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Tuesday, April 17, 2012
Monday, April 16, 2012
Stocks rebound after Tuesday's big slide
The Dow jumped 89 points to close at 12805, a stark turnaround from yesterday's free-fall.
Investors on Wednesday all but forgot the previous day's burdens and sent stocks soaring. It was a stark turnaround from the day before, when they'd pushed the market into a free-fall on worries about European debt and corporate earnings in the U.S.
Skip to next paragraphThose fears about problems festering on both sides of the Atlantic were calmed thanks to a surprising profit from Alcoa and news that borrowing costs in Spain had edged down, a potential sign that investors have more faith ? for now, anyway ? in that country's financial health.
The result was a U-turn on Wall Street. The Dow Jones industrial average climbed as much as 129 points in early trading before settling at 12,805.39, up 89.46 points. The previous day, it had lost 214 points, the cap to its biggest and longest losing streak this year.
European markets rose, too. Stocks climbed roughly 1 percent in major capitals, excluding Greece, after losing 2 to 3 percent the day before. Treasury prices fell, signaling that investors are more willing to put money in stocks.
Other U.S. indexes also erased much of the previous day's losses. The Standard & Poor's 500 rose 10.12 points to 1,368.71 after losing 24 points the day before. The Nasdaq composite climbed 25.24 points to 3,016.46 following a 56-point loss Tuesday.
Alcoa rose more than 6 percent after reporting late Tuesday that it turned a profit in the first three months of the year and handily beat the expectations of Wall Street analysts, who were predicting a loss. Since Alcoa is the first company in the Dow average to report earnings, its results have a greater ability to move the market compared with companies that report later. More first-quarter results will be released over the next few weeks.
Market watchers were divided over how long the gains would last and whether Alcoa's profits actually mean anything for the rest of the earnings season.
"I'm not predicting we're going to have a blowout earnings quarter," said David Armstrong, managing director of Monument Wealth Management in Alexandria, Virginia. "But I think if people thought earnings season was going to be bad, they may be pleasantly surprised."
"One earnings report?" countered Uri Landesman, president of the New York hedge fund Platinum Partners. The boost "will last until the first bad number."
Among stocks making big moves:
?Titan Machinery, which sells agricultural and construction equipment, jumped nearly 17 percent after reporting a big increase in quarterly profit.
?Cell phone maker Nokia plummeted nearly 16 percent after warning that heavy competition will hurt first-quarter results.
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Black Keys Warm Up Dreary Coachella Festival Friday
Swedish House Mafia brings the beats as first day of three-day desert festival suffers uncharacteristically low temperatures and drizzle.
By Mary J. DiMeglio
Black Keys' Dan Auerbach performs at the 2012 Coachella music festival
Photo: Getty Images
INDIO, California — On a day that had festivalgoers packing ponchos instead of sunblock and the merchandise booths no doubt sold a record number of hoodies, the uncharacteristic weather at Coachella's Friday kickoff was no match for the heat of the Black Keys.
The Akron, Ohio, guitar-and-drums blues-rock duo instantly had the crowd in their hands, opening with the "Howlin' For You" sing-along from their 2010 commercial breakthrough, Brothers.
Announced earlier this week as headliners for Lollapalooza 2012 in August, the Keys also performed Friday night at Coachella in 2011, but this year, they were promoted to top billing.
The pair wailed through the Grammy-winning "Tighten Up" and "Lonely Boy." During "Everlasting Light," a giant disco ball descended as frontman Dan Auerbach unleashed his falsetto. Auerbach asked the crowd to wish a happy birthday to drummer Patrick Carney before ending with "I Got Mine."
Swedish House Mafia closed out the main stage, proving that some EDM has outgrown the Sahara dance tent. The masses were jumping to the beats of Axwell, Steve Angello and Sebastian Ingrosso, who is also playing a solo set in the Sahara on Saturday (April 14). Angello will DJ a solo set in June at Las Vegas' Electric Daisy Carnival.
"I heard there was a rumor going around that the reason it was gray and muggy earlier is because there were two Sheffield [England] bands on," Pulp's Jarvis Cocker quipped, referring to earlier mainstagers the Arctic Monkeys.
In the Gobi tent, Frank Ocean fans swooned over his take on Coldplay's "Strawberry Swing" and other cuts from his debut mixtape, Nostalgia, Ultra. The crowd excitedly welcomed Tyler, the Creator to the stage early in the set to growl his Odd Future "Analog 2" verses.
Influential Swedish hardcore band Refused expressed gratitude for their long-awaited reunion, saying, "The reason we're playing tonight is because Coachella invited us." Their hour-long performance, which inspired lots of head-banging and moshing, included "Coup D'Etat," "Worms of the Senses/Faculties of the Skull," "Tannhauser/Derive" and "New Noise."
Elsewhere, the Black Angels psychedelic blues — which included a sitar — didn't draw nearly the crowd it deserved, Madness had the Outdoor stage skanking away and Rancid's Tim Armstrong backed Jimmy Cliff on guitar.
In response to last year's event selling out — a week after the 2011 lineup was announced — Coachella is experimenting with featuring the same artists for two consecutive three-day weekends: April 13-15 and April 20-22.
Still to come this weekend: Radiohead, Dr. Dre and Snoop Dogg, Bon Iver, Florence and the Machine, A$AP Rocky and the At the Drive-In reunion.
Did you go to Coachella? Share your review in the comments below!
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Did Caravaggio meet a grisly end - with the Vatican's complicity?
Citing documents from the Vatican Secret Archives, an Italian historian argues that 17th-century documents reveal Renaissance artist Caravaggio was assassinated by the Knights of Malta.
In one of his most graphic paintings, the rabble-rousing Renaissance artist Caravaggio?depicted his tortured face on the head of Goliath, slain and decapitated by the boy warrior David.
Skip to next paragraphAn Italian historian thinks that Caravaggio may have met just such a grisly end ? at the hands of the Knights of St. John of Malta, the chivalric order founded during the Crusades.
Vincenzo Pacelli, a Caravaggio expert from the University of Naples, has unearthed documents from the Vatican Secret Archives and state archives in Rome that suggest the Knights ordered the artist to be assassinated in revenge for him attacking and wounding on one of their members during a brawl.
They then dumped his body in the sea at Palo, north of Rome, which would explain why there are no documents recording his death.
Until now, conventional wisdom said Caravaggio died either from an illness or lead poisoning from the oil paints he used.
The murder was ?commissioned and organized? by the Knights of Malta and carried out with the complicity of the Vatican, Mr. Pacelli says in his forthcoming book, "Caravaggio ? Between Art and Science."
The historian found strange discrepancies in correspondence between Cardinal Scipione Borghese, a powerful Vatican secretary of state, and Deodato Gentile, a papal ambassador, in which the painter?s place of death was cited as the island of Procida near Naples, ?a place that Caravaggio had nothing to do with,? according to Pacelli.
A document written by Caravaggio?s doctor and first biographer claimed that the painter died at the age of 38 north of Rome, but the place name was later scrubbed out and replaced by the name of a town in Tuscany.?Pacelli also found an account written 20 years after Caravaggio?s death in which an Italian archivist wrote that the artist had been ?assassinated.?
He believes it all adds up to evidence of an assassination plot by the Knights of Malta which was then covered up.
Not all experts are convinced by the new theory.?John T. Spike, a Caravaggio expert at the College of William and Mary in Williamsburg, Va., is skeptical of the idea that the painter was murdered on the Knights' orders.
?The problem with the theory is that the Knights had ample opportunities to kill him sooner ? either when he was living in Malta, or when he then went to Sicily, which is very close,? says Mr. Spike. ?Why did they wait so long??
The academic sparring will continue, but more than four centuries after his death in 1610, the true fate of Caravaggio remains an enigma.
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Sunday, April 15, 2012
This Broad Sword Umbrella Is Your Battle-The-Rain-And-Win Deal of the Day [Dealzmodo]
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Saturday, April 14, 2012
Klipsch Gallery G-17 Air
Editors' Note (4/11/2012): After the most recent version of iOS was released, the previously mentioned issue of interrupted AirPlay streams was cleared up. We have since tested and confirmed this, and as such have revised the review and score to reflect that improvement.
As AirPlay speaker systems increase in number?most of them still being referred to as "docks" despite a lack of an actual dock for an iPhone, iPod, or iPad?a few things are becoming increasingly clear. Almost all AirPlay docks are black, and the Klipsch Gallery G-17 Air is no exception. They are all pretty expensive?the G-17 is a hefty $549.99 (direct). For the most part, all AirPlay docks thus far offer quality audio, ranging from booming bass, as with the Audyssey Audio Dock Air ($399.99, 3.5 stars) to superb high fidelity sound, as with the Bowers & Wilkins Zeppelin Air ($599.95, 4 stars). The G-17 sounds excellent, and as of the most recent iOS update, has resolved the streaming issues we experienced in the past.?
Design
The rounded, glossy black piano finish of the Gallery G-17 Air is striking, as is the horizontal array of drivers?two 20-watt woofers in the middle and two 10-watt tweeters on the far left and right ends of the front panel. A small Klipsch logo and a remote sensor are the only other things on the front panel. All of the controls are located on the small right-hand side panel?Power, Volume, Input Select, and Wi-Fi, which is used for inital setup. The back panel houses the power cable connection, a 3.5mm Aux input, and a USB connection. You'll need a Phillips head screwdriver to attach the glass stand to the speaker unit (screws are included), but the G-17 is also wall-mountable. Also included with the G-17 and its stand: a rubber cover for the input panel on the back, a black cloth grille cover in case you want to hide the awesome looking drivers, a remote control, the power supply, an owners manual, and?seriously?white gloves, so your fingertips don't smudge the glossy black surface when you move the system.
The included remote can be frustrating to use?depending on the angle, and strength of the Wi-Fi signal, adjusting the volume can be a very delayed process. When the signal is good and the audio is streaming smoothly, the remote, which is a simple, thin, black plastic controller with membrane buttons, works fine. It has Power, Volume, Play/Pause, Skip Forward/Backward, and Input Select buttons.
Performance
The Gallery G-17 offers fairly powerful, refined audio performance for its size. There are four drivers but no subwoofer, and the net result is a audiophile-friendly flat response, devoid of booming deep bass but quite capable of articulating low frequencies well. Kick drums sound tight, not thunderous. Lower register stringed instruments sound pleasantly resonant, not overly boosted or booming. John Adams' modern classical piece, "The Chairman Dances," sounds neither overly bright nor rumbly. Instead, the G-17's response favors mid-range frequencies, occasionally allowing high frequency percussion hits, like wood blocks, to pop out from the more commanding force of the stringed instruments. At maximum volume on deep bass tracks, the G-17 doesn't distort, but this is partially due to the lack of booming bass pushed out by the speakers. Still, many systems that have no subwoofer try to reproduce deep bass frequencies with the result of distortion, and the G-17 avoids this problem. The Knife's "Silent Shout," at maximum volume, doesn't sound as thumping as it would on a system with a sub, but it does not distort either, and the bass frequencies are still well represented. Basically, the G-17 offers a nice, smooth response throughout the frequency range that doesn't exaggerate the lows or ignore them. Fans of accurate response over booming bass will be pleased.
Because AirPlay relies on Wi-Fi, it's dependent on the bandwidth of the local network. The more tasks being completed on the Wi-Fi network, no matter how un-taxing on the bandwidth, like sending an email, the more likely the stream is to pause, or stop completely. We have since tested the Klipsch Gallery G-17 Air again with the new version of iOS and experienced little to no interruption in the stream. This is a vast improvement over our initial tests of the speaker, and we have revised its score accordingly.
Apple is reportedly choosing to either switch to or include Bluetooth streaming into the AirPlay feature. Even a year or so ago, Bluetooth streaming was still a weak audio solution, with very little bass and low bit-rate fidelity. But recent developments have strengthened the audio quality greatly, as evidenced by recent Editors' Choices, the portable Bose SoundLink Wireless Mobile Speaker ($299.95, 4 stars) and the fantastic JBL OnBeat Xtreme ($499.95, 4.5 stars), which shows up as an AirPlay device on an iPhone or iPad, but uses Bluetooth. As of the most recent iOS update, AirPlay and Bluetooth seem to be similarly reliable.
The Bowers & Wilkins Zeppelin Air remains at the top of the list of AirPlay docks, in terms of audio performance, with the Klipsch Gallery G-17 close to the top with the most recent version of iOS. The streaming issues have been resolved, and it's now about as functional as a Bluetooth speaker, with excellent audio quality.?
More Speaker reviews:
??? Klipsch Gallery G-17 Air
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