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Earlier this season, the Giants trailed the San Francisco 49ers by 17 points at halftime, scored three touchdowns in the third quarter and won, 21-17. Here, in a span of 15 minutes 4 seconds in the third and fourth quarter, the Giants scored 24 points. Trick Plays Effective

Stereotypes live long, and the Giants, once a team that played conservatively, are often criticized for still doing that. Actually, Parcells likes to throw in surprises, not as much as the Broncos do, but enough to upset opposing defenses. Consider those trick plays in the third quarter.

On the fourth play of the quarter, the Giants were on their 46-yard line, with fourth down and a foot to go for a first down. They sent in Sean Landeta, their punter. They also sent in Jeff Rutledge, their backup quarterback, who does not play on the punting team.

Landeta lined up to punt and Rutledge was in a blocking-back position. Suddenly, Rutledge jumped behind the center to take a snap and Landeta ran laterally in motion. Rutledge took the snap and sneaked for 2 yards and the first down. Five plays later, Simms passed to Bavaro for the touchdown that put the Giants ahead for good.

''Jeff could take a delay or run,'' said Parcells. ''He looked over at me, I nodded my head and he went for it. We went for it because we're trying to win the game. This is for the world championship. I have a lot of confidence in our guys.''

Late in the third quarter, with the Giants leading by 19-10, they were on the Broncos' 45-yard line. They tried a play known as a flea-flicker, something many American youths have done on sandlots.

Simms took the center snap and handed the ball to Morris. The 5-foot-7-inch halfback ran a couple of steps, stopped and threw the ball back to Simms.

The idea was to convince the defense that it was a running play and thus the defensive backs could forget about the pass receivers they were guarding and come up to stop the run. Some were convinced because McConkey was wide open. He caught Simms's pass on the 20-yard line, was hit on the 5 and dived to the 1. Morris scored on the next play.

''We've run the flea-flicker in practice for I don't know how long,'' said Simms, ''and we've never hit on the damn thing. When I hit McConkey down on the 1, I thought, 'That's it. We've won it.' ''

The trick plays obviously caught the Broncos off guard. So, too, did the Giants' emphasis on Simms's passing rather than Morris's running.

''I was surprised they changed their whole offensive attack,'' said Karl Mecklenburg, the Broncos' fine inside linebacker. ''Pass first, run second; it surprised us. We thought they would try to establish the running game, but they went against their tendencies and did a good job of it.''

Once the Giants led by 33-10 with 10 minutes left in the game, the Broncos had too much ground to make up. By then, they had dissipated too many opportunities. Besides, their running game had been held to 52 yards, so Elway's good passing (22 of 37 for 304 yards) was not enough.

Rich Karlis kicked field goals of 48 and 28 yards for the Broncos, but unaccountably missed from 23 and 34 yards. That 23-yard miss came after the Broncos had a first down on the Giants' 1-yard line, only to have three running plays stopped for losses or no gain.

''We knew going into the ball game,'' said Dan Reeves, the Broncos' coach, ''that if we didn't take advantage of every opportunity we had, we would be in tough shape.''

As it turned out, the Broncos were in bad shape. And as the game ended, all those spectators wearing the orange shirts in support of their Broncos were quiet, almost stunned. All those spectators wearing blue jerseys in honor of their Giants were whooping it up, cheering every wave by every player and singing ''New York, New York.'' That was the song other fans sang three months ago when another New York team, the Mets, won baseball's World Series.

The song is more or less appropriate. The formal name of the team is the New York Football Giants, and until a decade ago it played mostly in the Bronx and Manhattan. Now it plays in Giants Stadium in the Meadowlands Sports Complex in East Rutherford, N.J.

This was the first Super Bowl appearance for the Giants, their first league championship game since 1963 and their first league championship since 1956. Their victory capped a season in which they recorded a 14-2 record in the regular season and 3-0 in the playoffs. Intense and Confident

In their week of Super Bowl practice south of Los Angeles, the Giants had been intense and confident. They had every reason to be confident as they finished the playoffs with a cumulative score of 105-23. Before this game, they routed the 49ers, 49-3, and the Washington Redskins, 17-0.

''Now,'' said Taylor, ''no matter what people say about our team, whether the Giants don't look good anymore or whatever, as long as I live I'll always have a Super Bowl ring. One time in my career, we are considered the best in the world. That was the most important thing.''

Carson, in 11 seasons with the Giants, had experienced the bad as well as the good.

''This has been a long time coming,'' he said. ''I just wish I didn't have to wait so long.''

Six months ago today, at the Giants' training camp in Pleasantville, N.Y., Parcells was talking about the team he was shaping.

''This team is not talented enough to just show up and go out there,'' he said.

Maybe not then. But in the game that counted, it knew how to win.

diagrams; photo of Phil McConkey after catching touchdown pass (NYT/Vic DeLucia)


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New York City's Police Commissioner, Benjamin Ward, announced plans yesterday to promote six senior commanders to top positions in the Police Department's patrol force and administrative bureaus.

The appointments, effective tomorrow, are the first high-level changes in the police command since late 1986, when four of the department's five highest command positions changed hands in an unusually broad set of personnel moves.

Under the promotions announced yesterday, Assistant Chief David W. Scott, a member of the force for 27 years, will become Chief of Patrol, in command of the department's 19,000 patrol officers. Chief Scott, now the commanding officer of the Manhattan North borough patrol, is 51 years old and began his career as a patrolman on Manhattan's Lower East Side.

He previously served as executive officer of the Manhattan North borough patrol and held assignments with the first deputy commissioner's office, the detective squad in the Manhattan District Attorney's office, the Intelligence Division and the 23d, 25th and 103d Precincts. Chief of Patrol Retiring

In his new position, Chief Scott will replace Chief John P. McCabe, 63, who is retiring.

Taking Chief Scott's place as head of the Manhattan North command will be Deputy Chief Mario A. Selvaggi, currently the executive officer of Manhattan North. Mr. Selvaggi, who will be promoted to assistant chief, is 55 years old and has been on the force 32 years.

Other appointments announced include the promotion of Deputy Chief Thomas P. Walsh to assistant chief, Inspectors Thomas P. Ryan and John V. Menken to deputy chief, and Deputy Inspectors Benjamin J. Foster and Emery J. Papp to inspector.

When Assistant Chief Arthur J. McNevin retires later this year, Assistant Chief Walsh will assume command of the Manhattan South borough patrol.

Deputy Chief Ryan, currently the commanding officer of the Traffic Division, will become executive officer of the Chief of Department's office.

Deputy Chief Menken will retain his current position as executive officer of the Detective Bureau.

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HOUSTON, April 11— Discovery's astronauts released a spacecraft today that will study the solar wind and the Sun's corona for two days before the crew swings back to pick it up.

Dr. Ellen Ochoa used the shuttle's robot arm to lift the $6 million Spartan satellite, about the size of a large air conditioner, from its cradle in Discovery's cargo bay.

Spartan performed a pirouette to check its ability to point at the Sun while the shuttle's commander, Col. Kenneth D. Cameron of the Marine Corps, flew Discovery nearby. Then, Colonel Cameron fired the shuttle's steering jets three times over the next 45 minutes to move the spacecraft about 23 miles behind Spartan. 'It Was Just Perfect'

The National Aeronautics and Space Administration said all went as expected. "It was just perfect, right on the timeline," said a space agency spokeswoman, Barbara Schwartz.

Spartan carries two telescopes that will study the Sun's blazing halo: a white-light coronagraph to examine electrons and an ultraviolet spectrometer that will study protons and hydrogen atoms.

The spacecraft will investigate how the solar wind -- a stream of electrons, heavy protons and heavy ions -- is generated in the Sun's corona. Blasting by Earth at about a million miles an hour, the wind frequently disrupts navigation, communications and electrical systems on Earth.

Researchers also want to know how the corona heats up to nearly a million degrees.

If all goes well, Spartan will orbit freely until it is retrieved by the crew on Tuesday and will be returned to Earth when the flight ends Friday.

The release of Spartan was one of the highlights of the eight-day shuttle mission, which is focusing on studies of the Earth's shrinking ozone layer.

Another highlight occurred Saturday when one of Discovery's five astronauts, Dr. Michael Foale, chatted by ham radio with a crew member aboard Russia's Mir space station, marking the first ship-to-ship conversation in the shuttle program.

Dr. Foale said he was able to exchange only a few words with Aleksandr Poleshchuk before losing contact. The contact occurred as the two spacecraft passed within 86 miles of one another over South America.


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Last represented on "Great Performances" with a trilogy of Mozart operas that he set in 1980's Manhattan, Peter Sellars returns to the public-television showcase tonight at 9 with "The Cabinet of Dr. Ramirez." This time, with an impish nod to the 1919 silent film "The Cabinet of Dr. Caligari," he moves into the 1990's. The film is pretentious, exasperating and thoroughly fascinating.

As writer and director, Mr. Sellars uses "Ramirez" to convey an apocalyptic vision of this country following the boom-and-greed binges of the Reagan years. Gliding through a world of empty Wall Street offices and dirty streets, the movie reeks of huge corporate layoffs, homelessness, violence and profound pessimism. The cast, headed by Peter Gallagher, Joan Cusack, Ron Vawter and Mikhail Baryshnikov, is relentlessly grim. In this context, who wouldn't be?

Mr. Sellars appears at the beginning of this broadcast to declare that "Most of the most important things we feel, we don't, in fact, have words for, and we can't describe." What he seeks are "personal moments of pure feeling." That is apparently why "Ramirez" has no dialogue at all, not even, as in "Caligari," subtitles or title cards. Instead, there is music: John Adams's "Harmonielehre" Symphony and the occasional chanting of Tibetan monks. Sight and sound contrasts are often dramatic. A virtually still picture of, say, someone waiting for an elevator, can trigger ominously pounding chords.

"Ramirez" is in no way a literal reworking of "Caligari," a masterwork of German Expressionism. There is a similarity of spirit in the overriding sense of doom and gloom, but any resemblance between the plots is intentionally casual. "Ramirez" focuses on the disintegrating lives of two young and attractive stockbrokers (Mr. Gallagher and Ms. Cusack) who suddenly find themselves intertwined with two street people named Dr. Ramirez and Cesar (Mr. Vawter and Mr. Baryshnikov). There are uncontrollable passions and hints of bisexuality. There are coldly elegant offices and street scenes of dreadful poverty.

With George Tsypin's ingenious production design and David Watkin's photography, "Ramirez" is a stunning collection of images, from formal architectural compositions to a mist-covered lower Manhattan seen from a rapidly departing boat. Perversely, however, the very beauty of the images works against Mr. Sellars's stated intentions. Instead of apocalypse, "Ramirez" frequently seems to be suggesting, with its beautiful people, a chic scenario for a designer-perfume commercial.

Released in 1991, the film has been seen only at festivals and has not won any major laurels. In fact, Mr. Sellars cheerfully admits that a showing at Cannes was a disaster. It seems that public television has finally entered the picture because one of the co-producers of "Ramirez," Jac Venza, is the executive producer of "Great Performances." And that's all to the good. Even when off the mark, Mr. Sellars is rewardingly daring and provocative. Great Performances The Cabinet of Dr. Ramirez PBS, tonight at 9 (Channel 13 in New York) Written and directed by Peter Sellars. Music by John Adams; production design by George Tsypin; costumes by Dunya Ramicova. George Ayoub, Jacques Kirsner, Yves Pasquier, Hugh Simon and Jac Venza, co-producers; Rainer Mockert and Eberhard Scheele, producers. With the San Francisco Symphony Orchestra; Edo de Waart, conductor. Cesar . . . Mikhail Baryshnikov Cathy . . . Joan Cusack Matt . . . Peter Gallagher Ramirez . . . Ron Vawter Sue . . . Kate Valk Bruce . . . Gregory Wallace

Photo: Mikhail Baryshnikov in Peter Sellars's "Cabinet of Dr. Ramirez," on "Great Performances" tonight at 9 on Channel 13. (Bob Marshak)


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FRANKFURT, May 29— Less than two weeks after Jacques Chirac took office as President of France, the markets in Europe are sending an unmistakable message to Elysee Palace -- they are nervous about his new economic plans for stimulating growth to reduce the country's 12.2 percent unemployment.

Last Tuesday, after Mr. Chirac's Prime Minister, Alain Juppe, offered an economic plan that included tax breaks for businesses that hire idle workers, a big increase in the minimum wage and a higher value-added tax, the French franc plunged and interest rates soared, in a sobering one-day move.

Economists and traders now warn that enough negative sentiment is building against the franc that the currency could be in for a roller-coaster ride over the next few weeks. They fear that the aggressive spending plans will both stimulate inflation and increase the budget deficit.

"The market is in a very risky position," said Jonathan Davis, a bond analyst in Paris for the Union Bank of Switzerland. "The line being repeated by politicians is that unemployment is the absolute priority, apparently even if the deficit goes higher. I think this puts the French financial markets in a vulnerable position."

Because markets in the United States and Britain were closed today, analysts said, trading in the franc was thin and it was hard to gauge sentiment. The franc traded late in the day at 4.8984 to the dollar, compared with 4.8553 in New York on Friday.

But starting Tuesday, the markets may begin to show the extent of their concern, especially after statements by Mr. Juppe on French television Sunday that he was prepared to let the budget deficit rise, even if this had repercussions for the franc, to reduce unemployment.

"Whatever the importance I attach to the stability of the franc, I will not renounce my No. 1 preoccupation -- that's employment," the Prime Minister said.

Traders today were also nervous about the first meeting since the election between President Chirac and Jean-Claude Trichet, head of the French central bank. Since January 1994, the bank has formally been an independent agency, relatively free of Government influence, and has pursued a tough policy to keep the franc in line with the value of the German mark. Economic linkage between France and Germany has been a cornerstone for both nations under successive governments.

Traders now fear that Mr. Trichet could come under pressure from Mr. Chirac to permit a weaker currency to promote growth and jobs.

To be sure, markets are not the final arbiters of sound economic policy. And one would think that after 14 years of Socialist leadership under the former President, Francois Mitterrand, under which industries were nationalized and then partly privatized, the traders would be cheered to have Mr. Chirac and Mr. Juppe, both Gaullists, on board.

With conservatives controlling both the executive and the Parliament, analysts see an opportunity for France to deal with entrenched problems and to position itself for greater leadership in Europe.

Many of the country's economic fundamentals are good -- the lowest inflation rate in Europe, a current-account surplus in trade and services and a fairly competitive and modern economy.

But its problems are deep, and they reflect what is hardest to remedy in many European economies as they approach the 21st century.

Government spending and deficits have soared, mainly from social programs like a national health system, a generous pension system and laws that permit six weeks of vacation a year and forbid factories to operate on weekends, in order to protect workers' leisure time.

Analysts say the country is still burdened by huge state enterprises that are losing money, like Air France, or that need new management to compete in the global economy, like France Telecom.

Several of the business elite, with long ties to political power, are enmeshed in corruption scandals and face trial on criminal charges.

Worst, despite economic growth in recent years, France cannot bring down its painfully high unemployment rate, which at 12.2 percent is the highest in northern Europe.

This poses potential problems for European integration. The European Union's 15 nations are fast approaching deadlines set under the Maastricht treaty, approved in 1992, for meeting certain economic conditions that allow them to join in a single European currency and to merge their central banks. The French are regarded as vital in balancing Germany's dominant role in any new European central bank. But it is a role that France would not be able to play if its budget deficits got out of control and the franc plunged.

The Maastricht treaty set three criteria for a country to join a common currency: inflation levels effectively under 3 percent, budget deficits no higher than 3 percent of economic output and accumulated debt no more than 60 percent of the gross domestic product. France now qualifies under the inflation and debt criteria, but its deficits have been running close to 6 percent a year.

In the last two years under President Mitterrand, the deficit was shrinking, with many analysts predicting that France would achieve the 3 percent level by 1999 -- the first year a monetary union is now considered remotely possible.

Policies proposed by Mr. Chirac have traders predicting that France will fall short. Many of them say that the tax breaks he is offering to companies to hire the unemployed will be too costly and will ultimately not create many jobs. Others fear that his proposed increase in the minimum wage -- as much as 5 percent from the current $1,200 a month -- would be inflationary. And though he proposes to make up for the lost revenue with a rise in the value-added tax, to 20 percent from 18.6 percent now, higher taxes could become an economic drag.

The markets now await a so-called mini-budget, to be offered early in July, in which the Government will describe how it will pay for its new programs.

Behind investors' fears is the question whether Mr. Chirac's officials will abandon the policy of a strong currency that President Mitterrand maintained for more than eight years and that has been pursued by the central bank. Such uncertainty has led to a drop in the value of the franc against the German mark of almost 4 percent since late last year.

To keep the value of the franc high and discourage speculation, the French central bank substantially raised interest rates in March. The rates are now three percentage points higher than similar ones in Germany. Such higher rates could restrict economic growth and investment, making it even harder to reduce unemployment.

France also stands to lose much of the confidence its central bank has built up if Mr. Trichet, a staunch advocate of an independent and restrictive monetary policy, is pressed into accommodating a weaker franc.

"It seems that the market likes to test to see if the franc fort policy is still there," said Nathalie Fillet, an economist at Bank Paribas in Paris, referring in market shorthand to the strong-franc approach. "The main problem is whether the Bank of France will go along with it."

Economists are not stressing the possibility that rather than a strong franc, the Government will embrace a devaluation of the currency and then pursue a stable franc.

"I think the Government has set itself goals that are quite difficult to achieve and reconcile, so it will not be clear quickly whether they will succeed or not," said Jean-Francois Mercier of Salomon Brothers in London. "I think they are realizing that their measures could prove costly. But at the same time, giving the impression that they would accept a higher deficit would be very dangerous in market terms."

Graphs: "In Low Gear" shows the unemployment rate from 1988 to 1995, the budget deficit from 1989 to 1995, the infaltion ratefrom 1988 to 1995 and the exchange rate from Sept. 1994 to May 1995 for France. (Organization for Economic Cooperation and Development; Datastream)(pg. D4)


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, Page 00001 The New York Times Archives

NANCY SPERO and Leon Golub are making their way across the lobby of the Metropolitan Museum of Art. With her close-cropped hair and his entirely bald head, both of them dressed in black, they look at first glance as severe as you might expect for a couple of artists whose separate works have dealt with torture, rape and war. They look a little post-apocalyptic.

Actually, Ms. Spero, who is 69, and Mr. Golub, who is 73, are like a favorite aunt and uncle except that not everyone has an aunt and uncle who are quite so gentle in person and almost embarrassingly nice. "Leon's right," "No, Nancy's right," they are always saying, doing their Alphonse and Gaston routine. Ms. Spero is slight. She speaks quietly, almost apologetically, though what she says about art can sometimes be tough. Mr. Golub, voluble and outgoing, peppers his chatter with "O.K.?" and "You see?," sounding a little like a character from "On the Waterfront" except that he's talking about The New York Review of Books and Hittite art.

Ms. Spero points the way from the lobby through the Egyptian galleries to a Book of the Dead, a papyrus from 350-250 B.C. that, unfurled, stretches 63 feet along a wall. It alternates inscribed incantations to the hereafter with vignettes of ram-headed guardians, crocodiles and other illustrations.

Ms. Spero stands in front of it. "I love this format, which I adapted for my own work," she says. "I had been working on individual sheets of paper and wanted to enlarge my range, not in terms of the classic rectangle, but still physically and in terms of narrative possibilities."

When they lived in Chicago in the 1940's and 50's, Ms. Spero and Mr. Golub often went to the Field Museum of Natural History to browse in the African and primitive art galleries. "We were very moved by all that, more than with the Impressionism at the Art Institute," Mr. Golub says. "Primitive art had a tremendous influence on my early work." Both he and Ms. Spero became scavengers, ransacking everything from ancient art through contemporary photographs, even porn magazines, for imagery. This includes Assyrian, Greek and Egyptian art: Mr. Golub has done paintings with sphinxes in them, and Ms. Spero has depicted a vulture goddess.

Continue reading the main story

Her art mixes text and image in ways not unlike the Book of the Dead, and her images are almost hieroglyphic: attenuated, stylized, sometimes cryptic. About the papyrus, she adds: "In the Book of the Dead also you have Egyptian gods weighing souls, deciding who is worthy, so the work is about laying down laws, in a sense. It's a power thing. And that interests me."

Power -- sexual, political and otherwise -- interests both her and Mr. Golub, of course. They're old-time radicals. Married since 1951, when they were young figurative artists in Chicago and when New York considered figurative art passe, they were once art world outsiders, but they have since become insiders for their political and feminist works.

Not that their art looks alike. Mr. Golub paints big, mural-size pictures: smeared, gritty, angry and increasingly satiric. His subjects are brutish philosophers and stony patriarchs, giants, mercenaries, goons and thugs, set like characters in a frieze. Ms. Spero, though her installations are sometimes big too, draws and stencils delicate images; her subjects are women.

Their banter runs in unexpected directions. In the gallery next to the papyrus is an Egyptian column capital from the fourth century B.C. On all four sides it depicts the goddess Hathor. Ms. Spero and Mr. Golub admire Hathor's flat, somewhat pinched face, and the column leads them, somehow, to a discussion of modern sculpture. "We forget today how much objects like this column related to their settings," Mr. Golub says. "So much modern sculpture is free-floating, without a sense of location, that we forget how much context mattered." He cites Richard Serra's big steel works. Mr. Golub says they "dominate the spaces they're in: they're blatantly physical and intrusive, qualities that fit with our times."

Ms. Spero has another view. She distinguishes Mr. Serra's works, which she calls aggressive, from her own installations, which can also take over walls and rooms. "I let the architecture shine forth," she insists. "My work is sporadic, like graffiti. It's respectful of the space it's in."

But Mr. Golub disagrees. "No, it's not," he says. "Respect isn't the word I would use."

Ms. Spero is taken aback. Then she says: "Well, it's subversive of the space. Leon's right about respect, but in any case I believe my work rebels against Serra's sculpture and against very large paintings because I'm trying to break down the authority they imply. And maybe this authority also has to do with masculinity. I am against the idea of male authority."

"If I may jump in again." Mr. Golub smiles. His paintings are very large, after all. "Nancy is subverting my own work with her sporadic installations," he says. "My works have a blatant physical presence, which is different from Serra's but is also, well, crunching and aggressive. Of course, I like this aggressiveness."

"Well, you're subversive in another way," Ms. Spero offers, protectively.

"Thank you," Mr. Golub says.

Classical Influences

From the Egyptian galleries, he and Ms. Spero head for Greek and Roman art. For a while, years back, they lived in Italy and Paris just to get away from the art world here, which they found hostile to figurative painters like them. They finally settled in New York in 1964, and have worked side-by-side in the same studio since the mid-70's. Lately, having achieved separate success, they've begun to show together: a joint exhibition that was in Paris a year ago will open in Vancouver in March, and another show will be in Hiroshima in July.

They looked at Etruscan and Roman art together when they lived in Italy. Both have used Greek and Roman sources in their works. They stop to admire the ancient frescoes from Boscoreale, a town at the foot of Mount Vesuvius, buried like Pompeii in the eruption of A.D. 79. You can see why Ms. Spero, with her discrete figures, measured colors and flat stenciled images, might admire these frescoes. She praises their "airiness" and calls them "dreamscapes."

"I just have a gut reaction to them," she says. "To me this is painterliness, more so than Baroque art. There is also a sense of vast space and of figures moving in the empty space that reminds me of. . . ."

"Giacometti's figures," Mr. Golub volunteers. It's an odd connection, but Ms. Spero concurs.

"They're as spare as Giacometti," she says. "You can tell the artist who painted these was very sure of. . . ." she stops. "Himself? Herself?" Ms. Spero laughs.

Mr. Golub has caught sight of several Roman heads nearby, including one of Augustus. During the 50's, Mr. Golub based images on such busts. He likes their expressiveness and fragmentary state: the sharp, irregular outlines of their fractured profiles. "Brutal and poignant," he calls them.

When he and Ms. Spero turn into a room of Classical Greek art, Mr. Golub gravitates to a marble lion from around 400 B.C. He has put animals in his art, too, fierce ones like street dogs. This lion is certainly ferocious: it's ready to pounce, ears back, teeth bared, ribs tight against its lean raised sides. Mr. Golub likes it but thinks the sculpture is "a little clunky." He says: "It looks held down. I mean it's wonderful, great, but a little frozen."

They settle next at a Greek kouros, a standing male youth from the sixth century B.C., in the following gallery. Mr. Golub studied kouroi years ago. "I was fascinated by how, in early Greek sculpture, the male figure developed and began to suggest movement, like here." he says. "I was interested in ways to get my own highly stylized figures into motion."

Rigid, its arms straight down its sides, one foot forward, this kouros is angular, geometric. "It's awkward," Mr. Golub initially decides. "The head is not quite connected to the rest of the body."

But Ms. Spero likes it. She points to its improbably broad shoulders and disproportionately large head. "In Leon's art," she says, "there are anatomical inconsistencies, too, which partly explain its power."

Mr. Golub thinks about this for a second and changes his mind: "Actually the awkwardness does give it power. O.K., it's terrific. I was wrong. Sorry. It's beautiful. Nancy's right."

They want to see paintings. On the way, they pass through galleries of African and pre-Columbian art. Ms. Spero stops to admire a Dogon granary door from West Africa that is adorned with rows of breasts. Mr. Golub wanders ahead to an altar from ancient Mexico. A carved boulder, it looks to Mr. Golub, with its deep sockets and bared teeth, like a skull. In the 50's, he did drawings of skulls. "I have a very fatalistic notion about the world," he explains. "I don't believe in an afterlife or salvation, and works like these have a rawness that I identify with."

"Raw like the beginning of nature," Ms. Spero adds about the altar.

"More like the beginning and end of nature," Mr. Golub says.

Upstairs in the European paintings galleries, they stop first at David's "Death of Socrates." They look for a while, then Mr. Golub says: "David has become very important to me, O.K., a major force. I'm interested in rhetorical gestures, you see, and there's a lot of rhetoric in David's work. It's a theater of passions." Mr. Golub's pictures include gesturing figures in sometimes ambiguous relations to one another. And these gestures come partly from looking at Davids, he says. Ms. Spero says that Mr. Golub's art has a "very artificial, unreal real quality" that relates to David.

"When we lived in France I used to go by myself to the theater to see Racine," Mr. Golub continues. "My French is really lousy, but even without understanding what I was hearing, I liked it a lot because I found myself looking not for the overall drama but at individual gestures and characters. And likewise, I can see the figures in this painting in isolation: as individual existential dramas."

Men Are Banished

Ms. Spero picks out other paintings. Since the mid-70's, she has virtually banished images of men from her works, concentrating on women. In the European paintings galleries, she focuses on several trompe l'oeil frescoes by Tiepolo and another artist, Colonna. Muted, stony gray decorative panels, they are among the least eye-catching Tiepolos in the museum. But they depict women as personifications of grammar, geometry, arithmetic -- and Ms. Spero is struck by the women's beauty and their state of undress ("like car ads: why undressed women?" she asks).

She finds them more appealing than a pair of images, a "Holy Family" by Ribera and "Charity" by Guido Reni, in a gallery of Italian Baroque pictures. They are both images of women with children at their breasts. "Cold and eroticized," Ms. Spero decides. "There's a false piety to them, with these porcelain ladies and Campbell's soup kids. I admit, I'm inculcated with what I've picked up in the last 25 years about women and women's status, how we are looked at. And I can't help seeing these paintings through that lens."

Ms. Spero does like another work, though: in the room with the David is a self-portrait by Adelaide Labille-Guiard, another French Neo-Classical painter. Not unlike the Reni, it's a porcelain image, but it depicts Labille-Guiard at her easel, calm, graceful in her silk dress and beribboned straw hat, attended by two pupils. Labille-Guiard was one of the few female painters admitted to the French Royal Academy, and this work, from 1785, has been regarded as propaganda on her part: an argument, by virtue of its elegance, for increasing the number of women in the academy.

"Normally I wouldn't react to a work of this period, considering my esthetic," Ms. Spero says. "But I saw a woman painting, looking beautifully, perfectly dressed, not a spot of paint on her, with these two women assistants, and I was immediately drawn to the picture. We are all looking for a heritage. It may be narrow to think this way, but artists do have a gender, they come from a milieu and it helps to recognize that."

"As artists, Nancy and I are both content oriented," Mr. Golub adds. "We focus on what the images are about. I have often thought of myself as a history painter, and I think Nancy looks at things in a similar way. Even so, we respond to painterliness."

A Spanish Master

To prove his point, Mr. Golub seeks out Velazquez. Mr. Golub was once aked to do a television documentary about an artist he admires. He chose Velazquez. In the gallery with a 1624 standing portrait of the young Spanish King, Philip IV, a picture attributed to Velazquez, Mr. Golub pauses. It's not one of Velazqu best paintings, he concedes. But as a political artist, Mr. Golub is intrigued by how Velazquez conceived an image of power for the unprepossessing king. "He took this awkward young man, ill at ease, and painted him in such a way that Philip could visualize himself through the paintings. This image tells you that Philip is introspective but in control. You see his incipient power."

At that moment, Mr. Golub catches sight of Velazquez's great portrait of Juan de Pareja, a Sevillan of Moorish descent.

"I may be totally off the wall, but I think, despite his authoritative expression, that this figure has a certain vulnerability -- a desire to put himself across that blacks sometimes have to have because they are excluded from power," Mr. Golub suggests. "It's a look of wariness, caution, that you don't see in Philip."

Ms. Spero and Mr. Golub decide to visit the 20th-century galleries before quitting the Met. "You can understand modernism wanting to reject everything that came before it," Ms. Spero says, as she walks through rooms of Renaissance, then 19th-century art on her way to the 20th century. "The past is such a burden, so much to live up to."

She and Mr. Golub come to a gallery of paintings by Clyfford Still, the Abstract Expressionist. Mr. Golub recalls the atmosphere in the 1950's, when New York was dominated by Abstract Expressionists like Still, Pollock, Rothko and Willem de Kooning.

"We were outsiders," Mr. Golub recalls. "And I had a series of bad experiences here, culminating in 'New Images of Man.' " "New Images" was a 1959 Museum of Modern Art show in which his work appeared. "The critics were angry about my art. New York seemed impenetrable."

Ms. Spero says of the move to France: "We wanted to bypass New York and meet the art world on our own terms. We thought Paris would be more accommodating."

Mr. Golub adds: "There was, and still is, a force in New York, you see, that pushes art in certain directions -- ideologically, rhetorically and rather strongly."

A Distant Kinship

The two of them arrive next at Philip Guston's "Street," from 1977, a picture strangely combative and comic. Mr. Golub takes it in slowly. During the 70's, after years as a lyric Abstract Expressionist, Guston started to paint these poignant, socially conscious, oddly cartoonish works. You can see a distant kinship between them and Mr. Golub's figurative works. But Mr. Golub recalls feeling only shock when he first saw the Gustons. "Maybe I should have felt a connection, but I felt so isolated then that I didn't think in terms of connections. I still don't totally understand paintings like this. It's obviously about untoward emotion, disaster, violence, and it has an undeniable power.

"It's a first cousin to Beckmann's triptychs," he concludes, referring to the works of the great German Expressionist. Come to think of it, Mr. Golub says, late Guston also relates to Chicago artists like the Hairy Who, the 1960's group that included Jim Nutt, H. C. Westermann and Ed Paschke.

Before they leave, Ms. Spero and he make a last stop at Pollock's "Autumn Rhythm." They stare as a group of students gathers before the giant picture. Pollock has been their career-long nemesis, in a sense. But Mr. Golub, after a while, says, "I must reluctantly admit that this work has real scale and presence."

Ms. Spero nods. "Especially after we've looked at all this older art, it's liberating. I haven't acknowledged this to myself before, but I probably haven't given Pollock his due."

Mr. Golub pauses. "Well, we can't help it. We're different artists but we react to many things in similar ways."

Ms. Spero laughs at that. "We've been married too long."

Mr. Golub laughs, too. "I would second that."

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Sheldon Souray of the Devils and Brad Isbister of the Islanders dropped the gloves before the game was three minutes old. But it was the Devils who played with more aggression and purpose the rest of the way and skated away with a 4-1 victory tonight at Continental Arena.

Scott Gomez scored his first goal in the National Hockey League, in the second period, and also set up goals by Krzyzstof Oliwa and Bobby Holik in the third. Scott Stevens, the team captain, sealed the victory with an empty-net goal after the Islanders had pulled Felix Potvin, who faced 41 shots, to have two extra skaters. It gave Stevens his 800th career point.

Gomez, the 19-year-old rookie center and first Hispanic player to be drafted in the first round, played his most impressive game for the Devils and had many people raving about his performance afterward. The highest accolades came from Coach Robbie Ftorek, who took Gomez to Long Island two nights ago to watch the Islanders' loss to the expansion Atlanta Thrashers.

''It was kind of weird that Robbie and I were out there scouting the game,'' said Gomez, who leads the Devils with six assists. ''Robbie has done that with a lot of guys.''

Ftorek said he had also taken Petr Sykora and Patrik Elias to watch teams the way he did with Gomez. ''I get to know more about them and they get to know more about me,'' Ftorek said. ''It's good for players to see other teams. They get more of an insight of what's going on.''

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Holik also had high praise for Gomez, who has assisted Holik on three of his six goals, Holik's most productive start of his career.

''He's a pretty good little player who sees the ice so well,'' Holik said. ''He needs to have the puck and space to move.''

Gomez said: ''It seems that I give the puck to the right people. Bobby Holik is so big, he's tough to miss.''

Gomez's goal came 1 minute 35 seconds after the first intermission during the first manpower advantage for the Devils and brought smiles for Gomez while he was congratulated by his teammates. The power play started just 27 seconds into the period when Claude Lapointe tripped Randy McKay.

The victory, before a crowd of 15,017, extended the Devils' unbeaten streak to four and improved their record to 4-1-1.

Chris Ferraro scored the lone goal for the Islanders (1-4-0), who have lost three in a row. Ferraro's goal came against Martin Brodeur, who has started all six games for the Devils. Brodeur faced 30 shots tonight and looked just as sharp as he had in the late stages of the victory over Anaheim two nights ago.

Islanders Coach Butch Goring reprimanded his players in Friday's practice for their lackadaisical play in their previous appearance, a 2-0 loss to Atlanta, and said poor effort by his players would not be tolerated.

''We played with the kind of energy that I wanted to see from our hockey club,'' Goring said after the game. ''I have no complaints about that part of our game, but we have to bear down on our offensive opportunities.''

The Devils played without the veteran defenseman KEN DANEYKO, who injured his left knee in Friday's practice. Daneyko injured his right knee and missed 23 games in 1995, the year the Devils captured the Stanley Cup. BRAD BOMBARDIR, who was benched the previous three games after playing in the first two, took Daneyko's place in the lineup. . . . ERIC BERTRAND was benched for the fourth straight game, while DENIS PEDERSON missed his fifth game in a row with a groin injury. . . . The Devils do not play again until Friday night, at Dallas, while the Islanders will play Tuesday night at Montreal.

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Jose Greco, who brought Spanish dancing to huge new audiences in the United States and Europe in the 1940's and 50's, died on Sunday at his home in Lancaster, Pa. He was 82.

Born in Italy and raised in Brooklyn, Mr. Greco came to embody the art of Spanish dancing for many, in performances that were reassuringly straightforward, entertaining and, eventually, familiar. Frequent tours and television variety show appearances made him a household name to the point where, in 1953, Jose Greco and Company drew a crowd estimated at 19,000 at Lewisohn Stadium in New York.

By the 1960's, the earthy form of flamenco had become synonymous in the public mind with Spanish dance, and Mr. Greco began to perform a good deal more of it. But he and his dancers and wide-ranging early repertory were as elegant as they were fiery.

John Martin, dance critic of The New York Times, said of Mr. Greco in 1951: ''His footwork is particularly brilliant, and he moves with notable elegance. He lacks generally, however, those electric tensions in the upper body that are so integral a part of the Spanish dance at its most exciting. His style, indeed, has more of silk about it than of steel.''

Born in Montorio nei Frentani, Italy, of Spanish-Italian parents, Mr. Greco moved to New York with his family at the age of 9. His first training was in Spanish dance with Helen Veola. When he was a teenager, he made his dancing debut in ''La Traviata'' and ''Carmen'' at the Hippodrome. He also appeared at supper clubs and nightclubs. His career as a serious concert-dance performer began in 1942 when La Argentinita, considered one of the purest stylists in Spanish dance, invited him to partner her and perform with her company. The following year, Mr. Greco drew individual attention for his performance of the ''Miller's Dance'' from ''The Three-Cornered Hat.'' ''This young man can dance,'' Martin noted simply in a review.

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Mr. Greco learned much from La Argentinita and her sister, Pilar Lopez, whose company he joined on the death of La Argentinita in 1945. He founded his own troupe, Ballet y Bailes de Espana de Jose Greco, with his second wife and dance partner, Nila Amparo, and others in 1947. Mr. Greco was to become known for large-scale productions and the company soon grew to more than 20 dancers. The company toured the United States with the flamenco star La Quica in 1951 under the auspices of the Shubert Organization. Appearing in New York on Broadway, he was selected, with Carol Channing, as the ''New Broadway Personality of the Year'' in 1951.

His fast-paced programs of individual numbers were not especially subtle or innovative. But they quickly gained a popularity that lasted into the 1970's. In his best-known work, ''El Cortijo,'' Mr. Greco used heel work, or zapateados, to suggest the rhythm of horsemen on open plains.

Mr. Greco and his company appeared in several movies, including ''Around the World in 80 Days'' (1956) and ''Ship of Fools'' (1965). They performed on radio shows like ''Voice of Firestone'' and were regulars on the television variety shows of Ed Sullivan, Perry Como, Johnny Carson and others. His musical accompaniment was recorded on albums issued by Decca, Columbia, RCA and MGM. He toured the United States in the lead role of ''The Passion of Dracula'' in 1978.

Mr. Greco retired from performing officially in 1974 but returned to the stage in 1984 when Maria Benitez and her Spanish dance company honored him at the Joyce Theater in Manhattan. From 1988 to 1995 he performed with his children in several Greco companies. ''Now a bit stout, sometimes quaint looking, he can still burst into a blazing display of dynamic heel work,'' Anna Kisselgoff, dance critic of The Times, wrote in 1990. ''He never loses his star luster.'' His choreography continues to be performed by a troupe run by his son Jose Greco II.

Mr. Greco joined the faculty of Franklin and Marshall College in 1993, the year he was awarded a grant by the National Endowment for the Arts to recreate and notate some of his most famous dances. He also worked with the Jose Greco Foundation for Hispanic Dance in New York, which he founded to further the study of Spanish culture. His awards include the Cross of the Knight of Civil Merit, given him by the Spanish government in 1962.

Mr. Greco is survived by his fifth wife, Ana Borger-Reese of Lancaster, Pa.; a sister, Eleonora Greco Nobile of Pescara, Italy; and five children: Jose Luis, a composer, and Carmela and Lola Greco, dancers, all of Madrid; Jose, of Laredo, Tex., and Paolo, a composer, of Liverpool, England.

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Poland's last Communist leader, Gen. Wojciech Jaruzelski, is to go on trial next month for the deaths of 44 shipyard workers shot by the military in 1970, the PAP news agency reported today.

The Warsaw Provincial Court rejected defense motions that General Jaruzelski, who was defense minister in 1970, and another Communist-era leader, Stanislaw Kociolek, be tried by a special State Tribunal empowered to try top officials.

The trial before the Provincial Court is to begin May 15.

Doctors have recommended that General Jaruzelski, who is 77, not participate more than four hours a session because he is frail.

Because of his poor health, the general's trial has already been moved from Gdansk, the Baltic port, to Warsaw, where he lives.

General Jaruzelski is charged with ordering the military to shoot at workers who were protesting price increases. Forty-four workers were killed in three Baltic coast cities, Gdynia, Gdansk and Szczecin.

Seven other suspects, most of them military commanders, also face charges.

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The B. F. Goodrich Company's shareholders voted yesterday to change the name of the company to the Goodrich Corporation, reflecting its transformation over the last 15 years from a tire and plastics company to an aerospace and industrial products business. The change drops the initials of the founder, Benjamin Franklin Goodrich, but retains a brand that has widespread recognition -- and still causes confusion among consumers unaware that the company sold off its tire business to Michelin in 1986. The name change formally takes effect on June 1 for Goodrich, which manufactures aircraft wheels and brakes, landing gear and avionics, along with engineered industrial products. The company is based in Charlotte, N.C.

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Hicham el-Guerrouj of Morocco won the mile and the American stars Maurice Greene and Marion Jones swept the 100-meter races in the British Grand Prix at Crystal Palace.

Guerrouj won in 3 minutes 49.41 seconds, edging the Olympic 1,500 champion Noah Ngeny on a cool evening in south London. Ngeny finished in 3:51.19.

After two false starts, Greene easily won the men's 100 in 9.98 seconds. Britain's Dwain Chambers finished second in 10.11. Jones took the women's 100 in 11.00 seconds.

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The Leopold Museum in Vienna is selling one painting by Egon Schiele to pay for another.

The painting it wants to keep is “Portrait of Wally” (1912), a work seized by Nazis that has been at the center of a restitution case. In a settlement with the heirs of the work’s original owner, Lea Bondi Jaray, a Jewish gallerist in Vienna, the museum has agreed to pay them $19 million.

Now, to raise that sum, the Leopold has decided to sell a 1914 Schiele work, “Häuser Mit Bunter Wäsche (Vorstadt II),” or “Houses With Colorful Laundry (Suburb II),” at Sotheby’s in London on June 22. The work is estimated at $36 million to $50 million.

The Leopold will still have eight cityscapes by Schiele, said Helena Newman, who runs Sotheby’s Impressionist and modern art department in London. “But ‘Wally’ is a one of a pair of self-portraits,” she noted. That painting, which depicts the artist’s mistress Wally Neuzil, Ms. Newman explained, is a companion to a self-portrait by Schiele that is the same size and also part of the Leopold’s holdings. “Clearly they work as a pair and are hung together.”

Only three important Schiele cityscapes have come to auction over the past decade. And the last comparable one was two-sided — “Houses (With Mountains)” backed with “Monk 1” (1915). It sold for $22.4 million at Christie’s in New York five years ago. The price was a record for Schiele at auction.

Auction houses competed to win “Houses With Colorful Laundry (Suburb II).” Sotheby’s managed to wrest the property from Christie’s by offering the museum a guarantee — an undisclosed sum promised to the seller regardless of the sale’s outcome — that is being financed by an outside party. Although guarantees are always secret, experts with knowledge of the negotiations said this one is around $40 million.

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In its 50 years the Storm King Art Center in Mountainville, N.Y., has kept to itself, presenting exhibitions and showing off its collection of sculpture on its 500-acre site. Starting on May 27 it will be stepping out. For the first time it is organizing a show somewhere else: at Governors Island. It will feature about a dozen outdoor sculptures by Mark di Suvero.

“We’ve been thinking about the possibility of partnerships with other sites,” said John P. Stern, president of Storm King. “And having visited Governors Island, I thought this would be an exciting opportunity for us.”

The show, which will be on view through Sept. 25, will be held across the 172-acre island, a former military post, in New York Harbor. The sculptures — the oldest is from 1977 — are coming from Storm King’s holdings as well as private collections. The display will include new works like “Figalu, 2005-11,” a sculpture made up of painted I-beams and three large buoys suspended from a steel cable.

Egon Schiele's “Häuser Mit Bunter Wäsche (Vorstadt II),” an oil on canvas, is being sold at Sotheby's in London. Credit Sotheby’s

The choice of Mr. di Suvero (whose wife, Kate D. Levin, is New York City’s commissioner of cultural affairs) was an obvious one, said Mr. Stern, a grandson of Ralph E. Ogden, one of Storm King’s founders. “He’s a pre-eminent sculptor and had a relationship with my grandfather going back to 1968. In 1976, a year after his show at the Whitney, he brought his sculptures to Storm King.”

A shimmering mesh structure floating on thin carbon-fiber columns — what the architects of Atelier Bow-Wow of Tokyo describe as their traveling “toolbox” — will occupy an empty site at 33 East First Street in the East Village from Aug. 3 through Oct. 16. The design will make up the first BMW Guggenheim Lab, an initiative involving temporary structures that BMW, the German car manufacturer, and the Solomon R. Guggenheim Foundation announced in the fall.

Over the next six years, three labs designed by different architects will each travel to three locations. After New York the first lab will travel to Berlin next year and then to an Asian city to be determined. At every stop Guggenheim curators will invite leaders in the fields of architecture, art, science, design, technology and education to participate in programs — in and around the structures — that will explore the complexities, realities and problems of urban living within the theme “Confronting Comfort.”

The 2,500-square-foot lab planned for New York is an open-air design. “It’s a primitive structure executed in high-tech materials,” said David van der Leer, an assistant curator at the Guggenheim, who is in charge of the project along with his colleague Maria Nicanor. Next to the lab will be a garden cafe, and Mr. van der Leer said he hoped the site would be as much a hangout as a place to participate in different kinds of events.

The museum has put together an advisory committee that includes Daniel Barenboim, the conductor; Elizabeth Diller, the architect; Rirkrit Tiravanija, the artist; and Wang Shi, a Chinese entrepreneur. They will be helping the museum put together teams in each location to participate in various programs. The New York team includes a microbiologist, a journalist and an architect.

On Friday the museum will also be rolling out a special Web site,, devoted to the project.

With contemporary art collectors and curators flocking to New York from all parts of the globe for next week’s important auctions, local dealers and nonprofit institutions are angling for some attention too. Friday through Sunday 60 contemporary-art galleries and not-for-profit spaces are joining together for what they are calling New York Gallery Week.

It is the second year of the initiative, which includes extended hours and free events and programs. But this year participating galleries plan to donate $25,000 to the Whitney Museum of American Art. The money is the Whitney’s to use on anything it wants — except for acquisitions, because, as Casey Kaplan, the Chelsea dealer who has spearheaded New York Gallery Week, said, “That would be self-serving and against what this is all about.”

“It’s a celebration of the Whitney’s expansion downtown,” Mr. Kaplan added, “bringing the museum into the closest proximity of the greatest number of galleries.”

A schedule of events is posted on New York Gallery Week’s Web site.

The partnership between the Dahesh Museum and Syracuse University is taking its exhibition program to Dubai, a first for both institutions. For a month starting on June 18 it will present “Islamic Ornament in 19th-Century Works From the Dahesh Museum of Art and Syracuse University,” at the Dubai Community Theater and Arts Center, in the Mall of the Emirates. It has been nearly four years since the Dahesh has had a permanent home in Manhattan. (Citing high rent, it moved out of its Madison Avenue premises in 2007.) Three years ago it teamed with Syracuse University to present shows at the Syracuse University Art Galleries on campus and at the university’s Palitz Gallery in the Lubin House in Manhattan.

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PARIS — Shoppers at the Citroën showroom on the Champs-Élysées were conspicuous mostly by their absence on a recent weekday. Earnest-looking employees outnumbered the lone visitor by at least 10 to 1.

Two of the workers were busy refining their already considerable skills at an auto-racing video game.

Down the avenue at the Renault showroom, business was hardly brisker.

Only at the nearby Mercedes-Benz showroom, displaying German automotive arts, was there much sign of life.

The dormant French dealerships signify the main problem facing the country’s auto industry: Consumers in France do not seem very interested in French cars. Or any cars at all, in many cases.

In France, vehicle sales last year were the lowest in 15 years, falling below 1.9 million from a 2009 peak of 2.3 million, according to Georges Dieng, an analyst at Natixis Securities. And even those who are prospective buyers often prefer non-French makes.

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Esther Cintract, 40, a banker who takes the Métro to commute into Paris, owns a 10-year-old Citroën. For her next car, she said, she would consider switching to a German model: a Volkswagen, a BMW or a Mercedes.

But many younger French people have other priorities. “I’ve never had a car,” said Jean-Victor Mareschal, 30, who works at a bookstore in Paris. “I don’t need one. I ride a bike, walk or take the Métro.”

In contrast to the United States, where carmakers had a bumper year, France’s 2012 sales fell by 13.9 percent, outpacing the 8.2 percent decline in the overall European market, according to the European Automobile Manufacturers’ Association. Industry officials expect another gloomy year in 2013.

The flagging appetite of consumers is a significant economic problem for France. Its auto industry, dominated by Citroën’s parent, PSA Peugeot Citroën, and Renault, directly employs about 220,000 people; thousands more jobs depend on it indirectly. The government, which owns a 15 percent stake in Renault, has called the sector a strategic priority, and plays an active role — some might say actively meddles — in the industry’s affairs.

The downturn is not France’s alone. In 2007, before the global financial crisis, the overall European market peaked at just under 16 million newly registered passenger vehicles. Last year, the figure had fallen to just over 12 million, according to the European Automobile Manufacturers’ Association.

Wherever the market bottoms out, French automakers, like many European manufacturers, have more factory capacity and workers than they can profitably use. And that may be the case for years to come — especially in France, where the job-cutting plans announced so far by Renault and PSA Peugeot Citroën have been criticized by many analysts as insufficiently daring, even as they encounter fierce resistance from workers and, in some cases, government officials.

But it is a showdown that appears to be increasingly unrelated to the French market’s demands. Philippe Houchois, head of European auto industry research at UBS in London, noted that most vehicle purchases in the developed world over the last five years had been to replace older cars, with only 2 percent of car sales in the United States and Europe representing net additions to those regions’ consumer fleets. In emerging markets, by contrast, 70 percent of new-car sales represented additions to the total stock, Mr. Houchois said.

But even replacement demand is under threat in Europe. As the population ages, car owners drive less, reducing wear on their vehicles. And today’s cars last much longer than they did a few decades ago.

Generational change also bodes ill for the industry. Carmakers can be confident that many of those who adopt the car-based lifestyle early will stick with it for life. But the younger customers the industry covets are less interested in driving than they used to be — particularly, it seems, in France and especially in trendsetting Paris.

The Citroën showroom on the Champs-Élysées in Paris has been nearly deserted as French consumers show little interest. Credit Johann Rousselot for the International Herald Tribune

“In my parents’ generation, pretty much everyone drives,” said Mr. Mareschal, the bookstore employee. “With my generation, it’s a lot less important. I’m not anti-car, but it’s something I just don’t care about.”

Being able to go without a car may seem like a luxury available mainly to city dwellers, but even outside the cities, interest in auto ownership seems to have flagged.

“There appears to be a change in priorities for this generation,” Mr. Houchois said. “Maybe they’d rather buy a plane ticket for a vacation in Australia than buy a car.”

It is not hard to see why young people would have their doubts about the merits of car ownership. For a start, operating a car is an expensive proposition: Gasoline goes for the euro per liter equivalent of about $7.65 a gallon in France, according to the Economy Ministry, more than double the $3.30-a-gallon average the Energy Information Administration reported for the United States in mid-January.

And unlike the United States, where driver’s education classes are often an inexpensive part of the high school curriculum, simply obtaining a driver’s license is a major obstacle. In France, there is a minimum cost of more than $1,600 for classes needed to prepare for the written exam and the even more difficult driving test. Nearly 1.4 million people take the French licensing tests each year, but only 57 percent pass; those who fail often spend thousands more preparing for a retest.

Julie Mora, 24, a grocery store cashier, said she would like to have a car to travel around the Essonne suburbs south of Paris where she lives, but has no opportunity to prepare for the licensing exam. “I work almost every day as it is,” she said, “so it’s practically impossible to set aside the time for the classes.”

But Ms. Mora said she could wait. “For my generation, a car and a smartphone are about equally desirable,” she said, “and I already have a phone.”

French automakers may also face the kind of buyer skepticism American car companies encountered a generation or two ago, when domestic consumers often felt the choice came down to buying the best car — meaning a foreign one — or supporting their compatriots’ jobs.

But Mr. Houchois at UBS said the difference in performance between carmakers, at least at the market-entry level, had declined substantially, to the point that other factors, like brand cachet and financing, were more the determining factors.

He noted that French buyers looking at three similar and similarly priced cars — a Peugeot 308, a Renault Mégane and a Volkswagen Golf — would probably find that they could finance the Golf at better terms, because of the German maker’s stronger balance sheet. That, Mr. Houchois said, was enough to make the decision for many.

By other measures, the French carmakers may still have some ground to make up. J. D. Power, the customer-satisfaction auto research firm, does not survey French car buyers directly. But its studies of buyer preferences in the German and British markets show both major French automakers ranking below-average in owner satisfaction.

In any case, VW is not waiting to ease up in France. The German company is aggressively aiming for French customers. Mr. Houchois said French automakers needed to recognize that the current business model was simply no longer working.

One approach, he said, might be more emphasis on the American Zipcar rental model of car-sharing, or other shared-ownership arrangements, rather than sales to individuals. Such services are still at the fledgling stage in France.

“But the French carmakers, all the European actors, should plan their turnarounds on the assumption of no growth,” Mr. Houchois said.

“It’s hard to make a case for growth in Europe.”

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West Indies 367
New Zealand 156-3

Sunil Narine shapes as a problem for New Zealand's batsmen.

The off spinner's mystery variations have resulted in figures of two wickets for 43 from 22 overs at stumps on the second day of the third test in Hamilton. They're unlikely to be his last wickets in this innings.

The cacophony from the surrounding fielders is also likely to increase in decibel-level as he homes in when the third day starts.

Narine's ability to disguise his doosra and knuckle ball (where he propels the delivery out of the front of the hand using his index and middle fingers) are proving hard to detect.

Even Ross Taylor struggled as he endeavours to post his third century in as many tests.

Taylor was 56 not out at stumps with captain Brendon McCullum on 11 after Kane Williamson was adjudged lbw to Narine for 58. Williamson opted for a review but the DRS projected path sealed his fate with a flick of the leg stump bail.

Taylor has now made 418 runs in the series and averages as much, having been out once. Glenn Turner (v Australia, 1974) and Andrew Jones (v Sri Lanka, 1991) are the only other New Zealand batsmen to have made more than 400 runs in a three-test series.

New Zealand's made a cautious start to be 76 for two at tea in reply to the West Indies' 367.

Narine's efforts and the steady left-arm orthodox offerings of Veerasammy Permaul mesmerised the New Zealanders at times. On 20, Williamson miscued Permaul to extra cover where Tino Best missed a diving catch; Taylor looked edgy pondering what to do with his bat and pad.

Earlier, West Indies captain Darren Sammy produced memorable catches to remove the New Zealand openers on his 30th birthday. Hamish Rutherford drove a ball back to him in his follow-through which Sammy clasped centimetres from the ground.

Peter Fulton's demise was through a tickle to leg slip where, again, Sammy's mitts netted the ball low.

In the opening session the West Indies entrenched their position, adding 78 runs and placing the New Zealand batsmen under significant pressure to establish parity.

Shivnarine Chanderpaul anchored the morning on his way to a 29th test century. He finished on 122 not out having surpassed Allan Border on the test runs honours board by moving to sixth and 11,199 runs.

e now has 17 unbeaten centuries, the most of any test player. Upon reaching his second century against New Zealand with a cut through gully, Chanderpaul knelt and gave the Seddon Park pitch a peck on its cheek.

The 39-year-old was supported by Veerasammy Permaul who added 20 at a run a ball, including a crisply struck six over long on and a pull for four off consecutive Tim Southee balls. The New Zealand pace bowler picked him up next delivery, caught by Fulton at second slip.

Fulton could not repeat the feat when Best edged to him off Corey Anderson. The drop added to New Zealand's butterfingered roll call with Southee dropping two chances in the covers and Kane Williamson spilling one off Ish Sodhi during the innings.

Best added spark to the West Indies innings with 25. His partnership of 35 for the 10th wicket with Chanderpaul broke the record set in 1971-72 by Grayson Shillingford and Mike Findlay.

Southee produced the ball of the morning to dismiss Darren Sammy. It gave the impression the pitch may have quickened slightly overnight. Southee generated extra bounce in the channel outside off stump and lured the West Indies captain into playing away from his body.

B-J Watling took his fourth catch of the innings. He finished with five when Best edged behind off the toe of his bat to Sodhi.


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The speed of Sacred Master's progress through the grades brought with it a worry for Tony Pike, but he is now happy to let the stayer take his chance at group one level.

The four-year-old broke his maiden on the first day of the current season and in eight subsequent starts he has added another five wins, the latest in yesterday's group two Go Racing Syndications Avondale Cup.

Sacred Master's triumph at Ellerslie also propelled him to the head of betting for the group one Barfoot & Thompson Auckland Cup at $5, replacing Vavasour, who is out of contention due to an injury.

"There was a concern that it may be coming too quickly and it was an acid test today to see if we press on to the cup," Pike said.

Sacred Master passed his final examination with flying colours and he will now defend the stable's title at Ellerslie after their success with Rock Diva, who also sported the Raffles Racing colours, 12 months ago.

"As long as he pulls up well and does everything right then we'll be come back for the Auckland Cup," Pike said.

Sacred Master was in a dominant mood yesterday with his effort matching the determined approach of his rider Michael McNab, who wasted hard to make the book weight.

"I'm really pleased for Michael and for him to get down to 52kg it was a great reward," Pike said.

Sacred Master settled in midfield and the gelding came with a well-timed finish under McNab to beat King Kamada, who also ran second last year behind Farm Boy with the defending champion a fast-finishing third this time around.

"It was a patient ride by Michael and he let him go to sleep and then came into the race at the right time," Pike said.

- NZ Racing Desk.


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Fox News Channel anchor Shepard Smith's reports on the government's failed response to Hurricane Katrina were a career-defining moment back in 2005. And he's still getting his boots muddy on behalf of natural disaster victims. On Monday he's taking his ...

Fox News Channel anchor Shepard Smith's reports on the government's failed response to Hurricane Katrina were a career-defining moment back in 2005. And he's still getting his boots muddy on behalf of natural disaster victims. On Monday he's taking his shows Studio B (3/2c) and The Fox Report (7/6c) to Seaside Heights, N.J., where Hurricane Sandy damaged 60 percent of the homes. Both programs will assess the cleanup and rebuilding efforts six months after the storm. The Biz checked in with the Holly Springs, Mississippi, native before he left and learned about his love for the Brooklyn Nets, his disdain for Twitter and why you'll never see him become a commentator.

TV Guide Magazine: Why is it the right time to report from the Jersey Shore?
Shepard Smith: It's springtime. The summer season is coming. We've had Rick Leventhal and other correspondents down there and on the New York coast all along. I wish the storms that hit the south end of Mississippi had gotten this kind of coverage in the months afterward. They didn't. But I'm glad we're covering this. One of our jobs is that when [government officials and insurance companies] make promises, we're supposed to find out that they kept them. We're trying to point out what's working and what's not working.

TV Guide Magazine: Politics and opinion have really become the major audience attraction for cable news. You're not a commentator and you don't have a passion for politics.
Smith: I don't.

TV Guide Magazine: Does that make it harder to get noticed in this current landscape?
Smith: I'm not trying to get noticed in this landscape. I've been doing this for 25 years. I only want to find out what's happening, get it right, add context and perspective and tell people about it. Extreme partisan bickering on one side or another are destructive to our society. I don't enjoy it. I won't participate in it.

TV Guide Magazine: Whenever you give an opinion on the air, which isn't often, you do get a lot of notice for it. Does it ever make you think you'd like to do a show where you could do commentary?
Smith: No. Not interested. I've enjoyed doing what I'm doing now... I know now the value of it is diluted because there are so many different ways you can seek the facts. I hope I've built a relationship with viewers that let's them know if nothing else, at very minimum I'm trying to get it exactly right.

TV Guide Magazine: During your coverage of the papal conclave, you challenged Fox News commentator Father Jonathan Morris over the issue of women being excluded from the priesthood. What kind of e-mail from viewers do you get after an exchange like that?
Smith: I don't read it. To me that wasn't a matter of opinion. Society has evolved on many different issues over time. One of them is women in leadership, a good thing. There are women in leadership all over the hierarchy of the Catholic Church except at the very top level. All I asked was, 'how do you explain that the Catholic Church discriminates against women in that way?' By definition of the word, that's what it is... a lot of Catholics and very good Catholics will tell you, 'it concerns me that our church discriminates against women.' To suggest that shouldn't be part of the conversation at a period when we've had the first pope resign in 600 years is a little naïve.

TV Guide Magazine: Have you read the new book about Fox News chairman Roger Ailes?
Smith: No. But I read the clips. I know I'm in it. I've just been really busy. I will read it.

TV Guide Magazine: Are you the only news anchor who isn't on Twitter or can I just not find you?
Smith: I'm not there. I don't want to be on there. I have a television program and I have a radio newscast. If you want to know what I'm reporting you're welcome to come to the Fox News Channel and hear it and see it. I don't think anybody cares at all about my pictures from the weekend or what I think about what LeBron James just did. People are going to wake up in 20 years and the record of them is going to be from Twitter and Facebook and they're going to wish it weren't. What happened to communicating with each other face to face? What happened to sitting down with each other and telling stories? I sound like a grandparent, but I really enjoy those things.

TV Guide Magazine: I know you love University of Mississippi football and New York Yankees baseball. But how does a guy from Mississippi become a Brooklyn Nets fan?
Smith: I tried to watch the Knicks but I can't stand the Dolans [owners of Madison Square Garden and the Knicks]. It's been an exercise in futility since Patrick Ewing was gone. When the Nets came to Brooklyn and built the Barclays Center in this multi-cultural, diverse, amazing borough and Jay-Z and the Russian [Mikhail Prokhorov] are in charge of it - I wanted to be a fan from day one. I love the Barclays Center. I love the food. I love that the cheerleaders are Brooklyn girls. I like every damn thing about it.

TV Guide Magazine: You're current contract is up at the end of the year. Are you going to extend soon or play out the season and test the free agent waters?
Smith: I love it at Fox News. I love working for Roger Ailes. I want to do what's best for everybody involved. Roger and I are really close and I admire him infinitely. I don't know. We haven't had contract talks yet. We've been busy. If we just keep doing our job everything will be fine. I don't approach them. They approach me. We'll see what happens.

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Five injured in Route 40 crash

December 27, 2013

Five people were injured in a three-car crash on Route 40 in West Pike Run Township late Thursday night that closed the road for more than two hours.

Richeyville fire Chief Dave Pohill said emergency crews responded to a head-on collision in the 500 block of Route 40 near Spring Road about 11:14 p.m. Pohill did not know how the third car became involved in the accident.

The five people involved had injuries that ranged from minor to moderate, Pohill said. One person was taken to Mon Valley Hospital, one person was transported to Uniontown Hospital and three people were taken a Pittsburgh area hospital, Pohill said.

Route 40 was closed until about 1:30 a.m. Friday while crews removed the wreckage.

State police in Belle Vernon are investigating the crash but did not release details.

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Latest News
Questions & Answers
What Can You Do?

A Church’s Repentance

Amidst our crisis, one thing cannot be contested: the need for repentance. Of course, repentance is a fixture in Church consciousness no matter what is going on. Here, however, we are talking about something more extreme: we have to repent for being complicit in a culture of malfeasance, one within which millions of dollars were misappropriated or embezzled.

The All-American Council will need to feature acts of repentance that will be appropriate to the different levels of responsibility. As that is being planned, here are one person’s reflections on some of the factors to bear in mind:

1) Theological context

The Church — when we understand it as the Body of Christ, the perpetuation of the Incarnation — is holy and sinless. Understood in these terms, it is impossible to say that the Church sins, that the Church must repent. Yet in so far as every member of the Church sins, and groups of people in the Church sin corporately, it is a part of the Church’s life for us to regularly acknowledge sin and repent of it. In the case of the present crisis, we are talking about sins committed in the name of the Church, and sometimes even in the belief — right or wrong — that it was for the good of the Church. The character of this repentance, therefore, must be both personal and ecclesial, i.e., pertaining to each person and to the body of persons that has been mired in sin. By sinning in this way, we have failed to be Christ’s body. We must ask to be “reunited to the Holy Flock,” to quote one of the prayers read at confession.

This repentance has to be led by the Church’s leaders. Which leads us to the next point.

2) The complexity of authority

Anyone who has been or is in a position of authority can understand how complex it is to exercise it in the fallen world. It can seem impossible to take a single step without sinning, without disappointing, offending, or devastating someone. It is in that spirit that so many of those who have been accused of malfeasance, or those who defend them, speak of what was done as being “for the good of the Church.” However, at this stage, where we are aware of the sheer scale of misappropriation of funds, we have long ago tipped the scale beyond acceptable complexity. No ends justify these means. So arguments from moral intricacy, or even from ignorance (the sheer number of agenda items at a Synod meeting, etc.) are no longer acceptable, not without an acknowledgment that there was also genuine sin involved.

Yet there is more complexity to reckon with, even if it by no means does away with the urgent need for repentance and change: just as it would be simplistic to dismiss the scandal or to place it at the feet of one or two individuals, it is also terribly wrong to speak of anyone involved in it as undifferentiatedly malicious or bad. The same people, the same culture that saw millions of dollars misdirected also did countless acts of good for the Church, some invisible and some visible, many genuinely selfless. Any of us who have seen these men operate – Metr. Theodosius, Metr. Herman, Fr Kondratick, and others currently on the dock – have known their prayerful, pastoral, creative, and loving dedication to the Church. That, very strangely (but not uniquely), apparently went side-by-side with the grave malfeasance committed during their tenure. It is deeply perplexing, but it is so, and can’t be discounted as we meditate on this situation. And again, it doesn’t get anyone off the hook from repentance, and the need for personal and ecclesial redirection.

3) Full disclosure

Many have demanded 100% disclosure of the wrongdoings and of the destination of misappropriated funds. This demand comes partly from the sensibility that there is no genuine reconciliation without full confession of truth, and partly from a healthy (American) culture which values transparency. But in the extreme this can devolve into the unrealistic expectations of an unhealthy (internet) culture that is accustomed to on-demand, universal access to all information. We have to reflect on how much disclosure is realistic or necessary, and to whom. For one, given how much paper shredding has gone on in the initial stages of this crisis, and how widespread the profligacy became, we have to admit that a whole lot of that money is just plain gone, and nobody will ever know where.

But I also believe that not everybody has to know every last detail. It’s hard to know how much disclosure, and to whom, would be enough for there to be real repentance and real reconciliation. I don’t propose any formula; I only want to put the question before us. What’s easy to know is this: the Holy Synod, who are in the end responsible for the Church and all that has gone on within it, have to acknowledge the full gravity of what has happened. They have to make it clear to us that they (now) know the whole picture, and more importantly, that they take spiritual responsibility for it.

4) The role of the Holy Synod

The Holy Synod is responsible for what happened.

If any member of the Synod did not know about the culture of financial malfeasance, he should have made

it his business to know. Whatever the complexities – and we’ve acknowledged some of them – the Synod is where the buck stops, and the Synod has to be the primary locus of repentance. Here again, they have to acknowledge, as a body, that they know what has gone on. And they have to ask forgiveness for their part in it. They simply have to. Whatever language they find – and the legal implications will need to be considered too - they will have to find something meaningful and credible. In doing so, they will become real leaders,

and lead us in the corporate repentance we all must undergo.

In doing so, they also have the opportunity to place the OCA in the virtually unique position of a Church that didn’t simply sweep its scandal under the rug, as several sister Orthodox Churches have done in dealing with their respective scandals in the past decade. This could be an inspiring step forward, and the beginning of our Church’s coming of age.

5) Can this actually happen?

In some ways the signs are not hopeful. Many if not most of our bishops still don’t believe that they were in any way responsible for what has gone on. Furthermore, many if not most of our bishops are of a culture where leaders and father-figures simply don’t say they’re sorry, perhaps out of fear that their flocks would be confused, or even begrudge them for showing that apparent “weakness.” (Dear Fathers in God: do it right, and we will see it as strength. You have to trust us in this. And remember that we love you and need you.)

But it’s not just an old-world mentality; it’s also basic human fear. That may account for why, thus far, we’ve heard almost nothing but a repetition of the story of the primordial sin in the Garden: it wasn’t me. ‘It was the serpent’ (the internet). ‘It was the woman you gave me’ (name your scapegoat). Everyone has denied guilt, or has told us that it was for the good of the Church. But even if direct responsibility has pointed in many directions, we are still talking about a Synod that failed to lead the Church, failed to do so in a manner that listened to the flock — failed, in other words, at the conciliar hierarchy that we say is definitive of the Church. (If we need any more evidence of this continued malfunction, let’s recall March 27, 2008.)

As a body of persons, the Synod can change. And it must. Aside from needing a new leader, it needs to collectively lead a change in Church culture, of which admission of guilt and repentance is the beginning. As Christians we have to be open to the possibility that this can really happen.

The AAC will be decisive. Can the Synod own up to the past, both distant and recent, and beg the forgiveness of its flock? Can they do so in a manner that will cut us to the heart, blow us away by its genuineness? If they can, they will help us see our own sins too, and lead us to engage, together, on a road of repentance, where all that needs to be acknowledged gets acknowledged, where God forgives, and where we can begin to rebuild mutual trust. In all of this we just might begin to regain what has long been smothered: the bold and creative vision on which the OCA was founded.

Peter Bouteneff
Associate Professor of Systematic Theology
St Vladimir’s Orthodox Theological Seminary

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Initiative to boost economy of Mexico adds U.S. firm

WASHINGTON – An American company is getting behind the efforts of Mexicans living in the United States to develop their hometown communities.

Amalia Garc?a, governor of Zacatecas state, says that expanded effort, called 4×1, will start first in her state. It is an updated version of the 3×1 program. Under 3×1, Mexico’s local, state and federal governments each contributed a dollar for a particular project for every dollar that immigrant groups sent home. Now a fourth dollar will be added, from First Data, an international money-transfer company that will contribute $1.25 million.

– Agencia EFE

Statue returns to basilica

Zapopan, Jalisco La Virgen de Zapopan, a small statue of Mary that for centuries has been venerated in western Mexico, returned Wednesday to Zapopan’s basilica after its annual tour of Guadalajara’s churches.

Officials in Zapopan estimated crowds at 3.5 million for the statue’s return pilgrimage, called “La Romer?a.”

The statue, brought by Spanish priests to Mexico, is credited with the conversion of thousands of Indians in 1541.

– El Informador

Indigenous protest

Morelia, Michoacan Oct. 12 in Mexico is celebrated as el D?a de la Raza, the Day of the Race, but indigenous groups also picketed for their rights.

The Pur?pecha Nation held protests at the Capitol and at the governor’s residence to press for teachers, ambulances and fertilizer for its communities.

– Cambio de Michoacan

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The concert-goers lined up outside House of Blues Anaheim on Friday night weren’t just excited — they were absolutely beside-themselves bonkers to see Orange County rock act Eye Alaska (pictured).

Young fans — mostly mid-to-late teens; I could tell from their nonexistent alcohol wristbands — jumped up and down and shrieked with joy as they blurted out their favorite songs and compared stories about meeting various members of the band at other shows.  It was a little annoying, honestly — yet it was also slightly heartwarming to eavesdrop on all these tales of an O.C. group-done-good.

And that ecstatic crowd wasn’t let down by these hometown heroes, who responded to the adulation by delivering a solid set that had fans shouting back lyrics as loudly as vocalist Brandon Wronski (second from left) could sing them. Even he seemed overwhelmed when, during the softer track “Miles Don’t Mean Anything,” he pointed the mic to the audience and they roared back the chorus.

The encore — the band’s burgeoning hit “Walk Like a Gentleman” — was also well-received, and again everyone seemed to know every word. I have to admit it’s been stuck in my head lately, too, thanks to a licensing deal the band struck with MTV to have it used in shows and promo spots. Adding to music that at times turns dramatic, Eye Alaska enlisted the eight-piece Aleutian Orchestra, which gave their songs together a boost for sure, though at times the octet was drowned out by heavy guitars.

The entire roster this night, however, was sharp, with strong performances by local acts A Sound Aside, Stereofix (right) and the Colourist. The odd band out, Bad Rabbits from Boston, was a nice pop-soul surprise that kept the energy up and had the audience pumped for the headliner.

Earlier in the evening, I caught up with Wronski backstage for a quick chat. In performance he has a commanding presence and often wears some interesting outfits — this night he alternated between an oversize scarf with a hood, a small backpack (not even people from his record label knows what’s in it) and, at one point, a fox-skin hat.

But one-on-one the soft-spoken frontman was more subdued, hanging around the venue in an open camouflage shirt and cargo pants with one leg pulled up to his knee. He fidgets with his hands and shuffles his feet in conversation but always maintains eye contact, lighting up most when we start to talk about what Eye Alaska will be up to this summer: “We’re going to be in the studio writing,” Wronski reports.

New material has already been compiled, but he says the band — including guitarists Cameron Trowbridge and Chase Kensrue, bassist Chris Osegueda and drummer Han Ko — is hoping to add to it in a more professional studio setting. Most of last year’s debut — Genesis Underground, from O.C. label Fearless Records — was written in the back of the group’s tour van. For its sophomore release, Wronski says more resources have been made available to them, so they intend to make the most of it.

“We’ve had time to grow a lot as a band and as people, and we’re taking everything we want now to new heights,” he says. “There’s going to be a lot of changes (with the new album).”

Photos also by Kelli Skye Fadroski, The Orange County Register.

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Selanne celebrates a first period goal Sunday.

ANAHEIM – Paul Mara scored with 1.7 seconds remaining to lift the Ducks over Nashville, 5-4, on Sunday night at Honda Center.

The Ducks had surrendered two third-period goals but came out with a victory when Bobby Ryan got the puck on the right side, passed it under Nashville’s Shea Weber to a streaking Mara, who put it into an open net.

The Ducks improved to 5-1-1 at home and handed Nashville its fifth consecutive loss.

Saku Koivu scored twice, the latter to give the Ducks a 4-3 lead midway through the third period on a deflection, and it held up until Nashville’s Cal O’Reilly slammed in a pass from Cody Franson with 3:37 remaining.

Nashville got two goals on three total shots in the third period.

Franson had made it 3-3 at 6:51 of the third when he threw it on net from the right side and watched it trickle behind Jonas Hiller.

Lubomir Visnovsky had given the Ducks a 3-2 lead just 49 seconds in the third by snapping in a loose puck from the slot.

Nashville tied it at 2 late in the first period when Patric Hornqvist intercepted Bobby Ryan’s clearing pass at the blue line and passed it to Steve Sullivan, who beat Hiller on a backhand.

Koivu gave the Ducks a 2-1 lead in the first period as he converted  Teemu Selanne’s pass in front. Selanne gave the Ducks a 1-0 lead less than minute into the game by putting in a rebound on an open net, his 613th career goal.

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Girls water polo: 10 players to watch in CIF Div. 2 playoffs

10 players to watch in CIF-SS Div. 2 girls water polo playoffs:

(listed alphabetically)

Hilary Adkins, S. Lucy’s, Sr.

Madison Baba, Dana Hills, Sr.

Maddy Damato, El Toro, Jr.

Sabrina Gabaret, St. Lucy’s, So.

Morgan Jones, Murrieta Valley, GK, So.

Jessica Kimberling, Los Osos, So.

Delayne Lynton, Murrieta Valley, Jr.

Amber McCutcheon, San Clemente, Jr.

Tori Rainone, El Toro, Jr., GK

Danielle Stane, Agoura, Sr.

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2014 Appreciation Index

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Benefits of Effective Recognition

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Downtown Salt Lake City retailer O.C. Tanner named “Coolest Store” in America

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OddsShark Top Sportsbooks

Recap - Silver Stars Defeat Los Angeles 79-69

Becky Hammon scored 26 points for San Antonio on Monday, leading the Silver Stars to a 79-69 victory over Los Angeles at STAPLES Center.

The Silver Stars were a 3-point favorite in the win, and managed to turn a profit for their supporters. The combined score dipped UNDER the total, which closed at 157.5.

Sophia Young had 18 points for San Antonio and Jia Perkins chipped in with 14 points. Danielle Robinson had 6 assists for the Silver Stars, while Sophia Young was the team's top rebounder, grabbing 10 boards.

Los Angeles got 14 points from Natasha Lacy in a losing cause and another 14 points from Jantel Lavender. Natasha Lacy contributed 7 assists for the Sparks, while Jenna O'Hea had 11 rebounds.

San Antonio led at halftime, 42-32.

The rebound battle favored San Antonio as they grabbed 42 boards, while Los Angeles only had 36.

Next game, San Antonio takes its act on the road to face Seattle looking for another win. For Los Angeles, they head on the road to face Minnesota.


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First meeting of the Regional Task Force on Responsible Business Conduct

Cairo, Egypt, 26 October 2008

The first meeting of the Regional Task Force on Responsible Business Conduct took place in Cairo on 26 October 2008. Participants representing governments, businesses and civil society in MENA and OECD countries gathered to discuss concrete initiatives for engaging in responsible business conduct and strengthening partnerships, focusing on:

  • key issues in areas identified as most relevant to the MENA region, namely: business integrity and anti-corruption; education, youth employment and labor standards; health and environment
  • indicators for measuring government policy and corporate practices designed to promote responsible business conduct
  • means of action to be taken, including raising awareness and training/partnership programmes, multi-stakeholder involvement, focusing on public-private dialogue and civil society involvement

Participants explored the roles of all the parties involved, outlining the respective roles of governments, private sector and civil society, and proposed mechanisms for strengthening partnerships and measuring impact.

H.E. Mahmoud Mohieldin, Egypt's Minister of Investment, stressed the importance of responsible business conduct to ensure law enforcement and fight corruption, especially in the context of the current crisis.

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OV Conference 2017 Booking Form

Instructions: Please complete the form below to book your place(s) at the 2017 OV Conference:

  1. Use the No. dropdown(s) to select how many people are attending on each date(s)
  2. Complete the First/Last name, email details and stream preferences of each attendee
  3. The Thursday Evening Gala Pack is pre-selected - untick the box if you do not want this option.
  4. Finally, confirm the payment details in the bottom section of the page then click "Continue".
  5. When you reach the Payment step you can choose to pay online (preferred), or pay manually by BACS, Cheque, Direct Debit or Invoice.
  6. Payment instructions will be included in your confirmation email.