The Moody’s Blues

14th February, 2012

The credit ratings agency, Moody’s, has given the UK a negative school report.  I try to quote from the source, so here’s what they say:

Moody’s changes the outlook on the United Kingdom’s Aaa rating to negative

Moody’s Investors Service has today changed the outlook on the United Kingdom’s Aaa government bond rating to negative from stable.

The key drivers of today’s action on the United Kingdom are:

1.) The increased uncertainty regarding the pace of fiscal consolidation in the UK due to materially weaker growth prospects over the next few years, with risks skewed to the downside. Any further abrupt economic or fiscal deterioration would put into question the government’s ability to place the debt burden on a downward trajectory by fiscal year 2015-16.

2.) Although the UK is outside the euro area, the high risk of further shocks (economic, financial, or political) within the currency union are exerting negative pressure on the UK’s Aaa rating given the country’s trade and financial links with the euro area. Overall, Moody’s believes that the considerable uncertainty over the prospects for institutional reform in the euro area and the region’s weak macroeconomic outlook will continue to weigh on already fragile market confidence across Europe.

How do we respond to this?

You can ask who the hell are these credit-rating agencies anyway?   That’s Alastair Campbell’s question (here).  And it’s worth asking.

You can claim that it supports your argument on austerity.  It doesn’t matter which side you’re on.  Labour claim it shows the plan’s not working.  Ed Balls says the brave thing now would be to admit that a change of course is necessary.

And arguing for a change of course is no more than the Tories did the last time this happened, in 2009, when Standard and Poor’s issued a similar warning. “It’s now clear that Britain’s economic reputation is on the line at the next general election, another reason for bringing the date forward and having that election now,” said the then Shadow Chancellor, George Osborne (21 May, 2009).

But George Osborne now argues the contrary – that the Moody’s news is an argument not to change course.  It is a “reality-check” that Britain “must not waver” in dealing with its debts.

To which the question must be asked: what would count as sufficient reason for a change of course?  If the austerity measures bite hard, they will reduce spending power, lower employment, reduce tax take and (no matter how hard we try) increase welfare spend.  Borrowing will therefore get worse.

If the response is then to tighten further, when will it ever stop?  It is a genuine question.

To put it another way: how bad would an economic spiral have to be before a change of course were justified?  As bad as Greece’s?  The answer to their nose dive seems to be: more of the same.  Ouch.

To put it another way: is there ever an economic question to which fiscal tightening is not the answer?  If the answer is no, then let’s not waste time with questions or economic metrics.  Who cares about evidence?

“Did you send me that Valentine’s card?” “Maybe, maybe not.”

To be fair to the Chancellor, Moody’s are keen on fiscal tightening too.  But here is what they say:

WHAT COULD MOVE THE RATING DOWN

The UK’s Aaa rating could potentially be downgraded if Moody’s were to conclude that debt metrics are unlikely to stabilise within the next 3-4 years, with the deficit, the overall debt burden and/or debt-financing costs continuing on a rising trend. This could happen in one of three scenarios, all of which would imply lower economic and/or government financial strength:
(1) a combination of significantly slower economic growth over a multi-year time horizon — perhaps due to persistent private-sector deleveraging and very weak growth in Europe — and reduced political commitment to fiscal consolidation, including discretionary fiscal loosening or a failure to respond to a deteriorating fiscal outlook;
(2) a sharp rise in debt-refinancing costs, possibly associated with an inflation shock or a deterioration in market confidence over a sustained period; or
(3) renewed problems in the banking sector that force a resumption of official support programmes and spill over into the real economy, indirectly causing lower growth and larger budget deficits.

Look at point 1.  Yes, Moody’s doesn’t like the idea of ‘discretionary’ fiscal loosening – for which read, ‘government losing its nerve’.  But before that, they fear ‘significantly slower economic growth… due to persistent private-sector deleveraging”.  For which read, ‘the private sector cutting and running.’

If you’ve ever read my blog, you’ll know which alarm bell bothers me most.  It’s the private sector running, in response to fiscal tightenings achieved and promised, and to the talking-down of expectations.  Who would invest in this climate?

But that is not my point today.  My point is this. On their own, the Moody’s Blues tell us nothing at all.

You can ask who the ratings agencies are to go around putting the wind up markets and governments, lecturing us in a brand of English that resorts to phrases like ‘multi-year time horizons’.

You can debate whether bad reports justify holding the course, or switching it.

But you still have to decide how to get out of the doldrums.  You have to decide whether fiscal tightening in the short run can work, or whether it is just so much dangerous leeching.

You still have to decide whether government gets out of the way, or whether government leads the way.

And the winners are

12th February, 2012

We like to have a bet on the BAFTA winners in our house.  Although two of us are BAFTA voters, we are privy to no inside-info.  The winner of the predictions game is usually our son Dante, who is good at the BAFTAs, but brilliant at the Oscars.

Meanwhile, let’s see if we’re right on this year’s BAFTAs.  Obviously these are predictions, not votes for who ought to win – that’s a whole ‘nother ball game.

Best Film
• The Artist
• The Descendants
• Drive
• The Help
• Tinker Tailor Soldier Spy

Dominic: The Artist
Sarah: The Artist
Dante: The Artist

Outstanding British Film:
• My Week With Marilyn
• Senna
• Shame
• Tinker Tailor Soldier Spy
• We Need To Talk About Kevin

Dominic:Kevin
Sarah: Shame
Dante: Tinker Tailor

Outstanding debut by a British writer, director or producer:
Attack The Block – Joe Cornish (director/writer)
• Black Pond – Will Sharpe (director/writer), Tom Kingsley (director), Sarah Brocklehurst (producer)
Coriolanus – Ralph Fiennes (director)
Submarine – Richard Ayoade (director/writer)
• Tyrannosaur – Paddy Considine (director), Diarmid Scrimshaw (producer)

Dominic: Tyrannosaur
Sarah: Tyrannosaur
Dante: Tyrannosaur

Foreign language film:
• Incendies
• Pina
• Potiche
• A Separation
• The Skin I Live In

Dominic: Skin
Sarah: Pina
Dante: Skin

Director:
• The Artist – Michel Hazanavicius
• Drive – Nicolas Winding Refn
Hugo – Martin Scorsese
• Tinker Tailor Soldier Spy – Tomas Alfredson
• We Need To Talk About Kevin – Lynne Ramsay

Dominic: Kevin
Sarah: Drive
Dante: Hugo

Leading actor:
• Brad Pitt – Moneyball
• Gary Oldman – Tinker Tailor Soldier Spy
• George Clooney – The Descendants
• Jean Dujardin – The Artist
• Michael Fassbender – Shame

Dominic: Jean Dujardin
Sarah: George Clooney
Dante: Gary Oldman

Leading actress:
• Berenice Bejo – The Artist
• Meryl Streep – The Iron Lady
• Michelle Williams – My Week With Marilyn
• Tilda Swinton – We Need To Talk About Kevin
• Viola Davis – The Help

Dominic: Meryl, Meryl, Meryl, must be Meryl…
Sarah: Meryl
Dante: Meryl

Supporting actor:
• Christopher Plummer – Beginners
• Jim Broadbent – The Iron Lady
• Jonah Hill – Moneyball
• Kenneth Branagh – My Week With Marilyn
• Philip Seymour Hoffman – The Ides Of March

Dominic: Hoffman
Sarah: Branagh
Dante: Branagh

Supporting actress:
• Carey Mulligan – Drive
• Jessica Chastain – The Help
• Judi Dench – My Week With Marilyn
• Melissa McCarthy – Bridesmaids
• Octavia Spencer – The Help

Dominic: Melissa McCarthy
Sarah: Carey Mulligan
Dante: Carey Mulligan

Documentary:
George Harrison: Living In The Material World
• Project Nim
• Senna

Dominic: Senna
Sarah: Senna
Dante: Senna

Animated film:
• The Adventures Of Tintin: The Secret Of The Unicorn
• Arthur Christmas
• Rango

Dominic: Tintin
Sarah: Rango
Dante: Tintin

Original screenplay:
• The Artist – Michel Hazanavicius
Bridesmaids – Annie Mumolo, Kristen Wiig
• The Guard – John Michael McDonagh
• The Iron Lady – Abi Morgan
Midnight In Paris – Woody Allen

Dominic: Paris
Sarah: Paris
Dante: Paris

Adapted screenplay:
• The Descendants – Alexander Payne, Nat Faxon, Jim Rash
• The Help – Tate Taylor
• The Ides Of March – George Clooney, Grant Heslov, Beau Willimon
• Moneyball – Steven Zaillian, Aaron Sorkin
• Tinker Tailor Soldier Spy – Bridget O’Connor, Peter Straughan

Dominic: Ides
Sarah: Ides
Dante: Ides

Original music:
• The Artist
• The Girl With The Dragon Tattoo
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Girl With The Dragon Tattoo
Sarah: Hugo
Dante: The Artist

Cinematography:
• The Artist
• The Girl With The Dragon Tattoo
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: The Artist
Sarah: The Artist
Dante: Hugo

Editing:
• The Artist
• Drive
• Hugo
• Senna
• Tinker Tailor Solider Spy

Dominic: Drive
Sarah: Drive
Dante: Drive

Production design:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Hugo
Sarah: Hugo
Dante: Hugo

Costume design:
• The Artist
• Hugo
• Jane Eyre
• Tinker Tailor Soldier Spy

Dominic: Tinker Tailor
Sarah: The Artist
Dante: The Artist

Make up & hair:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• The Iron Lady
• My Week With Marilyn

Dominic: Iron Lady
Sarah: Iron Lady
Dante: Iron Lady

Sound:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Hugo
Sarah: War Horse
Dante: War Horse

Special visual effects:
• The Adventures Of Tintin: The Secret Of The Unicorn
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Rise Of The Planet Of The Apes
• War Horse

Dominic: Harry Potter
Sarah: Harry Potter
Dante: Tintin

The Orange Wednesdays Rising Star Award (voted by the public)
• Adam Deacon
• Chris Hemsworth
• Chris O’Dowd
• Eddie Redmayne
• Tom Hiddleston

Dominic: Chris O’Dowd
Sarah: Eddie Redmayne
Dante: Chris O’Dowd

Still on my Feet – Edana Minghella’s debut album

We asked, and she delivered.

Edana Minghella, just one of my amazing sisters, has finally given in to our demands for a recorded album.

Here’s the press release:

Edana Minghella – ‘Still on my Feet’

Friday 11 November sees the release of the stunning debut album, ‘Still on my Feet’ by Brighton-based jazz singer, Edana Minghella. Featuring stellar contributions from the likes of Guy Barker and Liane Carroll, this classy collection of standard, and not so standard, tunes, marks Edana out as a ‘new’ jazz voice demanding to be heard.

The effortlessly tasteful backing of regular quartet, Mick Smith (piano), Ken Black (drums), Sarah Bolter (saxophones) and Pete Maxfield (double bass) only serves to reinforce the deep vein of cool that underpins each of the nine tracks on offer here.

“I hope people will pick up on the beauty of these tunes,” says Edana. “How jazz can have a wonderful simplicity, that talented musicians can deliver a ‘less is more’ feel to the music, even when there are strong emotions. And I do want people to be moved by the music.”

No danger there. With a close-up and deeply personal rendition of ‘You Don’t Know What Love Is’, which explodes into an emotionally shredding Barker trumpet solo at its finale, and a raw, yet stunningly controlled, interpretation of Joni Mitchell’s ‘Case of You’, it is clear that here is a singer, and woman, who has been forced to face some of life’s more painful, and bewildering, episodes head on.

“I chose those songs because they were in Ant’s films, says the singer,” (Edana’s elder brother is the Oscar-winning director, Anthony Minghella, who died tragically back in 2008). “They both have huge emotional resonance for me – and I think you hear it in my voice.”

And yet, being Edana, there’s room for effervescence and fun here too. ‘Fifty Ways To leave Your Lover’ teases its way on a stalking double bass before breaking into an outright 70s’ funk stomp that Stevie Wonder would be proud of, while ‘How Deep Is The Ocean’ simply bursts with the pure celebration of love itself.

Production credits on the album go to award-winning vocalist Liane Carroll. “Working with Liane was amazing,” enthuses Edana. “She is the most brilliant jazz vocalist so to have her involved was a real honour.”

The results of this collaboration speak for themselves on ‘Still on my Feet’.

Edana Minghella marks the album’s release with a string of live dates at: Quay Arts Centre, Newport IOW Friday 11 Nov, Bournemouth Swing Unlimited 30 Nov, Brighton The Brunswick 15 Dec and Colour House Theatre, Merton Abbey Mills 17 Dec.

For more information call Andy Strickland on 07803 212 095 or go to: www.edanaminghellajazz.com