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E*TRADE from Morgan Stanley Releases Monthly Sector Rotation StudyBy JOSH BOAK WASHINGTON (AP) — President-elect Donald Trump on Thursday voiced his support for the dockworkers union before their contract expires next month at Eastern and Gulf Coast ports, saying that any further “automation” of the ports would harm workers. Related Articles National Politics | Will Kamala Harris run for California governor in 2026? The question is already swirling National Politics | Senate begins final push to expand Social Security benefits for millions of people National Politics | Trump taps immigration hard-liner Kari Lake as head of Voice of America National Politics | Trump invites China’s Xi to his inauguration even as he threatens massive tariffs on Beijing National Politics | Pressure on a veteran and senator shows what’s next for those who oppose Trump The incoming president posted on social media that he met Harold Daggett, the president of the International Longshoreman’s Association, and Dennis Daggett, the union’s executive vice president. “I’ve studied automation, and know just about everything there is to know about it,” Trump posted. “The amount of money saved is nowhere near the distress, hurt, and harm it causes for American Workers, in this case, our Longshoremen. Foreign companies have made a fortune in the U.S. by giving them access to our markets. They shouldn’t be looking for every last penny knowing how many families are hurt.” The International Longshoremen’s Association has until Jan. 15 to negotiate a new contract with the U.S. Maritime Alliance, which represents ports and shipping companies. At the heart of the dispute is whether ports can install automated gates, cranes and container-moving trucks that could make it faster to unload and load ships. The union argues that automation would lead to fewer jobs, even though higher levels of productivity could do more to boost the salaries of remaining workers. The Maritime Alliance said in a statement that the contract goes beyond ports to “supporting American consumers and giving American businesses access to the global marketplace – from farmers, to manufacturers, to small businesses, and innovative start-ups looking for new markets to sell their products.” “To achieve this, we need modern technology that is proven to improve worker safety, boost port efficiency, increase port capacity, and strengthen our supply chains,” said the alliance, adding that it looks forward to working with Trump. In October, the union representing 45,000 dockworkers went on strike for three days, raising the risk that a prolonged shutdown could push up inflation by making it difficult to unload container ships and export American products overseas. The issue pits an incoming president who won November’s election on the promise of bringing down prices against commitments to support blue-collar workers along with the kinds of advanced technology that drew him support from Silicon Valley elite such as billionaire Elon Musk. Trump sought to portray the dispute as being between U.S. workers and foreign companies, but advanced ports are also key for staying globally competitive. China is opening a $1.3 billion port in Peru that could accommodate ships too large for the Panama Canal. There is a risk that shippers could move to other ports, which could also lead to job losses. Mexico is constructing a port that is highly automated, while Dubai, Singapore and Rotterdam already have more advanced ports. Instead, Trump said that ports and shipping companies should eschew “machinery, which is expensive, and which will constantly have to be replaced.” “For the great privilege of accessing our markets, these foreign companies should hire our incredible American Workers, instead of laying them off, and sending those profits back to foreign countries,” Trump posted. “It is time to put AMERICA FIRST!”NEW YORK — The brooding waltz was carefully composed on a sheet of music roughly the size of an index card. The brief, moody number also bore an intriguing name, written at the top in cursive: “Chopin.” A previously unknown work of music penned by the European master Frederic Chopin appears to have been found at the Morgan Library & Museum in Manhattan. The untitled and unsigned piece is on display this month at the opulently appointed institution, which had once been the private library of financier J.P. Morgan. A previously unknown musical manuscript, possibly by Frederic Chopin, is held in a display case after it was discovered at The Morgan Library & Museum on Nov. 13 in New York. Robinson McClellan, the museum curator who uncovered the manuscript, said it's the first new work associated with the Romantic era composer to be discovered in nearly a century. But McClellan concedes that it may never be known whether it is an original Chopin work or merely one written in his hand. People are also reading... The piece, set in the key of A minor, stands out for its “very stormy, brooding opening section” before transitioning to a melancholy melody more characteristic of Chopin, McClellan explained. “This is his style. This is his essence,” he said during a recent visit to the museum. “It really feels like him.” McClellan said he came across the work in May as he was going through a collection from the late Arthur Satz, a former president of the New York School of Interior Design. Satz acquired it from A. Sherrill Whiton Jr., an avid autograph collector who had been director of the school. McClellan then worked with experts to verify its authenticity. The paper was found to be consistent with what Chopin favored for manuscripts, and the ink matched a kind typical in the early 19th century when Chopin lived, according to the museum. But a handwriting analysis determined the name “Chopin” written at the top of the sheet was penned by someone else. Born in Poland, Chopin was considered a musical genius from an early age. He lived in Warsaw and Vienna before settling in Paris, where he died in 1849 at the age of 39, likely of tuberculosis. A previously unknown musical manuscript, possibly by Frederic Chopin, is seen in a display case after it was discovered at The Morgan Library & Museum, Nov. 13 in New York. He’s buried among a pantheon of artists at the city’s famed Père Lachaise Cemetery, but his heart, pickled in a jar of alcohol, is housed in a church in Warsaw, in keeping with his deathbed wish for the organ to return to his homeland. Artur Szklener, director of the Fryderyk Chopin Institute in Warsaw, the Polish capital city where the composer grew up, agreed that the document is consistent with the kinds of ink and paper Chopin used during his early years in Paris. Musically, the piece evokes the “brilliant style” that made Chopin a luminary in his time, but it also has features unusual for his compositions, Szklener said. “First of all, it is not a complete work, but rather a certain musical gesture, a theme laced with rather simple piano tricks alluding to a virtuoso style," Szklener explained in a lengthy statement released after the document was revealed last month. He and other experts conjecture the piece could have been a work in progress. It may have also been a copy of another's work, or even co-written with someone else, perhaps a student for a musical exercise. Jeffrey Kallberg, a University of Pennsylvania music professor and Chopin expert who helped authenticate the document, called the piece a “little gem” that Chopin likely intended as a gift for a friend or wealthy acquaintance. “Many of the pieces that he gave as gifts were short – kind of like ‘appetizers’ to a full-blown work,” Kallberg said in an email. “And we don’t know for sure whether he intended the piece to see the light of day because he often wrote out the same waltz more than once as a gift.” David Ludwig, dean of music at The Juilliard School, a performing arts conservatory in Manhattan, agreed the piece has many of the hallmarks of the composer’s style. “It has the Chopin character of something very lyrical and it has a little bit of darkness as well,” said Ludwig, who was not involved in authenticating the document. But Ludwig noted that, if it's authentic, the tightly composed score would be one of Chopin’s shortest known pieces. The waltz clocks in at under a minute long when played on piano, as many of Chopin’s works were intended. “In terms of the authenticity of it, in a way it doesn’t matter because it sparks our imaginations,” Ludwig said. “A discovery like this highlights the fact that classical music is very much a living art form.” The Chopin reveal comes after the Leipzig Municipal Libraries in Germany announced in September that it uncovered a previously unknown piece likely composed by a young Wolfgang Amadeus Mozart in its collections. Classic Christmas songs that are more than 100 years old Classic Christmas songs that are more than 100 years old Christmas music has a long and storied history beginning centuries ago with pagan rituals. Those traditions evolved with St. Francis of Assisi’s Nativity plays in the 13th century, and survived Puritan rule when many Christmas traditions and celebrations were banned during part of the 17th century. Traveling minstrels spread original songs before the invention of the printing press in 1440 ushered in an era of texts that served as the foundation for some of the most beloved Christmas songs. These tunes would be shared in the form of poetry and hymns printed on broadsides . Today, Christmas music runs the gamut from silly to revolutionary. Songs range from grandmothers getting trampled by reindeer to those based on the work of a Romantic-period poet. Who knew that the catchy tune of Wenceslas, the king with the funny name, is a reverent song about the patron saint of the Czech Republic? Or perhaps it would surprise readers to discover that “Silent Night” was designated as an item of Intangible Cultural Heritage by UNESCO. These songs we know by heart and hear so often have rich histories rooted in things like war, religion, social reform, and slavery. Stacker compiled a list of Christmas songs released before 1920 and explored the origins of these pieces. This list includes Christmas carols, famous instrumentals, popular hymns, and spirituals from countries around the world. Many of these songs were created out of a chance collaboration between artists spanning time and space; a clergyman pens a hymn, and years later, a composer resurrects those words and sets them to a melody. It may come as no surprise, then, that what people consider to be Christmas classics are among the most-covered Christmas songs of all time . “Silent Night,” for example, had 137,315 recordings according to a 2017 Billboard report. Read on to learn about the rich histories of some of the most beloved Christmas songs that are more than a century old. You may also like: 71 years of Emmy history 'Jingle Bells' (1885) Written by James Lord Pierpont in 1857 and originally titled “One Horse Open Sleigh,” “Jingle Bells” is one of the most beloved and ubiquitous Christmas carols in existence. In 1965, astronauts Wally Schirra and Thomas Stafford made “Jingle Bells,” the first song heard from space as they orbited Earth aboard the Gemini 6. It may be surprising that this Christmas classic was written as a Thanksgiving song. 'Here We Come A-wassailing' (c. 1850) This traditional English Christmas carol refers to the practice of wassailing, the definition of which has evolved over the years . In the song, wassailing is the practice of traveling door-to-door, wishing good health, and asking for a bit of hospitality and Christmas tidings in return, including a drink from a communal bowl filled with mulled cider or ale called wassail. Other familiar variants of the song include “Here We Come A-Caroling,” and “Here We Come A Christmasing.” 'Good King Wenceslas' (1853) Published by hymn writer John Mason Neale in 1853, this carol was based on the life of the virtuous ruler Wenceslaus I, Duke of Bohemia . Wenceslaus I was revered for his piety, morality, and virtue. After his assassination, he was posthumously conferred as a king by Holy Roman Emperor Otto I, which is why people don’t sing of good Duke Wenceslaus. Wenceslaus was elevated to sainthood immediately after his death, and he's considered the patron saint of the Czech Republic. 'O Tannenbaum' (1824) The version of “O Tannenbaum” most of us are familiar with today was written in 1824 by Ernst Anschütz, a well-known organist and composer from Leipzig, Germany. Anschütz’s version was one of many based on a 16th-century German folk song that pays homage to the steadfast nature of the "Tannenbaum," the German word for a fir tree. The song’s association with Christmas began with Anschütz even though no explicit mention of Christmas was made in his original lyrics. Furthermore, most Christmas trees are spruce, not fir. Readers may be more familiar with the song’s English title, “O Christmas Tree.” 'God Rest You Merry, Gentlemen' (1760) If you’ve ever wondered what “God rest you merry” means, you’re not alone. This carol’s title is often misinterpreted, mispunctuated, and widely debated. The phrase “rest you merry” is used in the same way we use “rest assured.” It is not an address to merry gentlemen but rather an imperative statement to all gentlemen to be happy, citing the birth of Christ. It’s even referenced in Charles Dickens' classic “A Christmas Carol.” The earliest known print edition of the carol dates back to 1760, but its author is unknown. You may also like: 30 celebrities you might not know are LGBTQ 'We Three Kings' (1863) Originally titled “Three Kings of Orient,” this carol was written by journalist-turned-clergyman John Henry Hopkins in 1857 for a Christmas pageant and published six years later. The carol chronicles the Christian gospel of Matthew in which three biblical magi, commonly known as the three wise men, bring gifts of gold, frankincense, and myrrh to honor the birth of Jesus. 'It Came Upon the Midnight Clear' (1850) Edmund Sears—a Unitarian pastor in Wayland, Mass.—wrote a five-stanza poem titled “It Came Upon the Midnight Clear” in 1849. It was adapted by American composer Richard Storrs Willis in 1850 and set to a melody called “Carol.” The words of this poem-turned-carol are regarded as an account of the issues at the time. Topics referred to in the song include the end of the Mexican-American war and a call for peace among men. 'Go Tell It on the Mountain' (1907) Proudly rejoicing the nativity of Jesus, “Go Tell It on the Mountain” was an African-American spiritual dating back to 1865. John Wesley Work Jr. was a composer and ethnomusicologist who compiled hundreds of spirituals and even composed a few, including “Go Tell It on the Mountain,” in his work: “American Negro Songs and Spirituals; A Comprehensive Collection of 230 Folk Songs, Religious and Secular.” 'What Child is This?' (1871) Written by William Chatterton Dix in 1865 and published in 1871, this carol explores what the shepherds present at the birth of Jesus must have been thinking when they encountered him. In gospel, hymns, and art, shepherds are central characters in the Nativity of Jesus. The song is set to the familiar melody of “Greensleeves,” a 16th-century English folk song. 'O Come, All Ye Faithful' (1751) The exact origins of this popular carol are unknown, but it is most often credited to John Francis Wade. Originally written and printed in Latin as “Adeste Fideles,” it first appeared in Wade’s 1751 collection “Cantus Diversi.” You may also like: Exploring minority representation in the biggest box office winners ever 'Silent Night' (1818) What began in 1818 as a modest performance outside of St. Nicholas parish in Oberndorf, Austria, has become one of the most popular Christmas songs of all time. Translated into over 300 languages, “Stille Nacht” was written by a priest named Joseph Mohr and composed by Franz Xaver Gruber in 1818. The song became popular among traveling folk singers, and before long, it could be heard around the world. The English version we know today called “Silent Night” was not written until 1863. “Stille Nacht” was named an intangible cultural heritage by UNESCO in 2011 . 'Carol of the Bells' (1919) “Carol of the Bells” is no doubt familiar to you, if not by name, then by melody. The carol was based on an Ukranian folk chant called "Shchedryk,” which was traditionally sung on New Year’s Eve as it spoke of good fortune for the upcoming year. American composer Peter J. Wilhousky adapted the lyrics "Shchedryk” into a Christmas song in 1919 using the original musical arrangement by Ukranian composer Mykola Leontovych. Many artists have covered the carol over the last century, and one of its more popular variants is “Christmas Eve/Sarajevo” by the Trans-Siberian Orchestra. 'In the Bleak Midwinter' (1906) “In the Bleak Midwinter” was based on a poem of the same name written by English poet Christina Georgina Rossetti in 1872. English composer Gustav Holst first set the poem to music in 1906. 'The Holly and the Ivy' (1911) This particular carol was published by Cecil Sharp, a famous conservator of English folk tradition, in 1911. The song is packed with symbolism that dates back to pagan rituals. Holly, representing males, and ivy, representing females, used to be burned together during the pagan festival of Beltane to encourage a fruitful spring. In Christianity, holly is symbolic of the crown of thorns Jesus wore during his crucifixion. With this rich history, evergreens like holly and ivy are viewed as symbols of rebirth and renewal, which are common themes celebrated at Christmas time. 'I Heard the Bells on Christmas Day' (1872) This carol was based on the poem "Christmas Bells," written by Henry Wadsworth Longfellow on Christmas Day in 1863. With an injured wife and a son who joined the union army against his father’s wishes, Longfellow lamented hearing bells on Christmas Day during the American Civil War. The lyrics convey a sense of hopelessness when goodwill and peace on Earth seemed impossible. The poem was set to music in 1872 by English composer John Baptiste Calkin. You may also like: Mistakes from the 50 best movies of all time 'O Holy Night' (1847) “O Holy Night” is based on a French poem titled "Minuit, Chrétiens," written by Placide Cappeau at the behest of a parish priest. Composer Adolphe Adam set the poem to music that same year, and it quickly gained popularity throughout France. When Cappeau denounced the Catholic Church to join the socialist movement, the church responded by denouncing his beloved carol. The song made a resurgence after it was translated into English and introduced in America by John Sullivan Dwight. 'O Little Town of Bethlehem' (1868) After visiting Bethlehem in the Mutasarrifate of Jerusalem , Phillips Brooks was inspired to write about his experiences. Brooks, an Episcopal priest, shared the poem he had written with Lewis Redner, his church’s organist, and asked him to create a melody for it so they could perform it at an upcoming Sunday school service. In a single evening, Redner composed the tune that we know today. Reflecting on the success of the carol, Redner stated : “Neither Mr. Brooks nor I ever thought the carol or the music to it would live beyond that Christmas of 1868.” 'Away in a Manger' (1885) Mistakenly attributed, for many years, to Martin Luther—the seminal figure of Europe’s Protestant Reformation in the 16th century—and even titling early versions of this piece “Luther’s Cradle Song,” “Away in a Manger” is a relatively simple carol with unknown origins. The first record of the text being set to music with the title “Away in a Manger” is found in the 1885 publication “Little Children's Book for Schools and Families.” 'Hark! The Herald Angels Sing' (1855) The carol we know as “Hark! The Herald Angels Sing” was originally titled "Hymn for Christmas-Day,” published in 1739 by Charles Wesley, leader of the Methodist movement and brother to John Wesley, the movement’s founder. But it was George Whitefield who adapted the text in 1753 to give us that familiar opener “Hark! The Herald Angels Sing.” The melody was composed by Felix Mendelssohn and later adapted by William H. Cummings in 1855 to create the song that's popular today. 'The Twelve Days of Christmas' (1780) This numeric carol was originally published in England in 1780 in a children’s book called “Mirth Without Mischief.” It is believed to be a type of children's memory-and-forfeit game in which the singer must remember every verse or forfeit something if they make a mistake. You may also like: Best and worst Al Pacino movies 'Angels We Have Heard on High' (1862) Citing the gospel of Luke, this English carol is based on a French song called “Les Anges dans nos campagnes.” The lyrics were written by James Chadwick, a bishop in 1862. His words were set to the tune "Gloria," which was arranged by Edward Shippen Barnes. 'The Cherry Tree Carol' (c. 1500) This Christmas ballad is believed to date back to the 15th century. Unlike many other carols that reference the gospels of Luke or Matthew, this story takes place sometime in between as Mary and Joseph journey to Bethlehem. It is one of the few depictions of Joseph struggling to accept Mary’s pregnancy, evidenced through lyrics such as “O then bespoke Joseph/ With words so unkind,/ Let him pluck thee a cherry/That brought thee with child.” The song was made popular again by Joan Baez’s rendition in 1961. 'The Friendly Beasts' (12th century) The exact origins of this carol are unknown, but it is believed to be one of the oldest carols still sung today. Dating back to the 12th century, “The Friendly Beasts” is a traditional French carol about the animals present at the birth of Jesus and the gifts they bestowed on him. 'Joy to the World' (1719) “Joy to the World” was originally written as a hymn by Isaac Watts. Watt’s adaptation of Psalm 98 interprets Christ as the king of the church and as the king of the world. “Joy to the World” is one of the most recorded Christmas songs of all time . 'Coventry Carol' (c.1591) Perhaps the darkest song on this list, “Coventry Carol,” depicts the biblical event “The Massacre of the Innocents” in which King Herod ordered the killing of all male babies under the age of two in Bethlehem. The song takes the form of a lullaby recited to the persecuted children. In Christianity, “The Massacre of the Innocents” is an important part of the broader Nativity story and thus a relevant story in the Christmas narrative. “Coventry Carol” was originally part of a medieval mystery play performed in England called “The Pageant of the Shearmen and Tailors.” You may also like: Best Grateful Dead albums of all time Receive the latest in local entertainment news in your inbox weekly!cockfighting quotes 。

Tánaiste Micheál Martin said it was obvious from the early General Election 2024 indications that there was "a very clear route back to Government" for Fianna Fáil. However, Mr Martin warned that it was far too early to predict precisely what Coalition partners might be involved as he paid tribute to the Green Party, who are facing serious electoral losses, for their contribution to the three-party Coalition in the 33rd Dáil. The Tánaiste refused to comment on whether the Social Democrats, who are set to make major Dáil gains, will be the obvious Coalition partners for Fianna Fáil and Fine Gael. Mr Martin was speaking as he arrived at the Nemo Rangers GAA complex in Cork where the South Central and North Central counts are being handled. The former Taoiseach will be elected on the first count after securing a whopping 14,000-plus first preference votes. He secured almost one-in-four first preference votes in Cork South Central. "There is a very clear route back to Government, although it is not fully determined," he said. "Because a lot will depend on those final seats I have spoken about." "We know very little at the moment - just tallies. In the majority of cases these will be reasonably accurate but then you have to work out geography, work out eliminations, work out distribution of surpluses. "It will be many, many counts before we really are in a position to look at the destination of the final two seats in five seaters and, in cases, the final two seats in four seaters. "Geography will be particularly important on the transfer area. What I am basically saying is that it is too early to call the exact type of Government that will be formed, the composition of the next Government. "But I think there will be a sufficiency of seats that aligns with the core principles that I outlined at the beginning of the campaign around the pro-enterprise economy, around positively pro-European Union position and a Government that will strongly push for home ownership - around parties that are transparently democratic in their affairs." Mr Martin has repeatedly ruled out Sinn Féin as a Coalition partner because of their economic policies. He said the incoming Government will have challenges most especially in tackling Ireland's housing issue. "Also I acknowledge that there are many people out there who are suffering, who are under pressure notwithstanding the optics of the economy in terms of statistics (that it is) doing quite well. "Many people are feeling the pressure because of the cost of living issues - we still have unfinished business with housing, to be frank, we have a lot more houses to build. "That was a challenge in this election." Mr Martin warned against "racing too far ahead" in terms of speculating about the formation of the next Government before even a substantial number of TDs have even been returned. "I genuinely would have to caution that the final seats cannot be determined. I remember in 2020, late on the evening of the count we looked to be in a very good position for closing the deal on eight seats - but we didn't close any of them by the following day." Mr Martin admitted he was "very pleased" with Fianna Fáil's overall general election campaign - and repeated that he believed the party had fielded arguably its greatest selection of candidates ever. "You will understand my wariness of the final predictions as to the final destination of the seats." The Tánaiste said he had no idea how long it would take after the final counts to hammer out a Coalition deal. "It remains to be seen (formation of Government). There will have to be negotiating teams and I would like to think that the Dáil can do it (a Government agreement) than it did the last time." "This is not easy - whatever parties engage in the discussions...very detailed work will have to be done in terms of a Programme for Government." Mr Martin said opinion polls consistently underestimated Fianna Fail support. "There is an issue. I could’ve had a better evening last night if the polls had been a bit more accurate. The polls give Fianna Fáil heart attacks all the time. We should respect the process. "Believe me, there will be a lot of twists and turns before this is over. I’m going through the permutations myself at home in different constituencies. “I’m ringing a few candidates and you pick up the local knowledge. "Geography will play a part in this as well transfers. We will win new seats. New TDs will be elected. "And that is always positive for a political party, that there is new blood coming in as well and a fresh injection of young blood coming into the party. "And that is very positive. "With a few balances of the ball we could do quite well here, but I am very conscious here that a lot will depend on the transfers. "It is a very different environment now but it is has been a very strong effort on behalf of the volunteers across the length and breadth of the country. "I have been sustained by some great people around the country from 2011 onwards and there is a great belief in many of those whose families belong to the party historically, they didn’t give up and they believed in the founding fathers of the party, the values of the party. "Mary always says I’m at glass half full person but part of me feels we are only another 2% away from even better results. But it is very competitive." Mr Martin added that he wanted to specifically mention the Green Party. "I want to pay tribute to all those who served in the last Dail, and who may lose seats. "I think the Green Party made a very positive contribution to Government. I think some good constructive positive policies emerged from the last government. "I think the last government had to weather very significant external shocks from Covid. I think the long shadow of Covid is over this election too. "I will always remember Angela Merkel at the commencement of Covid saying she equated Covid to world war in terms of its long-term impact on politics and society and so on. "That probably hasn’t been analysed to the degree it should. But if you look at the cost-of-living crisis, it has its genesis within Covid. "If you look at healthcare where a lot of waiting lists dramatically because of the emergency that Covid was. And there were a lot of impacts on society from it. And we weathered it and we came through us and then we had the war in Ukraine. So the Greens to their credit, didn’t buckle over the 4.5 years. "Being in government can be difficult for any political party. It is to the credit of the Greens that they went into government. We had challenges, we had different priorities, but this government went full term and I think Ireland was for the better for it."

In an unexpected move that caught many off-guard, San Diego County Board of Supervisors Chair Nora Vargas announced her resignation barely a month after securing re-election for a second term. According to Voice of San Diego , Vargas stated "personal safety and security reasons" as the driver behind her decision—though no specifics were disclosed. The resignation of Vargas, who made history as the board's first Latina and bi-national chair, marks a pronounced disturbance within the local political scene. The ascension of Vargas in 2020 had dramatically altered the political composition of the board, shifting control from Republicans, who had long held sway to a Democratic majority. Recently, though, she faced a wave of online animosity and other threats—this sort of poisonous fervor being symptomatic of a prevailing discord in political settings, as corroborated by data from the University of San Diego's Violence, Inequality, and Power Lab, detailing a pervasive trend of harassment directed at elected officials. Vargas’s decision to resign has primed local politicians in her district to contemplate their bids for the soon-to-be-vacated position, anticipating the board's forthcoming decision on January 6 regarding a potential appointment or special election, as Voice of San Diego reported. Meanwhile, NBC 7 San Diego has revealed that while the San Diego County Sheriff's Office was unaware of any active threats directed towards Vargas or any other supervisor, a noted increase in contentious interactions within meetings and a decline in civility. Rachel Locke, from the aforementioned lab, provided data showing that between 66% and 75% of surveyed elected officials have been the subject of threats or harassment over the past five years—often regularly. Additionally, the now-outgoing supervisor had her share of controversy, notably on issues like the protracted cross-border sewage pollution. Her choice to delay the superfund designation for the Tijuana River Valley spurred discontent among constituents. "The community must be engaged and fully informed on the long-term consequences of a superfund designation, including potential impacts on property values and local investments," Vargas explained during a supervisors' meeting. Despite this, Laura Wilkinson Sinton of the advocacy group Stop the Sewage underscored the complexity of such problems, telling NBC 7 San Diego , "You know, there are a lot of problems, and they're not fixed in four years." The county's investment in private security for Vargas, which amounted to over $38,000 in October alone, and whether this is standard protocol for supervisors, remains under question. Vargas had committed to tackling significant issues such as housing, behavioral health, environmental justice, and economic prosperity before her re-election bid. With her impending departure, the evenly split bipartisan board faces the challenge of finding common ground for an interim successor, potentially setting up a snap election in the near future. Supervisor Terra Lawson-Remer reaffirmed the board's dedication, assuring the public that they will "continue advancing our agenda to uplift all of our communities," as quoted by NBC 7 San Diego .LOS ANGELES (AP) — Blake Snell and the Los Angeles Dodgers have finalized a $182 million, five-year contract. The reigning World Series champions announced the deal with the two-time Cy Young Award winner on Saturday. Snell, who turns 32 on Wednesday, went 5-3 with a 3.12 ERA in 20 starts for San Francisco this year, throwing a no-hitter at Cincinnati on Aug. 2 for one of only 16 individual shutouts in the major leagues this season. The left-hander struck out 145 and walked 44 in 104 innings. He was sidelined between April 19 and May 22 by a strained left adductor and between June 2 and July 9 by a strained left groin. Snell gets a $52 million signing bonus , payable on Jan. 20, and annual salaries of $26 million, of which $13 million each year will be deferred. Because Snell is a Washington state resident, the signing bonus will not be subject to California income tax. Snell joins Shohei Ohtani and Yoshinobu Yamamoto atop Los Angeles’ rotation. Ohtani didn’t pitch this year while recovering from right elbow surgery but the two-way star is expected back on the mound in 2025. Snell won Cy Young Awards in 2018 with Tampa Bay and 2023 with San Diego. He is 76-58 with a 3.19 ERA in nine seasons with the Rays (2016-20), Padres (2021-23) and Giants. Because he turned down a qualifying offer from San Diego last November, the Giants were not eligible to give Snell another one and won’t receive draft-pick compensation. AP MLB: https://apnews.com/hub/MLBTHAAP screens award-winning documentary ‘All That Breathes’

NASHVILLE — It was about as bad of a start that Tennessee could imagine on Saturday afternoon. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.