Word: steel
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Dates: during 1980-1989
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...plotting in Flashdance was as loose as the dancing, but, says Dawn Steel, the Paramount executive in charge of shepherding the film, "it was not designed to be a video movie. It happened to have a modular structure. The modules were interchangeable-they were even moved around in the editing-and that's what made the movie adaptable to MTV." Indeed, the theme from Flashdance, fitted out with appropriate clips from the movie, was an MTV smash. The Flashdance phenomenon was a confluence of good commercial instincts and some savvy guesswork, and now that Hollywood has found...
Reich advocates bringing these activities out "from under the table." He argues that both declining industries like steel and emerging ones like robotics should be given Government assistance only in exchange for accepting industrial-policy coordination. Fading industries like steel, which are demanding protection from foreign competitors, might be given temporary relief from imports if managers and workers accepted pay cuts and more flexible work rules. Whenever high-tech firms receive Government help, Reich would like to see them match public funds for research ventures with their own spending and make commitments to keep R. and D. operations...
Robert Crandall, a senior fellow at the Brookings Institution in Washington, agrees that setting up import barriers is futile. "Shutting down a product flow in one direction simply means that steel comes in from some other country," he said. "We cannot raise prices in the U.S. relative to the rest of the world and then complain about the deindustrialization of America...
...Reagan Administration is likely to oppose any sweeping quotas on steel imports. Says U.S. Trade Representative William Brock: "The laws are adequate to deal with the problem on a case-by-case basis...
...major romantic-opera composers, along with enriching the repertory, each toughened the requirements for those who perform their music. In addition to the usual considerations of vocal agility and purity of tone, Wagner demanded endurance, a prodigious memory and a sound that could cut like hot steel through his dense orchestrations. Puccini required singers capable of searing dramatic flights, coupled with limpid lyricism. And Richard Strauss, envisioning his ideal Salome, was only partly joking when he asked for a 16-year-old with the voice of Isolde. No wonder then that outstanding interpreters of such operatic peaks as Briinnhilde, Turandot...