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When will good news start to appear? We will start to see some good news on the macro level by the end of the year. The stock market will anticipate that well in advance, and by mid-summer the market will be doing better. It's kind of a confusing period where the fundamentals, such as employment, are getting worse. And yet we're still far away from the positive effects of the American Recovery & Reinvestment program [i.e., the government stimulus], so the market is apprehensive about discounting those expected positive developments too early. But I do think...
...weighing on the market are housing and bad bank assets. Will investors need to see resolution on those fronts before bidding stocks higher? You'll need to see three things for the stock market to improve: 1) toxic assets taken off the bank balance sheets so banks can start lending, 2) some stabilization of house prices so that people don't feel they'll be better off waiting a month before they buy. 3) unemployment stops rising so that people start feeling more secure about their jobs. I think you'll see those three things begin to take place before...
...enclosing Bangladesh with a fence, India's government should place the top priority on helping its neighbor stand on its own feet by boosting Dhaka's economy and shining the way for its poorer, smaller neighbor. After all, India is one of the new superpowers of Asia. It should start acting the part. Tadashi Kawabe, Fukuoka, Japan...
...flashy set pieces designed by Janie Howland. The true delight, however, is the music under the direction of F. Wade Russo. As the production moves from hit song to hit song, the cast members’ voices remain beautiful, but the orchestra steals the show from the very start of the overture. The score has never sounded fresher or livelier.All in all, The Boston Conservatory’s “42nd Street” would make demanding director Marsh proud. Productions such as this are what give the Peggy Sawyers of the world the dream to star...
...fifth season as music director, the BSO performed the last of its three-program survey of Mozart symphonies with his final, best known works.The opening piece—Mozart’s Symphony No. 39—suffered from slight problems with the orchestra’s ensemble. Shaky starts, mismatched lines, and rough endings of phrases were minor, but noticeable in the first two movements of the E-flat major symphony. Despite the few early stumbles in the performance, the BSO did not fail to deliver on charm and grace, particularly in the third movement. Levine drew out long...