Kwon Bo-ah known professionally as BoA, is a South Korean singer and actress active in South Korea and Japan. She is referred to as the Queen of Korean Pop. 1 Background; 2 Career. 2.1 2000–2002: Debut and Japanese expansion; 2.2 2003–2005: Commercial success; 2.3 2006–2008: Continued. Hotwapi.Com is a mobile toplist for mobile web sites. We have over 2000 registered sites.

Contents • • • • • • • • • • • • • • • • • • • • • • • • Background [ ] BoA was born and raised in, South Korea. She was discovered by talent agents when she accompanied her older brother to a talent search. In 2000, after two years of training, she released, her debut Korean album.

Two years later, she released her debut Japanese album,, becoming the first Korean pop star to break through in Japan following the fall of barriers that had restricted the import and export of entertainment between the countries since the end of. On October 14, 2008, BoA debuted in the United States with the single ' and released her debut English-language album, on March 17, 2009. BoA's multilingual skills (she speaks Japanese and English along with native Korean and has recorded songs in ) have contributed to her commercial success throughout East Asia.

She is the only foreign artist to have three albums selling more than one million copies in Japan and is one of only two artists to have six consecutive number-one studio albums on the charts since her debut, the other being. Career [ ] 2000–2002: Debut and Japanese expansion [ ] At age eleven, BoA accompanied her older brother to an SM Entertainment talent search. Though her brother was the one who auditioned as a break-dancer, SM instead took notice of BoA and offered her a contract on the same night as the auditions. Her parents initially opposed the notion of BoA's leaving school to enter the entertainment business but eventually consented at her older brothers' persuasion. She has said that her early influence as a singer was.

BoA underwent two years of training (involving vocal, dance, English, and Japanese lessons), and at the age of thirteen released her debut album ID; Peace B in South Korea on August 25, 2000. The album was moderately successful; it entered the Top 10 of the South Korean charts and sold around 156,000 units. Meanwhile, her Korean record label, SM Entertainment, made arrangements with Japanese label to launch her music career in Japan. She was forced to quit school to prepare and in early 2001, BoA released her first,; it sold around 90,000 units. After its release, she took a hiatus from the Korean music industry to focus on the Japanese market at which time she worked to solidify her skills in Japanese. BoA began her Japanese music career singing at the Avex-owned club.

In 2001, she released her debut Japanese single, a Japanese version of the song, ' (originally from the eponymous album). The single reached No. 20 on the Oricon chart and was followed by ', ', and 'Listen to My Heart'; the last became the singer's first single to enter the Oricon's Top Five. After the, BoA recorded the charity single ' with as part of Avex's project to raise funds for charity.

From 2001 to 2007, BoA hosted Beat it BoA's World, a radio program on the. Her debut Japanese album,, was released on March 13, 2002.

The album was a breakthrough in BoA's career: it became an -certified million-seller and debuted atop the Oricon, the first album by a Korean artist to do so. A single, ', was released on the same day as the album. After the release of Listen to My Heart, BoA released her second Korean studio album,, a month later.

The album sold around 544,000 units and became the fourth-best-selling record of the year in South Korea. Jumping into the World (a Japanese re-release of the mini-album Don't Start Now) and the Japanese single ' were released a month later on the same day. BoA then released her seventh single '. It peaked at the number-two position on the Oricon chart. BoA released two more singles ' and ', both which also peaked at the number-three position. At the end of the year, BoA released her second Korean mini-album.

2003–2005: Commercial success [ ] BoA's second Japanese studio album, (2003), became her best-selling album, with over 1,249,000 copies sold. In support of the album, BoA launched BoA 1st Live Tour Valenti, her first Japanese concert tour. Later that year, she released two Korean albums, and the mini-album. The former was the fifth-best-selling South Korean record of the year with around 345,000 units sold; the latter sold around 58,000 units. Her third Japanese studio album, (2004) was a musical 'change in direction': it contained a rock-dance song (') and 'harder' R&B.

Though the album failed to match Valenti in sales, it topped the Oricon chart for two weeks and became -certified triple-platinum. In support of the album, BoA held a tour, Live Concert Tour 2004: Love & Honesty. In contrast with 1st Live Tour, which 'emphasized exotic Asian design', the Love & Honesty tour had an 'outer-space, sci-fi' theme; among the props were a three-story-high and the robot. The tour, which started in and ended in, spanned nine performances and attracted approximately 105,000 attendants.

Her first, (2005), however, sold over a million copies, making BoA the first non-Japanese Asian singer to have two million-selling albums in Japan. BoA reinvented her image on her fourth Korean album, (2004); she left the 'cute' and 'youthful' style that had characterized previous years and presented herself as 'sexy' and 'sultry'.

The album was the beginning of a foray into the Chinese market and contained two songs sung in Mandarin Chinese. The sales of BoA's Korean albums began to decline: the album sold 191,000 units and became the eleventh-best-selling South Korean album of the year. In September 2004, BoA instigated controversy in Japan when she donated 50 million to a memorial project for activist and nationalist. Her fifth Korean album, (2005), continued her image change.

The album portrayed the singer as more 'mature and self-confident' and was a 'declaration of war on '; the ' look of the cover photograph represented 'freedom and depth', while music videos and album photographs that portrayed BoA in brought the 'idea of Korean womanhood' into her music. The album also continued BoA's foray into the Chinese market and, like the previous album, contained Mandarin Chinese songs. The album sold less than the previous album; it was the fourteenth-best-selling record of the year in South Korea with 113,000 units sold. 2006–2008: Continued success in Japan [ ]. BoA at a DoubleUDot (W.) sign event in September 2006 In 2006, BoA was mostly inactive in South Korea as she focused her attention on Japan. Her fourth Japanese studio album,, was released on February 15, 2006. The album reached the number-one spot on the Oricon chart for its first week of release, making it her fourth consecutive original Japanese album to do so.

With 220,000 copies sold, it became her lowest-selling first-week debut for a studio album at that point. ', the first single from the album, reached the top spot, making her the fourth non-Japanese Asian to have a number-one single on the Oricon charts. ' (2005), the album's last single, was the singer's first digital single. In May, BoA renewed her contract with SM Entertainment until 2012.

At the time it was noted that she had a shareholding in the company of 100,000 (Approximately worth $1m USD). She also voiced Heather the possum in the Korean and Japanese version of the animated film.

On September 21, 2006, she released her first digital single in Korea, a Korean version of '. In support of Outgrow, BoA launched a special tour, B0A The Live, on September 29, 2006. The tour, which lasted until October 29, started from and contained twelve shows, two in each of the following cities: Nagoya,,, Tokyo,, and. She staged her first Christmas concert on December 7, 2006.

BoA's fifth Japanese studio album, (2007), continued her transition from a 'teenage girl' image to a more mature image. The album, which contained R&B and dance songs as well as ballads, debuted at the top of the weekly Oricon charts, making the album her sixth in a row to do so (including one compilation). She began using a personal computer for composing one of the songs ('No More Make Me Sick'). On March 31, 2007, she launched a nationwide tour of Japan in support of the album. The tour, which sold about 70,000 tickets, was, according to BoA, 'the biggest concert' she had ever given. Two tracks from the singles of Made in Twenty (20) were used as theme songs; 'Your Color', from the single ' (2006), was used as the ending theme song for the Japanese release of the game. 'Key of Heart', from the single ' (2006), was the ending theme for the Japanese release of the movie.

She also released an English version of 'Key of Heart', which was only available on the first press edition of the single. Later in 2007, (a brand) signed BoA, (of ), (of ), and jazz pianist Jin Bora onto ', a band created specifically to promote Anycall. The band released only one single, '. With her sixth Japanese album, (2008), BoA took more creative control over her music. At this time, BoA was influenced.

Additionally, BoA included 'happy spring' songs (the lead single ' and its B-side, 'Bad Drive'), a guitar-driven 'groovy dance' song (2007's '), and ballads. Lyrically, BoA focused mainly on love, though ' (2008) was about a person's relationship with his dog. The album debuted at the top of the weekly Oricon charts, making BoA one of only two artists in Japan to have six consecutive studio albums top the Oricon weekly charts (the other is, who has eight consecutive number-one albums). On June 9, 2008, BoA and nine other artists from around the world recorded an English cover of 's 'Dedication of Love'.

Produced by and Brian Alan, the single was used to raise funds for victims of the. But due to a tight schedule, BoA was pulled back from this project. Korean jewelry brand Ramee also released, 'Ramee by BoA', a line of jewelry designed by the singer herself. 2008–2010: Bring on America!

And return to Japanese market [ ]. BoA in 2009 On September 2, 2008, it was announced that BoA would make her American debut under a new subsidiary label, SM Entertainment USA.

With the album, BoA hoped to become a 'world-renowned entertainer' in the vein of. BoA's debut American single 'Eat You Up,' produced by, was released online on October 21, 2008. A physical containing dance remixes of 'Eat You Up' was released. 'Eat You Up' placed at No. 9 on Billboard's chart.

The remix of 'Eat You Up' featuring rapper was slated for release in late November and leaked onto the internet in December. BoA performed 'Eat You Up' as well as other songs at YouTube's Tokyo Live concert, and performed in New York City on December 3, 2008, as well as the at the on December 6, 2008. She also performed the song 'Look Who's Talking' at the event. BoA released a triple- single in Japan on February 18, 2009, '.

On the same day, the single 'Believe in Love' was released, featuring vocals by BoA. BoA's was released in the U.S. On March 17 and featured tracks by producers as well as a duet with. Her second Japanese compilation album, was released on March 18 tying together a compilation of recent hits in Japan with her English-language debut.

BoA stated that 'It has always been my dream to debut in America' and was tutored English in L.A., but found the language tougher to learn than Japanese. She lived in West Beverly Hills but admitted finding it tough to make friends. BoA headlined as a performer for the on June 28, 2009 alongside and. She debuted her next single 'Energetic', performing it for the first time in public. She also performed 'Eat You Up' and 'I Did It for Love.' On August 31, SM USA released, a repackaged version of her debut English album.

The album contained two new tracks and the radio edit version of 'Energetic'. With her U.S. Career struggling to gain traction, BoA returned to the Japanese market to release a new single entitled ' (October 2009), which features label-mate from.

BoA then released ' (December 2009) which was used as the theme song to the video game ' and held a Christmas concert in December. Her seventh Japanese album, was released on February 10, 2010, but only charted at No. 4, selling 37,606 copies in its first week. With little promotion from her label, it ended her run of six consecutive No. 1 albums, suggesting that it would be impossible for her to sustain her career in three territories simultaneously. 2010–2012: Hurricane Venus, Hollywood film, Only One, and first Korean solo concert [ ] On March 1, 2010, SM Entertainment announced that BoA would, on her 10th debut anniversary, release a first full-length Korean album after five years.

On July 21, 2010, Avex released the ' single, the lead song of which was used to promote Disney on Ice's 25th Anniversary in Japan. BoA's official Korean website announced on July 23, 2010 that her comeback sixth Korean album would be entitled. Hurricane Venus was released on August 5, 2010 and debuted at No.1, where it stayed for 2 weeks.

'Game' charted at No.6. A repackaged version of the album with two new songs under the name of 'Copy & Paste' was released in September, 2010.

The album won a Bonsang Award from the in 2010, making it the first time in her career to receive the award. On December 6, 2010, Avex released a digital single, ', for a commercial that promoted Audio Technica headphones in Japan. In October BoA represented South Korea and performed at the, organized by Korea Foundation for International Culture Exchange, at the. BoA in 2012 BoA made her Hollywood movie debut in the dance film (formerly named Cobu 3D), directed by and produced by Robert Colt.

BoA plays a character called Aya, while Derek Hough (known from the U.S. Television show ) will play the male lead of Donny.

Aya and Donny fall in love, even though their families are enemies on the dance scene. Filming began in Spring in New York City and Toronto, Canada.

On December 7, 2011, BoA released her Japanese single ' to mark her 10th anniversary of her Japanese debut. The music video premiered on November 21 through MTV Japan.

The single ranked at No. 4 on the Oricon Weekly Music-DVD charts. She held her 10th anniversary concert n December 10-11 at Tokyo International Forum. In December 2011, she joined the judging panel on 's audition program as a representative of S.M.

Entertainment, alongside from and from. BoA received praise for her ability as a judge with her insightful comments and discerning eyes. On March 17, 2012, BoA released a single titled 'One Dream' as the theme song for the program. A sample of BoA's 'The Shadow' from her seventh Korean studio album Problems playing this file? On July 25, 2012, BoA released her 7th Korean album,.

The title track (also named 'Only One') was written and composed by BoA, with its dance steps choreographed by NappyTabs, who has previously worked with BoA in Cobu. Upon its release, 'Only One' achieved an all-kill on several music charts. Following the conclusion of promotions for 'Only One', BoA began promoting her follow up track, 'The Shadow,' was released August 18, 2012. On October 16, 2012, BoA released the digital single ' featuring for Hyundai's 'Premium Younique Lifestyle' campaign.

2013–2014: First Korean tour, Infinity Challenge, Japanese single, and acting [ ]. BoA as S / S Global Campaign ambassador in March 2013 On January 26 and 27, 2013, BoA held her first solo concert in Korea as part of her ' tour at the Olympic Hall. On January 28, BoA released ',' a song she wrote and composed in commemoration of her first concert tour in South Korea. On May 30, BoA held her first solo concert in Taiwan as part of the tour.

BoA's 33rd Japanese single, ', was released on June 26, 2013, containing the theme song for the Japanese drama. The single featured 'Baby, You.' , the Japanese version of her Korean song 'Geuleon Neo (Disturbance)', and an English version of 'Tail of Hope'. In September 2013, BoA starred in KBS' two-episode drama special Expect to Date alongside and. This is BoA's first role in a full drama, following a string of cameo appearances. She received praise for her acting performance.

In October 2013, BoA participated in bi-annual song festival. She was paired up with 's, and they co-produced a single titled 'G.A.B'. The same month, BoA released her 34th Japanese single 'Message/Call My Name', a medium ballad track.

On March 5, 2014, BoA released a Japanese single titled '. She released another single on July 23, titled 'Masayume Chasing'. The song was used as the fifteenth opening song for the anime,. On September 3, 2014, BoA released her 8th Japanese studio album, WHO'S BACK? The same month, she embarked on her 'BoA Live Tour 2014 WHO'S BACK?' Tour in September, her first Japanese tour in four years.

Following the conclusion of her Japanese tour, BoA released her 38th Japanese single 'Fly' on December 3, 2014. Also in late 2014, BoA starred in her first Korean film, alongside and. 2015: Kiss My Lips and NOWNESS [ ] On April 30, it was announced that BoA would be releasing her 8th Korean studio album, titled Kiss My Lips, on May 12. This is BoA’s first entirely self-written, self-produced album; where she worked alongside American producers The Underdogs and Stereotypes. On May 6, 2015, the pre-release single 'Who Are You (feat.

Rii Mini Bluetooth Keyboard Driver Download. Gaeko)' was released along with its accompanying music video, which stars EXO's as the male lead. The rest of the album was unveiled on May 12 along with an official music video of the eponymous title track.

Billboard called the singer a promising songwriter despite moments of musical blandness. Kiss My Lips was included in IZMs's Top 10 Best Albums of the Year and won the Best Album Award at the 25th. On July 1, 2015, it was announced through that BoA would be holding a special concert entitled 'BoA Special Live 2015: NOWNESS' to commemorate her 15th anniversary since her debut.

The concert took place on August 22 and August 23 at the Sejong Center for the Performing Arts in South Korea, making BoA the first female idol to hold a solo concert at this venue. This was followed by 'BoA Special Live 2015: NOWNESS in Japan' which took place on December 11, 2015 at Tokyo International Forum Hall-A. Her 15th anniversary in Japan the following year was celebrated in a similar fashion. On October 9, 2015, it was announced that BoA would be releasing her 39th Japanese single, 'Lookbook', which also includes the Japanese version of the song 'Kiss My Lips' and a 15th anniversary edition of BoA's Japanese Winter hit, 'Meri Kuri'.

'Lookbook' served as the ending theme for the NTV Kei program Tokui to Goto to Uruwashi no SHELLEY ga Konya Kurabete Mimashita. On December 22, 2015, BoA released a digital single entitled 'Christmas Paradise' as part of S.M. Entertainment's special winter project, entitled. 2016–present: Music releases, Produce 101 Season 2 and acting [ ] On January 12, 2016, BoA released an English language single 'Make Me Complete', which serves as the theme song for the Fuji TV special drama Ooku, starring Sawajiri Erika and Watanabe Mayu. In June, BoA collaborated with Korean rapper as part of 's project.

The duo released the project's 18th single entitled 'No Matter What' on June 16, 2016 with an accompanying music video. 'No Matter What' ranked atop five domestic charts. BoA worked with BeatBurger for another SM Station single titled 'Music Is Wonderful', where she participated in the composing and writing of the track.

From October to November 2016, BoA starred in JTBC's romance melodrama. This marked BoA’s return to the small screen after an absence of three years. On February 23, 2017, it was confirmed by that BoA would be the emcee for, which aired from April 7 to June 16.

On April 28, 2017, BoA released a new single through entitled 'Spring Rain', an R&B number produced by Kenzie. In May, BoA embarked on her “BoA THE LIVE in Billboard Live” tour, held in Tokyo and Osaka. On June 26, 2017, BoA released a new single entitled 'CAMO', a stark contrast to the singer's usual releases. 'CAMO' is dance number with a heavy emphasis on bass and synthesizer sounds, and is produced by “The Underdogs”. In July, she released a Japanese single titled 'Right Here, Right Everywhere' for the soundtrack of drama Yaneura no Koibito.

In August 2017, it was announced that BoA was chosen as promotional ambassador for Jeju Biennale, an inaugural international art event on the resort island of Jeju. On October 19, 2017, Autumn Sonata starring BoA and actor Lee Hak-joo was released. The film marks her first leading role, where she played a terminally ill patient.

In December 2017, Avex confirmed BoA will make her return to Japan in 2018 with 2 new albums. She will be releasing her 9th Japanese album 私このままでいいのかな (Watashi Konomama de Iinokana) on February 14, 2018, along with another Japanese mini album titled 'Unchained' later in the year. To accompany the release of the mini album, she will be holding a nationwide tour titled 'BoA THE LIVE 2018 ~Unchained~' from March 15 to April 4. People who attend the concerts will be able to receive a copy of a BoA's new mini album, while also being available to purchase it through mu-mo. Image and artistry [ ]. Many of BoA's songs are dance tunes, such as 'Valenti' (2002). Problems playing this file?

BoA lists hip hop as her main musical influence, though she also enjoys R&B. Her favorite musicians are,,, and; as a result, much of BoA's music is either or R&B.

Because she also sings, she is often compared to Japanese singers and. Her debut album, ID; Peace B, contained, 'slickly produced' ballads, and 'upbeat dance tunes'. As her career went on, she began experimenting with different styles: Valenti contained mostly ballads; Love and Honesty was an experiment with 'harder' R&B and rock music. Because the composition and writing of BoA's songs is handled mostly by her staff, BoA has been criticized as being a 'manufactured pop star'. In response to such criticism, BoA said that 'if one person were to force their own will on something, then things that should have gone right could easily go wrong' and that she is 'not all that unhappy with the expression that [she is] a manufactured star. In a way, that is true.

Because SM Entertainment created the environment and all the surrounding conditions, [she is] able to be successful in the way [she is] now.' Though her earlier releases were marked by a 'cute' and 'youthful' style, BoA began to present a more 'mature' image starting from the album My Name. In a interview, noted that some felt that My Name marked the beginning of BoA's decline in popularity and asked if the public would always see the singer as 'Little Baby BoA'; BoA replied, 'So while I apologize to those people who still want the baby BoA, in fact, what can I do?

I just keep growing up! I can't stop that from happening.' BoA has collaborated with high-profile artists. Among the Japanese artists she has performed with are the hip hop group (for the single '), pop singer, and DJ. She has performed with Western artists: the song 'Flying Without Wings' from her album Next World was a collaboration with Irish band covering the; the single ' was performed with of the American band. She also worked with, singing the song ', which was featured on the Japanese release of his third album,. Other artists she has collaborated with are, Dabo, Verbal (of M-Flo), Rah-D,,, Yutaka Furakawa (of the band Doping Panda), and (for her single ).

American rock band covered ' on the Japanese version of their album. BoA is a 'top artist' in South Korea and Japan; her popularity in the latter is attributed to her linguistic skills (she speaks and records in Japanese, Korean, and English) and a Japanese started in the early 2000s when the two countries began promoting cultural exchanges. BoA's popularity extends throughout [East Asia]; she has fans in China, Hong Kong,,, and Singapore. She has expressed plans to enter a global market; in June 2006, the music video of her Korean song 'My Name' became the first music video ever shown on, an music channel directed.

Because of her wide appeal, BoA has appeared in advertisements for many brands. Among the brands she has promoted are,,,, Japanese cosmetic company,,, and.

Seven of her songs have been used as themes. 'Every Heart: Minna no Kimochi' was used as the ending theme for the; 'Beside You: Boku o Yobu Koe' was used as the opening theme for the anime; 'Key of Heart' was the theme song for the Japanese release of Over the Hedge; 'Your Color' was the theme song of the video game Ninety-Nine Nights; 'Mamoritai: White Wishes' was the theme song of the video game. 'Tail of Hope' was used as the theme for the Japanese drama ' Hakui no Namida,' and 'Masayume Chasing' was used as the 15th opening theme song for the anime ' Fairy Tail.' Her widespread popularity has also made her a 'cultural ambassador'; she has represented South Korea in inter-Asian musical events and has appeared in an -published English-language textbook. Discography [ ]. • Mark Russell (April 29, 2014)..

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In finance, a foreign exchange option (commonly shortened to just FX option or currency option) is a derivative financial instrument that gives the right but not the obligation to exchange money denominated in one currency into another currency at a pre-agreed exchange rate on a specified date.[1] See Foreign exchange derivative. The foreign exchange options market is the deepest, largest and most liquid market for options of any kind.

Most trading is over the counter (OTC) and is lightly regulated, but a fraction is traded on exchanges like the International Securities Exchange, Philadelphia Stock Exchange, or the Chicago Mercantile Exchange for options on futures contracts. The global market for exchange-traded currency options was notionally valued by the Bank for International Settlements at $158.3 trillion in 2005 For example, a GBPUSD contract could give the owner the right to sell?1,000,000 and buy $2,000,000 on December 31. In this case the pre-agreed exchange rate, or strike price, is 2.0000 USD per GBP (or GBP/USD 2.00 as it is typically quoted) and the notional amounts (notionals) are?1,000,000 and $2,000,000. This type of contract is both a call on dollars and a put on sterling, and is typically called a GBPUSD put, as it is a put on the exchange rate; although it could equally be called a USDGBP call. If the rate is lower than 2.0000 on December 31 (say 1.9000), meaning that the dollar is stronger and the pound is weaker, then the option is exercised, allowing the owner to sell GBP at 2.0000 and immediately buy it back in the spot market at 1.9000, making a profit of (2.0000 GBPUSD? 1.9000 GBPUSD)? 1,000,000 GBP = 100,000 USD in the process.

If instead they take the profit in GBP (by selling the USD on the spot market) this amounts to 100,000 / 1.9000 = 52,632 GBP. Although FX options are more widely used today than ever before, few multinationals act as if they truly understand when and why these instruments can add to shareholder value. To the contrary, much of the time corporates seem to use FX options to paper over accounting problems, or to disguise the true cost of speculative positioning, or sometimes to solve internal control problems. The standard clich?

About currency options affirms without elaboration their power to provide a company with upside potential while limiting the downside risk. Options are typically portrayed as a form of financial insurance, no less useful than property and casualty insurance. This glossy rationale masks the reality: if it is insurance then a currency option is akin to buying theft insurance to protect against flood risk. The truth is that the range of truly non-speculative uses for currency options, arising from the normal operations of a company, is quite small.

In reality currency options do provide excellent vehicles for corporates' speculative positioning in the guise of hedging. Corporates would go better if they didn't believe the disguise was real. Let's start with six of the most common myths about the benefits of FX options to the international corporation -- myths that damage shareholder values. Historically, the currency derivative pricing literature and the macroeconomics literature on FX determination have progressed separately. In this Chapter I argue the joint study of these two strands of literature and give an overview of FX option pricing concepts and terminology crucial for this interdisciplinary study. I also explain the three sources of information about market expectations and perception of risk that can be extracted from FX option prices and review empirical methods for extracting option-implied densities of future exchange rates. As an illustration, I conclude the Chapter by investigating time series dynamics of option-implied measures of FX risk vis-a-vis market events and US government policy actions during the period January 2007 to December 2008.

Chapter 2: This Chapter proposes using foreign exchange (FX) options with different strike prices and maturities to capture both FX expectations and risks. We show that exchange rate movements, which are notoriously difficult to model empirically, are well-explained by the term structures of forward premia and options-based measures of FX expectations and risk. Although this finding is to be expected, expectations and risk have been largely ignored in empirical exchange rate modeling. Using daily options data for six major currency pairs, we first show that the cross section options-implied standard deviation, skewness and kurtosis consistently explain not only the conditional mean but also the entire conditional distribution of subsequent currency excess returns for horizons ranging from one week to twelve months. At June 30 and September 30, the value of the portfolio was?1,050,000. Note, however, that the notional amount of Ridgeway's hedging instrument was only?1,000,000.

Therefore, subsequent to the increase in the value of the pound (which is assumed to have occurred on June 30), a portion of Ridgeway's foreign currency exchange risk was not hedged. For the three-month period ending September 30, exchange rates caused the value of the portfolio to decline by $52,500. Of that amount, only $50,000 was offset by changes in the value of the currency put option. The difference between those amounts ($2,500) represents the exchange rate loss on the unhedged portion of the portfolio (i.e., the 'additional'?50,000 of fair value that arose through increased share prices after entering into the currency hedge).

At June 30, the additional?50,000 of stock value had a U.S. Dollar fair value of $45,000.

At September 30, using the spot rate of 0.85:1, the fair value of this additional portion of the portfolio declined to $42,500. Ridge way will exclude from its assessment of hedge effectiveness the portion of the fair value of the put option attributable to time value. That is, Ridgeway will recognize changes in that portion of the put option's fair value in earnings but will not consider those changes to represent ineffectiveness. Aitan Goelman, the CFTC’s Director of Enforcement, stated: “The setting of a benchmark rate is not simply another opportunity for banks to earn a profit.

Countless individuals and companies around the world rely on these rates to settle financial contracts, and this reliance is premised on faith in the fundamental integrity of these benchmarks. The market only works if people have confidence that the process of setting these benchmarks is fair, not corrupted by manipulation by some of the biggest banks in the world.” The Commission finalized rules to implement the Dodd-Frank Wall Street Reform and Consumer Protection Act regarding Regulation of Off-Exchange Retail Foreign Exchange Transactions and Intermediaries. The Commission also finalized Conforming Changes to existing Retail Foreign Exchange Regulations in response to the Dodd-Frank Act. Additional information regarding these final rules is provided below, including rules, factsheets, and details of meetings held between CFTC Staff and outside parties.