LEC Retires Deputy CEO

first_imgThe Liberia Electricity Corporation (LEC) on December 30 retired its Deputy Chief Executive Officer (CEO) Joseph T. Mayah whom employees described as one of the engines of the entity.Mr. Mayah joined the LEC in 1979 and served in various positions, including Managing Director.Foday S. Sackor, the current Chief Executive Officer (CEO) and Managing Director said it was difficult to tell Mr. Mayah good-bye considering his years of institutional knowledge.Director Sackor said Mr. Mayah has been constant over the years in serving the people of Liberia and the institution.“With your experience, the LEC management will continue to reach out to you to ensure that your legacy is cemented and we can look up to you for tutorial at any time,” MD Sackor said.Director Sackor stressed that working with Mr. Mayah for the past few months was a great experience and hoped it would continue after his retirement.In response, Mayah said he was delighted to receive such an appreciation and honor from the LEC family, after many years of service.“You are appreciating me because of my loyalty and service to you so you should always remain at a place that you can be appreciated as well. I want to also appreciate President Sirleaf for appointing me three times since her administration, which is significant,” Mr. Mayah said.Mr. Mayah meanwhile, cautioned the new Interim Management Team to begin looking at the latest developments in power generation around the world for integration into LEC’s initiatives.Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)last_img read more

They’re masters of the tap shoes

first_img Plasshaert doesn’t show any signs of slowing down, either. His current activities include teaching tennis, golf, tap, ballet and jazz dancing. A drummer at age 12, he got interested in dancing a few years later, admiring the skills of Kelly. “He danced like a man,” Plasshaert said. “I was in awe of him.” He thought working with Kelly was only a dream, a belief his former wife shared when she answered the phone and heard Kelly asking to speak with Alex. “She thought it was a joke and told him so,” Plasshaert said. “He very humbly insisted that yes, he was Gene Kelly.” Once the confusion was over, the two men agreed to meet at a studio on the Universal Studios lot, where Plasshaert had an audition that didn’t go as well as he had hoped. “He told me he’d heard a lot about me. He showed me a step,” Plasshaert said, his hands and feet twitching in the retelling. “I fumbled a step, but he asked me to come back the next day because he was looking at a few other guys. The next day, I showed up and it seemed like a thousand people were auditioning. I did every step perfect and saw Kelly in the mirror with that little grin of his. I had worked all night practicing and thought to myself, ‘At least he smiled.”‘ Kelly picked only one dancer that day, and it was Plasshaert, who did the “Hollywood Palace” show Kelly was preparing. That gig led to many others where he either danced alongside or choreographed entertainment greats such as Marilyn Monroe, Debbie Reynolds, Barbra Streisand, Louis Armstrong, Elton John and even American Gladiators. He choreographed the comedy show “Rowan and Martin’s Laugh-In” as well as other musical variety shows such as “Mickey Finn’s” and shows for Jack Benny, Red Skelton, Andy Williams and Dom DeLuise. Duncan is most remembered for the 17 years he spent as a tap dancer on “The Lawrence Welk Show.” Although he sings as well as he dances, Duncan remembers Welk telling him he really needed just his fancy footwork for the show, which was heavy with singers. He’s performed with tap greats Sammy Davis Jr., Gregory Hines and Savion Glover, and toured with the national company of “My One and Only” with Tommy Tune. He worked with Dick Van Dyke in the film “Diagnosis of a Murder” and was spotlighted in the movie “Tap” with Hines. But now, he and his friend are members of a mutual admiration society that takes young dancers under their wings. “I can’t say enough about Alex,” Duncan said. “He is a tremendous tapper. He taps like some people would like to speak, very adroitly and very well. It’s quite a challenge and takes a special talent to be a teacher like Alex. I’m here to learn new things and tear down some bad habits. “If I had a message for young dancers, it would be to accept rejection. Dancing takes ‘stickability’ and tenacity,” he said. “There’s such a sense of gratification when you discover someone who has the knack for it.” “I’m very proud of where I’ve been,” Plasshaert chimed in. “And I’m certainly not done yet.” For information on tap classes, call the studio at (661) 252-0357. Carol Rock, (661) 257-5252 carol.rock@dailynews.com 160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set! CANYON COUNTRY – It was like watching a street-corner challenge from decades past. Two men – both, let’s say, in their later years – are standing in front of a mirror in a Canyon Country storefront studio. One spreads out his hands for flair and starts dancing, a series of staccato taps emanating from his flying feet. His friend stands motionless just for a moment. Then the two men match steps and cadence and move almost as one, the first doing a daring move, mirrored instantly by the other. No matter that they qualify for senior discounts, these men dance like everybody’s watching. AD Quality Auto 360p 720p 1080p Top articles1/5READ MORECasino Insider: Here’s a look at San Manuel’s new high limit rooms, Asian restaurant Alex Plasshaert and Arthur Duncan are a two-volume set of dance history. Plasshaert danced in the movie “Mary Poppins” and with athletic film star/dancer Gene Kelly; Duncan spent 17 years tap-dancing on “The Lawrence Welk Show.” They are passing on that grace to the next generation of hopeful hoofers at Pamela Johnston’s Dance Studio. “I’m old enough to know better and young enough to try it again,” Duncan said. Raised in Pasadena, he was coaxed into learning tap in junior high school when a group needed a third dancer. “I learned the routine and thought, ‘Hey, this is fun.’ The more I danced, the more I liked it,” he said. “My cousin was a musician who got me gigs with various service organizations, which covered my dance lessons. I couldn’t believe I could get paid for this.” Duncan was cast in a show at the Las Palmas Theater in Hollywood, under the direction of choreographer Nick Castle, who did the movie “Daddy Long Legs” with Fred Astaire and Leslie Caron. Plasshaert worked with Astaire, and soon his and Duncan’s paths began to cross. While Duncan’s forte was song and dance, Plasshaert specialized in a lot of things. Primarily a stuntman, he was athletic enough to play basketball and tumble in a harness in the 1960s Disney films “The Absent-Minded Professor” and “Son of Flubber.” That led him to many more Disney projects, including choreographing “The Mickey Mouse Club” and being the lead chimney sweep dancer with Dick Van Dyke in the 1964 Disney movie “Mary Poppins.” last_img read more