Se encuentra usted aquí

3 Noticias economicas ingles

Woodford fiasco tarnished hearts as well as wallets

Citiwyre Money - Jue, 10/14/2021 - 14:12
It wasn't just investors' finances that suffered from the downfall of Neil Woodford, their well-being took a hit too, and the AIC has warned a new type of fund could see them burned again.

United Airlines Bets on Return of Trans-Atlantic Travel

The Wall Street Journal Business - Jue, 10/14/2021 - 14:00
Airline wants to take advantage of what it predicts will be a rapid rebound in international travel and plans to launch flights next spring to five new destinations.

Treating companies mean will not keep them keen

Financial Times World - Jue, 10/14/2021 - 13:34
Contrary to popular belief, making life difficult for businesses does not generally improve their performance

LeBron James’s media group gets backing from Nike and RedBird Capital

Noticias del Financial Times (Ingles) - Jue, 10/14/2021 - 13:31
Deal also involves Fenway and values SpringHill at $725m

LeBron James's Media Company Sells Minority Stake

The Wall Street Journal Business - Jue, 10/14/2021 - 13:30
The group of investors buying into SpringHill includes Nike, “Fortnite” creator Epic Games, RedBird Capital and Fenway Sports Group.

Economists slash German growth forecast as supply problems hit

Financial Times World - Jue, 10/14/2021 - 13:22
But research institutes raise outlook for next year to 4.8% from 3.9%

What Wild Natural Gas Prices Mean for Inflation

The Wall Street Journal Markets - Jue, 10/14/2021 - 13:12
The tripling of wholesale gas benchmarks in Europe has been more dramatic than its impact on consumer prices, but the link will likely get stronger over time.

‘Why I Quit’ stories are the battle cry of a new labor crusade

Fast Company - Jue, 10/14/2021 - 13:11

The pandemic was perhaps the perfect storm. Suddenly trapped at home, doomsurfing the woes of quarantine, forever logged into work emails—it’s enough to make you want to quit your job, quit social media, quit everything.

But as much as we lamented the toxicity of virtual-everything, we still clung to it like a lifeline or a last breath, desperately inhaling content from the outside world through our screens. Because it was through this medium that, as if traversing the stages of grief, our pandemic-muddled frustrations and manias gradually crystallized into a sort of therapeutic catharsis. Call it, the rise of the “Why I Quit” story: told in online essays, vlogs, Twitter threads, or just about any other digital-friendly platform.

The trend is not exactly new: It’s a storytelling format that has been around since the dawn of the digital age, used by social media influencers, multi-level marketing executives, and self-care coaches to peddle the dream of a major lifestyle change bringing wealth, power, and happiness. Then as the internet evolved, it also became a way for activists to spotlight their causes and call for reform.

Now, in the midst of one of the worst economic and social crises in recent history, it’s serving both purposes, putting names and faces to the legions of American workers leading a 21st-century labor crusade.

According to the U.S. Bureau of Labor Statistics, roughly 4 million employees have quit their jobs each month this summer in what’s been dubbed the Great Resignation. In August, 4.3 million workers resigned, leaving a record-breaking 10.4 million job openings. Chloe Shih, a former product manager at TikTok, was one of them; her YouTube video revealing why she parted ways with the company has gone viral this week.

There’s also John Marty, who left his Amazon innovation manager role earlier this year. And Christine Chun, who left her Facebook UX design gig late last year. And Lisa Nguyen, who quit her paralegal job to become a food vlogger.

That so many of these newly liberated job seekers are posting their stories online is hardly surprising. A study from Adobe suggests that Gen Z is leading the worker revolt; for the so-called zoomer population, social media updates are a native instinct. That might explain why there’s a burgeoning TikTok hashtag, #quitmyjob, which cues up a stream of users sharing the moments they turned in their two-week notices, with millions of views awarded to the ones who got most creative with it (a Walmart employee broadcasting over the store intercom, a Joystick Gaming and Collectibles staffer outing a colleague as a snack thief). For those workers, “Why I Quit” stories are an outlet that can transform bottled-up resentment against the system into a simple punchline that makes people laugh.

Striving for change

But the trend is much more than just jokes. Fast Company’s Elizabeth Segran shared why she quit shopping at Amazon in protest of its planetary harm, mistreatment of workers, and crushing of small businesses. In her video, Chloe Shih detailed what she saw as an unhealthy workaholic culture and an unacceptable lack of diversity at TikTok, which eventually pushed her to the brink. And in a recent personal essay, a freelance writer described why she stopped working after a mental health epiphany during a Black Lives Matter march last summer. Because—here’s a radical thought—sometimes quitting could actually make your life, or even the rest of the world, better.

In fact, “quitting” has been a weapon in the fight to illuminate global issues big and small: from psychologists recommending patients with poor self-image delete Facebook, to Grand Slam tennis champion Naomi Osaka forgoing news conferences, to a high-profile sponsored gamer retiring from Fortnite because World Cup tours began to bring more stress than joy.

So perhaps we should celebrate the “quit” not as a flag of defeat, but as a vision of hope for a brighter future and a better tomorrow—even through the darkest nights of the COVID-19 pandemic. Because after all, it’s about time we quit wishing and make it happen.

TSMC predicts gross profit margins of 50% after global chip shortage

Noticias del Financial Times (Ingles) - Jue, 10/14/2021 - 13:02
World’s biggest contract semiconductor maker says customers more willing to pay higher prices

TSMC predicts gross profit margins of 50% after global chip shortage

Financial Times Technology - Jue, 10/14/2021 - 13:02
World’s biggest contract semiconductor maker says customers more willing to pay higher prices

Winning from the energy price surge: shale bosses

Financial Times World - Jue, 10/14/2021 - 13:00
Plus, IEA chief weighs in on the impact of the energy crisis on the green transition and why American energy bills are set to rise

Winning from the energy price surge: shale bosses

Financial Times Markets - Jue, 10/14/2021 - 13:00
Plus, IEA chief weighs in on the impact of the energy crisis on the green transition and why American energy bills are set to rise

DoorDash and Uber Eats Are Still Eating Grubhub's Lunch

The Wall Street Journal Markets - Jue, 10/14/2021 - 13:00
The latest trading update from Grubhub’s Amsterdam-based parent company could spook U.S. food-delivery investors, but it shouldn’t.

Digital-Advertising Company Aleph Files Confidentially for IPO

The Wall Street Journal Markets - Jue, 10/14/2021 - 13:00
The SEC filing paves the way for the CVC Capital- and MercadoLibre-backed Aleph to list shares in early 2022.

Boeing Runs Into Trouble With New Dreamliner Defect

The Wall Street Journal Business - Jue, 10/14/2021 - 13:00
The problem involves certain titanium parts that are weaker than they should be on 787s built over the past three years, the latest production slip-up to delay aircraft deliveries and draw increased U.S. government scrutiny.

‘This is a moment when we’re fragmenting’: Chuck Todd on ‘Meet the Press’ in the age of cord-cutting

Fast Company - Jue, 10/14/2021 - 12:45

When a show is on the air for almost three quarters of a century, it’s bound to have its ups and downs. Such is the case with NBC’s Meet the Press, which has survived the advent of color television, 24-hour cable news, the internet, social media, countless format overhauls, and 14 presidential administrations since its first episode aired in November 1947.

The perennial Sunday news program is still a ratings winner in its category, but like any brand that established itself on linear TV, it’s faced increasingly existential questions over the last decade about how, when, and on which platforms viewers will find it—and whether they will even want to. In a fragmented media ecosphere of unlimited streaming choices, how do you keep a brand as old as Meet the Press relevant?  

Chuck Todd says he was asking those questions seven years ago when he was named the 12th full-time moderator of the series. “There’s a memo I wrote in 2014, before I took over the show, when I was asked to what I would do if I were handed the keys, and this was the first thing I identified,” he tells Fast Company. “My theory of the case at the time was that you can’t expect Meet the Press to just be a Sunday show anymore. And really we’ve sort of taken that attitude.”

Since then, efforts to diversify the brand have probably been most fully realized in Meet the Press Reports, a weekly series of long-form, magazine-style reporting, which just began its third season on Peacock and NBC News Now, the network’s over-the-top streaming service for news content. Todd describes it as “Real Sports meets Meet the Press,” referencing the the long-running Bryant Gumbel series on HBO. The series tackles such topics as climate change, the new space race, and activism in professional sports. In the latest episode, launching today, Todd explores the evolving political influence of evangelical voters. “It’s the type of topic you need 30 minutes with,” he says. “You can’t just do it in five minutes.” 

By going deep on a single topic, Meet the Press Reports addresses some of the core criticisms of the traditional Sunday show format—that it’s too focused on presidential horse races, for example, or that its surface-level interviews and rotating guests are more conducive to sound bites than in-depth discussions. Todd himself often bears the brunt of those critiques, notably on Twitter, where it’s not uncommon for clips of his interviews to be picked apart and dunked on by viewers and fellow journalists. For what it’s worth, he doesn’t scroll through the site each week after Meet the Press airs to see if his name is trending, which it often is. “The only time I ever look at Twitter on a Sunday is if there’s some bad call in a football game and I’m curious to see if others noticed,” he says.

NBC News is not alone in strategic efforts to meet viewers where they are. News divisions at ABC and CBS both have free streaming options (ABC News Live and CBSN) that are easily accessable on smart TVs. Fox News has a subscription-based counterpart, called Fox Nation, and CNN is launching its own version, CNN Plus, early next year. Just about every major news show, including Meet the Press, has a podcast, and many shows put their clips up on Twitter, YouTube, or elsewhere for easy consumption. This doesn’t even get us into TikTok, which is likely to be a powerful political force for young voters in 2024, and which many established news brands are still trying to figure out.

It might have been easier to push all this aside five years ago—or even last year—when news outlets were enjoying the famous “Trump Bump.” Add to that the COVID-19 pandemic, historic protests over racial justice, a presidential election in which one candidate wouldn’t accept the results, and the Capitol Hill insurrection, and it’s easy to see why anxious news consumers could not tune 2020 out, even if they wanted to.

News brands have the opposite problem this year. Viewers are feeling burned out and the next presidential election is still three years away. It’s no longer a revelation to say news consumers are living in their own echo chambers, but for brands like Meet the Press that still try to position themselves as nonpartisan, the ever-deepening chasms of our hyperpartisan news landscape will make finding and keeping viewers all the more challenging—today and for the next 74 years.

“This is a moment when we’re fragmenting,” Todd says. “This is both a good and bad thing. I worry about fragmentation as far as how we get our information, but obviously it’s an opportunity for us to do more.”

The national security loophole you could sail a trade yacht through

Financial Times World - Jue, 10/14/2021 - 12:31
British shipbuilders and American steelmakers are using dubious carve-outs to block foreign competition

China GDP: Five things to watch when quarterly data are released

Financial Times World - Jue, 10/14/2021 - 12:17
‘Considerable uncertainty’ surrounds growth prospects as Beijing prepares to announce figures next week

Simon Evan-Cook: Three funds that are just the right size

Citiwyre Money - Jue, 10/14/2021 - 12:07
After causing a stir in his previous column, 'Passive Zealots', Simon Evan-Cook takes the debate further, examining how fund size can impact alpha generation.

Meet the landscape architect turning Superfund sites into must-see destinations

Fast Company - Jue, 10/14/2021 - 12:00

A landscape architect whose work focuses on unloved and degraded spaces has just been awarded the profession’s new top prize. Julie Bargmann, founder of D.I.R.T. Studio and a professor at the University of Virginia, is the inaugural laureate of the $100,000 Cornelia Hahn Oberlander International Landscape Architecture Prize.

Julie Bargmann, 2021 Oberlander Prize laureate [Photo: ©Barrett Doherty/courtesy the Cultural Landscape Foundation]Bargmann has specialized in work on overlooked, environmentally challenged, and deeply polluted sites, bringing an ethos of recycling, remediation, and repair to places others may see as too far gone. In projects like the Vintondale Reclamation Park, built on a former coal mine’s dumping ground, and the retrofit of the Philadelphia Navy Yard into the headquarters of Urban Outfitters, Bargmann turns design projects into environmental interventions, and vice versa.

Urban Outfitters, Philadelphia; Julie Bargmann, landscape architect [Photo: ©Charles A. Birnbaum/courtesy the Cultural Landscape Foundation]Founded in 1992, D.I.R.T.—which stands for Dump It Right There—has often reworked elements of a site’s previous life into the new design, using rubble and chunks of former buildings to draw connections to the past. Bargmann’s work also emphasizes the importance of using landscape design and ecological processes to filter and remove pollutants from heavily impacted postindustrial landscapes, including Superfund sites—areas of land that have been designated by the Environmental Protection Agency as hazardous to human health and/or the environment.

[Image: courtesy the Cultural Landscape Foundation]“To work with these toxic and degraded sites, you must look carefully, and care about, the processes of their past—industrial, social, environmental, and cultural,” Bargmann tells Fast Company via email. “It’s only when you understand the flows and the stories that you can imagine their next life. And the sites’ landscape narratives are the only way to engage the neighbors’ story.”

Cornelia Hahn Oberlander in 2007 [Photo: Susan Cohen/courtesy the Cultural Landscape Foundation]The Oberlander Prize is being awarded by the Washington, D.C.-based Cultural Landscape Foundation as a landscape-focused counterpart to the $100,000 Pritzker Architecture Prize, regarded as architecture’s top honor. To be given every two years, the $100,000 Oberlander Prize will also include two years of public engagement focused on the laureate’s work. Named for the pioneering environmentalist and landscape architect Cornelia Hahn Oberlander, who died earlier this year at age 99, the prize was created to shine a spotlight on a design profession that is sometimes disregarded as simply filling in the spaces around architecture projects.

Indeed, the history of landscape architecture has played into that perception, with its roots in decorative garden design that was more about aesthetics than performance. This, over time, has evolved into a more broadly considered practice, with landscape architects working on climate adaptation, regional water planning, and environmental justice, in addition to designing gardens and parks.

“Where the world is today in terms of climate change, equity, and what we know, in a post-COVID world, the role that the public realm plays in our everyday lives, it is more critical than ever that we need to make visible the often invisible hand of the landscape architect,” says Charles Birnbaum, president and CEO of the Cultural Landscape Foundation. “With the prize we’re hoping to really elevate its visibility and a broader public understanding of what landscape architecture is and what landscape architects do.”

Bargmann was selected by a jury of designers, including landscape architect and professor Dorothée Imbert, architect Tatiana Bilbao, landscape architect Gina Ford, and landscape architect Walter Hood.

Core City Park, Detroit [Photo: Prince Concepts/the Cultural Landscape Foundation]Hood says Bargmann was chosen for her radical impact on the practice of landscape architecture and her persistence in using design to address broader issues than pure aesthetics. “It’s not about getting the next big project, but still investigating those ideas and issues over a 25-year period and being able to stay with it,” he says. “We don’t get rewarded a lot of the times for being consistent.”

Bargmann’s work, Hood says, has forced people “to see landscape and the medium in a different way. I use the term messy in my work. Julie afforded me that view that the work could be messy and could still be wonderful.”

Turtle Creek Water Works, Dallas [Photo: ©Charles A. Birnbaum/courtesy the Cultural Landscape Foundation]In advocating for the reclamation and remediation of heavily polluted sites, Bargmann has long been a provocateur, but she can also be playful. Her Urban Outfitters project at the Philadelphia Navy Yard included the prominent placement of two large chunks of concrete from the site, which she nicknamed Betty and Barney Rubble, after cartoon characters from The Flintstones. Hood says that move inspired one of his own projects, Solar Strand in Buffalo, New York, a few years ago. “I got a client to allow us to do some big Barney Rubble, too,” he says.

Bargmann’s approach to landscape architecture has pushed the field beyond its decorative roots. Hood says that while the profession still has a long way to go, Bargmann’s influence has pushed other designers to take a more holistic view of what their projects can do. “She’s always been that voice out there in the wilderness doing the work, and I think she is an inspiration for the future,” Hood says.

Core City Park, Detroit [Photo: Prince Concepts/the Cultural Landscape Foundation]Bargmann seems gratified by the award, and is hopeful that the attention may help encourage more designers to engage with the social and environmental challenges embedded within the built environment. “Out there are 25 years’ worth of my former students who have ventured into this derelict territory with me and now they, along with other colleagues, are poised to nurture ugly duckling landscapes,” Bargmann says. “If I paraphrase Cornelia Oberlander, the award is a firm tug to pull your head out of the sand and to regenerate, with joy and optimism, these fallow landscapes.”

Páginas

Suscribirse a cachivaches.cajael.com agregador: 3 Noticias economicas ingles