HARMONY Gold reported a 49% year-on-year increase in group operating cash flow for the nine months to end March with its high grade Mponeng mine making the largest single contribution of its surface and underground mines.
The third quarter production numbers and update for the nine months comes at a good time for the gold producer. Its shares are at their highest level in more than two years as continued weakness in the rand and sustained dollar gold strength took the rand gold price to just below R1.2m per kilogram.
The gold producer which operates some marginal gold mines outperforms when the market takes a strong positive turn as it has now. Harmony’s share price of R100.72 per share at the time of writing values the company at R62.3bn – its highest level since August 2020.
The performance of Mponeng this year may be critical when the South African-focused group sits down to consider whether to deepen the mine or press on with the development of a copper/gold mine in Australia acquired last year.
I can't properly put into words the amount of disgust that I feel seeing someone who looks like she could be my cousin fight for a genocidal occupational force like Israel but I will say this.
If you are Chinese, Korean, Japanese or any one of these Asian ethnicities that the West deem "acceptable" and you align yourselves with western-backed racial supremacy, you are making fools of yourselves. You have fallen prey to the myth of the "model minority" and you are suckers for it.
The premise of racial supremacy is based on exclusivity. And here's a dose of reality - the myth of the "model minority" is nothing but a tactic to placate you. To sow divide in the ranks of people of colour. To artificially manufacture another realm of racial supremacy in minorities so that you're distracted from how we all suffer under colonialism.
Did we all forget about the skyrocketing of sinophobia in the wake of the first COVID outbreak? The transformation of Chinese people into fiends with barbaric eating customs, poor hygiene, and mass conspiracy to infect the world with biological weapons?
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What about the hate-crimes? The attacks in the street against anyone visibly asian? The rampant discrimination and ostracisation from society?
In 2020, Donald Trump referred to COVID-19 as "The Chinese Virus", "Kung-flu" at a campaign rally to raucous applause, a chilling echo of the times where fears of the "Yellow Peril" had the western world in a stranglehold.
For all that Chinese people have been lauded as "prodigies" and "well-mannered workers", the moment our existence was incovenient, were were nothing more than another target. And although Chinese suffering then wasn't close to the scale of suffering that Palestinians now endure, we all received a reminder on what it was like to be in the world's crosshairs.
Now, in 2023, Biden dismisses death tolls as unreliable and remains proudly Zionist even after Netanyahu described the genocide Israel is inflicting upon Palestine as the "struggle between the children of light and the children of darkness, between humanity and the law of the jungle." At the same time, Palestinians are being compared to fleeing rats in a gesture of dehumanisation that mirrors how the Nazis portrayed Jews during the Holocaust.
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And let's not think Abigail's Jewishness will save her, not when it's been proven that Israel has administered contraceptives to Ethiopian Jewish immigrants without their consent. Racial supremacy is an exclusive club that never stops getting smaller, and there is nothing that you, as a minority, will ever be able to do to fit in. One day, you too will be a target and there'll be nothing you can do but blame yourself. After all - it's already happened.
So shame on Abigail. Truly. With the memory of knowing what it's like to be targeted for factors out of your control fresh in her mind, she happily fights to do the same to others. And that says more about her than I ever will be able to.
Bedevil, stylised as beDevil, is a 1993 Australian horror film directed by Tracey Moffatt, the first feature directed by an Aboriginal Australian woman.
The film is a trilogy of surreal ghost stories. Inspired by ghost stories she heard as a child from both her extended Aboriginal and Irish Australian families, Moffatt created a trilogy in which characters are haunted by the past. All three stories are set in Moffatt's highly stylised, hyper-real, hyper-imaginary Australian landscape.