h?N@@)T@@@@@@@@@??'@@f@0M?f?W&@@?f?O&@@H O2@@@@e?N@@@@H?f?@H?V'@@1?fN@@@@@@@@@L?e?@@@@1hfV'@@@@@@@@ @@L?h?N@1@@@? 7@g@@@@@@@@fV'Y? ?V'@@@0YfV'@@@@1? 3@@@UI4@@@@@5??V'@L?heW&@@5?e@@@@@@@?f@@ @? O2@@@@@@L?e@@@@gJ@e?N@@@Lf?@@@@@@@@@)Ke?@@@@@hf?V'@@@@@@@1? 3@1?he3@@@@? ?J@@f?J@@@@@(M? @?he?@K?eV40Mg?V4@@@@? N@@@)X?I4@@@H?eN@1?h?O&@@(Y?e@@@@@@@?e?J@@ @? ?@@@@@@@@@?I/?e@@@@L?e?O&@f3@@1f?@@@@@e?I'@@@@@@@@@ V'@@@@@@@L V'@?heN@@@5?)X ?7@5f?7@(Y@@Hg@?h@?e?@g?@@@ )Xf?@@@@1e?I4@fJ@@?g?W2@@@(Yf?I'@@@@?e?7@@f@@@6K? ?@@@@@@@@5g@@@@)X?W2@@@fN@@@f?@@@@5fN@@@@@@@@@L?hf?V'@@@@@@@ ?N@Lhe?3L?@@H?@) @?hf?@@Hf?@0Y?@@? @?he?3@@ @Kg?@@@f@1f?@@@@@L?h7@@?gO&@@@0Y?gV4@@@?e?3@@fN@@@@6X? ?@?I4@@@@Hg@@@@@,?*@@@@f?@@@@@e?3@@@Hf?3@@@@@@@@)K V'@@@@@H 3)X?h?N)X@@L? )Xf?@@Lh?@@L ?V'@L? @@@@f?3@@f@@L?e?@@@@@@?h@@@?fW2@@ ?@@?e?V4@fJ@@@@@1?e?@@@@@@? @?h?@e?I'@@?f@@@@@@(Y?N@@@@f?@@@@@e?V'@@?f?N@@@@@@@@@@@6X?he?N@@@@@?g)XheV'1?he3)X?@@1? @)X?e?3@)X?g?@@)X? V4@?fW2@? 3@@@L?e?N@@L?e3@1?e?3@@0Mhe@@@@6K?O&@@@g?W26X?e?@@@@?g?W&@@@@@@Le?3@@@@5? @6X?e@Lh?@fN@@?f@@?I40Y?e@@@@f?@@@@@fN@@?g@@@@@@@@@@@@1?hf3@@@@?@6X?e3)K?h?N@?heN@1?@@@? ?@@@he@@1?e?V'@1?g?@@@)Kh@? *@5? V'@@)Xf3@@?eN@@?e?V+Mhf@@@@@@@@@@@@e?@e?7@@1?e?@@@@Lg?7@@@@@@@1e?V'@@0Y? '@ 3@)Ke@1e?@he?3@?f@5h@@@@f?@@?@@f?@@?g@@@@@@@@@@@@@?hfV'@@@?@@)?eN@@@he3@6Xh?3@L@@@? @@hJ@@@he@@@?fV4@?g?3@@@@@@g@?h'@6X V+Y?eW2@@@@@?f?V'@@)X?eN@H?e?@@@@? 3@@@@@@@(Mf?@e?@@@5?e?3@@@)K?f?3@@(?'@@@fV+M? V'fW26X N@@@@@@@e?@L?h?N@?f@Hh@@@@f?3@@@@L?eJ@@Lg3@@@@@@@@@@@@?hf?N@@@?@@H?e?3@@L?hN@@,h?N@1@@@? 3@h@0M?fO)X??J@@@@@?hf?V'@@@@@ V4@1 ?W&@@@@@@?gV'@@1?e?3L? N@@@@@@(Y?h?@@@H?e?N@@@V'@@@e?N@@H?N@@5he?W-Xhe?@@@ @@@@f?)X?e)X 7@@)X?f)X J@@@@@@@e?3)Xh?J@?f@?h@@@@f?N@@@@1?e'@@)X?fN@@@@(M?e@@@@6Xhf@@@@@@f?V'@1?h?@0Yhe@@L?@@@? ?@@? N@ W2@@1?W&@@@@@? V'@@@@ I@ ?*@@@@@@@?g?N@@@Le?N)XheW&K?eO2@@f?@@@@@@HheJ@@@g3@@?V4@@f@@e?@0Yhe?*@)X?h?@@@ 3@@@fJ@1?e@)X? @@@@1?f@)X?h'@@@6?&@@@@@@5e?N@1f)Xe?7@Lf@? 3@@@5?eV'@@)Xf?@@@@?f@@@@@)X?he3@@@@@gN@@? @@1?@@@? ?@ 7@@@5?7@@@@@5? ?N@@ W2@?g?V4@@@@@@@6Xg3@@1f@1h?W&@@@@@@@@@f?@@@@@@?h?W&@@5gN@@?g?J@@ ?N@@1?e)Xf?@@@ ?@@5f7@@?e@@1?fW2@6X?f@@@@@Lf@@)KhV4@@@@@@@@@@@Hf@@f@1eJ@@1 N@@0Y?e?N@@@)K?e?@@@@1f@@@@@@)XheV'@@@@g?3@L @@@?@@@? 3@@(Y?@@@@@(Y?h?@@?f@@ 7@@? I'@1gV4@@f@@L?g?7@@@@@@?I4@fJ@@@0Mhe?7@@(Yg?@@?g?'@@ @@@?e@)X?e?@@@ ?O&@@Hf@@@?e3@@?f*@@@)Xf3@@@@1f@@@@@? I'@@@Lf3@e?J@@?O&@@@L? J@h@M?I'6?2@(MI'@L?e@@@@@@@)X?h?V'@@@g?N@)X? @@@?@@@? ?W&? V'@He@@@@0Yhe?@@Lf@@f?@6X @@5?f@?h?V'@ @@1?g?@@@@@@@h7@ ?@@(Y?g?@@Lg?V4@h@6X?g@@5?e@@)?e?@@@f@??W26X?g?O2@@@5?e@@@@@?eV4@?fV4@@@)X?eN@@@@@f@@@@5?e)Xhe?N@@@)X?eV'e?7@@@@@@@@)X 7@L?heN@@@@HeV')Xe3@@@@@@@1?heN@@5h3@)X 3@@?@@@? ?&@? ?@ ?V'? ?3@1f@@f?@@) W2@@@@H? ?@ @@@?h?I'@@5g?J@@ ?@(Yh?@@1 3@)Kg@0Y?h?@@@g?7@@)Xg@@@@@(Y?e@@@@@? @@1?e?@@@@@f@@@@H?e31hf@@@@)XgJ@@@@@@@@@@)?2@? 3@)Khe?@@@@Le?V4)eN@@@@@@@@Lhe?3@?hV'@)X? N@@L@@@? ?@ W&K?e?V'@f3@he?@@@6Khe7@@@@@ ?O&@L?hf@@@?heN@@Hg?7@@h?@@?e?@H?h?3@@he?W2@f?@@@@@ ?@@@g?3@@@1g@MI40Yg?I@? @@5?e?@@@@@f3@@@fN@L?eW-X?e?J@@@@@1f?W&@@@@@@@@@@@@@@??O2@6Kh?@eV'@@@@@?gJ@@@@@h?3@@@@@@@)X?h?N@1h?N@@)X J@@1@@@? *@@@fV'fV'he?@@@@@6Xh@M ?@@@@@@@,??'@@@6X?e?J@@@?he?@@?g?@@@h?@@Le?@L?e?@6Xe?V4@he?7@@f7@@@@@ ?V4@@@L? @@H?eJ@@(M?fN@@@L?e?@1?e*@)XeW&@@@@@@L?e?7@0MI40M?fI4@@@@@@@@@6K?h?V'@@@@?g7@@@@Hh?N@@@@@@@@)Xhe3@he3@@1 @@@@@@@? @@@? V'@@L? ?@M??I4)X? W2@@fI4@@@(Y??V4@@@)Xe?7@?hfJ@@?g?@@@h?@@1e?@1?e?@@1 ?@@@f@@@@@@h?'6K ?I'@)K ?@6Ke@5f7@@Hg?@@@,?eJ@5?eV'@)KO&@@@e?@1?e?@ I'@@@@@@?I'6X?hV4@@@?f?J@@@@5?he3@@@@?I'@)X?hN@@@6XgV4@@h)XhN@@@@@@? 3@@? ?V4@@? ?B)X 7@@@g?I(YgI'@1e?@@?hf7@@? ?@@@e?3@?eJ@@@ ?@@@@@@@@@@0M?h?V'@6K V'@@6X ?W2@@6X?e?@@@@@(Yf@@@?hI(Y?e'@H?e?N@@@@@@@@e?@@?e?@ ?N@@@@@@eV'1?he?@5?fW&@@@@H?e?@6XfN@@@@??N@@1?h?3@@@1 @1h?@@@@@5? W2@@fN@5? 31 @@@@L? ?N@@he?O@?f@@@?eW2@?g@6X?e?@@5e?N@@6?&@@5h)XeW2@??@@@@@@@@(M?hfV'@@6K ?N@@@1f?@@(hO&@@@@,?e?@@@@(Y?e?J@@5? V'g3@@@@@@@h?@ @(M?f?V'Lhe?(Y?f&@@@@@f?@@)X?e?@@@@?e@@@?h?V'@@@ @@h?@@@@@H? &@@@L?e?(Y? ?)X? ?@@@hV'e?W.?hf@@@@)Xg@6K?g@@h@@@@@?h?W&@5?g3@)Xe?@@Hf@@@@@@@Hh@,e7@@?eI4@@@@(Yg?W2@6Xe?N@@@@@?f?@K?f?J@@@@f?@0Yf?'@@@@@@@0Y?eJ@@@(Yf?@@0Y? N@@@@0M?hJ@L?gO2@6K??J(YhN)X?e?/K? @@L?e?3@@)XeJ@@@@?@@@@@LheV'@@L? 3@h?@@@@@ ?I'@)X ?31? I@hf?.Y?hf@@eI/g3@@@@@(?e@@L?g3@@@@?hW&@(Y?gN@@)X??@5?f@@@@@@5?fO2@@(Ye3@@?f?@@@h?*@@@)X?e3@@@@?f?3@@(?e?7@@@5hf?V4@@@@@f?W&@@(Y? W-X?e?@(Mg?W&K?O&@)Kf?@@@@@@6?&H?h?3)Xe?N@@ @@,?e?V4@@)KO&@@@@?N@@@@)X?h?N@@1? N@L?g?@@5

?J@@L? ?@ N@@1hf?W26X?e?V'? @@heV4@@@0Y?e3@1?gV'@@@Lg?W&@@He?W2@e?3@@)K?@H?f@@@@@0Y?e?'@@@@H?eN@@?f?@@@1?g?V'@@@1?eV'@@@Lf?V40Y?eJ@@@@? I'@5f?*@@@H *@)Xe?@H?g?7@@@@@@@@@?e?@@@@@@@@@L?e?)X?e?V4)f@@he?@@@@(Y?gI4@@(Mf?@@@@@)Xhe3@@L ?@@?g?@@H?7@@1?f@6K? J@@5hf?7@@1? @@ N@@?g?V'@@)X?f?7@@@?e?7@@e?V'@@@@5f?J@@(Mg?V4@@@f?@@LfJ@@@@?hN@@@@?e?V'@@1hf7@@@@1 ?V+Yf?V'@@L O@g@?eN@@)?@@@L?g?3@@@@@@@@5?e?3@@(?4@@@1?e?@1? ?@@@0YheI(Y?f?@@@@@@)X?hV'@1 ?@H?g?@@??@@@@?f3@@@@@ ?W&@(Yf@@@@(?e?@@@5? @@L? ?@@?hN@@@)Xf?3@@5?e?3@@fV'@@@Hf?7@@H? ?@@)X??O&@(Me?W2@f?3@@@?fN@@@hf@@eI@fW2@@@@ V4@)K?hO2@@@@@@he?@@H?N@@)Kg?V40M?e?@H?e?N@@H?e@@@?e?@@? ?W2@f?@(M ?@@@@@@@)Xh?V'@ ?@h?@@?J@@@5?fV40?4@hf?W-X W&@(Y?f@@@0Y?eJ@@(Y? ?@ @?hf@@)K ?@@@@)X?e?V40Y?e?V'@f?N@@5?f?@@@ ?@@@)?2@@(Y?e?7@5f?V4@@?f?@@@@@@(g@@@5g?O&@(MheW-X?gI'@@@?f?@@@@@@@@5he?@5?e@@@@@@6Xhe?@g@@L?e3@5?eJ@@@6Xhf?7@5fJ@H? ?3@@@@@@@)X?hV'@6K?hfJ@hJ@@?7@@@H? ?&@) ?W&@@Hg@(M?f7@(Y @6X?e?@L? ?@6Xg@@@@6X ?I'@)XhfV'g3@ ?@@@@@@@@Hf?@@H ?@@@@@(Yf?J@@(Yf@@@@@@H?g/Xe7@)Kg?N@@@Lf?@(MI4@@0Yhe?@H?e3@@@@@@1 @@,?eN@H?e7@@@@)X?he?@(Yf7@ ?V4@@@@@@@)Xh?V'@@6X?h?W&@L?g7@@?@@@5 ?7@@@?g@Hg@0Y? @@)?e?@,? ?@@1hI4@)h?@hf?@@?gN@@1 V4)X ?@@@fW2@@@@@@@@@@@?fJ@@? ?@@@@0Y?fW&@@H?f@@@@@@hV/?J@@@@@@g@@@1f?(Y? ?@fN@@@@@@@L? ?J@(Y?eJ@e?J@@@@@@1?h?@@@H?f3@L? ?I'@@)X?hV'@@)XhW&@@1?g@@5?

?J@@(Y ?@@@@Lg@L ?(Y? ?3@@eO2@? ?3@?g?@@@ I/ ?O&@@@@@(Me@@@Lf7@@? I@M?f?O&@@@f?J@@@@@5he?7@@@@@@g3@@@ @?f?@f?@@?I'@@1? ?7@Hf7@e?7@(?'@@@Lh?3@@L?fN@)K N@@@)Xh?V'@@)X?g*@@@5?g@@H??7@@H? ?@@?e?@@@@1g3)K? ?V4@@@@@@? ?V'?g?@M? @@h?W2@@@@@@(Y?e3@@1e?J@@@@@@h@?he?O2@@@@@f?7@@@@0Y?@@@g?3@(M?@@L?f?@@@L? @?he?@@??N@@5?g@@@@f?@5?f@@e?3@H?V'@@)K?g?V'@1?fJ@@@6Khe@@ ?@@@@1heV'@@)XgV'@@H?g@@?@@@ I@gV4@@@? @@@@h?I'@@@5?f)X '@@6X?hf@6X?e@@L?g?7@@@@@@@?fV4@@e?7@@?I'@L? ?O2@@@@@@@f?@@?f?N@@h@He3@1?f7@@@,?h@6X? ?@@?e@(Y?f?J@@@@fJ(Y?h?N@?eV4@@@6K?gV'@?e?W&@@@@@@@@@6Xhf?W26X?e?@@@@@he?V'@@1g?N@@g?J@@?@@5 I4@? ?W2@g@@@@heV4@0Y?f@)X?eW& V4@@1?hf@@)Xe@@1?g?@0M?I'@@)X?h?@@@eN@)KhfO2@@@@@0?@MI4@f?@@?g@@g?7@?eV4@?e?J@@@0Y?h@@1? ?@@?e(YgO&@@@5e?W.Yhf@?fI4@@@@@?f?N@?e?7@@(?4@@@@@@1hfW&@@1?e?3@@@@@@heV'@@L?f?J@@L?f?7@@?@@HfW26K ?7@@g@(M?g@?hf3@)Xe&@hW-X?f'@6X I4@?fW&g@@@1e@@@?hfV'@@)Xh?@@@e?@@@6XhW2@@(M ?@@? ?@@?h?7@@X?he@@@L ?@@?h@@@@@@0YeW&H?hf@Lg?I'@@?g@?e?@@@H?e@@@@@@he?O&@@@@?e?N@@@@@@L?h?V'@)KO2@6?&@@1?f?@@@J@@?f7@@@(? ?@he?3@@g(Y ?@@1he?W&@,?fV'@)X?hf@@hf7@g@@@5 ?N@@@)X?g?@@@e?@@@@)h*@@@H? ?@@?hf?@@@@?h?@@V/?gW2@@@@@@f?@@@ @@@@0Me?W&@ @1hN@@?he?@@5f3@(?'@hW2@(M?h@@@@@@1?heV'@@@@@@@@@@@?f?@@@7@@?f@@@0Y? @@ ?@he?N@@ 7@@5heW&@(Y?f?V'@)Xf@Kg@@hf@@L?e?J@@(Y 3@@@)Xhe?'@@@@@HhV'@@L? '@6Xf?@@@@?hJ@@?h7@@@h?@@@ @@(Mf?7@@ @@L?gJ@@@@6X?g?@@HfN@H?V'L?g&@0Yhe@@@@@@@Lhe?V'@@@@@eI'@Lf?@@@@@@? @Kg?W2@ @@ 3@(Yh?W&@(YhN@@1f@@@6X? @@@?e?@@0Y? @@fV4@@@,he?V'@@@@?h?V'@1?eW26X V4@)X?f?@@?h7@5?h3@@@ ?O.?he@(Y?f?@@5fW2@6K?f@@1?g7@@@@@)?g?@@?f?@e?N)X @@@@@@@1hfN@@@@@e?V'1f?3@@

?J@@5? @@@6K?eO&@@ ?@@? W2@? V+Y?hW&@0Y?h?3@@L?e?I4@)X @@L?fI40Yf?W2@fV'@@@LheV4@?e7@@1 I')Kf?3@?h3@H?hN@@@ ?'@@@@H?h?J@Hg?@@?f&@@@@@f@@@Lg@MhfJ@@?fJ@f@)X? @@@@(Y@@hf?3@@@@fV'f?N@@L??7@@H? ?@@? ?@@@@@@@@@ 7@@? 7(M?he?V'@1?gI/K? @?e?J@@@?hf?7@@f?V'@@, 3@@@f@@h@@e?V'@@?e?V'?f@@eV'he?@@@ ?V4@@@heO&5?g?3@1 @@@@ ?W&@@Lf7@f3@)Xf@?hf@@@0Y?3@@@he?N@@@@hf3@1??@@@ ?3@@@(M? ?@K? 3@@? @H V'@?g?V4@ ?7@@H?hf?3@5gV40Ye?@6KheV+M?f@@ N@@L ?@@5 @@L?g?'@(Y?g?V4@ O2@??7@@@)X??J@@fN@@)X?he?@@@@@0MfN@@@hf3@@5hfN@@??@@@ O26Xh@@(Y ?@@6X? @?fV4@? ?'@@g@? ?V4@@? @? ?@he?@@5 ?V+Yhf?N@@6X @@f@?hJ@@1 ?@0Y 3@1?g?V+Y O2@@@@5??3@@@@1??@@@f?@@@)Xe?)X? ?3@@hfN@@Hhf?3@??@@@ ?@@@@@@@@1gO&@(Y? ?3@@)X ?V4@ ?I@? ?@0Y @@@)X? @Lg?O&@@@ ?O26K?he?@6KheN@@L W-X? W2(M?I40Y?e@@@@5?h?@@@@)K??@1? ?N@@hf?@@?hf?N@L?@@@L? ?3@@@@0MI@f@@@@0Y ?N@@@1 ?@heW& @@@@)? @)K?e?W2@@@@@ ?@@@@@@@@@h?3@@6?26X?f?@@,fO@h*@)XhW&K? ?W&(Y?g?7@@@0Y?hJ@@@@@@@@@5? @@hf?@5? @@?@@@)K ?V40M? 3@@@ W2@? J@L?h7@L? @@@@@?f?J@@@@H? 3@@@e?7@@?I4@ I4@@@@@5h?V'@@@@@)XfJ@0YeW2@5hV'@,h7@@6X? O&@HhJ@(Mf?O26X??W&@e?I4@@0Y? ?J@5hf?@he@?e?J@H?@@@@@@? V4@@ ?@he7@5? 7@)Kh@@)K?O26X? ?W.?hf@@@@@?fO&@@@@f?W2@ N@@@eJ@@@L?fW2@?e?@@6X?h@@@HheV4@@@@@)K?e.Mf&@0Yh?V+Yh@@@@1?hf?@@@@?h7@H?e?W2@@@)??&@@ O&@?hf?@)Kh@?e?7@LJ@@? '@(? )X @(Y? @6X?g@@@@@6X?f@@@@@@@@1? W&H? ?@@@@(M?f?7@@L?f?@@?f?3@5e7@@@1?f7@@?e?3@@1?h@@@? I4@@@@ ?I4@@? ?J@5f?*@@@@H? ?O2@@@@1hf?@@@6Xg@Le?@@1

?W&@5? V+Y? @)h?@@?g)Xg@H @@)Ke?O2@@@@@@@)Xe?J@@@@@@@@5?e?@@?he&@ ?@@@0Yg?@@@1?f?@@?f?V+Ye3@@@@?f3@@?e?V'@@?h@@5? I@M? @? ?W2@@?h'@f?7@Hf?V'@@@ @@@@@@@@L?he?3@@@1g31e?@@@W&@@H? @@@6KO2@@Hh?@@?g@)X?f@? @@@@6?2@@@@@@@@@@1e?@@@@@@@@@H?e?3@? @K ?@@@@L V+M?gV4@?fN@@Lh@(Y? @? ?7@?heV'fJ@5?gV4@@fW&K?fW.e?'@@@?g@@@(M?I4@?he?N@@@@gN@e?3@@

?W&@@@ O2@? @@6X ?@@@@@@L 3@)Xh?@@?e?@6Xe?J@@@@@@(M?I'@@@@@@5e?N@@@@(?'@f?N@?e?W-XfO)X?f3@@6X? ?@(??3@@@1 ?@@1g@@(Y ?@5? ?W&@H?hI@f*@@@e?W.Ye?V'@@?f?J@@@? @@@@gJ5e?N@@?7@@@@ @@@@@? 3@@1 )X ?@@@0?')X? N@@1f@?e?3@Le?@@)K?O&@@@@@@fN@@@@@@Hf3@@(Y?N@L?f@@6KO&@)K?O2@@)XfN@@@1?g)Xhe?(Y??V4@@@ ?@@@g@@H? ?(Y?f?@@?gW&@@ V'@He?.Y?fN@@?fW&@@@1 ?J@@@@g.Yf@@L?J@(M 3@@@@? V'@@ @)h?@ N@)K ?@@@e?J@?e?N@1e?@@@@@@@@(?'@@)Ke?@@@@@5?fN@@He?@)Kf@@@@@@@@@@@@@@@)X?e?3@@5?f?J@)X? ?@@@@? ?@@@g@@ ?@(? @? ?@@?g7@@5 ?V'?he?@@?f7@@@@@L? ?7@@@@hf@@1?7@H? V40Mf?W26X?g?V4@ ?@@@@?h@@f?@@5e?7@?f@@e?@@@@@@@(Y?N@@@@@??3@@@(Y?f?@@?e?@@@6Xe@@@@@@@@@@@@@@@@)Xe?N@@H?f?7@@1? ?3@@@?e@@h@@6Xhe?@@@g3@ ?(Y? @?f@? @@(Y ?@@?f@(?4@@)X ?@@@@5hf@@@?

?J@5 W&@@1? I4@? ?@(Ye?@@?f@@@@@@@@@@@(Y?e@@@@5??N@@@Hg?@@?e?3@@@)K?@@@@@@@(M??I'@@@@1f@@g?@@@@? ?V4@@?e@@h3@@)e?'@6X?e?@@5g?@f@@6X ?'6X @L @0Y? ?'@@@@@?f(YfI/X?hf?@@@(Yg@?f3@@??7@H 7@@@5? W2@? J@H?eJ@@?f3@@@@@@@@@(Yf3@@(Y?e3@5?gJ@@Le?V'@@@@@@@@@@@@HfN@@@@@hfJ@@@@?f?@@@ N@@He?V4@)?e?@0Yg7@f3@@, ?V4) @@ W2@? ?V'@@@5?he?N1?hf?3@@H?g@?fN@@LJ@@? 3@@@H? 7@5? ?O&@f7@@?fV'@@@@@@@@H?f?@@HfV+Y?f?W&@@1fV4@@@@@@@@@@@?fJ@@@@@he?O&@@@@@6Xe?3@@hO)X? ?@@? @@fV40Y @K 7@@?f?W2@ V4@0Y?hf@?hf?N@@h@?f?@@1

?W&@5? V4@@ ?O@?g@(Y? ?O2@@@e?J@@@?f?N@@@@@@@@g7@5?hfW&@@@@gI'@@@@@@@@@?e?W&@@@@@L?h@@@@@@@@@1e?N@@g?@@@)K ?@@@@@@@@? @?g@@6X @@@?f?7@@L?h?@ @@@@hf@@L?hf?@@@L?W&@(Y? @@5?g(Y ?)X? ?O2@@@@@eO&@@@Lf?J(M?I'@@@f?J@(Y?hf7@@@@@g?V'@@@(MI4@?eW&@@@@@@)KhN@@@@@@@@@L?e@@L?f?@@@@@6Xhf?@@@@@@@@? @@@) ?@@? @Mg?@@@1?h?@ @@@@hf@@1?hf?@@@1?7@(Y @?e@(Y? @?he?@)? ?O2@@@@@@@@@@@@@@)K?eO&H?eN@@@L?e?@0Y @@@@@@@6X?fV'@@H?g*@@@@@@@@@@@@@f?3@@e?I'@1?e3@1?f?@@@@@@)K?he?@@@@@0M ?@@L I4@?'@@?f?@ ?W2@@@@5hf@@@?hf?@@@@L

?J@0Y? @? @@0Y @? ?O2@@@@@@@@@@@@@@@@@@@@@@@fJ@@@1?hf@6X?f@@@@@@@@1?f?V'@L?gV4@0M??I4@@@@@f?V'@fN@@LeN@@?f?@@@(?4@@6?2@@@@f?@@@hf?W2@f?'@@g?O2(he?@ ?@e?@6Xf?3@1 V4@? ?@f?*@@@@@Hhf@@@?hf?@@@@1W&<? @?e?W2@@@@@(M?@@@@??I'@@@@?he7@@@@?he?J@@1?f@@@@@@@@@?gN@1? ?I4@@@gV'f?@@1e?3@@6KO2@@@@H??I4@@@@@@@fJ@@5hf?*@@L?e?V4@f?'@@(Y ?@@)X?e?V'@ ?@@? ?@f?V4@@@5?hf@@@?hf?@@@@@L?

?W&5 ?@ ?7@@@@@@H??@@@5?eN@@@5?h?J@@@@@LheW&@@@?e?J@?f?I@?gJ@@? ?@@@e?V'@@@@@@@@@L?e?I'@@@@5f7@@Hhf?N@@1?he?V40Y? ?3@@1?fV'L?hf?@@? @? ?@g?I'@H?hf@@@? ?I'@)XW&(Y ?@@@@@@@L??@@@f?@@@heW&@@@@@1h?O&@@@@?eW&@? 7@@L ?@@@fN@@@@@@@@@1?fN@@@(Yf@@5? @@@L '@6X ?V'@@Lf?V/? @? ?@hV' @@@? V'@1

?W&(Y? ?O@?he?@@@@6X? J@@@@@@@)K?@@@1?e?3@@1?g?O&@0M?I4@=?fO2@@@@@@@??O&@@? @@@)K? ?@ ?@@@@@(MI'@?f?@@0Y?f@0Y? 3@@, V'@)X? V4@@ W-X?hf?@L? @@5?g@?h?N@@W&@H ?@@@@?hfI4@@)K 7@@@@@@@@@@@@@@Le?V'@@Lg@@@?f?B@6?2@@(R'@@@@@@@@@@@@= @@@@@@@@@@ ?@L? @@@@@@@@H??N@@6K ?@@?gV40Y ?V'@1? 7@1?hf?@)Kg?@ @@H?g@?he@@

?W&@5? W2@? ?@M? ?I4@@6K? ?J@@@@@@@(?'@@@@@1fN@@1gN@5?g3@@@@(Y?V'@@@@@@(MeB@@@@@@@6Xg?I4@@@@@@5 J@)K @@@@@@@5f@@@@6X ?@@? V4@? ?@@? @@@?hf?@@@6K @@h@?he@@?7@@H? ?'6Xf@@@(e7@5? @@@@ W&@@@@@@(Y?N@@@@@@f?3@@g?(Y?gN@@@@He?N@@@@@@H?e?@@@@@@@@1heI4@@(Ye?W2@@@@6K??W&@@@@@@6K?heI'@@@Hf@@@@@1 ?@@@ ?N@? @@@? ?I'@@6K? @@h@?he@@?@@5 ?V'1f@@0Ye@0Y? @?he@@@5 ?O&@@@@@@@f@@@@@@L?e?N@@ J@@@@?f@@@@@@fJ@@@@@@@@@hfI(Y?e?7@@@@@@@6?&@@@@@@@@@@@@@@@6X?e?V4@@?f@@@@@@ ?@@@hf?@@? @? @@@?f?@heV4@@@@ ?J@@ @@L??@@H V' ?@ 3@(Y @@@@@@@@@@@@)X?J@@@@@@)Xe?J@@ 7@@@@?f@@@@@@@6KO&@@@@@@@@@L? ?@@@X?@@@@@@@@@@@?I'@@@@@@@@1?hf?I40M? @? I4@@ ?7@5 3@1?J@@? V+Y? @@@@@@@@@@@@@)?&@@(?'@@1e?7@5 ?J@@@@@Le?J(MI4@0?4@@@@@?e?I'@1? J@@@)X@@@0M??I'@@??N@@@@@@@@@L ?@@? @6X?hf@?f@@ ?W2( ?@@H N@@?@@@? @@@@@@@@@@@@@@@@@@H?V4@@e?3@? W&@@@@@)K?O&H?gI'@@@?fN@@? ?O&@@@@@@?gN@@?e3@@@@@@@@1 @@)? @@ ?@ W&(Y ?W2@6X J@@? ?@@?N@@? ?@ ?J@@@@@@@@@@@@@@@@@@L?g?N@)X?he?W&@@@@@@@@@@@L?g?N@@@?f?@@Lhf?O2@@@@@@@@?g?@@?eV'@(M?I'@@ ?W2@@(?@@@@? @@ ?@ ?W&(Y? O&@@@)h?@@? 7@@?g@?hf?@@?J@@? ?)X?f?@@@@@@@@@@@@@@@@@@@,?h@@)?2@(?gW&@@@@@@@@@@@@)Xh3@@Lf?3@1he?W2@@@@(MI'@@Lg?3@?e?V+Ye?V4@@@6X ?7@@(Y?@@@@? 3@L? W&(Y ?@@@@<hf?@@? @@@?f?J@?hf?@@?7@@? ?@ @@ ?@1?gI4@@@@@@@@fI'@(Y?h3@@@@0Y?f?W&@@@@@@@@@@0Y@@)K?gN@@1f?N@5heW&@@@@@HeN@@)X?f?N@Lhe?I'@@)K??O2@gW2@@gJ@@0Y? N@)X 7(Y? ?@(? ?3@@5? ?'@?hf?J@@5?f?75?hfJ@@?@@@? @@ ?@@Lh?I'@@@@@f?V+YheV40Mh?*@@@@@@@@@(M??3@@@6K?f?3@@g(Yh?O&@@@@@@?e?3@@1?f?J@1hfV'@@@@@@@5g7@@Hf?W&(M? @@6Kg?3@1 ?@@? (Y ?(Y?eW2@?hf?V40Y?g?W26X?f?V'?hf?7@@H?f?@H?hf7@@?@@@? J@@)K?O)X?fV'@@@@ @??V'@@@@@@@(Ye?N@@@@@6X?e?V'@L?hf?O2@@@@@@@@?e?N@@@Lf?7@@hf?V'@@@@@(Yg@@@?fW&(Y I4@@(?e?V4@ J@5? ?)X? 7@@? ?7@@)X ?@@5g?@ @@@?@@5? ?@6X 7@@@@@@@)?)Xe?N@@@@hfW& @?eN@@(M?I(Y?f@@@@@@1?fV'1?hf@@@@@@@@0Mg3@@1f?@@5 V'@@@(Y?g3@@?f7@H?hf@@@?e?O)XhI(Y? @0Y? ?@)? @@5? ?@@@@)X? ?@@Hg?@ @@@?

?J@(Y? ?@@) @0M?@@@@@@@1f@@@@L?he7@hf?J@?e?@0Yhe@@(?'@@Lf?V'?hf@@@@@?heV'@@f?@(Yg?@@?f?N@@@HhV'@Le?J@@ ?@@?e@@@) @6X? @0Y? ?3@@@@)K J@@?gJ5 @@5?W&@H @?f3@@@@@@@f@@@@)KO2@@@?f@@f@@g?'@L @0Y?V'@1 @@@@5?he?V'@@@@@@(Y?g?3@Lg@@@?h?V'1e?7@@g?@g7@5??J@(M? 3@,? ?V4@@@@@@6X? 7@@?g7H @@H?

?W&@5? N@@@@@@@@@@@@@@@@@@@@@@Lf@5hf?V4)X? ?N@@ ?J@@@(Y?hfV'@@@@(Yh?N@1g@@5?heN@e?3@@L?hf@@H??7@Hf?W&? V+Y? ?W26X?h?I4@1?hf?J@@5?g@?hf?J@5?7@@H? @? ?@@@@@@@@@@@@@@@@@@@@@@)K?e@? ?B)K 3@@6K? ?@@@@H ?N@@@@H?he@@L?f@@H?he?@e?V'@1?hf@@e?@@?f?75? ?&@@1?he?I@?hf?7@@H?g@?hf?7@H?@@@ ?@@@@(M??I'@@@@(MI4@@@@@@@@@@1heW&f@@@? V'@@@@@6K?f'6KO2@?N@@@?e?@@?he3@@@hf@@1?f@5f?@6XheN@@? ?(Y? ?W2@@@ I4@? ?@@5 J@@??@@@ ?W&? ?@@@@?heW& J@@@@HfV4@@(Yf@@@@@@@@@@h?W&@f3@@L ?V'@@@@@@(fV'@@@He3@5?e?3@?heV'@@hf@@@Lf(Yf?@@)he?@@L @6X? ?&0M W2@6X? J@(Y ?W&@5?J@@5 ?&@? ?@@@@?he&@ 7@@@5?gI(Y?f3@@@@@@@@@h?7@@L?eN@@1 V4@0MI(Yf?N@@@?eV+Y?e?V'?he?V'@L?f?@?2@@@@@)X? ?3@1 @?g@@1? W2@( 7@@@1?hf?W&@H? W&@(Y?7@@H @? I'@? ?J@@@@H? V'@@@@@@@@L?g?3@@)Xe?3@@W2@?f@@ 3@@L ?)X?eV4@?f?@@@@@@@@@)K ?V4@ ?I@? 7@(Y @@@@@?hf?7@@ 7@@H@@@? ?V'? ?@@@@@L? ?V'@@@@(?'1?g?V'@@)X??V'@@@@Le?J@5 ?@@1 J@)XhfI@M??I'@@@@@@?hf?O.? @0Y? ?@ ?@@5h@?he?J@@5?@@@? ?@6X ?N@@@@)Xg?W2@gN@@@(Y?V'?hN@@@)XeV4@@@)K?O&(Y ?W&@@@L? ?W&@@1 V'@@@@@Lg?)X?e@@H? ?@ ?@@Hg?J@?he?7@(Y?@@5? ?3@)X? @@@@@)K?fO&@5g?3@@H?hf?@@@@1g@@@@@(Y? ?&@@@@1? O&@@@5 ?N@@@@@)X?f?@)??J@@ ?W2( ?@@?g?7@?he?@@H@@H? ?V4@)? @@@@@@@@@@@@@@(Yg?V'@ ?@@@@@g@@@@@Hf?@@@(? ?I4@@?hfW2@@@@0Y @@@@@@)Kh?7@5 O&0Y ?@ J@@?g?@5?f@?fJ@@?@@ ?J@@@@@@@@@@@@@@H?hV' ?3@@@@@6X?e@@@@@?fJ@@(Y?g?@6X ?W&@ @@@@@@@@6Xg?@0Ye?W26X?heW2(M J@L? 7@@?g?@H?e?J@?f7@@?@@ W&@@@@@?f?@@5 ?N@@@@@@)Ke@@h@@@Hh?N@)K? ?7@@hf?W26X?h?I'@@@@@@1hf?7@@1?he7@H? '@1? /X @@5?gJ@f?7@?f@@5?@@ ?W&@@@@@@?f?@@H @6X??J@@@@@@@@@@@@hN@5?he3@@6K? ?@@@hf?*@@)XheN@@@@@@@L?he?3@@@Lhe@@ V4@? N)X? @@@? @@H?g75f?@5?e?J@@H?@@ ?7@@@@@@@?f?3@L 3@)KO&@@@@@@@@@?@@h?(Y?heV4@@@6K? ?@@@L?he?V4@@)X?hJ@eI'@@1?he?V'@@1f@@f@@ ?)X? ?@h?3)X ?J@@h@Hf?@H?e?7@@@@ ?@@? ?@@??@@@@Lg@)X? V4@@@@@@@?@@@@@?@@L? I4@@@6X? J@@@1?hf?I'@)Xh7@e?V4@@?hfV'@@L?h@@ ?'@(he?@)? ?V4) ?W&? ?7@5h@?fJ@f?@@5@@L? ?@@? ?@@? ?@@??@@@@)K?eO&@@)X I'@@@@@@@@@@@@@@)Xg?W&? ?I'@)Xhf?O&@@@5? V4@)h@@ ?N@@)Xh3@ ?V+Y ?*@? J@(Yh@?f@@f?@@H@@1? ?@@? ?@@?hf?@ ?@@@@@@@@@@@@@@@@@@1 @@@@@@@@@@@@@@@)X?fW&@? N@@)X?he@@@@@0Y? ?@K?e@@L? 3@@1hV' W2@? O2@( ?V'? 7@H? ?@@?@@@? ?3@? ?@@? ?@@? ?@@@@@@@@@@@@@@@@@@@ ?7@@?@@@@@@?eI'@@)Ke?O&@@Lg?@h?3@@)Xhe@0M?hf?'@6X?g?@@@@@@@@? N@@@ ?W&@@?hf?@@@(Y @@h?@hfJ@@?@@@? ?N@? ?@@@@@@@@@@@@@@@@@@5 ?@@@@@@@@@@?e?N@@@@@@@@@@@1 ?N@@@1 ?V4@)?hI4@@0Mhe?@@(h?@@@ ?7@@5?hf?@@(Y?he?W2@ ?O)X ?J@5hJ5hf7@@?3@@? @? @@ ?@(MI'@@@@@@@@?I'@@?g@@@@hf?@@@eI'@@@?f@@@@@@@@@@@@he?W&?e?J@@@@ ?@0Y ?@@?f?3@@H?hf?@0Yhf?7@@ @@@1 ?7@Hh7Hhf@@@??@@? @? ?@H??V4@0MI'@@eN@@1g?@@5hf?@@@e?N@@@?e?J@@@@@0M? ?*@?eW&U? ?W2@ ?@ ?V4@ @@eJ@@5 ?J@@@@ J@5?h@?he?J@@5?@@@? ?'@? ?@L?g?V4@e?3@@L?f7@@Hhf?@@@f@@@LeO&@(M? ?N@L?W&@1? ?&@@ ?/K?he?@ @@0Y ?7@@@@ 7@H?h@?he?7@@H??@@? ?V'? ?@)Khf?V4@)Kf@@5?hf?@@@L?e3@@)?2@@@H @)?&@@5?he?'@@6K ?N@6K? ?@@@ ?@@@@@ @@ J@@57@@? O2@? ?3@@6X @@@@@@@@H?hf?3@@,?eV'@@@@@@@? ?J@@@@@(Y?he?V'@@@@@@? 3@@6X?e'6X? ?3@@ ?@he?@@? @@ ?W&@@H

?J@@5? '6?2@@5? ?N@@@)K?hf3@@@@@@@L?g@@f?N@(Y?e?N@(M?I'@?hf?)X?f?7@@@@0Y V'@@@@@?he?W26X? V4@@)?eV')X ?V4@ ?@@? ?J@@ W&@@5??7@@H? V4@@@0Y? 3@@@@6K?heN@@@(MI4@? (Yg(Ye?V'?hf?@)?f?@@@0M ?N@@@@5?heO&@@)?g?/K? ?V4) ?@6X ?@@? ?7@5 ?O&@@(Y??@@@ @@ N@@@@@@@@6X?g?@@@H? ?@0M @@@@H?h?@@0M?h?N@6X? ?@@) ?3@?e?@@? ?@(Y @@@@(YJ@@@ ?@@@@@@@@@)Kg?@@@L? ?@6Xg/K 3@@5 @@1? ?V'?e?@@? @K J@H? @@@@H?7@@@ ?@@@@@@@@@@@6KfJ@@@1? J@@)X?fN@@@@6K? W2@(hfN@@H ?J@@@? ?W&? ?@@? 3@@@@? @@g?@ ?W&@ @@@@@@@@ ?@@@eI'@@@@@@6K?O&@@@@L 7@@@1?f?@@@@@@6X? ?W&@0Yhf?3@? ?7@@@? @?h?&@? ?@5?g?@6XfV4@@@? @@ ?7@@L? @@@5@@@@ ?3@@e?N@@@@@@@@@@@@@@@@g@@ @@@@@Lf?3@@0?'@)X W&0M ?N@? ?@@@@?eO2@@@@@6K? ?@H?g?3@, @@ ?@@@,?he?@6Xf@@@H3@@@ ?@ ?@ ?V'@L??J@@@@@@@@@@@@@(M? ?'@@@@@@@1f?N@?eN@@1 ?W&< 3=eO2@?hf@?f?@@@@@@@@@@@@@@@@@ ?@h?V+Y ?@@0Y?he?@@,f@@@?N@@@ V')KO&@@@@@@@0MI'@@H @@f?V'@@@@@@@g@?e?@@5 W&@?gW2@?hV'@@@@@?e?@@?g3LfJ@@@@@@@@0?4@@@@@5 @6X?h@? J(M?hf?@0Yf@@@??@@@ ?N@@@@@@(MgN@@? @@gV'@@@0M?he?3@Hf@@g?W&@@Lf?W&@H?h?V'@@@@?e?@@?gV/f7@(M?I40M?eI4@@0Y @@)X ?W&H @@@??@@@ 3@@@@(Y?g?@@? ?V'@h?@6Xe?V'?f@@g?*@@@1f?7@@hfN@@@@Le?@@?hf@(Y? 3@@)K? @@ @? W&@? @@@??@@@ N@@@@Hh?3@?g)X N@h?3@1he3@L?f?V4@@@L?eJ@@@hf?@@@@,e?@@?he?J@H ?@ V4@@@@ @@ 7@@? @@@??3@@ ?@@@@?he@Lg@)X? ?@L?g?N@@heN@1?hI')K?O&@@@f@@hI40Ye?@@?he?'@? ?W&?hfI4@@ ?J@@5?e?/X? @@@??N@@L? ?@@@@LhW&@)K?f@@1? ?@)Kg?J@@@6X?g?3@Lh?V'@@@@@@5e?J@@ J@@?he?V'? O26Xe?75?e?'6X @? ?7@@H?e?V/?h@@@(f3@@?@@1? W& ?3@@@)X?f?O&@@@@6K?e@@@L ?@@@@6K?eO&@@@@)Xg?V'1heV'@@@@@He?7@@hf?W&@5? W-X?hfW2@@@)e?(Y?e?V4) )X ?@ ?@@@ @@(YfN@@?@@@L 7@ ?V'@@@)K?O2@@@@@@@@@@@@@@@@)X? ?@@@@@@@@@@@@@@@@)hN@L?h?V4@@@5?e?3@@hf?7@(Y? 7@1?e?W2@g7@@0M? @@e?J@1 ?@@@ @@H?f?@@?@@@1 @@ @@L? N@@@@@@@(MgI40Me?I'@)K ?@@@(Me@@@(M?hf?@)XhfI(Y?e?N@@hf?@@H ?J@@@?e?7@@L?f@(M? ?@@@@?hW&@@ ?@@? J@@@ @@g?@@L3@@@ @5 @@@? ?@0M?@@@H? N@@@6Xhf?@@@H?e3@@H ?@@1 @@he?@@@5? ?'@@@?e?3@@1?f@?g@?he?@@@@?h7@@@g'@ ?@he)X '@ 7@@@ @@g?@@1N@@@ ?J@H ?@@@ ?@@@@)hf?3@@f?@@L ?@@@ ?@@(Y?g?@@? ?V'@@Le?N@@@?f@1g@? 3@@@gV' ?@he@1 V' ?J@@@5 @@L?f?@@@?@@@ ?75? ?@ ?@@@f?O2@@?g?@@@ ?V'@L?e7@@)K? ?@0Y N@@1f@@@?f3@L?e?J@? V4@@ @@ ?7@@(Y @@1?f?@@@?3@@L? ?(Y? ?@ ?@@@@@e?O2@Y@5?g?@@5 N@)Ke@@@@@6X? O26K ?'@6X? ?@@@f@@@LfV'1?e?7@? @? ?@@@H? @@@?f?@@@?N@@1? '@6X '6X? ?N@@@@@@@@@@?@H?fO2@@@H ?3@@@@@@@@@@)X ?@@@@@@@@(f@?2@@?h?V'@1?g?@@?hf?@@@e?J@@@@f?V'?eJ@5? ?)X? ?@@@ J@@@3@@L V4@) V4)? 3@@@@@@@@@@@f?@@@@@5? ?V4@@@@@@@@@@)K? ?I'@@@0Yf@@@@@LheN@@L ?@@5e?@@0M?he@0Y? ?@@? ?@ ?@1? ?@@@ 7@@@V'@1 N@@@@@@@@@@@fJ@@@@@ ?I'@@@@@@??B@6X?e?@@? N@(Mg@@@@@,he?@@1 ?W2@(?e?3@H ?W&? ?W2@ ?@@?g?@ J@@@ @?h@@@@?N@@L? ?@@@@@@@@@@@e?W&@e@@1?e?W-X V'@@@@@?e3@,? ?(Y?g@@@@(Yhe?3@@ ?&@0Y?e?V'? ?&@? ?7@5 ?3@?hf?W2@ 7@@@@@@?he?J5?g?J@@@@3@)X @@ ?@@@@@@@@@@@e?7@@e@@@?e?7@)KO2@(?h?V'@@@@?eS(Y? @@@(Y?he?N@@ @@@6X? ?@@H @@@?he?V'?hfO&@@ @@@? ?7H?g?7@@@@V'@)X? @@ ?@@0?'@@@@@@e?@@@e?I@?eJ@@@@@@0Y?heN@@@@??O&Hhf?W&? @@@@(Y 3@@6K? ?'@? @@@@)K ?@@? @@@? W2@@@@ @@5? ?@hJ@@@@5?V'@)X ?@ )X ?@M??V'@@@@@e?3@@h7@@@@0M?hf?@@@@@@@@?hf?7@? 3@@@H? V4@@@6K? ?V'? @@@@@@6Xh'@g?@@? ?W&@@@@@ @@H? ?@h7@@@@HN@@1 @@ @) V'@@@@e?V'@L?f?J@@@0M? ?3@@@@@@@?hf?@@? V'@@gW&K?h?I4@@@ @MI4@@@)X?gV' W&@@(M @@L? 3@@@5??3@@L? @H ?@@? ?V'@@@L?eV')Xf?7(M ?V4@@@@@@?fO2@6X?e?@5?e@6K?he?V4@g7@@@hf@@f@Kh?/X? I'@@,? ?@ 7@@@H? ?J@@)X @?hN@@@H??N@@1? @? ?@@? N@@@1?e?N@)X?eJ@H?hf)Xh@@@@@@6KO2@@@@)?e?@H?e@@@6X? ?J@@@5hf@@f@@6Kg?N1? ?)X?g@@@?f?V40Y? ?@hf?J@@@5 ?7@@@1 @?h?@@5@@@? @@ ?3@@@Le?J@@)?e7@hf?J@1h3@@@?I'@@@@@@@H?e?@f?I4@)? ?7@@(Yhf3@f3@@@6Xg@?he?)X?eJ@1?g3@@? ?'@@(Y ?@@@@@L?hf@?hJ@@H

?J@@@? @@ ?V'@@)K?O&(Mf@@hfO&@@hN@@@L??@@@@@@5 ?@@0Y?hfN@fV4@@@)g@?he?@)K?O&@@LgN@5? ?V40Y? ?@@V4@)X 7@5??@@@@? ?'@@ ?'6X V4@@@@@@H?e?J@@h?@@@@@@@h?3@@)?&@@@@@(Y ?@M??@@@@@6KgJ@g?@@Hg@?he?3@@@@@@@1g?3U? @6X?h?W-X J@@??I4) ?J@@H??N@@@? ?W2@@? ?V4@ ?V'1 I'@@@@L?eW&@@@@@@6Ke?@@@@@@@h?N@@@@@@@@@@H?f?)X? ?@@(MI'@@?f7@g?3@?g@?he?N@@@@0MI@g?N@6X? @@)?h?7@1 @@ 7@@? W&@53@@L ?&0M V' O2@6X? ?V'@@@)K?O&@@@@@@@@@@@?3@@@(M?he@M?I4@@@@@L?f?@1? ?@@HeN@@Lf@@g?N@?g@Lf?O@?f@@0Mhf@@1? ?W&? ?@@@ @@L? @@5?hf?@h?W&@@HN@@)X? ?@@@@@@@)?f?W2@ V'@@@@@@@@(Me?I4@@@?V@@@H ?I'@@@1?f?@@? ?@@?e?@@1f3@L?g@?f?J@)K??O2@@? ?J@@5? ?7@? ?@@@ ?@@?f@@1? ?J@(Y?hf?@hW&@@@??3@@)K ?3@@he?&@@ ?N@@@@@@@@H?gI'@@@@5?heW&gV'@@@Lf?@@L ?@@@fV'1?g@LfW&@@@@@@@@@L O&@@H? ?@@? ?3@?f3@@L ?7(Y 7@@??N@@@@6X ?@ ?V4@ 3@@@@@@@h?V'@@(Y?he&@g?V4@@1f?@@)K? ?3@@L?e?V'?g3)K??O&@@@@@@@@@@1 ?@@@@5 ?@@? ?N@?fN@@, J@H? ?J@@5?3@@@@1 V'@@@@@@heV'@H ?I4@f?@@@@@6K ?N@@1?hfN@@@@@@@@@@(M?I4@@ ?@@@@H @?f?@0Y 7@ O&@(Y?V'@@@@ ?V'@@@@@@6K?g?V'? J@@@@@@@@6K? 3@@?hf?@@@@@@@@@(YfI@g'6X?g?@@@@? @@@6X? ?J@@ @6?2@@0Y?N@@@@ ?'@@ V4@@@@@@@@6K ?W&@@V4@@@@@@@(?hf)XhfV'@? ?@@@@@@@H?hfV')X @@@@1? ?7@5 @@@@@?3@@@L? ?V4@ @@ I4@@@@@@6Xh?O26K? W&@@@??I4@@@@0Y?/Xhe@1hf?V'? ?@f@@ @1 @@ ?I4@@? ?@@? J@(Y ?J@@@@5?N@@@1? @@L? ?@@@@@@)X?e?@@@@@@@@6K? &@@@5?heN)K??O2@6?2@@@ ?@K?f?@f@@ ?7@@ @@ ?@@? 7@H? ?7@@@@H??@@@@L 3@1? ?@ ?@g?@@? ?3@@@@@@1?eJ@@@@@@@@@@@@@@?@@@?hfI(Y?he?@@@@@@@@@@@@@ ?@@@@@@@@@he@6K?g?@@5 @@ ?)X? ?J@@ ?W.?e?@@@@5?@@@@1 V'@L ?@ ?@ ?V4@@@@@@??O&@@@@@@@@@@@@?e3@@? ?3@@@@@@@?I'@@L? ?@@@(MI'@@he3@@@6Xf?@@H ?31? ?.M? ?7H?e?@@@@HI'@@ ?@e?@@? ?V4@ ?I4@@@@@@@@@@@@@@@@@@@@?eN@@@@@ @(MI'@@??V'@1? ?@@(Y??V'@L?hV4@@@,f?3@?heW& ?N@? ?@e?@@@@@5?@@ ?)X?g?@@? I4@@@@@@@@@@@@@@@@@?e?3@@@@ W2@6K?fO&@?eV4@?eV4@?e?W-Xe@@6Xe?O2@@@@@0YfN@)KheI40Yf?V'?h?W&5 @?hf?@ ?W-X J@@@@@H?

?7@@ ?@)? I4@@@@@@@(?'@@@?e?N@@@@e?W-Xh7@@@@@e?@@@@1 ?7@,e3@@)KO2@@@(Mh?3@@@? ?&0Y @?hf@@@? ?7@)X? 7@@@@@?@@@ ?@@? @@ ?I'@@@@He@@@?f@@@@eO&@)K?g@@g?3@@@@L?hfJ@(YeV4@@@@@@@@H?h?V'@5? @@@? ?3@@)Xhf?@f@@@@X?J@@@ @@ N@@@@?O&@@@?f@@@@@@@@@@@6X?f@@L?f?N@@@@)Xhf7@H?fI40MI'@@hfV+Y? @? @@@@ ?V'@@1f@?gJ5e?J@@@@@?7@@@ W2@? ?@@@@@@@@@@?f@(?'@@@@@@@@)Kf@@1?g@@@@@)X?he@@L?h?N@@ ?@@? @@@@ V4@@f@?g7He?7@@@@H?

?J@@@5 ?)X? 7@5? ?I'@@@@?f@H?V'@@@@@@@@@@@@@@@5?g@@@@@@)?he@@)Xhe@@g@@ W2@? @?e?@@@@5W&@@(Y ?@1? @?hf?J@(Y? V'@@@Lf@?eV4@@@@@(?'@@@@@@H?f?J@@ @@@)X?g?J@5g@@ @? 7@H? ?J5?eJ@@@(Y

?W&@@(Y? ?@@? @?hf?7(Y ?V'@@1f@LfI'@@@He@@@@@@gO&@@ @@@@)KgW&(Yg@@ @? ?J@5 ?7H?e7@@@H??7@@(Y ?@ @?hf?(Y? V4@@f@1f?V'@@?O&@@@@@5f?'@@@@ I'@@@?f&0Y? W&@H ?@f@@@5J@@(Y? W& @@L?fV'@@@@@@@@0Yf?V4@@@L?f?@@(h?V'@5? ?@ /X 7@5? @@@H7@@H '6X? &@ ?)X? 3@1?f?V'@@@@@0Mh?I'@)Xf?@0YheV+Y? ?@ V/ @@H? @?f@@@?@@5? V4)?hf?@6Xhe?@@? ?@)? W& V4@?gV4@@0MhfV'@)X? ?J@@ ?J@?e?J@@5?@@ ?@@) @@ &@ ?V'@1? ?7@@ ?7@?e?7@@H?@@1? ?@@? @6X?eV4@? ?@@? J@@5 J@@Le?@@@3@@? ?@H? )X @@)? 7@(Y 7@@@e?@@@N@@? ?@ @) '6X? ?J@@H? ?J@0M?e?@@5?@@? ?@ ?@ @? V4)? ?7@5 W&<?f?@@H?@@L ?@ @@ ?@(? J@@H ?W&@gJ@5??3@1 @@ '6X? ?(Y? ?W&@5? W&@@g7@H??N@@ V4)? O&@0Y?hf?W&@@@f?J@53@ @?g@? @@@(M? W&@@@5f?7@HN@L? W& @? @@ ?J@@(Y ?O&@@@(YfJ@5??@1? 75 W&@(Y?hf?O2@@@@(Y?f7@H??@@? (Y @?he@?hf?)X? ?@ @6X? 7@@Hhf?W2@@@@@(Yf?J@5?@@L ?31? ?@ ?@6Xg3@,? ?J@@5?hfW&(MeI(Y?fW&(Y?@@)X? ?@ ?V'? ?@@)gV+Y? @(g?'6X W&@(Y?he?O&0Y?h?W&(Y??3@@)X ?3@H (Yg?V4) 7@@?he?W2(M?heO&(Y?N@@@1 ?@ ?V'? ?J@@@1heW&(YheO2@(Y?3@@@ @? ?@ @? ?7@@@@he7(Y?hO2@@(YV'@@@@ ?@ ?@@@@@he(YhW2@@@0Y??N@@@@L? ?@@?hf@@6X J@@@@@ 7@@(M?3@@@1? ?@@@6X @?hN@@, ?@ 7@@0M?gW2@?he@@(YV'@@@L ?@@? @? I4@1 ?@0Y ?J@(M?h.Mh?O2@@(Y??V'@@)X? ?@@? ?@he?@ ?@@? ?@@?hf@? I@ ?)X? W&(Y W&KO2@@@0YV'@@)X ?@he?@ @? @6X? ?@@? ?@)? ?O&@H? ?W&@@@@@(M?N@@@1 @? @@)? ?@@? @@@5 W&@@@@@0Y?3@@@L? )X ?@(? @@ @@(Yg?W&?g7@@@(MV'@@1? @)X? ?@ ?(Y? @0Y?g?75?f?J@@@0Y??N@@@? @@)? ?W2( @? J(Y?f?7@@3@@? ?@@@ W& ?&0Y @@ @?h@? ?W.YgJ@@5V'@L ?@M? 7@ ?)X? ?7H?g7@(Y?N@1 @@ @? )Xhe?@,? ?@ ?W-XhJ5g?J@(Y?@@L? ?@@? @? @)he?(Y? W-X? ?7@)X?g.YgW&@H3@1? @@ O2(? J@5? O@ &@)? J@@@)? 7@5?N@@L W2@(Y? '@H? ?@@@ ?W&@(M ?J@(Y??@@1 ?W2@ &@0Y V' ?@@5 ?&@0Y?f?W&?gW&@H?@@@ ?.M? )X ?@@Hf)X W&5?g7@5??3@@L? @? 3)X?gW2(? ?@@?f@)f?)X? 7(Y?g@@H??V'@1? @@ N@1?g&0Y? ?@1? ?@ ?J(Yg?J@5N@@L @5 ?@@? ?@5? W2@?gW&H?g?7(Y?@@1 (Y ?W&? ?(Y? ?W&@@Lg&@hJ@H??3@@ @?he?@@?f@6X? W&@? ?7@@@1 ?W&@?V'@@6X? @? ?@6X N@1? *@@? J@@@@@eO2@?hW&@@V'@@)K @? ?@@1 ?@@L V'@? 7@@@@@@@(Mh?W&@@5?V4@@@6X ?3@@ ?@@1 ?)X? ?N@? ?/X? ?J@@@@@@@0Y?hW&@@(Y

I'@)K? ?V4@ ?@@@L? ?@)? @? ?V/? ?7@@@@@0M?h?O&@@@H??V4@@@6X ?@ ?@@@,? @L J@@@@(M?h?W2@@@@5

I4@)X? ?@ ?@@0Y? 31 7@@@0YheO&@@@@(YI4)K @6X? V' ?@@? ?J@@(MheO2@@@@@0Y?I'6X @@ ?@@??@6X @@(? N@1? ?N@?g?@ W&@(Y?hW2@@@@@(M??V')X? @? ?@@??3@)X? @0Y? ?@@? @? 7@(Yh?W&@@@@@0YV')X ?@@??V'@1? ?@@? '@@? @(Y?h?7@@@@0M?V'1 V4@? W& ?@@? V4@? ?O2@@@@Hhe?@@@V'L? &@ O2@@@@@@@?heJ@@5?V/K ?@@@@6X? ?@6Ke?@@@@0M?I'@?h?W&@(YV'6X ?@g?3@@@@,? ?'@? ?O@K?@@@@?h?S5?h?7@(Y??V')X? ?@g?V'@@(Y? @@he?V'? O2@@@@@@@@@?h?7H?hJ@@HN@)X V40Y ?@6X ?@@@@@@@@@@@@?hJ5h?W&@5??3@)X? ?@@, ?@@@@@@@@@@@@?h.YhW&@(Y??V4@)X ?@0Y @@ ?@ ?@@@@?I'@@@@@? ?W&@(Y?I')K? @@ ?@ ?@@@@??V40M? O&@(Y?V4@6K? @@ @@ ?@ W2@@@HI'@6X? @? @@ ?W2@@@ ?W2(g?W&@@@5??V4@)X @? @?heW. @@ @? ?7@0M? ?&0YgO&@@@(Y??I')K? ?@@@ @?he.Y @5hf?)X? ?@M? O2(?heW2@@@@(YV4@6K? ?3@@ )X (Yhf?@)?he?@ O2@0Y?h?W&@@@@(Y?I'@@@6K? ?V4@ @) )Xhe'@e?O.? ?W2( ?@0MhfO&@@@@0Y?V4@@@@@6K ?@ ?@ @1heV'e@0Y? ?&0Y W2@@@@@?

I4@@6X ?@ '@ 3@f?@ ?O&@@@@@@??I4)K? V' V' ?@ ?O2@hf?W2@@@@@0M?I46X? ?)X? W&h?@@@@@@@@@@@L?heO&@@@0M??I/K ?@)? ?/X? ?W&5hJ@@@@@@@@@@@)KeO2@@@@@@@@0MV'6X @@g?V/? @6X? W&(Yh7@@@@0M?@@@@@@@@@@@@@@@@0M?V')X? @H @@)?f?W&? &0Y?h@Mg@@@@@@@@@@@@@@0MV')X @? ?7@? @@@@@@0M?V')X? ?@@@ ?)X? ?@@? ?J@@@@(MV')X I@ ?31? ?W.?g?7@@@(Y??V4)K? @?hf?V'? @@ ?W&?hW&H?gJ@@@(Y?I'6X? W& @@ W&5?g?W&5g?W&@@0Y?V4)K ?W&? 7@ ?W&@H?g?&0Yg?7@(M?I'@@6K ?75?f?W2@ @?g@@ O&@@f?W2@heJ@@H?V4@@@6K ?(Y?f?&@@h?@@( @@ O2@@@@fW&@Hh?W&@5??I4@@@6X ?@0Y W2@@@(M?g7@@?h?7@@H??I4@@)K? @@ @@ @? 7@@@(Yh@@@?hJ@@5?I4@@6K? @@ ?J@@@(Y? ?W&@@H?I4@@@6X ?7@@(Y ?@K?O&@@@??I'@@)X? J@@0Y? ?3@@@@@@@?V4@@)X @0M?he?W-Xg@@@@@@5?I4@)X? ?@@? ?7@1f?7@@@@@@H?I')X ?@@? ?@@@fJ@@@@@@5?V')X? ?3@@L??W&@@@@@@HV')X ?N@@)KO&@@@@@@@??V')X? 3@@@@@@@@@(MV')K ?@@? ?O2@@?fN@@@@@@@@(Y??N@@6X ?@6Xg?@@? W2@@@@5?f?@@@@@@@(Y3@@1 ?3@1 *@@@@@H?f?3@@@@@(Y?V4@@L? ?V4@ W26KV@@@@@g?N@@@@0YI'1? @@@@6X ?W&@@@@@@@@@h@@0M?V'? @? @(?'@1 ?&@@@@@?I'@@@@

?@ (Y?V4@ ?I'@@??V'@@@?)X? N@@?eN@@@@@@@@??@)? W-X?e?@@LeJ@@@@@@@@?

?/X? ?O&@)Xe?3@)X?@@@@0M?@ ?V/? ?O2@@@@,e?V4@)?

?@6K ?@ ?O2@@@@@0Y?@@@6X @@@@@? ?@ O@e?@ O2@@@@@0M?I'@)K? 3@@@@?g?/X?f@? ?W2@@@ O2@@@@@0M??N@@@6X? N@@@5?g?N1?e?J5? ?W2@(?e?*@@@@ ?O2@@@@0M?@@@@)X ?@@0Y?h@?e?.Y? ?&@0Y?e?V40M? O2@@@@0M?I'@@)K? ?@M? ?O2@@@@@@@0MV4@@@6X? ?W2@@@@@@@@0M?I4@@)K ?@ O&@@@@@0M?I'@@@6X? ?O2@@@0M?V'@@@)K ?O2@@@0MV4@@@@@6X? ?O2@@0M?I'@@@@)K ?O2@@(M??V4@@@@@@6X? O26?2@@@6K ?O2@@@@@@@0Y

I4@@@@)K ?O2@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@(MI4@@@@6X @? ?O2@@@@@@@@@@@0MeI4@@@@@@@@@@@@@@@@@@@@@@@@@(Y?I4@@@)K? W&K? ?O2@@@@@0M ?I40?@MI4@@@@@@@@@@@@@0Y?I4@@6X? ?O&@@@@@@6K? O2@@@@0M?I4@)K ?@ ?O2@@@@@@@@0M??I4@?@@@6KhW2@@@@0M?I4@6K ?O2@@@@@@@@(M?h?I4@@6K?e?W&@@@(M

I46K ?O2@@@@@@@@@@@@@@@0Yhf?I4@@@6KO&@@@(Y?I'6K ?W2@@@@@@@@@@@@0M? ?I4@@@@@@@(Y?V'@@6X? O&@@@@@@@@@@0M I4@0Y?V4@@)K ?O2@@@@@@0M?I4@@6K O@?2@@@@@@@0M?I4@@6K ?O2@@@@@@@@0M??I4@@6K? ?O2@@@@@@@@@@0M?

I4@@@@@6K? ?O2@@@@@@@@@@@@0M??I4@@@@@@@6K ?O2@@@@@@@@@@@0M

?I4@@@@@@@6K ?O2@@@@@@@@@@0M??I4@@@@@@@6K O2@@@@@@@@@@@0M?

I4@@@@@@@@@@@6?2@@@6K?fO2@@@@@@@0M??I4@@@@@@@@@@@@@@@@@@@@@@@0M

?I4@@@@@@@@@@@@0M?

Non-Profit Org.U.S.Postage

PAIDPermit No. 10

College Park, MD

Maryland Sea Grant College0112 Skinner HallUniversity of MarylandCollege Park, Maryland 20742

Forward Postage GuaranteedAddress Correction Requested

Maryland Marine Notes (current and back issues since 1995) is also available onthe web at http://www.mdsg.umd.edu/MDSG/Communications/MarineNotes

June 1-12 — BiotechnologyWorkshop

University of Maryland, Baltimore Coun-ty. UMBC is sponsoring this ten-day,laboratory-intensive biotechnologyworkshop in “Recombinant DNA Metho-dologies and Applications” which is de-signed for faculty, post-doctoral andgraduate students, industry researchers,medical residents and laboratory techni-cians. For information about registrationand fees, contact the Continuing Educa-tion Department, 1000 Hilltop Circle,Baltimore, MD 21250, phone (410) 455-2336, fax (410) 455-1322.

June 6-7 — Striper 2000

College Park, Maryland. “Striper 2000:Research Advances on Striped Bass andIts Hybrids” is a conference that willprovide a forum for scientists, produc-ers, extension specialists and agencyrepresentatives to discuss state-of-the-artresearch in striper culture and the po-tential for increased production. For de-tails, see page 10.

June 7-12 — Focus on theChesapeake

Chestertown, Maryland. “The Chesa-peake Environment: Our Great ShellfishBay” is co-sponsored by the WashingtonCollege Summer Institute and the Uni-versity of Maryland Center for Environ-mental Science (UMCES).

This program offers attendees an op-portunity to study the Chesapeake’sunique ecosystem aboard the researchvessel Aquarius, cruise and learn aboardthe Maryland Independence, search forNative American relics, watch birds andother wildlife, enjoy informative lectures,gourmet meals, skipjack rides, music,dancing, historic tours, painting, kayak-ing, golf and tennis.

Participants can register for the entireprogram, or for the sessions that mostinterest them. Registration is limited,however, so sign up early. For more in-formation or to receive a brochure, con-tact: Ann Wilmer Hoon, Washington Col-lege Summer Institute, 300 WashingtonAvenue, Chestertown, Maryland 21620,phone (410) 778-7272.

Calendar

June 25-27 — MarineAquaculture

Stamford, Connecti-cut. “Marine Aquacul-ture: Emerging Tech-nologies and GlobalOpportunities” is aworkshop sponsoredby the ConnecticutSea Grant CollegeProgram and the

University of Connecticut Biotechnolo-gy Center on new technologies andspecies for the evolving marine aqua-culture industry.

The program will feature invitedexperts from the international commu-nity and the United States, who willparticipate in four technical sessions.These include systems engineering formarine aquaculture, biotechnology forproduction enhancement, new speciesand niche markets and industry casestudies.

To register for the conference,which costs $125, contact ConnecticutSea Grant at (860) 405-9127.

Documents

Research, Education, Outreach March-April 1998