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French Unemployment Hits 12-Year High (It's Going to Get Much Worse); Sarkozy Outlines Jobs Plan (Mathematically It Can't Work); Olli Rehn to Give Keynote Speech at Eurobond Seminar
Posted by Mish | December 30, 2011 3:07:00 | Uncategorized
The EU Observer reports France to hold jobs summit as unemployment hits 12-year high
A sharp rise in France's unemployment figures is putting pressure on President Nicolas Sarkozy to deliver, with over half the French population wanting the candidates for the spring presidential election to focus their energies on maintaining jobs.
Figures released by the labour ministry this week show that the number of those unemployed hit 2.85 million in November, a 12-year high and the seventh consecutive monthly increase.
The numbers have sparked a debate in France about the nature and future of employment with Sarkozy convening a jobs summit on 18 January.
Unemployment as an issue is a number-one priority on French voters' minds. According to a poll in La Croix newspaper, 52 percent of French people want the candidates for the April presidential elections to focus on responses that "maintain employment."
Of the main candidates in the running, socialist contender Francois Hollande is seen as proposing the best solutions to the daily problems of French citizens by 24 percent of those polled. Sarkozy comes in second with 20 percent and far-right politician Marine Le Pen in third place (16%).
While all candidates will focus on combatting unemployment and there are set to be many proposals for economic growth, their hands will be tied by France's commitment to reduce its high budget deficit, as part of an overall plan to contain the eurozone debt crisis.
Sarkozy Outlines Jobs Plan Based on German Program (Mathematically It Can't Work)
The Wall Street Journal Reports Sarkozy Outlines Jobs Plan
Largely inspired by measures Germany relied on to navigate the 2009 economic recession, [Sarkozy's] draft plan calls for companies to retain all staff even if they are faced with a slump in orders, and for workers to accept lower pay. As an incentive and to help pay for the move, the government would kick in for some of the lost wages and social-security contributions, according to officials at the French Labor Ministry and union leaders who were briefed on the proposed pact.
Mr. Sarkozy intends to discuss both the job-saving scheme, and the flexibility idea at a meeting with labor and employer unions on Jan. 18. By then, the government must answer a key question: how to finance measures that officials say could cost more than €1 billion ($1.3 billion) next year.
Five months ahead of presidential elections, Mr. Sarkozy is already fighting on multiple fronts to reduce the budget deficit, preserve the country's triple-A debt rating and find a comprehensive solution to the protracted euro-zone debt crisis.
The unemployment rate—which rose to 9.7% of the active population in the third quarter—is the latest bad news on France's economic dashboard. The country's trade deficit is projected to widen to an all-time high of €75 billion this year, and the national statistics office, Insee, has forecast that the economy will likely contract in the current quarter and the first quarter of next year.
In France, the measure is likely to gather support from trade unions as long as the government commits to compensate pay cuts. "We're on board as long as the government puts some money on the table," said Jean-Claude Mailly, the head of Force Ouvrière, France's third-largest union.
The French government's idea to increase work-time and pay flexibility is likely to meet much more resistance.
"All labor unions will say 'No,' because that would amount to making workers pay for the economic downturn," said Mourad Rabhi, a leader at CGT, France's second-largest union. "And in France there isn't the same climate of mutual confidence between workers and companies, as in Germany."
Mathematically It Can't Work
The unions will agree to pay cuts as long as there are no pay cuts (government kicks in the rest). Moreover the unions will not agree to increase work-time and pay flexibility because "that would amount to making workers pay for the economic downturn"
Heaven forbid. Meanwhile, Sarkozy needs to trim the deficit, not increase it, and his proposal does the opposite.
Note that Hollande is widely predicted to beat Sarkozy in an election runoff, and Hollande is running on a platform to make changes to the agreement reached between Sarkozy and German Chancellor Angela Merkel.
Expect European Unemployment to Get Much Worse
Europe is already in a nasty recession. Austerity measures coupled with tax hikes in numerous countries but especially Italy, France, Spain, Portugal, and Greece will make matters much worse.
"United States of Europe" Author Hosts Eurobonds Seminar
The galling arrogance of Eurocrats is rather stunning. While reading the EU Observer article at the top, this Ad for a Eurobonds Seminar on January 10, 2011 popped up.
Olli Rehn is Vice President of the European Commission. Guy Verhofstadt MEP is the Leader of the Alliance of Liberals and Democrats for Europe and author of the book United States of Europe (2006), the New Age of Empires (2008) and How Europe can Save the World (2009).
Tireless, Dangerous Demagogues
Rehn and Verhofstadt are tireless, socialist fools as well as dangerous demagogues dedicated to the destruction of sovereign rights of every nation in the EMU. They ought to scare the bejeebies out of any sane person who is not in favor of a European Nanny-Zone.
Their brainwashing event, marketed as a seminar on eurobonds is already filled up.
The primary thing stopping these socialists and their nanny-zone ideal is the German supreme court.
This past Wednesday, German Constitutional Court Judge Udo Di Fabio said in a Spiegel interview "It's a Mistake To Pursue a United States of Europe".
Please note that Di Fabio sees Euro-bonds as illegal.
However, the judge proved his naiveté with his statement "no politician really intends to transfer their power of disposition over the substance of the national budget at an EU level".
On the contrary, the European Parliament is loaded with nanny-zone proponents who are conducting seminars on how to do just that.
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Deborah Remington R.I.P.
by Kevin Killian
I read in The New York Times that the American artist Deborah Remington died last week, nearly 80; what a wave of regret and desolation blew through me when I read these words. And yet I can say I had a grand encounter with her, just last year. Yes, I met her but once yet it was unforgettable.
I was writing a biography of the California poet Jack Spicer (1925-1965) when I first heard her name. She was one of the young bohemians who started the "6 Gallery," in the early 1950s, a legendary space both in California art and poetry. Deborah Remington was the grandniece of the Western painter Frederic Remington, and partook in something of his long view and historical sense. She came to the California School of Fine Arts (now SFAI) from Southern California with a group of young friends, and met Spicer there: he was their teacher, taught them history, English, "the humanities."
The San Francisco Museum of Modern Art owns two of Deborah Remington's large paintings. This one is Statement, from 1963.
Teacher and students, impatient with the conventional gallery system, opened a place on the site of the old King Ubu space on Fillmore. Over the next few years it became the epicenter for the new painting, sculpture, and what you would today call multimedia experiments. Allen Ginsberg gave a famous reading at the gallery in October 1955, premiering his controversial poem Howl. At the time I started working on the biography, one of the "6," Hayward King, had already passed on, but I managed to interview several others of the group, and put together a decent enough account of Spicer's work with the gallery. But in the back of my mind, like all biographers I'm sure, there was always this feeling that, oh well, too bad I didn't try harder to find Deborah Remington! But she had moved to New York, I didn't have her number, oh, I had lots of half-assed excuses.
Ten years later Peter Gizzi and I edited Spicer's collected poems, and the idea was to have a reading on each coast from the book. Here in San Francisco we had one at the main library, inviting a dozen poets and artists who had—not necessarily known Spicer, for their number was shrinking every year—but who had been influenced by him—young, old, middle-aged, men, women, straight, gay, a little of this and that the good old San Francisco way. Our New York event was a co-production of two estimable NYC non-profits, Poets House and the Poetry Project at St. Mark's Church in the Bowery. At the Poetry Project, Stacy Szymaszek, its Executive Director, asked me which New Yorkers I'd like to see at the reading—now rather a grand affair with a mini-conference attached. An ancient memory awoke in me, "I always wanted to interview Deborah Remington," I sighed. "Who?" asked Stacy. I tried to explain, but Stacy soon quieted me. "Sssh, sssh, sssh, we'll find her."
To my surprise, Remington agreed to participate in our tribute to Spicer, but asked to read a poem, she wouldn't. "I would feel stupid," she said. "I'm not a poet." "Okay, so how about I interview you, live, on stage, and you could give me all your memories of Spicer being your teacher et cetera?" "In the middle of everyone else getting up and reading his poems? Sure, why not?" She made it so easy. Maybe she liked doing something different than the others, the way she just loved being the only woman in the "6." I apologized for not having found her twenty years before. "You could have, very easily," she said. "I've been in the same apartment in New York since 1967."
We devised a method whereby I would "pre-interview" her, by phone, and try to condense her memories into some quick zippy sound bites that would impress out audience, for we'd been scheduled for only ten minutes to complete our interview. I was nervous speaking with her on the phone. She told me that, contrary to what I thought, she was far younger than anyone else in the Six. She had graduated from high school early, and was only 16 or something when she started at the Art Institute, whereas the boys she joined up with had delayed their educations by serving in Korea so they were all much older than she. I warmed up to her instantly, and after a few hours and many e-mails back and forth we agreed to do our interview with bullet points, one, two, three memories; some general reflections on California art; one further memory; what was it like to be a woman artist in a benighted time for women? Perhaps one final amusing anecdote. It was going to be great.
Deborah Remington, Untitled (1966), from the collection of SFMoMA.
Cut to May 15th, 2009, in New York, the evening of our show, Stacy asked me if I had heard from Remington. (To preserve the secrecy of her appearance, we spoke of her in code, code name Remington Steele, like the corny 80s TV show.) "I haven't, but I'm sure she'll be here." But then doubt set in. We had scheduled her for a beauty spot: she and I were to mount the stage as the first act in the second half of the program, right after the intermission. But where was she? I didn't even know what she looked like, not really, though her website had some old photos and I myself owned a clutch of pictures of her from when she was young and in full beat queen regalia, but this was 55 years later—she must have changed, everyone does! A handful of old women dotted the crowd. We surveyed them with skeptic eyes. Could that old lady, with the bare feet and the patched shawl and the wild gray Brunnhilda hair, be Deborah Remington? "I don't know, Stacy, I just thought she'd take care of herself better than that." "I'll ask her. Pardon, are you Deborah Remington?" Pause. "No, she says she has no name, she's a being from another planet." "I didn't think she was her." Even the oldest of the old-timers we had gathered at the Project were too young to have known Deborah Remington: Basil King, George Stanley, Martha King, all of them had come onto the SF scene after Deborah Remington had already left for Japan. Finally we decided maybe Remington was sick or something. The program began and I just left it up to the gods.
The auditorium was packed and I guess I got caught up, kind of forgot. Welbutrin will do that. Towards the end of the first act, I noticed hands moving in my row—someone was passing a note to me. I unfolded the paper. Stacy had scrawled, "Remington Steele has landed!"
"Pardon me, pardon me, pardon me," I kept excusing myself. Finally I scrambled back to the lobby. My brow furrowed once more. I didn't see any old lady. There was just one woman there, exquisitely dressed, made up, coiffured. A woman younger than I surely, sitting in a chair directly under the most beautiful golden light. "Where is she?" I asked Stacy, frightened that Remington had come and not liked what she had seen ,and departed. "Kevin, this is Deborah Remington," she said, indicating the seated, and remarkably composed artist. "Is that really you?" I asked Deborah Remington. She shook my hand and I started to babble. She explained that she was only able to appear for half an hour for a friend was having a dinner party in her honor and she had a car waiting outside to take her back to the party. A weak half-smile, half regret, half pride, crossed her face and I had the impression people gave parties for her constantly—why? Because she was so fabulous. She had that Lauren Bacall thing going on of ageless grace and élan. Luckily I had the presence of mind to take some pictures of her, real quick. And I got her to sign my autograph book. And then up on the stage Stacy was announcing to the crowd a surprise appearance by a living legend—one of the "6" from the Six Gallery—Stagehands had rearranged the stage to look like a talk show setup with two chairs, a little lamp, a bowl of flowers. I took Deborah Remington's hand, we walked down the main aisle like a bride and groom, we sat down in our chairs, and she killed them. Just killed them. Afterwards people were like, "Oh my God," and everyone wanted to meet her, but she had slipped back into the night, into her car, and that was my meeting with her, the most vibrant and young person in the room that night.
Deborah Remington, photographed May 15, 2009 by Kevin Killian, New York City
Roberta Smith's obituary—from which you can get a general picture of Remington's career in art—tells us that she had been lying about her age for many years, that she wasn't the teenage prodigy she claimed. What can I say? I fell for her, but good. Who was it said, Brightness falls from the air; queens have died, young and fair?
Tags: Allen Ginsberg, Basil King, California School of Fine Arts, Columnists, Deborah Remington, Frederic Remington, George Stanley, Hayward King, Jack Spicer, King Ubu Gallery, Martha King, Peter Gizzi, Remington Steele, Roberta Smith, Stacy Szymaszek, The 6 Gallery, The New York Times, The Poetry Project at St. Mark's Church in the Bowery
Lee Ann Brown says:
I remember that day at the Project! now I know more of the full story!
Mary Nowak says:
Years ago, for one summer I worked with Deborah as her studio assistant. She regularly took assistants on, and I remember her saying that she was going to work me to get the most out of me. She could be quite the task master and I worked 40 hour weeks that summer, helping her complete three paintings. She could be quiet demanding, but also giving. I worked for credit that summer, but developed a friendship with her that lasted many years. She was very energetic and could be quite funny. There was a lithograph in her bathroom that had her at the center of a table in a coffee shop. She is depicted sitting next to Lawrence Alloway and John Perreault with both of them laughing. Very in character. She was also friends with both. She was friends with a great many artists and critics. The idea of her being the great, great grandniece of Fredrick Remington came from her. I am still not sure if she was his great grandniece, or great, great grandnice. She did lie about her age.
I was working with her when she was first diagnosed with cancer. She researched the information that was available at the time as throughly as anyone could, and decided upon her own treatment. For a time it worked, she was free from the cancer for many years afterward.
I also remember when she was awarded the National Endowment for the Arts and the Gugenheim grants. They in part helped her buy the house and land in West Chester, PA. She chose that area because it was close to her family members. I remember her mentioning her brother and nieces. I could understand why she wanted to get out to the country during the summer in New York. I loft sat for her one year during the summer and her loft was on West Broadway in SoHo near Canal Street. It was mighty noisey at night during the summer, particularly around the 4th of July. We kept in touch over the years, but I regret not having kept closer in touch.
Lawrence Pierce says:
I met Deborah through my son-in-law, Craig Remington. Craig, CEO of Remington & Vernic, an
engineering firm in Haddonfield. He and Deborah were 2nd or 3rd cousins. I got to be friends with her over a period of about 7 years. We had a close relationship and emailed each other a couple of times a week. She would visit Craig 2 or 3 times a year and we would see her in New York. She battled cancer most of the time I knew her winning some and finally losing. I love her paintings, especially the later things. She painted in her loft apartment and her farm in PA. She could be very difficult which I rather enjoyed but did put a lot of people off. After her death my wife and I were given the chore of going through all of her papers and personal things. I think I ended up knowing her better than most people. I miss her very much and know her art will grow in stature as time passes. I found her to be a fascinating woman and will always follow the path of her art.
Jay Leaning says:
Deborah would have been pleased with your article and I am sure she had fun with you during her appearance.
She told me she was a (3rd) cousin to Frederic Remington, tiring of explaining it, she let people make up their own minds and said once someone introduced her as F.R.'s grand daughter….
"(rolls her eyes) ha!"
Anne Remington says:
I'm sorry to read of her passing. We emailed back and forth for awhile. Since I don't have much family, it was nice to meet someone online and a fellow artist at that. I found her to be wonderfully warm and open. I worried that others would steal her images on her website but I guess that didn't happen. Sorry I didn't keep in touch better.
We're both related to Frederic Remington but as third or fourth cousins probably. In my case, my gr. gr grandfather was his father's first cousin. I believe her relation was similar. She was happy to have any relation as I am.
Margaret Mathews-Berenson says:
Hoping to reach Warren Weyburn through this blog in order to invite him to a memorial celebration for Deborah Remington in New York this fall. Kindly call or email: 212-535-7050 or mmbart@earthlink.net.
Hoping to reach Kevin Killian with this message. Would like to know how to contact you in order to invite you to a memorial celebration in New York this fall for Deborah Remington. Please call or email: 212-535-7050 or mmbart@earthlink.net.
Laura Foster says:
I'm sorry I didn't know about her until I saw the New York Times obit. I wonder what the source is of the NYT statement that she was Frederic Remington's grandniece. Remington (1861-1909) had no siblings, or children.
Laura Foster
fredericremington.org
warren reyburn says:
I studied with Deborah for five years each summer when she would come back to West Chester, Pa. She was quite the task master, but brillant and pushed my work to new limits. I was lucky to happen upon her and even luckier that she accepted me as a student. We worked every weekend during her summer stay until she went back to New York, I had the privilage of also seeing her "works in progress"…was sadden to read the obit in the NYT's and again realized how much I owed to her.
Warren Reyburn
I saw that notice as well and smiled when it came out that she had been lying about her age – something that's far too common among a certain generation. A whole chapter of SF's art history died with her. Thanks for the more personal obit on her and her importance.
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The Top 10 Films of the Decade
The 2010's are in the books, and wasn't it a great decade for what was on the big screen? $110B in domestic box office, 8,316 films released, 88 Best Picture nominees and 10 winners. Well, 11 if you count La La Land for those three minutes. Nevertheless, we have taken on the arbitrary task of narrowing down the top 10 films of the decade. Enjoy!
Mother! (2017)
Some of you will stop reading shortly after discovering the 10th pick, but we can't think of a better film to kick off the list! You're welcome for saving you some time. Mother! is one of the most divisive and controversial films of the decade, but without question it stands as one of its most bold and ambitious. Modern day auteur Darren Aronofsky wrote the first draft of this script in, what he calls, a five-day "fever dream". What he manages to pack into this gem are incredibly complex themes that tackle religion, the planet, and parenthood; but what makes this film so nuanced, is its basis in the toxicity of the relationship between a benevolent muse and a narcissistic creator. The film explores the sometimes-selfish incentives of creation and forces the viewer to examine how they may be the recipient (or the perpetrator) of an explosive ego.
Beasts of the Southern Wild (2010)
Benh Zeitlin and Lucy Alibar craft a transcendental coming of age story that is somehow both delightful and tragic. This film invites the audience back to a time in their lives when the world overflowed with magic, for both better and worse. An esoteric exploration of how those forced to live on the margins of society are often some of its most crucial components, this film provides a feast for the senses for any film lover and all empaths. Quvenzhané Wallis became the youngest ever Best Actress nominee for playing Hushpuppy, a relentlessly inspiring depiction of a child entangled in her own whimsical imagination. As the world rages on around her, Hushpuppy cannot help but cloak herself in the power of her gifted mind, staunch courage, and genuine love. Without question this is one to seek out if you have not already done so, and thankfully we won't have to wait too long for another Zeitlin tearjerker. This February, Wendy (2020) will no doubt make a strong bid for next decade's list.
Part horror film, part psychedelic nightmare, the brilliant Ari Aster describes this fundamentally as a break-up film. Dani, played expertly by the rapidly rising star Florence Pugh, follows her millennial "friends" to Sweden. Instead, we take the trip. Gorgeously shot, beautifully scored, and excellently directed, Aster untangles the web of dependency that can all too often plague a relationship between two fledglings. The film does not treat the audience with kid gloves; for over two hours it pushes the viewer to mine for the ways in which they might mask internal weaknesses in the pursuit of external approval. In many ways the true horror of this film may lie in one's inability to answer this simple question: What is MY pilgrimage? Ironically, this separation tale only serves to strengthen a love of superb filmmaking.
In many ways, we are treated to two films in one here. Both in setting and in character, Room affords audiences a revitalization of the look and feel to the world around them. Like Beasts of the Southern Wild, much of this film's success lies on the shoulders of the transformative performance from an incredibly talented child actor. Jacob Tremblay owns the screen and Emma Donoghue's story perfectly packages what a "re-do" in life would encompass. In certain ways, the film acts as a surrogate experiment that wonders what life would be like if you could be reborn. Audiences are forced to take stock of their own fortunes and appreciate how boundless most of our lives are, even if it rarely feels that way. Donoghue masterfully balances Tremblay's optimism with Brie Larson's paralysis – giving us a somber view into how crippling trauma can be, even if escaped.
From beginning to end, this film drafts its viewer into a crescendo of anxiety, only matched by its stakes. It is easy to forget how far removed most of the population is from a massive, worldwide conflict – such that entire generations relinquish the luxury of individuality in exchange for the necessity of survival. Sam Mendes achieves the pinnacle of directing, hoping that this film will serve as the only prescription needed to avoid wars like this in the future. A two-hour emblem of the power of human determination, this film serves as an abyss of inspiration. Everyday annoyances dwarf in comparison to what is displayed on screen – a testament to both extraordinary filmmaking and the unmatched bravery of those who faced the unthinkable over a century ago.
Gone Girl (2014)
How can you not fall in love with Amy Dunne by the end of this film? Easily one of the most dynamic and fascinating characters of any decade, Rosamund Pike plays her to sinister perfection. Gillian Flynn shares her phenomenon of a novel with movie lovers and invites us for a game of cat and mouse (or cat and cat). Throughout the search for Amy, Nick is coerced to explore how they got to this point. What we are left with is a brutal dive into how we mold ourselves in service of someone else's perception of us. Amy and Nick never really seemed to share themselves exhaustively with one other, until perhaps it was too late. This complicates things exponentially, because if you never quite have a grip on who you are, how can you share that with another? Won't you simply be left with facades of what you think the other person wants to see in you? And won't that drive you crazy?
Above all else, this film sits at the steps of two magnificent performances from Academy Award nominees Steve Carell and Timothée Chalamet. A meditation on the limits of love, or lack thereof, Chalamet portrays a son fundamentally in pain. Whatever the cause, and whatever the cure, his father (Carell) becomes overwhelmed with what feels like a quicksand of helplessness. He is forced to question himself deeply, as to whether it is possible to love someone out of their problems. The film effortlessly vacillates between past and present, sobriety and intoxication, heartwarming and heartbreaking. It respectfully conveys the shared tragedy of addiction and emphasizes the unique gift of unconditional love.
An elegant script, fastidious direction, and a layered lead performance – this film is such a treat. The scope seamlessly expands and contracts: from a global alien invasion, to simply a mother in mourning. The story challenges its viewers to think beyond their own worlds, and perhaps even beyond their own timelines. Not only does it question if we are alone, but also whether we are temporary. Above all, what grounds this film is its inspiring assertion that life is worth living, through both triumphs and terrors.
The Social Network (2010)
Did we just double Fincher? Unapologetically so. When it was announced that a "Facebook movie" was in the works in the late 2000's, several industry pundits scoffed at the idea. Instead, two incredible filmmakers arguably doing some of their best work (Fincher and Sorkin) teamed up to create a generation defining piece of art. The Academy Award winning script sinks its hooks into audiences from the opening scene, with Jesse Eisenberg lending a charmingly sociopathic performance as the man with 500 million virtual friends, and a handful of real enemies. This supremely captures the paradox of humanity's struggle to empathize with one another in an increasingly connected world.
Very few "Best of" lists would be complete without at least an allusion to the iconic Christopher Nolan, and here, he holds top honors for arguably his most revered picture. In conjunction with this film, Dunkirk, and the early looks so far at Tenet, it is clear that Nolan obsesses over the concept of time. He constantly plays with nonlinear narratives, settings and worlds in which time is compressed or stretched, and characters that seem to walk a beat askew from those around them. What Nolan does here specifically is unpack the origins of an idea. In grandiose style, he constructs a world that can act as a metaphor for many fruitful concepts. At its core, however, this film narrates the terror of an obsessive thought, how that thought can drive relentless action, and how those actions can bring numerous flavors of both peace and peril. Such is the quest to make influential art.
Films are very personal to everyone, and the beauty of art lies heavily on a basis of personal connection. So many of people's favorite films speak to a particular time in their life, and thus tattoo themselves as part of their being. There is no right answer when art is consumed, let alone compared. Naturally, this list will probably look very different from yours. But for good measure, we'll leave you with some honorable mentions. If between the list above and the films below, you still see egregious oversights, you'll simply have to share your own. See you in 10 years movie lovers!
Black Swan (2010), Blue Valentine (2010), Drive (2011), The Sessions (2012), Silver Linings Playbook (2012), Zero Dark Thirty (2012), Her (2013), The Wolf of Wall Street (2013), Birdman or (The Unexpected Virtue of Ignorance) (2014), Boyhood (2014), Interstellar (2014), Still Alice (2014), The Big Short (2015), La La Land (2016), Call Me by Your Name (2017), Dunkirk (2017), Molly's Game (2017), Annihilation (2018), Capernaum (2018), The Favourite (2018), Never Look Away (2018), A Star Is Born (2018), Joker (2019), The Last Black Man in San Francisco (2019), Once Upon a Time… in Hollywood (2019)
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Reg Parnell, Alfa Romeo 158, takes the chequered flag for the final podium position.
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Reg Parnell, Alfa Romeo 158.
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Juan Manuel Fangio, Alfa Romeo 158.
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Juan Manuel Fangio, Alfa Romeo 158, leads Giuseppe Farina, Alfa Romeo 158, and Luigi Fagioli, Alfa Romeo 158.
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Luigi Fagioli, Alfa Romeo 158, leads Juan Manuel Fangio, Alfa Romeo 158, Giuseppe Farina, Alfa Romeo 158, and the rest of the field at the start.
Mechanics work on the car of Giuseppe Farina, Alfa Romeo 158, in the pit lane.
Giuseppe Farina, Alfa Romeo 158, leads Luigi Fagioli, Alfa Romeo 158, Juan Manuel Fangio, Alfa Romeo 158, and Reg Parnell, Alfa Romeo 158.
Reg Parnell, Giuseppe Farina, and Luigi Fagioli recede their garlands.


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Ted Leonsis buys stake in CSN Mid-Atlantic, sells stake in Monumental Sports Network to NBC
By Nathan Burchfiel
It's no secret that Capitals majority owners Ted Leonsis — who also leads the ownership group that controls the Wizards, Mystics, and Verizon Center — has long wanted more control of the broadcast rights for his teams' games. He'll finally get it, if a new deal announced today earns approval from the NHL and NBA.
In what a joint press release called "an innovative cross-equity and leadership structure," Monumental Sports & Entertainment (MSE) gets an ownership stake in CSN Mid-Atlantic, including representation on the network's board of directors. The deal also extends CSN's rights to broadcast Caps and Wizards games "well into the future."
As the Washington Post's Dan Steinberg reported, Monumental owning a large portion of CSN "could raise the same questions about objectivity that have been directed at the Daniel Snyder-controlled ESPN 980" radio station. CSN Mid-Atlantic President Rebecca Schulte told Steinberg, "Our reputation of being fair and being unbiased in our coverage, I stand by it," adding, "We'll cover the teams exactly the way we would either way."
"I only get mad when we're not covered; I don't get mad when we are covered," Leonsis said to The Washington Post. "Now, as part of that coverage, when we do something bad and we lose 20 games in a row, I'm sure they'll be screaming and hollering at us, editorially. And that's fine."
Leonsis also added that, "this is the kind of deal that allows us to perform and act and invest like we're a big-market team."
According to Sports Business Daily's John Ourand, the Capitals license fee rose from $13 million to $28 million in the contract.
Taking out upfront payments and equity considerations, the Capitals license fee will adjust to an annual average of $28M per year from $13M; the Wizards will increase to a $35M-per-year average from $17M. The deal runs through the '31-32 NBA and NHL seasons, sources said.
In the same transaction, MSE sold part of the Monumental Sports Network (MSN) to NBC Sports Group and announced plans to offer subscription-based streaming of Mystics and Washington Valor arena football games.
#Caps owner @TedLeonsis and @CSNMA president Rebecca Schulte address media on new long-term partnership pic.twitter.com/XW64tQSsRr
— CapitalsPR (@CapitalsPR) October 11, 2016
CSN, Monumental Network, Ted Leonsis
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text:
Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing
Minoru Ishikawa, Yuichi Hashimoto
Sufficient aqueous solubility is a key requirement for clinical drugs, and improvement of the aqueous solubility of drug candidates is often a major issue for medicinal chemists. The strategy of introducing hydrophilic group(s) into molecules is generally used for this purpose but is not universally effective. This chapter deals with an alternative strategy for molecular modification to improve solubility by focusing on weakening intermolecular interactions in the solid state. Relevant modifications include disruption of intermolecular hydrogen bonds, disruption of molecular planarity (increase in ratio of sp3-hybridized carbons, twisting of molecules, and introduction of substituents at benzylic positions), and bending molecules. Such molecular modifications have the effect of decreasing the efficiency of crystal packing, which in turn results in an increase of aqueous solubility. Improvement of aqueous solubility by as much as 350-fold was achieved in one case.
ホスト出版物のタイトル
The Practice of Medicinal Chemistry
ホスト出版物のサブタイトル
Elsevier Inc.
ISBN(印刷版)
https://doi.org/10.1016/B978-0-12-417205-0.00031-6
Published - 2015 8 28
医学(全般)
10.1016/B978-0-12-417205-0.00031-6
「Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing」の研究トピックを掘り下げます。これらがまとまってユニークなフィンガープリントを構成します。
Solubility Medicine & Life Sciences 100%
Water Medicine & Life Sciences 66%
Hydrogen Bonding Medicine & Life Sciences 24%
Carbon Medicine & Life Sciences 19%
Ishikawa, M., & Hashimoto, Y. (2015). Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing. In The Practice of Medicinal Chemistry: Fourth Edition (pp. 747-765). Elsevier Inc.. https://doi.org/10.1016/B978-0-12-417205-0.00031-6
Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing. / Ishikawa, Minoru; Hashimoto, Yuichi.
The Practice of Medicinal Chemistry: Fourth Edition. Elsevier Inc., 2015. p. 747-765.
Ishikawa, M & Hashimoto, Y 2015, Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing. in The Practice of Medicinal Chemistry: Fourth Edition. Elsevier Inc., pp. 747-765. https://doi.org/10.1016/B978-0-12-417205-0.00031-6
Ishikawa M, Hashimoto Y. Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing. In The Practice of Medicinal Chemistry: Fourth Edition. Elsevier Inc. 2015. p. 747-765 https://doi.org/10.1016/B978-0-12-417205-0.00031-6
Ishikawa, Minoru ; Hashimoto, Yuichi. / Improving the Water-Solubility of Compounds By Molecular Modification to Disrupt Crystal Packing. The Practice of Medicinal Chemistry: Fourth Edition. Elsevier Inc., 2015. pp. 747-765
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abstract = "Sufficient aqueous solubility is a key requirement for clinical drugs, and improvement of the aqueous solubility of drug candidates is often a major issue for medicinal chemists. The strategy of introducing hydrophilic group(s) into molecules is generally used for this purpose but is not universally effective. This chapter deals with an alternative strategy for molecular modification to improve solubility by focusing on weakening intermolecular interactions in the solid state. Relevant modifications include disruption of intermolecular hydrogen bonds, disruption of molecular planarity (increase in ratio of sp3-hybridized carbons, twisting of molecules, and introduction of substituents at benzylic positions), and bending molecules. Such molecular modifications have the effect of decreasing the efficiency of crystal packing, which in turn results in an increase of aqueous solubility. Improvement of aqueous solubility by as much as 350-fold was achieved in one case.",
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AB - Sufficient aqueous solubility is a key requirement for clinical drugs, and improvement of the aqueous solubility of drug candidates is often a major issue for medicinal chemists. The strategy of introducing hydrophilic group(s) into molecules is generally used for this purpose but is not universally effective. This chapter deals with an alternative strategy for molecular modification to improve solubility by focusing on weakening intermolecular interactions in the solid state. Relevant modifications include disruption of intermolecular hydrogen bonds, disruption of molecular planarity (increase in ratio of sp3-hybridized carbons, twisting of molecules, and introduction of substituents at benzylic positions), and bending molecules. Such molecular modifications have the effect of decreasing the efficiency of crystal packing, which in turn results in an increase of aqueous solubility. Improvement of aqueous solubility by as much as 350-fold was achieved in one case.
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KW - Thermodynamic solubility
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It bears mentioning that The Karate Kid is a remake of the original 1984 classic. It's important to know that little bit because there's actually no karate in the 2010 version. The martial art that's practiced is Kung Fu. Since the title needs to reference the original Karate Kid to make better sense, it goes without saying that audiences that are familiar with the source material will have a better appreciation for the remake. Fans of the original will be pleasantly surprised to discover how faithful this update is to the original. Newcomers – especially the target audience of preteens – will come to enjoy the underdog story that has been adapted to fit a whole new, younger age group.
Twelve-year-old Dre Parker (Jaden Smith) and his mother (Taraji P. Henson) are relocating to China from the jobless city of Detroit. During his first day in the new country, Dre makes a new friend, meets a girl – Meiying (Wenwen Han) – and subsequently makes a new enemy – Cheng (Zhenwei Wang) – who happens to be quite skilled in Kung Fu. When Dre tries to stand up for Meiying, Cheng decimates him with his superior fighting skills. Unfortunately, the abuse continues when Dre discovers that he and Cheng attend the same school, forcing Dre to hide around corners to avoid a confrontation. The situation comes to a violent head when Dre provokes a fight and Cheng and his friends beat Dre to a pulp. Thankfully, the local maintenance man, Mr. Han (Jackie Chan), intervenes, revealing his own mastery of Kung Fu. Mr. Han offers to train Dre in order for him to stand up to the bullies in an upcoming, organized Kung Fu competition. Along the way to becoming a fighting machine, Dre picks up a few life-lessons about respect and making peace instead of war.
Fans of the original film will feel right at home watching the remake. Some scenes – especially the third act – are lifted almost word for word from the 1984 version. The fact that this incarnation of The Karate Kid rarely deviates from the source material just goes to show how powerful and resonant the original writing was. The newer aspects of the film, such as the new location and fleshed out love interest, help freshen up the story and broaden the experience to something universal rather than uniquely American. China is presented in a favorable light, for the most part, with beautiful, exotic locales, friendly people and a care-free, go-anywhere atmosphere.
The acting from the young cast is about as good as is fair to expect, considering the material. Jaden Smith exudes the necessary charisma to carry the film and fans of his father, Will Smith, will marvel at the uncanny similarities between father and son, including facial expressions and line delivery. The acting is most genuine, however, when dealing with base emotions, like fear, anger and sadness. Other scenes aren't as convincing when the emotions become more complex, like when a fighter supposedly has reservations about performing an illegal move in order to guarantee a victory. While the internal conflict that was so effective in the original movie is missing, the malevolence of the antagonists comes through nicely. Zhenwei Wang is truly menacing in the ways that adults expect children to be and that parents hope their children never have to experience. Surprisingly, Jackie Chan turns in the best performance in the film. Not only are his physical feats fun to watch, but his dramatic acting is also top notch. The brief scene where Mr. Han explains his history to Dre is nothing short of fine cinematic acting.
If there is anything that is out of sync in The Karate Kid it would be the choice to use such a young cast. Violence knows no age group, but the kind of sophisticated violence exhibited in the film suggests a certain level of maturity that doesn't quite ring true at this age group. Fighting always seems like a last resort for conflict resolution and children are typically a symbol of hope. It's difficult to reconcile the two, whereas fighting seems more at home in the teenage/high school age group where behavior is more solidified and violence is sometimes the only answer. Furthermore, there's something unsavory about watching Jackie Chan beat up a bunch of kids. Granted, he handles them in the kind of non-violence violent way audiences know Chan for, but the mismatch is still palpable.
Nevertheless, The Karate Kid is sure to be a hit with its target audience. It's a movie meant for kids that isn't necessarily a kids' movie. As in the original, a lot of mature issues are dealt with here, including terror, death, respect, love and violence. If kids can last the grueling two and a half-hour runtime, they'll appreciate the mature story that never feels like it's talking down to them.
They'll probably also beg their parents to sign them up for Kung Fu classes.
I used to love this movie when I was a kid!! I feel like I have to see it. I'll probably wait until it comes out in theaters though, movies these days are too expensive. And hey, since the TY KU sake bomb article popped up before this, maybe I'll celebrate the movie with some sake bombs… I think it's a sign right?
You should definitely check it out since it's well made, but it might pale in comparison to the original if you were a big fan.
Am I the only one who wanted to see Dre take on the mohawk kid? I just wanted to have them both say "nice hair" in different languages.
Why am I never invited to these meetings?!
As soon as they highlighted that mohawk kid I knew he was supposed to represent the Asian guy in the original. While it would have been nice to have an exchange between mohawk and Dre, it was too much to expect since the last 10 minutes of the movie were a near carbon copy of the original.
What meetings are you talking about?


Twelve months can seem such a long time to wait for all the shopping fun and festive spirit of one annual Houston Ballet Nutcracker Market to the next. This year, Houston Ballet's Nutcracker Marker offers a welcome solution with its new Spring Spectacular. Taking place April 12-14 at NRG Center, Spring Spectacular is the sunny flip side to the highly anticipated Nutcracker Market. This inaugural event will host some 150 merchants from across the country - bringing with them a full assortment of seasonal items, apparel, accessories, jewelry, gourmet food and home décor suited to the warm weather months and spring and summer holidays.


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'Chieftain's Caves' Fun Facts
The repeat of 'The Salvador Trilogy' in 'The Fifth Doctor by Tim Bradley' is coming to an end this month as we go through 'Chieftain's Caves'. To keep up with the tradition of these repeats, I've re-released the 'fun facts' post of this third tale of the trilogy, which is a mini Easter Egg special feature.
These fun facts about this 'Doctor Who' fan-fiction story by me on 'Bradley's Basement' are from the TARDIS databank. They cover what I found out during my research in preparation and during the writing of 'Chieftain's Caves' in 2011. There are also facts I discovered after I finished writing it. Enjoy!
'Chieftain's Caves' was not the Doctor's first encounter to Scotland. He visited Scotland before as the Second Doctor in 'The Highlanders' where he first met Jamie McCrimmon. He would later visit Scotland in 'Terror of the Zygons' as the Fourth Doctor; in 'Tooth and Claw' as the Tenth Doctor and in 'The Eaters of Light' as the Twelfth Doctor.
The story of 'Chieftain's Caves' is loosely based on the novel 'The Monarch of the Glen' by Sir Compton Mackenzie. It was also influenced by the BBC TV series 'Monarch of the Glen', set in Scotland and also based on the novel by Sir Compton Mackenzie, who gets a reference in the story.
In the 'Monarch of the Glen' TV series, Alistair Mackenzie, who played Archie MacDonald, also played Adric Traken, Nyssa's son in the audios, 'Prisoners of Fate' and 'The Entropy Plague'. The TV series also features Tom Baker, who was the Fourth Doctor in 'Doctor Who', as Donald MacDonald.
Eilean Donan Castle, that features in the story, is also the location for many movies and TV shows including 1999 James Bond film, 'The World is Not Enough' and an episode of 'The New Avengers' in 1976. Cawdor Castle that features in the story, also featured in 'Macbeth' by William Shakespeare.
The Doctor's sword-fighting in this story is one of many. The Third Doctor and the Master fought each other with swords in 'The Sea Devils'. There was also the Fourth Doctor in 'The Androids of Tara'; the Fifth Doctor in 'The King's Demons' and the Tenth Doctor in 'The Christmas Invasion'. The Twelfth Doctor even fought against Robin Hood with a spoon in a sword-fight during 'Robots of Sherwood'.
The two Scottish armies featured in 'Chieftain's Caves' are the Middle-Age Scots led by William Wallace, inspired by 'Braveheart' with Mel Gibson; and the Jacobeans led by Bonnie Prince Charlie in the battle of Culloden. Finally…the name Salvador is translated from Spanish to English as 'saviour'.
Bye for now!
Tim. 🙂
This entry was posted in Doctor Who, Fan Fiction, Sarah Sutton/Nyssa (DW), Sci-Fi and tagged billy walker (dw), chieftain's caves, fifth doctor (dw), salvador (dw), scotland (dw), the fifth doctor by tim bradley (dw) (series), the salvador trilogy (dw) on August 10, 2018 by Tim Bradley.
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