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Brahms & Joachim Violin Concertos
Carlos KalmarChicago Symphony OrchestraRachel Barton Pine
Album Description Download Full CD Booklet
I have been fascinated with the Brahms Concerto since my earliest violin lessons. I began studying it when I was 14, and it rapidly became a mainstay of my repertoire. It was with the Brahms Concerto that I won several of my international prizes and made many of my debuts in Europe and America. It remains one of the most fulfilling works I perform.
I have been intrigued by Joachim's "Hungarian" Concerto for many years. When I began to study it intensely it seemed a very natural fit, enhanced by two of my professors' strong connections to this music. One of my Chicago teachers, Roland Vamos, shares Joachim's Hungarian Jewish heritage. As a youngster, Dr. Vamos frequently accompanied his father to hear gypsy music in the cabarets of New York's Hungarian section. He even supported himself through college by playing gypsy tunes as a strolling violinist. His stylistic knowledge was an invaluable resource. My teacher in Berlin, Werner Scholz, was a student of Gustav Havemann, who studied with Joachim. I feel fortunate to have gained knowledge about both the Joachim and Brahms Concertos from one so close to the original source. My study of the Brahms was augmented also by reading Joachim's essay in his Violinschule in which he laid out how he felt the Brahms concerto should be played.
The long friendship between Brahms and Joachim enhanced their music and their lives. Friendship has also enhanced the performances on this recording. When I debuted with the Chicago Symphony at age ten, I gushed in a televised interview, "the Chicago Symphony isn't just any old orchestra. It's a great big, super-duper orchestra!" Over the eighteen years and many solo performances that followed, I came to know most members of the orchestra personally. The coaches, mentors, and teachers of my early teens have become chamber music partners, colleagues, and friends. Our history of working together adds a special dimension to the music whenever we collaborate.
I first met Maestro Carlos Kalmar shortly before this recording when we collaborated on the Joachim "Hungarian" Concerto in concerts with Chicago's Grant Park Orchestra. He is an amazing and inspiring musician with a warm personality. I will always be grateful for his musicianship, humor, and energy throughout our two-day recording marathon. He became a kindred musical spirit and a dear friend. I am very excited to be able to share with you these two wonderful concertos.
Critic Reviews
About.com (www.about.com)
THE JOACHIM: "This may be the finest recording of this important violin concerto that ever will be made."
THE BRAHMS: "This has become my favorite recording of this concerto. … Barton's cadenza on a separate track is a masterpiece."
Chicago Sun-Times (www.suntimes.com)
"These are attractive recordings, thoughtful in concept as well as execution… [Kalmar and Barton] make a persuasive case for Joachim's concerto, emphasizing its sophisticated Hungarian flavor and fluid writing for solo violin. Barton's detailed liner notes are illuminating, and she combines effortless virtuosity and understated lyricism in both concertos."
Chicago Tribune (www.chicagotribune.com)
"Barton is so splendidly on top of the [Joachim Concerto's] formidable technical difficulties, so deeply into its tuneful romantic sentiment, that you have to love the concerto along with her… Barton turns in a performance [of the Brahms Concerto] of comparable expressive feeling and musical poise (she also contributes her own long, convincing cadenza for the first movement, separately tracked so you can sub it for Joachim's, and vice versa)… a genuine discovery, made all the more attractive by the excellent recording."
ClassicalCDReview.com (classicalcdreview.com)
Two of the most demanding violin concertos, an imaginative coupling … Joachim's concerto is a dazzling, dramatic and one of the longest concertos for the instrument. It has been called by some the most difficult work in the violinists' repertory. It is surprising that major violinists of the past haven't championed it … Rachel Barton's performances of both works are elegant, technically secure and beautiful in tone. Needless to say, the Chicago Symphony offers superb support under Carlos Kalmar … Cedille is to be commended for this issue, which offers splendid performances of two major concertos, two CDs for the price of one. Highly Recommended!
Classics Today.com (classicstoday.com)
Artistic Quality 10/10 Sound Quality
"This is not only one of the best sounding violin and orchestra recordings ever made, but the entire concept is so smart, so well executed, and so thoughtfully planned that even if it were not so musically stupendous it still would be worthy of your attention... this is one of those rare productions in which absolutely everything goes right... Astounding!"
CNN Money - Annual list of top recordings (money.cnn.com)
"Barton brings a performance of great passion and virtuosity … This recording, featuring a Chicago soloist, orchestra and record label, has received widespread praise throughout the world, and rightfully so."
Courier Post (New Jersey) (www.courierpostonline.com)
"In a lengthy essay, Barton traces the close musical partnership between Brahms and Joachim, the violinist who introduced his friend's violin concerto. She proves to be a compelling advocate for both concertos. Barton produces a glowing, lustrous tone and plays with unfailing taste. She receives optimal support from Carlos Kalmar and the Chicago Symphony in this well-engineered release."
Daily Herald (Illinois) (www.dailyherald.com)
At first thought you may ask yourself, "Why another recording of the Brahms Violin Concerto?" Then, you listen to Rachel Barton's passionate interpretation of one of the romantic era's greatest compositions for violin and orchestra, and the answer is obvious: a performance as good as this deserves to be preserved for posterity.
Fanfare (www.fanfaremag.com)
"With Barton's serious musical statement in the first movement, her alternation of stentorian rhetoric with wistful filigree in the second, and her sparkling off-the-string brilliance in the third, hers must be the version of choice for those who care about the [Joachim Concerto]… Rachel Barton has holistically realized the [Brahms Concerto's] potential: She's muscular in the angular passages and whisperingly intimate in the lyrical ones - and makes transitions from one musical personality to the other without jarring the listener. The performance's hormones remain perfectly in balance, creating an overwhelming impression of integrity… Remaining faithful to the movement's thematic material and integrating violinistic display thoroughly into these motives, [Barton's cadenza] recommends itself equally on the basis of purely musical and of purely instrumental values.
With the best (and what seems destined to remain the best) complete version of Joachim's concerto, with a monumental performance of the Brahms concerto, with an intriguing new cadenza for that concerto, with the strong connections between the concertos themselves and between the repertoire and the violin upon which Barton's performed it, and finally with stunning recorded sound, Cedille's two CDs deserve an urgent recommendation for their extraordinary merit and equally extraordinary appeal. It's clear that Rachel Barton and everyone at Cedille cares deeply about what they do."
"Barton's Brahms interpretation is both energetic and elegant. … Barton's playing is refreshingly individual and thus unique. It is clear that she doesn't want to belong to schools or follow trends but seeks a voice of her own. The less well-known Joachim concerto offers a good opportunity to demonstrate her individual approach; its spirited and temperamental performance is most promising."
Gramophone (www.gramophone.co.uk)
Critics' Choice – Discs of the Year
I've long hoped to hear the Joachim, a magnificent but taxing work, played with this degree of assurance and musical understanding."
Gramophone (www.gramophone.co.uk)
"Outstanding playing from the soloist in an intriguing coupling of Brahms and Joachim… Rachel Barton is a magnetically imaginative artist, spontaneously expressive in her rubato, who makes every phrase sound fresh. Technically, too, she shows complete mastery… In the Joachim Concerto - even longer than the Brahms - Barton is just as compelling, fiery in the bravura passages, tenderly expressive in the many lyrical moments, with the Hungarian flavour idiomatically brought out in her shaping of phrases and pointing of rhythm."
musicOMH.com (www.musicomh.com)
Joachim takes first billing with … Barton's dazzling entry, full of double stopping and bringing home the full passion behind the music. She's clearly done her research on this work, and applies a flawless technique. … It's very interesting to hear the Brahms in this particular context, and as a bonus Rachel Barton ends the first movement with her own showy cadenza as an alternative to Joachim's. … The finale zips along with plenty of verve, Brahms's Hungarian connections all the more telling off the back of the Joachim piece. This is a fascinating juxtaposition of works by two friends.
Orange County Register (www.ocregister.com)
Our blindfolded audience would surely take Joseph Joachim's seldom heard Violin Concerto No. 2 in D minor, ``In the Hungarian Style,'' for a long-lost concerto by Brahms, and certainly enjoy it as such. … A big, deep-thinking and spacious first movement gives way to a pretty, tender, slow movement and Gypsy-style finale that has some wildness to it. Barton gives the work a sturdy performance, vibrant in tone and vibrato, technically assured and confidently phrased. … Her co-conspirators are no less than the Chicago Symphony and Carlos Kalmer, who give her resonant, sensitive support, warmly yet clearly recorded in Orchestra Hall.
Philadelphia Inquirer (www.inquirer.com)
"The Joachim Violin Concerto No. 2 in D minor, "In the Hungarian Style," is a gem of a piece, and the young violinist Rachel Barton is a gem of a player… Brahms and Joachim share some stylistic traits that are obvious even in the first few measures of the "Hungarian" concerto. But there's also a marvelous Dvorakesque quality to Joachim's melodies and orchestrations…Barton's way with the Brahms is sturdy and elegant in all the right places."
San Francisco Examiner (www.sfexaminer.com)
"Without wanting to sound sexist, if I hadn't known [Rachel Barton] was a woman, I might have guessed otherwise, for her tone is dark and firm (she plays the ex-Soldat Guarneri del Gesu) and her musicianship authoritative. This is great in the Brahms where, accompanied by Carlos Kalmar and the Chicago Symphony, she gives a big-boned, majestic, triumphant performance. The concerto by Joseph Joachim (who played the Brahms premiere in 1879) is given authentic gypsy flavor by Barton… it's instructive to have them together on discs in such persuasive performances."
Sun-Sentinel (South Florida) (www.sun-sentinel.com)
A fascinating pairing of two complementary works … Joachim's concerto is fairly bursting with great tunes, with echoes of Beethoven, and, somewhat jarringly, pre-echoes of Brahms' own concerto to come. Soloist Rachel Barton is at her finest here, phrasing with tonal sensitivity and subtle expression. Throughout, Barton communicates the melodic charm and lyrical impetus of this music with great feeling. The rousing finale goes like the wind in her agile fingers, with an exhilarating pedal-to-the-metal coda.
Competition is much stiffer in the more familiar Brahms concerto but Barton's spacious reading is just as impressive and can more than hold its own with her most celebrated rivals. Performing on the "ex-Soldat" Guarneri, which has connections to Brahms' inner circle, Barton is alive to the concerto's restless drama as well as the nostalgic lyricism, playing with a pure refined glow. Under Kalmar's direction, the CSO is supple and responsive, and the refined recording has great presence, with the soloist naturally balanced. Barton contributes intelligent notes and provides a bonus with her own clever cadenza for the Brahms concerto, which can be programmed in place of the standard Joachim. Offered at two discs for the price of one, these excellent, historically significant performances are a bargain as well.
The Arizona Republic (www.azcentral.com)
"Barton evinces clarity, rhythmic life and a serene sense of lyrical line. The Brahms is noble and the Joachim, fresher to the ears, is a charmer. The written notes are by Barton, who is clearly as intelligent a commentator as she is a virtuoso."
The Strad (www.thestrad.com)
While Joachim essentially looks backward to the late-Classical models, Brahms charts entirely new grounds in form and substance. What a difference two decades makes. Particularly in the two finales, Barton makes them appear to be two sides of the same coin. Her performances in these works are so memorable... Barton brings a breath of freshness as soon as she enters. From there, making connections between the two pieces seems relatively easy. Barton's essential musicianship hardly alters between the two, revealing a similar sense of phrasing and characteristic bite in the sound during the fast virtuosic passages balanced by true melodic freedom in slower, lyrical portions.
Customer Reviews
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Program Notes
Notes by Rachel Barton Pine
This is the first recording to pair the Brahms Violin Concerto with the "Hungarian" Concerto by Joachim, inviting a musical exploration of the close relationship between Joseph Joachim and Johannes Brahms. When they met in 1853, the twenty-one-year-old Joachim was already an established violin virtuoso and composer. The extremely gifted Brahms, two years younger, was virtually unknown. They quickly became close friends and began a musical interchange that lasted throughout their lives.
Brahms and Joachim challenged each other constantly, trading counterpoint exercises along with their correspondence. In 1853, they roomed together in Göttingen, and Brahms began to study orchestration with Joachim. Joachim served as a mentor to Brahms, introducing him to Schumann and other leading musicians of the day. Brahms, never generous with compliments, praised Joachim's compositions consistently. Brahms wrote to his friend on February 16, 1855, "…nobody has wielded Beethoven's pen so powerfully.… I wish you realized only the half of how much your works absorb me.…" In another letter he wrote, "there was more in Joachim than in all the other young composers put together." Brahms considered Joachim more gifted than himself and always encouraged him - privately and publicly - to devote himself more fully to composing.
By 1854, Joachim had already made significant progress on his second violin concerto, Op. 11, "In the Hungarian Style." It took him nearly six years to complete what became his most famous and important composition. He dedicated it to Brahms and gave its premiere in Hanover in 1860. Brahms conducted Joachim in several performances of the "Hungarian" Concerto and encouraged his friend to perform it frequently. Many contemporaneous critics considered it among the greatest works ever written for the violin. A concert review by Eduard Hanslick for Vienna's Die Frei Presse on March 11, 1863 described the concerto as " . . . a tone poem full of mind and spirit, of energy and tenderness that secures Joachim an extraordinary place among modern composers." In 1894, The Strad pronounced it " . . . one of the greatest masterpieces of violin music in existence." And in the 20th century, famed violin pedagogue Carl Flesch (1873-1944) declared in his Memoirs that the "Hungarian" Concerto "marks a climax in our literature; it is the most outstanding creation that a violinist has ever written for his own instrument."
The "Hungarian" Concerto marked a significant departure from other concertos of the day, which often emphasized technical display to the detriment of deeper musical content. Joachim frowned on elaborate pyrotechnical displays, believing that "music is the purest expression of feeling; only that which is superficial, unnatural, or self-conscious is foreign to it".1 True to this belief, every note in the "Hungarian" Concerto serves a higher purpose. No passage, no matter how difficult, is inserted for the sake of show. The soloist is never allowed to triumph at the expense of his or her colleagues.
Nevertheless, Joachim managed to write what has been called the most difficult work in the repertoire. Renowned for his large hands and remarkable stamina, Joachim probably gave little thought to the difficulties presented by the massive chords that stretch and contort the left hand and challenge the bow arm to produce a full and sustained tone. Practicing the "Hungarian" Concerto is like training to run a marathon. Moreover, at over forty-seven minutes, the Concerto has been called "the longest example of perfect classical form."2 Any attempt to cut passages (as some have done) unbalances the architecture and diminishes the piece significantly.
The first of the concerto's three movements, Allegro un poco maestoso, is in sonata form with a double exposition and a coda that includes a lengthy cadenza. The first melody immediately evokes a Hungarian flavor. The massive opening tutti is modeled after that of Beethoven's Piano Concerto No. 3 in C minor. Its extended, highly symphonic writing gives no indication that the work is a concerto. Following this, Joachim abandons completely the usual grand entrance of the soloist. Instead, the solo violin joins the other instruments, almost as a chamber-music partner. They pass melodies back and forth throughout the movement, with the soloist alternating between main voice and descant. The highly embellished style of many of Joachim's melodies shows a familiarity with gypsy fiddlers. (Having left Hungary as a young boy, Joachim did not distinguish between the music of gypsies residing in Hungary and the folk music of ethnic Hungarians.)
Joachim deviates from tradition in the movement's development section by re-arranging the order of his initial material and by adding an entirely new theme. This development section is particularly imaginative in its use of key changes and in the variety of orchestral colors displayed. The recapitulation follows the melodic course of the opening tutti rather than that of the first solo. A section of new material features the soloist playing a series of descending chromatic octaves that Joachim compared to the neighing of a horse. The cadenza begins with the unaccompanied soloist playing a contrapuntal improvisation on the opening theme. Eventually, a flute and an oboe each join in turn, helping to integrate the cadenza into the structure of the movement. Concluding the movement with a gesture similar to a passage in his cadenza to the Beethoven Concerto, Joachim again gives the soloist chromatic octaves - this time a descending scale spanning two-and-a-half octaves - which lead to the end of the coda.
The second movement (Romanze: Andante) is in truncated ABA form with a coda. "There is such charm and friendliness in it," Brahms wrote in 1858. "The whole flows along so tranquilly and one part evolves from the other so beautifully that it is a joy." While the endings of the first two phrases of the main theme are very characteristically Hungarian, both phrases begin not with the typically Hungarian "snap" of a sixteenth note followed by a dotted eighth, but with quarter notes preceded by grace notes. An agitated middle section contrasts dramatically with the more peaceful sections surrounding it. For the return to the A section, a single cello plays the entire first theme while the solo violinist performs elaborate embellishments. Here Joachim demonstrates his deep devotion to Bach with ornamentation that is organic, melodic, and harmonic - not merely decorative.
The Finale alla Zingara is a huge movement in rondo form with the following structural scheme: A-B-C-A-D-A-B-C-coda. Its opening horn call shatters the tranquil ending of the second movement. (Such horn calls are a recurring motif that unites all three movements.) The A section is in a perpetual motion style that makes use of the "gypsy scale" (harmonic minor with a raised fourth) and demands the utmost virtuosity from soloist and orchestra alike as they toss melodies back and forth. Other orchestral sections employ various dance rhythms and rampant "snaps," while the soloist's double-stopping is so intense that it sometimes feels as though Joachim has incorporated a whole band of fiddlers into a part written for one. A new theme introduced at the beginning of the coda has a triumphant feeling, and the concerto dashes to the finish line with a final burst of energy. This movement inspired Brahms to write his beloved Hungarian Dances (originally for piano, four hands), which Joachim later transcribed for violin and piano.
Despite their Hungarian flavor, Joachim's melodies are entirely original; they incorporate no traditional tunes. Rather than lightening the effect of his concerto, they succeed in elevating the Hungarian style from its humble origins to grand nobility, infusing introspection as well as virility.
Throughout their friendship, Joachim was unwavering in his support of Brahms's compositions. He performed Brahms's chamber works, premiering many of them, and conducted Brahms's symphonies. Joachim was particularly fond of the Brahms Violin Concerto. He described the work, which Brahms dedicated to him, as one of "high artistic value" that roused in him "a peculiarly strong feeling of interest."3
Brahms began composing his Violin Concerto in the summer of 1878, during a vacation on Lake Wörther in Pörtschach, Carinthia (Austria). On August 22, Brahms sent the manuscript of the violin part to Joachim with this note: "Naturally I wish to ask you to correct it. I thought you ought to have no excuse - neither respect for the music being too good nor the pretext that orchestrating it would not merit the effort. Now I shall be satisfied if you say a word and perhaps write in several: difficult, awkward, impossible, etc." Thus began one of the most intriguing musical exchanges in history.
By the time Joachim premiered the concerto in Leipzig on January 1, 1879, the piece had undergone considerable changes. Two middle movements had been removed and replaced by a newly written Adagio, resulting in the three-movement concerto we know today. (Both of the original middle movements are now lost. Many scholars think that the Scherzo may have been converted into the Allegro appassionato of the Second Piano Concerto.) The score was passed back and forth at least a half dozen times before the premiere, and the two friends' debate over revisions, which is clearly evident in the surviving manuscript, has been left for posterity. In the end, Brahms incorporated most of Joachim's suggested orchestral changes but considerably fewer of his revisions to the solo violin part.
The first movement of the Brahms Concerto follows the example of both Joachim and Beethoven in integrating the solo part with the orchestral writing. Often the solo violin plays counter-melody while other instruments play the main material. Brahms left the composition of the cadenza to the performer. Joachim wrote his own cadenza, which remains the one most frequently performed. There is some evidence that Brahms had a hand in its creation. Brahms wrote to Elizabet von Herzogenberg of an early performance, "the Cadenza sounded so beautiful at the actual concert that the public applauded it into the start of the Coda."
The Brahms Concerto is often described as "masculine," due in large part to its robust first movement. I am continually awed by the majestic and inexorable qualities of such sections as the opening solo and the broken octaves in the development. If the Beethoven Concerto captures the beauty of God's creation, the Brahms Concerto conveys its magnitude and power.
Many in the first generation of violinists exposed to the concerto did not recognize its brilliance. Referring to the second movement, Spanish virtuoso Pablo de Sarasate complained that he had to stand on stage while the oboe played the only good melody in the whole piece. This comment illustrates the difference between the straightforward melodic concept of the Franco-Belgian virtuoso school and the more complex treatment employed by Brahms and his musical compatriots. Simple in structure, this movement contains some of the most profoundly beautiful music ever written for the violin.
Brahms drew inspiration for the third movement from the Finale of Joachim's "Hungarian" Concerto. Here Brahms's rhythmic vitality and melodic exuberance evoke the same mood as do other Hungarian-inspired works, but without relying on gypsy tunes or the gypsy scale. Unlike the headlong rush that concludes the Joachim Concerto, the poco piu presto at the end of the Brahms calls for a march-like, steady beat, and even implies a slight ritard in the final bars. Nonetheless, both concertos end with D-major chords that confer a feeling of genuine, well-earned triumph.
Despite the Brahms Violin Concerto's decidedly mixed initial reception, it has become one of the most popular and beloved works in the violin repertoire. In contrast, Joachim's "Hungarian" Concerto will be a real discovery for many modern listeners. I hope that awareness of the Joachim Concerto's influence will shed new light on the Brahms Concerto and that Joachim's masterpiece will one day reclaim the great appreciation it once enjoyed.
1 - letter to Woldemar Bargiel, April 7, 1853
2 - Frederic Emery, The Violin Concerto, 1928
3 - Joseph Joachim and Andreas Moser, Violinschule, 1902-05
About the Cadenzas
This recording includes two different cadenzas for the Brahms Concerto. When I repeat the Concerto in a series of concerts with the same orchestra, I often play a different cadenza each night, alternating my favorites - by Ysaye, Kreisler, and Maud Powell - with the one I composed. For a recording that emphasizes the relationship between Brahms and Joachim, it seemed appropriate to perform Joachim's original cadenza in the context of the complete concerto. I felt, however, that my interpretation would be incomplete if I did not also include an organic reflection of my own ideas about Brahms's composition.
Therefore, track 5 of the Brahms disc begins with my cadenza and continues with the orchestra to the end of the movement. To hear it in context, listen to the first movement up to the end of track 1, then immediately advance the disc to track 5. (You can do this manually if it is not possible to program your CD player in advance.) I hope you will enjoy the variety offered by these two different conclusions to Brahms's first movement.
About the Violin
It was a special privilege to play the 1742 Joseph Guarneri "del Gesu" violin known as the "ex-Soldat" for this album because the instrument has an intimate connection to this repertoire.
In 1875, an extremely talented young musician named Marie Soldat (1863-1955) decided to give up the violin to develop her talents in piano and voice. Hearing Joseph Joachim perform in Graz three years later, however, inspired her to return to the violin, and to study with him.
Marie Soldat was introduced to Brahms at Pörtschach during a summer tour of Austrian spas in 1879. After hearing her play, he arranged a benefit performance to help pay for her studies. Brahms also gave her money for a train ticket to join him and Joachim in Salzburg. When she began to play the Mendelssohn Concerto with Brahms at the piano, the strings on her violin snapped. Joachim handed her his Stradivari, and her performance was so impressive that Joachim accepted her into his class at the Hochschule für Musik in Berlin.
Soldat (later Soldat-Röger) became a member of Brahms's inner circle and a regular chamber music partner. Their friendship continued throughout his life. The famed pianist and conductor Hans von Bülow once introduced her as "Brahms's understudy."
Soldat was widely considered one of the greatest violinists of her day. She studied the Brahms Concerto with both Joachim and Brahms, and it became her signature piece. She introduced it to many European cities, including Vienna in 1885, with Hans Richter conducting the Vienna Philharmonic. She gave it its second performance in Berlin, with Joachim conducting.
Brahms selected this violin for Soldat in 1897 and arranged for a wealthy Viennese businessman to purchase it and loan it to her for her lifetime. The Strad, in 1910, remarked that "…[it] bears most of the characteristics we have learnt to associate with this maker in a remarkable degree. The tone is of extraordinary beauty, and suits the violinist's virile style admirably.… The tone is full and rich, and noticeably deep on the G string. All the outlines of the fiddle seem to breathe life and strength."
I like to think that Brahms chose this violin, in part, because its voice represents most closely what he envisioned for his concerto. I hope you enjoy hearing the sound of this amazing instrument as much as I enjoyed playing it.
Album Details
Total Time: 97:15
Recorded: July 2 & 3, 2002 in Orchestra Hall, Chicago
Producer: James Ginsburg
Engineers: Christopher Willis and Bill Maylone
Front Cover Photograph: Andrew Eccles
Graphic Design: Melanie Germond & Pete Goldlust
Notes: Rachel Barton Pine
Violin: "ex-Soldat" Guarneri del Gesu, Cremona, 1742.
This recording was made possible by a generous grant from the Sage Foundation
© 2003 Cedille Records/Cedille Chicago


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The company was asked by the market regulator to resolve the complaints within a stipulated time and submit the ATR for the same which the firm failed to do.
Accordingly, Sebi has imposed "a consolidated penalty of Rs. 2.2 lakh on Rencal Chemicals India Ltd...for the failure to redress the investor grievances within stipulated time and failure to submit the Action Taken Report (ATR). I Besides, Rencal Chemicals has not obtained the SCORES authentication as on today, as advised by Sebi in January this year to all the companies. Consequently, Rencal Chemicals failed to obtain the SCORES authentication and could not update the ATR regarding it. The regulator, in its show cause notice issued in February this year, alleged that Rencal Chemicals has not redressed the two pending investor grievances within the stipulated time inspite of being called upon by Sebi in writing to do so.


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Or find a doctor at another Johns Hopkins Medicine Member Hospital:
Vanessa Catherine Howells, M.D.
Appointment Phone
Main Location
Johns Hopkins Bayview Medical Center
Out of State Patients
Call 410-464-6641 (8a.m. to 6p.m., EST, Mon-Fri)
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Call +1-410-502-7683 (7a.m. to 6p.m., EST, Mon-Fri)
- Medical Director, Preschool Clinical Programs, Johns Hopkins Bayview Medical Center
Centers & Institutes
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Appointment Phone: 410-550-0018
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The Johns Hopkins Hospital
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Adult Psychiatry , Child and Adolescent Psychiatry
Dr. Vanessa Howells is an instructor of psychiatry and behavioral sciences at the Johns Hopkins University School of Medicine. She specializes in the diagnosis and treatment of children with mental illness, as well as adult psychiatry. She serves as medical director of Preschool Clinical Programs at the Johns Hopkins Bayview Medical Center.
Dr. Howells received her medical degree from the Virginia Commonwealth University School of Medicine in 2002. She completed residencies in psychiatry and child psychiatry at the Johns Hopkins University School of Medicine in Philadelphia in 2005 and 2007, respectively.
She is certified by the American Board of Psychiatry and Neurology.
Education +
- Virginia Commonwealth University Medical College of Virginia / MD (2002)
- Johns Hopkins University School of Medicine / Psychiatry (2005)
- Johns Hopkins University School of Medicine / Psychiatry Child Psychiatry (2007)
- American Board of Psychiatry & Neurology / Child And Adolescent Psychiatry (2009)
- American Board of Psychiatry & Neurology / Psychiatry (2008)
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Five American IT majors to set up shop in Egypt's smart village
Several American companies have committed to participation in Egypt's Smart Village Project, aimed at promoting the development of Egypt's Information Technology (IT) industry. These US-based firms include Microsoft, Compaq, Qualcom, Cisco, and Oracle.
Cisco Systems, according to the Economist Intelligence Unit, has already signed a $100 million agreement with Egypt's Noor Advanced Technologies to provide Internet services including web design, Internet access and portal services, as well as ATM and IP services.
Citibank has signed a 15 million Egyptian pounds ($3.5 million) venture with Raya Holding Services in Egypt to provide virtual business-to-business services, with a focus on the pharmaceutical industry. Hewlett Packard (HP) signed a $25 million deal with EgyNet to establish an information center catering to the financial market.
A visit by President Husni Mubarak to the United States in April 2001 helped to seal alliances with US IT firms such as Microsoft, IBM and Cisco in upgrading the IT component in Egypt's education systems.
The French giant Alcatel signed a Memorandum of Understanding with Smart Village authorities in July to move its local office and its regional headquarters to the site.
The Smart Village project, which spans over a 300-acre area in the 6th of October city near Giza, provides land and a high-tech infrastructure, as well as a wealth of incentives to financiers looking to invest in Egypt's IT sector. Opened November 2000, the project's total construction costs are estimated at EP 100 million.
These incentives include a 10-year suspension of customs and sales taxes on software, reduced taxes on computers and a five-year deferral on all telecom related investments.
Such high tech industrial parks are designed to house company offices, convention centers, accommodations and restaurants. Smart villages are to open also in Mansura, Alexandria and Assiut. — (Mena Report)
© 2001 Mena Report (www.menareport.com)
Top Headlines
- Emaar announces major real estate project in Cairo 's Smart Village
- 8-year-old Yemeni child dies at hands of 40-year-old husband on wedding night
- Dubai business environment is booming but more could be done
- global cosmetics majors chanel, clarins, estee lauder, loewe, p&g, guerlain, revlon, givenchy, elizabeth arden set up dubai base


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My boat's engine was due for a service this year.
Time really flies, except when it doesn't.
The images were indelible for Denver fans or anyone watching on TV as Tebowmania swept the nation.
As the water temperatures continue to rise, local fishing is only going to continue to get better.
When the NCAA Mens Basketball National Tournament officially begins this morning, not everybody in America will be caring about their brackets. Sure, the majority of the country will care one way or another if that No.1 seed advances to the next round, but whether or not that No. 1 seed covers the point spread is where the legitimate concerns rest.
After several years of seemingly constant upheaval, the local racing landscape is relatively unchanged from last season.
SANTA RITA, GUAM - I grew up on an island, so I am familiar with island fever.
To paraphrase Robert Frost; "Something there is that doesn't love a calf" specifically wolves, coyotes, mountain lions, and bears, just to name a few. Actually if you stop and think about it, the above predators actually do love calves: for breakfast, lunch, and dinner. Unfortunately that fondness for beef causes many a headache for cattlemen. Predators are but one of the many obstacles that are faced daily by cattlemen
The thump-thump of helicopter blades announced Peyton Manning's arrival in Denver, prompting some curious fans to head over to team headquarters to see if they could catch a glimpse of the quarterback cast off by the Colts just a few days before.
As the weather has been improving, I'm sure a lot of anglers looking forward to going fishing. A majority of those anglers will most likely be fishing from the bank.
Sometimes I look out my living room window into the almond-bearing trees and wonder what the heck happened.
This Friday the is the Rocky Mountain Elk Foundation dinner in Ripon. If you have never been to one of the many outdoor fund raising events of this nature, I highly recommend it.
The closer we get to April, the more I am reminded of my biggest catch back in 2002.
I've been known to be indecisive.
Did you ever have a day fishing when everything went absolutely perfect? Those are the days that keep us going back out on the streams, ponds, and fields for decades to follow.,seeking that perfect day.
Page 25 of 44
The 4th of July is still two months ago, but there were plenty of fireworks in Saturday night's season opening race at the Stockton 99 Speedway.
Page 3 of 3
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Minor Felony
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289 listeners
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Minor Felony was formed in Los Angeles, California in 1998 by recordng artist Casey Fallen. This project had a darker sound then his most recent release. Casey is better known for his solo work. Cross over songs from this album can be heard on his Debut album " Casey Fallen, Orbis Pictus". Casey Fallen took this Goth like music style, lyrics, and vocals to Kariesa Bowlin who ended up playing Bass on the project. Casey talked Kariesa into singing over his vocals and eventually removed his own vocals, except for some minor back-up tracks and moved Kariesa into the front singer position. About a quarter way into the project Eddie Valasquez was recruited to play the already created guitar parts on thesongs. As time went by he wrote some original guitar parts for the songs Conundrum and Come on the final version of the album. The band broke up after Kariesa decided to return to college. The album was finishd but never released. One song off this album "Runway 27" migrated to the "Casey Fallen, Orbis Pictus" album which can be found in stores now. Casey continues to write and preform as Casey Fallen.
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Blue Jacket will replace the Triangle Bar
This summer, Walker's Point will put on a new jacket; one initially intended for the East Side.
Blue Jacket Bar will open at 135 E. National Ave. in July, according to Laura van Heijningen, who will own the place with her husband, Tom.
The van Heijningens were initially eying a location on Murray Avenue on the East Side, before settling on the space that, until last Friday, housed the Triangle Bar.
"We intend to add a full menu to the new space, featuring appetizers, salads, burgers and sandwiches," Laura told me via email. "We will give a percentage of the proceeds back to organizations that support Lake Michigan."
Blue Jacket will serve lunch and dinner and run as a full-service bar.
Construction on the space is set to begin.
"It looks pretty crazy right now," says van Heijningen. "Tom has his work cut out for him."
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someone who inspects diapers for poop.
Dan volunteers as the poop checker at the senior's home on weekends! He loves checking poop!!!
by turd fergussen January 08, 2004
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June 26th 2015
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August 1st 2009
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Info: HB


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New version of Flame virus uncovered: researchers
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Flame cyber virus linked to more malware: report
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Mavericks clip 76ers
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Willie Green had 23 points and eight rebounds for Philadelphia, while reserve Elton Brand added 21 points and 10 boards for the 76ers.


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® owns this image, as well as this sentence, and probably also your monitor now.
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Copyright ©2015 Rich "Lowtax" Kyanka & Something Awful LLC.


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Pakistan is at last finding its voice. The US would be wise not to gag it
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The Top 9 Big-Screen Beauty Moments of the Year
When they think of movie makeup, most people think of sci-fi flicks or stars in prosthetic noses. But aside from those spectacular effects, there are always some desirable, even achievable looks that pop on the screen. This year, our nominees are:
- Sandra Bullock Wants to Change How Women Are Portrayed in the Media
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Get personalized parenting information! Join now (or log in , if you're already a member) and find content specific to your family.
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Release Date:
February 19, 2015
The world's wackiest Volkswagen is back in action in this action comedy. Maggie Peyton (Lindsay Lohan) is the 18-year-old daughter of Ray Peyton Sr. (Michael Keaton), a once-successful stock car driver whose career is not what it once was. Maggie loves racing and is in line for a job covering NASCAR for ESPN, but in her heart she'd rather be behind the wheel, even though her father strictly forbids this. For Maggie's birthday, Ray takes her out looking for a used car, and she finds herself strangely drawn to a wrecked 1963 Volkswagen in a salvage yard. Against Ray's better judgment, Maggie gets the car, and a note in the glove box tells her the rust bucket is named "Herbie," and he can help her solve her problems. To her surprise, the message turns out to be true -- with a little TLC, Herbie is running like new, and after showing his stuff in a street race, Maggie persuades her naysayer dad to take her and her VW on as part of his racing team. Herbie: Fully Loaded also stars Matt Dillon as rival racer Trip Murphy, Breckin Meyer as Maggie's brother (and fellow struggling driver) Ray Jr., and Justin Long as Maggie's friend Kevin. ~ Mark Deming, Rovi
- Genre: Kids and Family
- Category Family-Oriented Comedy, Action Comedy
- Theme: Fathers and Daughters, Car Racing, Underdogs
- Run Time: 01 hr 42 min
- Language: French , English , Spanish
- Subtitle Language: French
- Picture Format: widescreen
- Lead Actor: Michael Keaton , Justin Long , Lindsay Lohan , Matt Dillon , Breckin Meyer
- Supporting Actor: Caroline Limata , Bruno Gioiello , Rocky Soto , Robert Ben Garant , Amy Hill , Bob Dillner , Dale Jarrett , E.E. Bell , Mark Deklin , Tony Stewart , Patrick Cranshaw , Jimmie Johnson , Jim Cody Williams , Edmund L. Shaff , Andy Hillenburg , Peter Pasco , Benny Parsons , Allen Bestwick , Mary Bonner Baker , Scoot McNairy , Tim Sitarz , Jeff Gordon , Scott Martin Gershin , Stuart Scott , Cheryl Hines , Jimmi Simpson , Jill Ritchie , Thomas Lennon , Jeremy Roberts , Mario Larraza
- Director: Angela Robinson
other Info.
- Online Item #: 11341763
- Store Item Number (DPCI): 058-10-1287
- Made in the USA or Imported


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In 2010, after some 10 years of negotiation, and with the help of The Trust for Public Land, nearly 1,500 acres of privately owned mining claims in the New World Mining District just outside Yellowstone National Park were protected.
The serenity of this pristine mountain lake captured the attention of Charles Lindbergh after his famous solo trans-Atlantic flight of 1927.
The Trust for Public Land is an IRS approved 501(c)(3) tax-exempt organization. All donations are tax deductible to the extent provided by law. Our Federal Identification Number (EIN) is 23-7222333. ©2015 The Trust for Public Land


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What's the fabric weight? How many Oz per yard?
thick and good for the price. very good for outdoor hot tubs....
Alexander Del Rossa Men's Terry Cotton Bath Robe
This luxurious menÍs terry cotton bathrobe by Alexander Del Rossa has a full cut for a comfortable fit. Available in black, burgundy, navy blue, and white, this absorbant bathrobe features a shawl collar, two patch pockets, and double belt loops.
ITEM#: 12998236Extremely soft, super thick loop terry fabric constructs this luxurious shawl collar bathrobe from Alexander Del Rossa. The robe offers a full cut for a roomy fit.
- Color options: Black, burgundy, navy blue, white
- Fit: Full cut
- Thick 18-ounce loop terry fabric
- Roll-cuff sleeves
- Two front patch pockets
- Shawl collar
- Double belt loops
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Good robe.
thick and good for the price. very good for outdoor hot tubs.Read More
Robe- fine quality
I actually bought this for my husband a year or more ago (ever got around to writing the review). It is holding up well and he loves it!Read More
this bath robe is a fine product.
this robe fits very well. the fabric is soft and comfortable. the robe feels even better after the first washing. i have found nothing that compares with it.Read More
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The quality is good, but it is not as pictured. I received a floor length robe instead of the one that falls just below the knee. It's very big, heavy, and cumbersome. I will cut it off and hem it. The sleeves are also very long, so I will need to hem those too. But it is nice and roomy around the middle, which is what my husband needed.Read More
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I used the last few customer reviews and sizing guide in my consideration to buy this robe. I am 6'1" and 200#. I ordered the 1x2xl because the last reviewer said her husband was over 6' tall and it fit great. I ordered it and tried it on and it was way too large. I guess the last reviewer has a big fat husband. You could fit 2 people in the robe I received. I had to send it back and had to pay all the shipping and extra charges (retagging?, etc) and was out about $$$ for taking the chance. The robe wasn't really a deal to begin with so the whole ordeal was just a headache. Good luck.Read More
Really nice men's Robe!
So my Husband had been wanting a new robe for forever, but I didn't want some throw away garment that would wear out in a month. This one on Overstock had good reviews and when it arrived, I was very pleased! I got the black (and make sure to wash it & dry it lightly to get rid of all the left over fuzzies first before using), and the terry material is heavy and soft. Now, an important note on sizing. If your guy is tall, like over 6', then get the 1xl/2xl size! The difference in the lengths is 9"!! It is NOT to big at all around the chest, so the 1xl/2xl size is perfect. If I had gone to the smaller size, that 9" length would of made him look like he was wearing a woman's robe, so when in doubt, go up a size for sure! And my husband? He LOVES it!Read More
This robe is very warm. I usually awaken in the middle of the night and wander about the house. The house is cold at that time and the robe does a great job keeping me comfortable. Quality is very good. Can't imagine anything better.Read More
This is a very nice, well made comfortable, full length bathrobe. It is also a warm bathrobe great for winter wear in our cool house. Ordered two robes from two different vendors, and like this one by far the best! Highly recommend.Read More
Spa Worthy!!
I gave this Alexander Del Rossa robe as a gift plus had it monagramed. It was stunning! Very luxurious in weight, the sizing was right with plenty of overlap in the front and the fabric feels cozy against the skin. Thanks Overstock for having it and getting it here so quickly! Merry Christmas!Read More
sleeves too short
For a 6-foot guy with average arms, size large (normal size) was very short in the sleeve. We returned it.Read More
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Brian of London is not the messiah, he's a very naughty boy. Since making aliyah in 2009, Brian has blogged at Israellycool. Brian's interests include electric cars, world peace and putting an end to world hunger.
Latest posts by Brian of London (see all)
- WATCH: The Islamic State Of Iran: Like ISIS Just Much Bigger - July 1, 2015
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- Photo Of The Day: Brutal Israeli Occupation Forces At Work - June 27, 2015
- Regular As Clockwork, Here Comes A New Olive Tree Libel - June 25, 2015
You may remember my initiative of taking companies flagged for boycott by Jew hating BDS-ers as something you may want to patronise.
Well this week is the official Buy Israel Week and was brought to my attention by the good folks at Dan Hotels who are one of the key sponsors.
So whatever you're looking for, make a BDS Jew Hater mad with anger and buy something Israel or come visit and show your support.


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Nautical-themed oasis in Boston's downtown
Barracuda Tavern overlooks old Governor's Alley, off of Tremont Street. Photos courtesy of
Up a flight of stairs just off Tremont Street, near Downtown Crossing, you'll find one of Boston's most uniquely decorated bars—what one writer hailed as "Moby Dick meets Pottery Barn." Barracuda Tavern's distinctly nautical theme is anchored by a stranded rowboat, and sea creatures, including a few mermaids, are scattered throughout.
We stopped by on a recent Thursday to find customers of several stripes clustered at the bar and tables. This is the kind of place popular with the after-work crowd and those seeking a casual, inexpensive dinner. The cozy one-room bar has several high-top tables as well as larger ones along the windows, making it a great stop for any size group.
Barracuda Tavern's menu is simple: beer, wine, small tapas plates, and a handful of entrées. There is no hard liquor, so if you're looking for mixed drinks, keep looking. What the tavern does offer is a wide array of beers and ciders, both draft and bottled—nearly 50 choices. Choose from lagers, ales, pilsners, wheat beers, IPAs, porters, and stouts. We opted for a bottle of Wells Banana Bread beer ($6), which was served with a chilled signature glass and tasted startlingly like a fresh loaf of bread.
Barracuda Tavern offers almost 50 different beers and hard ciders.
We decided to order mostly from the tapas menu, which features a unique selection of plates ($4, $5, and $6). The word "tapas" is used rather liberally—the menu has appetizers not ordinarily considered classic tapas, such as calamari ($5), blackened catfish skewers ($5), and fish tacos ($6). We ordered the Disco Fries ($4), a mixture of hand-cut fries, cheddar cheese, scallions, bacon bits, and gravy. The dish had a smoky flavor and left you wanting more. Although the fries were messy to eat, the flavors were so delicious that you didn't mind licking your fingers.
Since tapas servings are small and meant to be shared, we also ordered a plate of five small meatballs, which came drenched in marinara sauce and covered with parmesan cheese, pepper flakes, and oregano ($4), savory cheese and tomato pierogies in a tomato garlic and herb sauce ($4), spicy scallops in a sweet chili sauce ($5), calamari with cherry peppers, garlic, and chipotle aioli ($5), and two fried haddock tacos stuffed with a spicy slaw and chipotle sauce ($6).
It was the sauces that made each tapas dish unique. The pierogies' tomato garlic and herb sauce highlighted the dumplings' cheesy taste without making them overly heavy. The spicy scallops more than lived up to their name, with the chili sauce a little overwhelming, but the scallops were plump and fresh. The fish taco seasoning balanced well with the grilled corn tortillas and the crispy haddock, but like the chili sauce, packed some heat.
Disco Fries: hand-cut fries covered in melted cheddar cheese, pieces of bacon, gravy, and scallions, one of Barracuda's most popular tapas dishes.
We tried one of Barracuda's entrées, as well. The tavern serves soups and salads, steak tips ($17), fish and chips ($16), and several other seafood dishes. We ordered a Tavern Burger ($9), which came topped with Boursin cheese, sautéed mushrooms, and bacon. The burger was well cooked and flavorful, but was beat by the tapas plates.
Through the week, Barracuda offers great food specials, making it ideal for anyone on a budget. On offer all day Monday are pork or beef sliders ($2), on Taco Tuesdays it's a choice of chicken, beef, pork, or fish tacos ($2), and on Wednesdays, it's wings ($.25).
If you're looking to dance, Barracuda Tavern is not where you want to spend your Friday night. The night we stopped by, the music was great, with an eclectic selection of popular songs from every era, but there's almost no space to dance. This is a place instead for friends to share a meal, have a few drinks, and meet friendly people.
Barracuda Tavern is at 15 Bosworth St., second floor, in the old Governor's Alley, off Tremont Street, Boston; phone: 617-482-0301; hours: Monday to Friday, 11 a.m. to 2 a.m., Saturday and Sunday, 10:30 a.m. to 2 a.m. Brunch is served Saturday and Sunday from 10:30 a.m. to 3 p.m. The tavern accepts all major credit cards. By public transportation, take any inbound Green Line trolley to Park Street, walk up Tremont Street, and take a right onto Bosworth.
This is part of a series featuring Boston nightlife venues of interest to the BU community. If you have any suggestions for places we should feature, leave them in the Comment section below.
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3-day Luoyang History Tour
Tour code: LY-01
Tour Overview:
This tour takes you into the amazing ancient capital of Luoyang and gives you the chance to visit the first Buddhist temple & the origin of Kungfu and stun at the grand Longmen caves.
Detailed Itinerary
Arrival in Luoyang, be met and transferred to your hotel. Free at leisure for the rest of the day.
Day 2 Luoyang (B, L)
Visit Longmen Grottoes, White Horse Temple.
Longmen Grottoes: Most impressive collection of Chinese art of late North Wei and Tang Dynasty (316-907) representing the high point of Chinese stone carving.
White Horse Temple: first built in 68AD, it is believed to be the first Buddhist temple in China.
Day 3 Luoyang departure (B, L)
Drive to visit Shaolin Temple and Dagoba Forest. Then transfer to airport (or proceed to Zhengzhou to fly or take train) and fly to the next destination.
Shaolin Temple: the cradle for Chinese martial arts (Kung Fu).
Service ends.
Guide Price
|Included Services
|Non-included Services
|Private transfers airport/hotel/airport;
|International/domestic flights or trains;
|Private tours escorted by an English-speaking guide;
|Excess luggage charge (the luggage allowance at economy class is 20kg);
|Accommodations with daily breakfast;
|Personal expense;
|Meals specified in the itinerary as B=breakfast,L=lunch, D=dinner;
|Any meals not specified as "B, L or D";
|Admission fees.
|Gratuities to guides and drivers.
Other Luoyang Tour Packages
3-day Luoyang History ...
This tour takes you into the amazing ancient capital of Luoyang and gives you the chance to visit the first Buddhist t ...
2-night & 3-day Luoyan ...
Discover Luoyang and nearby Dengfeng on this 3 days Luoyang tours to visit the Longmen Caves, Shaolin Temple, ancient ...
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I would like to say that our tour was great! It was everything we hoped it would be and so much more. Your planning and tour guides were just the best. I can't thank you enough for everything you did. It was a trip of a lifetime.


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Wind Turbine Crossed with a Blimp
Submitted by Richard Smith on May 8, 2012 - 10:59
Another helium-filled post - this time it's a helium-filled blimp that houses a horizontal-axis wind turbine [source: gizmag]. Altaeros Energies recently released a video of their prototype Airborne Wind Turbine in action:
So what is the attraction of airborne wind turbines? Once you are beyond the Earth's boundary layer you have access to stronger and more dependable wind currents. Therefore, an airborne wind turbine promises relief from the weak and intermittent winds found at ground level. It's still early days for airborne wind turbines and whether they can deliver on their promise remains to be seen.
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text: Generally, we wouldn't bother covering that Wally World was moving Blu-ray Discs at a discount -- after all, isn't that store like the low price leader or something? But this just reeks of something different. This just reeks of change, and we certainly hope it's a sign of things to come. With Black Friday far behind us, Walmart has seen fit to start selling a few Lionsgate (read: non-sucky) BDs for $10 each, and the news comes just days after one reporter questioned when Blu-ray software would fall more in line with the hardware in terms of dollars. Really, every other retailer out there has to pay attention to this should Walmart start to drastically undercut the rest in terms of BD pricing, so here's hoping the store puts even more at the $10 level, and soon.[Thanks, Joel]


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MMO MMORPG Games » MMORPG Games News » Arktech Revolution DLC Announced For Defiance
Arktech Revolution DLC Announced For DefianceTrion Worlds today announced the next addition to the ever expanding world of the cross-media MMO Defiance with the reveal of the Arktech Revolution DLC. The DLC is scheduled to arrive next month and will bring with it a variety of new features and mechanics including a raise in the current EGO cap with a number of changes made to enemies to provide a greater challenge for the more powerful players. Ark Hunters will be able to group up for an exciting selection of new expert versions of all the co-op maps currently available in-game. Rewards include special tokens that can be used to purchase legendary weapons and powerful modifications. Trion also revealed a new scaling system that will see dynamic difficulty changes to certain content depending on the level of current participants. This marks the perfect opportunity to introduce new friends to the world of Defiance and content on offer in the Arktech DLC.
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Tag Archives: showtime
'Mayweather-Pacquiao' Shatters PPV Records as Highest Grossing Ever
*Floyd Mayweather Jr. walked away with another belt in the so-called Fight of the Century against Manny Pacquiao, but HBO and Showtime delivered the knockout punch that fans were pinning for. With 4.4 million PPV buys (nearly double the old 2.48 million record) and over $410 million in domestic PPV revenue, the May 2 fight […]
Showtime's 'Iverson' Documentary 'Goes Beyond Basketball' (Trailer)
*Showtime's documentary "Iverson," an in-depth look into 11-time NBA All-Star Allen Iverson, will premiere on Saturday, May 16 at 9 p.m. ET/PT. The fierce individualist bridged the gap between hip hop and basketball and created a public persona that changed the culture of the NBA. Told largely in his own words, the film charts the […]
HBO, Showtime Box Out Free Streaming Sites over Mayweather vs. Pacquiao
*Just days before the big fight between Manny Pacquiao and Floyd Mayweather HBO and Showtime are in a legal battle to stop piracy sites from streaming. The cable movie channels joined forces in copyright infringement against piracy sites like boxinghd.net and sportship.org to prevent them from offering free streaming of the Pay Per View boxing event.
Showtime's Mayweather-Pacquiao Series to Follow Only Mayweather
*The long anticipated fight between Floyd Mayweather Jr. and Manny Pacquiao will finally happen on May 2, and Showtime has announced a premiere date for its requisite reality series that documents the weeks leading up to the main event. The four-part "Inside Mayweather Vs. Pacquiao" will debut on April 18, but cameras will only follow […]
'The Wire' Alum Andre Royo Joins Showtime Pilot 'Happyish'
*Andre Royo has joined Showtime's comedy pilot "Happyish" as a recurring character, reports Deadline.com. "Happyish" is described as a scathing examination of our pursuit of happiness, a pursuit that might just be the very thing causing our unhappiness in the first place. It centers on Thom Payne (Steve Coogan), a 44-year-old man whose world is […]
Kobe Bryant Learns a Valuable Lesson at Age 6: 'I Was Scared as S**t'
*ESPN The Magazine may be blaming Kobe Bryant's off-the-court "attitude" for the Lakers' woes of late, but Showtime head honcho David Nevins was actually impressed by the NBA superstar's down-time demeanor shown in footage from a then-proposed documentary about the player's recovery from a torn Achilles in April 2013. Nevins was so fascinated that he […]


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Beijing Flooding Compared To Katrina
Originally published on Thu July 26, 2012 10:35 am
In China, authorities are still counting the cost of heavy weekend flooding in Beijing. Officials now say 37 people died and more than 60,000 homes were damaged. Loses are estimated at nearly two billion dollars, but as NPR's Louisa Lim reports from Beijing, some of the damage is to the government's credibility.
LOUISA LIM, BYLINE: A propaganda war is being waged on China's airwaves and Internet. The official narrative is one of triumph and bravery, highlighting stories like a man who saved 170 people singlehandedly. But Beijingers saw their roads turn into rivers and read online tales of desperation. Few believed the official death toll.
MR. LI: (Speaking foreign language)
LIM: I think the figure should be much higher, says a man who gives his name as Mr. Li. Covering up is an old tradition for our government, but the truth can't be hidden anymore. Many are questioning why the city's infrastructure is so poor that it can't cope with heavy rain.
MR. ZHOU: (Speaking foreign language)
LIM: Government spending hasn't been transport says a Mr. Zhou. We should know where the money goes because it's our taxes. No one has confidence anymore. Indeed, a new phrase is circulating online: Terrorism by corruption. There's massive public dissatisfaction that money spent on vanity projects instead of basic infrastructure. These rains are already being called China's Hurricane Katrina. Louisa Lim, NPR News, Beijing.
WERTHEIMER: You're listening to MORNING EDITION from NPR News. Transcript provided by NPR, Copyright NPR.