Hard times: is this the end of the road for the private finance initiative?

BMJ ◽  
2010 ◽  
Vol 341 (jul20 2) ◽  
pp. c3828-c3828
Author(s):  
P. Davies
2016 ◽  
Vol 4 (4) ◽  
pp. 30
Author(s):  
Nooriha Abdullah ◽  
Darinka Asenova ◽  
Stephen J. Bailey

The aim of this paper is to analyse the risk transfer issue in Public Private Partnership/Private Finance Initiative (PPP/PFI) procurement documents in the United Kingdom (UK) and Malaysia. It utilises qualitative research methods using documentation and interviews for data collection. The UK documents (guidelines and contracts) identify the risks related to this form of public procurement of services and makeexplicittheappropriateallocation of those risks between the public and the private sector PPP/PFI partners and so the types of risks each party should bear. However, in Malaysia, such allocation of risks was not mentioned in PPP/PFI guidelines. Hence, a question arises regarding whether risk transfer exists in Malaysian PPP/PFI projects, whether in contracts or by other means. This research question is the rationale for the comparative analysis ofdocumentsand practicesrelatingtorisk transfer in the PPP/PFI procurements in both countries. The results clarify risk-related issues that arise in implementing PPP/PFI procurement in Malaysia, in particular how risk is conceptualised, recognised and allocated (whether explicitly or implicitly), whether or not that allocation is intended to achieve optimum risk transfer, and so the implications forachievement ofvalue for moneyor other such objectivesinPPP/PFI.


2007 ◽  
Vol 9 (2) ◽  
pp. 289-310 ◽  
Author(s):  
Rob Ball ◽  
Maryanne Heafey ◽  
Dave King

Eubie Blake ◽  
2020 ◽  
pp. 217-252
Author(s):  
Richard Carlin ◽  
Ken Bloom

This chapter explores Eubie’s collaboration with Andy Razaf for the score of Lew Leslie’s Blackbirds of 1930; difficulties of working with Leslie; the show’s poor reception and short run on Broadway; the success of Blake and Razaf’s song, “Memories of You,” and its recording by Ethel Waters and Louis Armstrong; and the show’s troubled life on the road. The chapter further discusses Eubie’s return to working with Fanchon and Marco; Eubie’s breakup with Lottie Gee; his attempts to land work recording and on the radio; the formation of his own big band; the band’s recordings for the small Crown label; and Eubie’s difficulties dealing with his band members. Then the chapter examines Eubie’s appearance in the short film, Pie, Pie, Blackbird, with Nina Mae McKinney and the Nicholas Brothers; his breakup with Broadway Jones; Noble Sissle’s return to the United States and his reunion with Blake; the creation of Shuffle Along of 1933, with a new plot and new songs; and how Eubie briefly worked for W.C. Handy’s publishing company and published a few new songs and instrumentals with Handy.


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