Trilha sonora: You Make Loving Fun

Fleetwood Mac

You Make Loving Fun

Christine Mcvie

Sweet wonderful you

You make me happy with the things you do
Oh, can it be so
This feeling follows me wherever I goI never did believe in miracles
But I've a feeling it's time to try
I never did believe in the ways of magic
But I'm beginning to wonder why

I never did believe in miracles
But I've a feeling it's time to try
I never did believe in the ways of magic
But I'm beginning to wonder why

Don't, don't break the spell
It would be different and you know it will
You, you make loving fun
And I don't have to tell you but you're the only one

You, you make loving fun
It's all I want to do
You, you make loving fun
It's all I want to do
You, you make loving fun
It's all I want to do
You, you make loving fun
It's all I want to do

O tesouro de Bengala

O Globo 15-08-2012, por D Fariello, V Oswald, R Setti e P C Pereira

https://oglobo.globo.com/economia/empresarios-elogiam-pacote-o-chamam-de-kit-felicidade-5798734

Empresários elogiam pacote e o chamam de ‘kit felicidade’

Montagem: Avebarna

Imagens originais: Google

Clique na imagem para ampliar

Concessão de rodovias e ferrovias injetará R$ 80 bilhões no setor de transporte em 5 anos. O empresariado gostou do novo programa de concessão de rodovias e ferrovias que, segundo o governo anunciou nesta quarta-feira, injetará R$ 79,5 bilhões nos setores até 2017. O bilionário Eike Batista resumiu a satisfação chamando o programa de “kit felicidade” para empresários. (...)

Pergunta: se os serviços públicos são tão bom negócio, por que o governo não os concede a si mesmo, contrata quem os opere por uma remuneração básica - como a que os incorporadores imobiliários pagam aos construtores - e fica com o excedente para custear o investimento na reforma e ampliação dos sistemas?

Serão as rodovias e ferrovias do Brasil concedidas à maneira anunciada para o "MaracaNew" - o Estado o reconstrói ao custo de R$ 1 bilhão e o concede a Eike, novinho em folha, para explorar?

Estaríamos caminhando para a concessão do Brasil a um consórcio de empreiteiras liderado por Clive Batista?

2012-08-18

Cronologia da catástrofe

The Guardian 07-08-2012, por Patrick Kingsley
https://www.theguardian.com/business/2012/aug/07/credit-crunch-boom-bust-timeline

Financial crisis: timeline 

9 August 2007 

The financial crisis, five years on: how the world economy plunged into recession

Richard Drew/AP/TheGuardian

BNP Paribas freeze three of their funds, indicating that they have no way of valuing the complex assets inside them known as collateralised debt obligations (CDOs), or packages of sub-prime loans. It is the first major bank to acknowledge the risk of exposure to sub-prime mortgage markets. Adam Applegarth (right), Northern Rock's chief executive, later says that it was "the day the world changed" (..) 

2012-08-12

Trilha Sonora: Debussy String Quartet in g minor

Claude Debussy

String Quartet in g minor

Por Parker Quartet

The 1890s rank among the most productive years of Debussy’s life. From this decade date the Suite Bergamasque for piano (home of the ever-popular Clair de Lune), the seductive orchestral Nocturnes, most of his work on the opera Pelléas et Mélisande, and the only string quartet he ever wrote. Debussy was 31 when the Quartet in G Minor appeared in 1893, a truly personal and original statement. His distinctive musical language would appear fully formed the following year with his quietly revolutionary Prelude to the Afternoon of a Faun.

It was perhaps the premiere of César Franck’s String Quartet in 1890 that encouraged Debussy to venture into the realm of chamber music. With an uncanny ear for attractive melodies and harmonies, he created an audaciously ultra-modern quartet with startlingly beautiful effects in lieu of sheer shock tactics. His fresh slant on musical architecture utilized the “cyclical” method advocated by Franz Liszt, and carried on by Franck and his disciples, a method characterized by the recurrence of certain themes or motifs throughout a work. Debussy combined this cyclical idea with a light-handed variation technique that carried his motto theme through subtle ongoing transformations — an approach that replaced the traditional contrast and development techniques, which had formed the crux of the Austro-Germanic thinking that had dominated European music since Haydn’s time.

The vigorous motto theme from which Debussy fashions the entire Quartet appears at the outset, cast in Phrygian mode. The lyrical second theme turns out to be a close relative to the principal theme itself. Then, a mosaic of miniature variations, based primarily on the second subject, replaces a true development section, while the recapitulation delivers further variations cloaked in a rich texture of shifting harmonies. (..) 

Kathy Henkel, Hollywood Bowl