CATEGORY : [] 2019/06/20 00 : 49


Does This Mean Goldman Sachs Will Sell Stradivari Bonds?
CATEGORY : [News Articles] 2008/11/21 23 : 07
Financial Instruments
by Daniel Menaker
November 24, 2008
The New Yorker

Mark Ptashne, a molecular biologist in his late and skeptical sixties, is a precisionist in everything he does. For example, he won the Lasker Award for discovering exactly how genes are turned off and on. He owns a Gyro Swing golf club, which whirs as it responds to his swing and vibrates when he doesn’t keep his left arm in the right position. And—his great passion in life—he owns and plays and lends out violins, two of which are artifacts of the most exacting craftsmanship. He began playing during his adolescence. “They say you can’t really learn at that age,” he said. “Like so much else ‘they’ say, that’s bullshit.” He has made a creditable CD to prove it. And he started a company, Genetics Institute, mainly in order to make enough money to buy one of his treasures—a Guarneri del Gesù. He now owns quite a few other fiddles yet is at pains to make it clear that he is not a collector but a musician and a devotee.

Both treasures—the Guarneri and a Stradivarius—were just lying out there the other day on top of a piano as Ptashne took a living-room practice golf swing. Lying there like hats or remotes or what-have-you. The Strad had seen action the night before at, of all places, the Blue Note, the jazz club in the Village. Luke Bulla, the fiddler in the band led by Jerry Douglas, Dobro virtuoso, was playing it. It had been lent to him, he said, by Ptashne, through a network that involved someone’s brother-in-law. After the session, backstage, Mr. Bulla offered up the violin to hold. But the offeree, who has a very bad history with expensive wineglasses and vases, declined. This same offeree had recently read an article about violins being an excellent financial bet. Given our tempora and mores, he got curious about whether he had just seen the, um, soundest investment of all.

Arguably, he had. During the market upheavals of recent weeks, spot gold prices bobbed at around eight hundred dollars per ounce. The best Stradivarius violin, on the other hand, could have gone for something like seven hundred and fifty thousand dollars per ounce. That’s twelve million dollars for an avoirdupois pound of wood, if you want to be crude about it, and why shouldn’t you, these days? In this and in other ways, the great violins are, ounce for ounce, among the most valuable commodities in the world. There is even a Web site called stradivariinvest.com. Almost alone among investments, important violins have proved immune to economic downturns. Auction prices for Stradivariuses have increased from about two hundred thousand dollars in 1980 to about three million dollars today.

The person who provided those numbers is Stewart Pollens, who runs a business called the Violin Advisor and used to be a conservator of fine instruments at the Metropolitan Museum. “As opposed to paintings and other works of art, there are no fads here,” he said last week. “Artists can be in or out. Few people want to acquire a gigantic Mother and Child oil these days.”

But, like most violinophiles, Pollens, who is married to the violinist Stephanie Chase, cannot really see the instruments in quite the same light as, say, wheat futures. And that’s the problem with violins as a market. Those who, like Ptashne, buy them because they love them often can’t bear to sell them. “What am I going to do?” he had said in his living room. “The money is basically locked up.” He put the Gyro Swing aside and played a little Bach on the Stradivarius on which Mr. Bulla had played a Bill Monroe tune just the night before. And then a little more Bach on the Guarneri—darker and more rustic in tone. It was melancholy music, as if to mourn a world in which not enough is not for sale.

Copyright: The New Yorker @http://www.newyorker.com/talk/2008/11/24/081124ta_talk_menaker

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Thomas Adès Breaks The Law
CATEGORY : [News Articles] 2008/11/21 23 : 01
15 illegal minutes with Thomas Ades
By Lawrence A. Johnson
Thu Nov 20, 2008 at 5:34 pm

South Florida Classical Review

It is almost nine o’clock on the east coast, and three hours earlier in Los Angeles. Thomas Ades has just finished a rehearsal with the L.A. Philharmonic, and the Englishman widely regarded as the most brilliant composer of his generation says that he is nervous.

About being interviewed? “No, I’m nervous because I’m afraid of getting busted for speaking on the phone,” he says with a laugh. Ades is referencing California’s recently enacted ban on using cell phones while driving. “I’m talking to you in the car and I shouldn’t be doing it. I have to keep an eye out for cops.”

>> →つづきはこちら:Click here for the rest of article

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Changing The Culture Of Perpetual Crisis
CATEGORY : [News Articles] 2008/11/21 22 : 56
Symphony plays on despite tough times

November 20, 2008
Liz Monteiro


The Kitchener-Waterloo Symphony needs to come up with new ways to raise money rather than relying on "crisis fundraising,'' says the orchestra's executive director.

Genevieve Twomey told the Waterloo Region Record's editorial board yesterday that the symphony will continue to maintain its programming during the economic downturn.

"The economy is presenting us with a challenge,'' she said.

Twomey said the history of the symphony has been one of crisis.

"We can't operate in the way the symphony has operated in the last five years,'' she said. "We have to operate differently.''

Two years ago, the symphony was the verge of bankruptcy. A community-wide campaign raised $2.5 million and saved the symphony.

At the symphony's annual general meeting earlier this month, numbers showed the symphony was ending its fiscal year with a loss of $275,000.

Tickets sales in 2008 were down over $170,000 from 2007. Also, the symphony's endowments are down by $77,000.

"We are cognizant that we have a deficit,'' Twomey said.

"I acknowledge the history of the symphony. It's part of the organization we are today,'' she said. "But we need to move forward.''

Twomey said the local symphony is the largest regional orchestra in Canada. It has 52 musicians.

"We spend a lot of time talking about finances. We need to talk about music,'' Twomey said.

Twomey said music director Edwin Outwater has "invigorated" the orchestra's music programming. The community's confidence has grown since Outwater came to the symphony, she said.

"People are engaged by him,'' she said.


Copyright: The Record @http://news.therecord.com/News/Local/article/446967

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CATEGORY : [College] 2008/11/19 20 : 57






、、、、、え、えくすきゅーず み〜?




卒業式、着物着ちゃう、under ガウン?(気が早い。)

Bond Streetの近くの日本食屋でお寿司食べないとっ!




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Louvre opens galleries for first time to musician -- Pierre Boulez
CATEGORY : [News Articles] 2008/11/14 22 : 44
Nov 6, 2008

PARIS (AFP) — For the first time in its history, the Louvre museum Thursday opens its doors to a musician, France's renowned contemporary composer and conductor, Pierre Boulez, giving the classical arthouse a modern touch.

To the French, the 83-year-old supremo of serial, experimental and electronic music born in the central Loire valley is what the Japanese call "a living national treasure", celebrated for his unique contribution to music and to intellectual life since the 1950s.

Scheduled to run until February 9, the show titled "The Louvre Invites Pierre Boulez" gathers together art and music in a medley that includes an exhibition, 11 concerts, six filmed concerts and talks.

Curated by the maestro himself, the art show titled "Work:Fragment" gathers 70 works by artists such as Ingres, Cezanne, Degas, Delacroix, Kandinsky, Klee, Giacometti and Picasso alongside scores from Wagner, Bartok and Varese and works by writers from the 19th and 20th centuries.

"Modernism is based on the fragment," Boulez told AFP, pointing to a 1952 nude sketch by De Kooning, "while previously this would have been considered a preparory draft."

The sketch, one of a series of "Women", showed "something that hasn't yet taken shape but is on the way," Boulez added.

Also rarely on public show are Russian-born Stravinsky's first drafts of "The Rite of Spring", a work from the 20th-century composer often conducted by Boulez -- which he said underlined "the chronological anarchy of invention."

In a hallway, Boulez enthusiasts can stop to listen to his 1996-1998 work "Sur Incises" for three pianos, three harps and three mallet instruments.

Boulez, who began composing at 23 and was influenced by Olivier Messiaen, was one of the leaders of a post-war movement to greater abstraction and experimentation in music and in 2002 won the Glenn Gould Prize for his contributions.

But he has also directed some of the world leading symphony orchestras and ensembles, including the New York Philharmonic, and is currently Conductor Emeritus of the Chicago Symphony Orchestra.

Visitors to the Louvre show will be treated to live concerts including a free December 2 performance featuring Boulez conducting Stravinsky's "The Firebird".

The modernist master also joins a debate with architect Jean Nouvel, this year's winner of architecture's top prize, the Pritzker, on the building of a Paris Philharmonic Hall, due to be opened in 2012.

Copyright: http://afp.google.com/article/ALeqM5jIVDu8PVir97KPJTy00t2NeXBp0g

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The Rise and (Potential) Fall of Philanthrocapitalism
CATEGORY : [News Articles] 2008/11/14 22 : 37
The Rise and (Potential) Fall of Philanthrocapitalism

Billionaires brought their business sense and ambition to charitable giving. Now what?

By Georgia Levenson Keohane
Posted Thursday, Nov. 13, 2008, at 6:42 AM ET

Talk about unfortunate timing. With the global economy reeling from the excesses of Wall Street, Mathew Bishop and Michael Green give us the incredulously titled Philanthrocapitalism: How the Rich Can Save the World. Bishop, the chief business editor at the Economist, first described how the barons of the new economy were revolutionizing philanthropy by applying their business principles—and sweeping ambition—to their charitable endeavors in 2006. Now he has teamed up with Green, an international development expert, to chronicle how this "movement" of philanthropists has "set out to change the world." The world is indeed changed: This gilded age has come to an abrupt and hard stop, and with it, perhaps, has come a tempering of irrational exuberance about the potential of outsized philanthropists to be, in Bishop's words, "superheroes for solving some of society's problems."

Bishop and Green offer an exceptional synthesis of the influence of the private sector on the field of philanthropy, and this book should be required reading in any MBA or public policy program. But the authors fail to probe some hard questions thoroughly enough: Is the "new" philanthropy really even "new"? And is the private sector the best exemplar of corporate governance, accountability, or long-term investment savvy—particularly when it comes to complex and persistent social and economic problems? With the pillars of global capitalism quaking and government bailouts that will, inevitably, limit public spending for social needs, these are more than academic questions.

In their engaging—if incomplete—history of philanthropy, the authors cite the influence of Andrew Carnegie's Gospel of Wealth, in which he described the rich as merely stewards of their economic surplus and advocated giving wealth away in one's lifetime, rather than leaving it to heirs. The Gospel has inspired tycoons from John D. Rockefeller, the world's first billionaire, to philanthrocapitalist par excellence Bill Gates, who received a copy from Warren Buffett. So, what, exactly, is philanthrocapitalism, and how does it differ from the philanthropy of those earlier titans of industry? First, the scale is unprecedented. The wealth creation of the last quarter-century—adjusted for historical inflation and the recent collapse—dwarfs any other period in history. At the start of 2008, the United States claimed 1,000 billionaires and the world 2,500. And charitable giving in the United States has increased accordingly, more than doubling from $13 billion in 1996 to nearly $32 billion in 2006. Second, this wealth has been created by entrepreneurs in tech, finance, and other industries who now channel their energy, drive, and principles to philanthropic endeavors. According to Bishop and Green,

philanthrocapitalists are developing a new (if familiar-sounding) language to describe their business like approach. Their philanthropy is "strategic," "market conscious," "impact oriented," "knowledge based," often "high engagement," and always driven by the goal of maximizing leverage of the donor's money. Seeing themselves as social investors, not traditional donors, some of them engage in "venture philanthropy." As entrepreneurial "philanthropreneurs," they love to back social entrepreneurs who offer innovative solutions to society's problems.

To read the rest of article, go to <http://www.slate.com/id/2204525/>

Copyright 2008 Washingtonpost.Newsweek Interactive Co. LLC

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A Disappearing Number
CATEGORY : [Theatre/Musical] 2008/11/11 21 : 10
Barbican Theatre

"A Disappearing Number"

少し前ですが、去年見逃してしまったコンプリシテ(日本語だと、テアトル・ド・コンプリシテとも呼ばれます)の「A Disappearing Number」を観に行きました。Upper Circleの安い席でしたが、舞台はなかなかよく見えました。

この作品は、2008年オリヴィエ賞(Olivier Award)や2007 Critics' Circle Theatre Award、Evening Standard Theatre AwardでBest New Playに選ばれたりしている超注目作品です。

コンプリシテは、1983年に奇才Simon McBurney(現芸術監督)が、Annabel Arden、Marcello Magniと一緒に旗揚げをしたdevising companyです。Devisingというのは、improvisingと似ているようで、違うのですが、つまり、最初から固定の脚本などがあるわけではなくて、作品の制作過程で監督やスタッフ、役者が話し合いをしたり、ワークショップをしながら作り上げていくというスタイルのことです。Improvisingは、場当たり的な即興という意味が強いですよね。もちろん制作過程がimprovisingも取り入れられているとは思います。

日本でも、野田秀樹さんが文化庁の在外研修時代にコンプリシテで研鑽をつまれたとかで有名でしたが、最近は世田谷パブリックシアターにもよく来ているようです。野田さんと言えば、5月か6月にSoho Theatreでみた『The Diver』は本当に恐ろしいほど素晴しかったです。


Taking as its starting point one of the most mysterious and romantic collaborations of all time, this is a story about connections between ideas, cultures and times. In London a man attempts to unravel the secrets of his lover. In Bangalore a woman collapses on a train. In Cambridge in 1914 Englishman GH Hardy seeks to comprehend the ideas of the Indian prodigy Srinivasa Ramanujan. A Disappearing Number weaves a provocative theatrical pattern about our relentless compulsion to understand.

(Copyright: Complicite)
上記写真をクリックすると、コンプリシテの『A Disappearing Number』のオフィシャル写真ページにとびます。

お話は、ケンブリッジ大学教授であるHardyの著書『A Mathematician's Apology』を取り巻くように進みます。数学には180度縁のない私でも読んでみたいなと思うぐらい、人間ドラマがリアルに伝わってきます。(と今、HardyのWiki日本語版を読んでいたら、オンライン(英文・pdfファイル)で読めるようです。)



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Yes We Can
CATEGORY : [Words] 2008/11/09 09 : 12





「Yes We Can!」に代表される彼のスピーチは、いつもとてもわかりやすいですし、言葉の組み合わせから生まれる語感がとても綺麗だと思います。(どんなことがあっても、ブッシュ大統領のような「ええ!?」というような英語の間違いはしないでしょう。)



There are many who won't agree every policy and decision I make as a president. We know that the Government can not solve every problems. But I always want to be honest with you to the challenges we face. I will listen to you. .... I will hear your voice. I need you. And I will be your President.

Struggle and progress,
The time we were told we can't.
People were depressed with that american dream.
Yes we can....

The time women voices were silent and hopes were dismissed
She lived to see them stand up and reach for the better.
Yes we can....

A man touched down the moon.
A wall came down in Berlin.
The world is connected by all science and imaginations.
And this year, this election, she touched the screen and casted her vote
Because it's 160 years old in America it's the best of the darkest (....)
She knows how America can change.
Yes we can.


チーム・オバマが勝った夜 ー「他者を受け入れる」ことの強さ
from ビンボー留学便りのその後「LA・新米記者の奮闘日記」

Now comes the hard part for Barack Obama
from The Times Online

Obama: How Change Came to America (24ページ ePaper)
from The Times Online

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Remembrance Day
CATEGORY : [British] 2008/11/08 23 : 04
11日は「Remembrance Day(国民哀悼の日)」です。


今、11日を控え、BBC1でRoyal Albert Hallで行われている礼拝が放送されています。女王陛下を筆頭に王室各人、政府主要人、各英国軍部隊の代表、戦没者遺族、その他関係者が参列します。英国国教会が式典を礼拝形式で進めていきます。英国各地から聖歌隊も呼ばれています。
明日は、Remembrance Sundayで、Whitehall(Westminsterエリア)を中心にして、式典が行われます。

(Copyright: The Times Online)

先週は、All Saint's Dayで、同じようにコーンウォールにある大きな聖堂で行われた礼拝の様子が、BBCで放映されました。2000人はいるであろう大聖堂は、たくさんの合唱団でうめ尽くされ、厳かに、でもオルガンに率いられて、それは威厳ある力強い礼拝でした。



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CATEGORY : [おしらせ/Notice Board] 2008/11/06 08 : 04






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