- Financial market regulation is a mess | Megan Carpentier
That a Senate committee established for farmers has passed a derivatives regulation bill highlights a key failing of the systemOn Wednesday, the Senate agriculture committee passed legislation to finally regulate and bring transparency to derivatives trades and, in particular, the credit default and currency swaps. These have been held up as examples of financial market excess, opacity and economically harmful practices in everything from the Greek debt crisis to the recent SEC charges against Goldman Sachs. But if you're wondering why the Senate committee on agriculture, nutrition and forestry (ANF) has any jurisdiction over the legislation designed to reform and re-regulate the financial markets, you've successfully identified one of the key problems with financial market regulation that the reform bill likely won't resolve: the dilution of regulatory authority over the financial markets.The ANF committee had jurisdiction over derivatives because of its historical mandate to oversee the commodities futures trading commission, since futures trading was initially established for farmers' use. Paul Blumenthal of the Sunshine Foundation has suggested that the committee's continued jurisdiction over the financial markets has more to do with its members – and its chair's – ability to extract campaign donations from more moneyed sources than those left in the agricultural sector – and that is, at a minimum, a rather lucrative side benefit of the committee's continued jurisdiction over futures trading.But one of the main problems identified with some of the players and transactions that precipitated the crisis was that no one agency was at the helm, and agencies didn't share information about the organisations and individuals under their jurisdiction (or under investigation) それは上院の委員会は、農民のために確立デリバティブ規制法案を可決したキーsystemOnの水曜日に失敗、上院農業委員会は、渡された法案を最終的に規制し、デリバティブ取引の透明性をもたらすと、ハイライト特に、クレジットデフォルトと通貨スワップ
- The Railway Children | Theatre review | Michael Billington
Waterloo Station, LondonSite-specific theatre takes on a new meaning with this glorious adaptation of E Nesbit's 1906 children's classic. First seen at the York National Railway Museum, Damien Cruden's production has arrived at the former Eurostar platform at Waterloo station; and, for all its grandeur, this makes the perfect setting for a story that is, in part, about the romance of rail travel.Mike Kenny's adaptation also subtly reminds us that Nesbit, as a co-founder of the Fabian Society and lifelong socialist, was hymning communal values. In this version, the story becomes a memory play: the adult Roberta, Peter and Phyllis recall what it was like to be uprooted as children after their father's false imprisonment for treason. Transported to rural Yorkshire, they refuse to let sudden poverty diminish their social conscience.Not only does their mother take in a Russian political refugee, the children avert a potentially fatal rail crash, risk their lives to rescue a boy from a tunnel, and redistribute goods to a local station porter; the moment when he first rejects their seeming charity and then accepts it in the intended spirit is profoundly moving.Kenny's version brings out Nesbit's radicalism, while the staging is intensely imaginative. Joanna Scotcher's design places the audience on facing platforms between which the action whizzes back and forth, giving the story a dynamic momentum and striking images: the collapse of a cutting is evoked by a tumbled heap of luggage; and the mysterious old gentleman, the children's fairy godfather, is seen heading off in a distant vista of steam. The coup de theatre, however, is the arrival of the green-and-gold, 66-ton Stirling Single locomotive to remind one of a lost age when railway engineering was a source of pride and ple Waterloo駅は、LondonSite劇場固有のメールネズビットの1906子供の古典のこの栄光の適応と新しい意味を取ります
- ゴッドファーザー
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- Maria Kerigan
While she was head of English at Cardinal Griffin school, Poplar, in east London, in the 1950s, my grandmother Maria Kerigan, who has died aged 95, developed an interest in drama and broadcasting. When she retired from teaching in 1968, she decided to volunteer for Mary Whitehouse's National Viewers' and Listeners' Association, and in 1970 became its first national secretary. However, her approach to censorship and broadcasting standards was quite different from Whitehouse's.Films such as Stanley Kubrick's A Clockwork Orange were then testing the limits of the British Board of Film Censors (later Classification, BBFC). While denouncing Kubrick's most controversial work, Maria was careful to differentiate between a film depicting violence for its own sake and one where it could be contextualised. Where Whitehouse's approach was absolute, Maria believed instead in providing information to viewers and listeners. Indeed, she felt that the violence in films such as The Godfather (which became one of her favourites) could be fully justified by the story.Whitehouse regularly appeared on television, arguing for taste and decency. Maria, however, quietly operated the machinery of the association, engaging in effective diplomacy with figures in the BBFC, BBC and government, and making the case for greater provision of information and education about film and television productions.Her pragmatism may have produced an unspoken tension with Whitehouse. They parted company as campaigners shortly after The Romans in Britain trial of 1982. Whitehouse's autobiography, Quite Contrary (1993), omitted all mention of Maria, despite her years as a dedicated volunteer.Born near Leigh, in Lancashire, Maria won a scholarship to Mount St Joseph grammar school in Bolton, then read 一方彼女は東ロンドンにある枢機卿グリフィン学校、ポプラ、で英語の頭は、1950年代にあった、私の祖母マリアKerigan氏は95歳で死去したが、ドラマの放送に関心を開発した
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