CALIFORNIA | LOCAL
January 7, 2004 |
Police in San Diego reported 64 homicides last year, an increase of 17 from 2002. Police said many of the deaths were linked to robberies, gang activity or domestic violence. Authorities said the 2003 increase follows a year that had one of the lowest homicide rates in the city in two decades. In 1991, San Diego, the nation's seventh-largest city, recorded 166 slayings.
January 6, 2004 |
U.S. corporate earnings led by companies including Merrill Lynch & Co., Intel Corp. and ChevronTexaco Corp. more than doubled to a record in 2003, buoyed by greater consumer spending, job reductions and a weakening dollar. Companies in the Standard & Poor's 500 index had net income of $474 billion for the year, based on a Thomson Financial estimate that fourth-quarter profits rose 22%.
January 5, 2004 |
Bruce Springsteen, thanks chiefly to the top-grossing concert tour of 2003, edges out rapper 50 Cent to top Calendar's seventh annual Ultimate Top 10, a list that combines album and concert ticket sales to show which artists U.S. pop fans spent the most money on. The results reflect stylistic diversity at the top, from classic rock (Springsteen) to hard-core rap (50 Cent), pop (Celine Dion) and country (Toby Keith). Springsteen's sales totaled $132.
January 3, 2004 |
Juries handed out fewer big-ticket verdict awards to individual plaintiffs in 2003, according to an annual survey. The value of the 10 biggest jury awards fell to $1.27 billion, a six-year low, Boston-based Lawyers Weekly USA said. The highest-paying verdict was $254.6 million, the smallest top award since 1993.
January 2, 2004 |
Wall Street ought to win a big award for inclusiveness in 2003. The equity market rally was good for just about every type of stock. Of 100 industry sectors within the blue-chip Standard & Poor's 500 index, 96 rose last year. On the New York Stock Exchange, 88% of shares gained for the year. On Nasdaq, 87% were winners. But in 2004 investors are expected to become pickier about where they put their money.
January 2, 2004 |
It's been a peripatetic year up on the big screen. In movie after movie, a theme of restlessness and migration has emerged, in content and form (consider "American Splendor," which so ingeniously blurred the lines between live action and animation, fiction and documentary). Movies have always been a lagging indicator of social change, but it finally looks as if a 21st century cinema is beginning to emerge, one that emphatically refuses to stay in one place.