Pete Townshend says 2012 memoir a "rite of passage"

birou notarial

Pete Townshend of British rock band 'The Who' performs during the halftime show for the NFL's Super Bowl XLIV football game between the New Orleans Saints and the Indianapolis Colts in Miami, Florida February 7, 2010.

Credit: Reuters/Jeff Haynes

NEW YORK | Wed May 18, 2011 3:03pm EDT

NEW YORK (Reuters) - A long-awaited memoir by British rock guitarist and the Who songwriter Pete Townshend will be finished and published by next year, book publisher Harper Collins said on Tuesday.

The 65-year-old musician, idolized since rising to prominence with The Who in the 1960s, said in a statement released by the book publisher the autobiography is "not a vanity for me. It is an essential rite of passage."

Townshend, who Rolling Stone magazine said has been writing a memoir since the 1990s, has forged a reputation not only as the main songwriter for one of Britain's most influential bands, but a rock commentator who has also published works of fiction and essays in the past.

"Rock 'n' Roll is a tough career, however cynically or comically it is portrayed by its detractors," Townshend said in the statement. "I am lucky to be alive and to have such a crazy story to tell, full of wild adventures and creative machinations. I am happy that I am able to write my book myself, in my own 'voice'."

Harper Collins, which said it has acquired the world English-language rights to the memoir, said in a news release the book would "at long last tell his dramatic story in a full and frank autobiography," and include the history of the band's roots to its rock opera "Tommy."

The publisher did not say if Townshend would address being cautioned by the British police in 2003 for accessing child pornography on the Internet.

At that time Townshend blamed the book, saying he was researching material for a childhood autobiography after believing he had been sexually abused between the ages of five and six and a half while in the care of his maternal grandmother.

In the statement issued Tuesday on Townshend said that while "I am not my favorite subject", he was looking forward to learning while finishing his writing.

"So the year ahead spent writing will also trigger the last vital bit of 'growing up' required by the now pensionable fellow who once wrote 'I hope I die before I get old'. I want to write a book that is enjoyable to read, but above all, I want it to be honest."

Last week it was announced that Townshend gave Roger Daltrey, the only other surviving members of The Who, his blessing to take the 1969 rock opera "Tommy" on a six-week North American tour beginning in September.

(Reporting by Christine Kearney, editing by Jill Serjeant)

Birou Notarial Bucuresti

Baloane

Pete Townshend of British rock band 'The Who' performs during the halftime show for the NFL's Super Bowl XLIV football game between the New Orleans Saints and the Indianapolis Colts in Miami, Florida February 7, 2010.

Credit: Reuters/Jeff Haynes

NEW YORK | Wed May 18, 2011 3:03pm EDT

NEW YORK (Reuters) - A long-awaited memoir by British rock guitarist and the Who songwriter Pete Townshend will be finished and published by next year, book publisher Harper Collins said on Tuesday.

The 65-year-old musician, idolized since rising to prominence with The Who in the 1960s, said in a statement released by the book publisher the autobiography is "not a vanity for me. It is an essential rite of passage."

Townshend, who Rolling Stone magazine said has been writing a memoir since the 1990s, has forged a reputation not only as the main songwriter for one of Britain's most influential bands, but a rock commentator who has also published works of fiction and essays in the past.

"Rock 'n' Roll is a tough career, however cynically or comically it is portrayed by its detractors," Townshend said in the statement. "I am lucky to be alive and to have such a crazy story to tell, full of wild adventures and creative machinations. I am happy that I am able to write my book myself, in my own 'voice'."

Harper Collins, which said it has acquired the world English-language rights to the memoir, said in a news release the book would "at long last tell his dramatic story in a full and frank autobiography," and include the history of the band's roots to its rock opera "Tommy."

The publisher did not say if Townshend would address being cautioned by the British police in 2003 for accessing child pornography on the Internet.

At that time Townshend blamed the book, saying he was researching material for a childhood autobiography after believing he had been sexually abused between the ages of five and six and a half while in the care of his maternal grandmother.

In the statement issued Tuesday on Townshend said that while "I am not my favorite subject", he was looking forward to learning while finishing his writing.

"So the year ahead spent writing will also trigger the last vital bit of 'growing up' required by the now pensionable fellow who once wrote 'I hope I die before I get old'. I want to write a book that is enjoyable to read, but above all, I want it to be honest."

Last week it was announced that Townshend gave Roger Daltrey, the only other surviving members of The Who, his blessing to take the 1969 rock opera "Tommy" on a six-week North American tour beginning in September.

(Reporting by Christine Kearney, editing by Jill Serjeant)

Baloane

Cost aparat dentar

Pete Townshend of British rock band 'The Who' performs during the halftime show for the NFL's Super Bowl XLIV football game between the New Orleans Saints and the Indianapolis Colts in Miami, Florida February 7, 2010.

Credit: Reuters/Jeff Haynes

NEW YORK | Wed May 18, 2011 3:03pm EDT

NEW YORK (Reuters) - A long-awaited memoir by British rock guitarist and the Who songwriter Pete Townshend will be finished and published by next year, book publisher Harper Collins said on Tuesday.

The 65-year-old musician, idolized since rising to prominence with The Who in the 1960s, said in a statement released by the book publisher the autobiography is "not a vanity for me. It is an essential rite of passage."

Townshend, who Rolling Stone magazine said has been writing a memoir since the 1990s, has forged a reputation not only as the main songwriter for one of Britain's most influential bands, but a rock commentator who has also published works of fiction and essays in the past.

"Rock 'n' Roll is a tough career, however cynically or comically it is portrayed by its detractors," Townshend said in the statement. "I am lucky to be alive and to have such a crazy story to tell, full of wild adventures and creative machinations. I am happy that I am able to write my book myself, in my own 'voice'."

Harper Collins, which said it has acquired the world English-language rights to the memoir, said in a news release the book would "at long last tell his dramatic story in a full and frank autobiography," and include the history of the band's roots to its rock opera "Tommy."

The publisher did not say if Townshend would address being cautioned by the British police in 2003 for accessing child pornography on the Internet.

At that time Townshend blamed the book, saying he was researching material for a childhood autobiography after believing he had been sexually abused between the ages of five and six and a half while in the care of his maternal grandmother.

In the statement issued Tuesday on Townshend said that while "I am not my favorite subject", he was looking forward to learning while finishing his writing.

"So the year ahead spent writing will also trigger the last vital bit of 'growing up' required by the now pensionable fellow who once wrote 'I hope I die before I get old'. I want to write a book that is enjoyable to read, but above all, I want it to be honest."

Last week it was announced that Townshend gave Roger Daltrey, the only other surviving members of The Who, his blessing to take the 1969 rock opera "Tommy" on a six-week North American tour beginning in September.

(Reporting by Christine Kearney, editing by Jill Serjeant)

Cost aparat dentar

Early Beatles photographs to be auctioned

birou notarial

A fan of former Beatle Paul McCartney holds a poster of The Beatles outside a hotel in Lima May 8, 2011.

Credit: Reuters/Pilar Olivares

NEW YORK | Fri May 20, 2011 4:42pm EDT

NEW YORK (Reuters) - Fifty lots of unpublished photographs of The Beatles' first U.S. concerts taken by a teenager in 1964 are expected to fetch about $100,000 when they are sold at auction, Christie's said on Friday.

The pristine, black-and-white photographs, which had been stored in a box for 45 years, chronicle The Beatles appearances in Washington, D.C. and Baltimore. They will be sold in individual lots when they go under the hammer on July 20 in New York.

"The intimacy and up-close quality differentiates this collection from those that have followed," said Cathy Elkies, Christie's director of iconic collections.

The Fab Four performed their first U.S. concert at the Washington Coliseum on February 11, 1964, two days after their legendary debut on The Ed Sullivan Show.

Washington teenager Mike Mitchell, then 18, was on hand at Union Station when the Beatles arrived and documented the shrieking hysteria of their fans.

Mitchell, who still works as a photographer, also shot the pre-concert press conference and was positioned at the stage for the entire Coliseum show. Months later he documented the Beatles concert at the Baltimore Civic Center.

Friends encouraged him to put his little-seen photographs up for sale.

"Mike's access to the band was extraordinary and his ability to capture an emotion, thought or reaction truly superb," said Elkies.

In one striking shot being offered the band members are photographed at a news conference from behind. Each of their heads is encircled in a thin halo of light.

Christie's said the photographs were expected to have broad appeal for Beatles and rock history fans but were conservatively priced because Mitchell is not a known photographer.

The photos will go on public exhibition in June at Christie's and Grosvernor House hotel in London, followed by the New York exhibit and sale in July.

Birou Notarial Bucuresti

Baloane

A fan of former Beatle Paul McCartney holds a poster of The Beatles outside a hotel in Lima May 8, 2011.

Credit: Reuters/Pilar Olivares

NEW YORK | Fri May 20, 2011 4:42pm EDT

NEW YORK (Reuters) - Fifty lots of unpublished photographs of The Beatles' first U.S. concerts taken by a teenager in 1964 are expected to fetch about $100,000 when they are sold at auction, Christie's said on Friday.

The pristine, black-and-white photographs, which had been stored in a box for 45 years, chronicle The Beatles appearances in Washington, D.C. and Baltimore. They will be sold in individual lots when they go under the hammer on July 20 in New York.

"The intimacy and up-close quality differentiates this collection from those that have followed," said Cathy Elkies, Christie's director of iconic collections.

The Fab Four performed their first U.S. concert at the Washington Coliseum on February 11, 1964, two days after their legendary debut on The Ed Sullivan Show.

Washington teenager Mike Mitchell, then 18, was on hand at Union Station when the Beatles arrived and documented the shrieking hysteria of their fans.

Mitchell, who still works as a photographer, also shot the pre-concert press conference and was positioned at the stage for the entire Coliseum show. Months later he documented the Beatles concert at the Baltimore Civic Center.

Friends encouraged him to put his little-seen photographs up for sale.

"Mike's access to the band was extraordinary and his ability to capture an emotion, thought or reaction truly superb," said Elkies.

In one striking shot being offered the band members are photographed at a news conference from behind. Each of their heads is encircled in a thin halo of light.

Christie's said the photographs were expected to have broad appeal for Beatles and rock history fans but were conservatively priced because Mitchell is not a known photographer.

The photos will go on public exhibition in June at Christie's and Grosvernor House hotel in London, followed by the New York exhibit and sale in July.

Baloane

Cost aparat dentar

A fan of former Beatle Paul McCartney holds a poster of The Beatles outside a hotel in Lima May 8, 2011.

Credit: Reuters/Pilar Olivares

NEW YORK | Fri May 20, 2011 4:42pm EDT

NEW YORK (Reuters) - Fifty lots of unpublished photographs of The Beatles' first U.S. concerts taken by a teenager in 1964 are expected to fetch about $100,000 when they are sold at auction, Christie's said on Friday.

The pristine, black-and-white photographs, which had been stored in a box for 45 years, chronicle The Beatles appearances in Washington, D.C. and Baltimore. They will be sold in individual lots when they go under the hammer on July 20 in New York.

"The intimacy and up-close quality differentiates this collection from those that have followed," said Cathy Elkies, Christie's director of iconic collections.

The Fab Four performed their first U.S. concert at the Washington Coliseum on February 11, 1964, two days after their legendary debut on The Ed Sullivan Show.

Washington teenager Mike Mitchell, then 18, was on hand at Union Station when the Beatles arrived and documented the shrieking hysteria of their fans.

Mitchell, who still works as a photographer, also shot the pre-concert press conference and was positioned at the stage for the entire Coliseum show. Months later he documented the Beatles concert at the Baltimore Civic Center.

Friends encouraged him to put his little-seen photographs up for sale.

"Mike's access to the band was extraordinary and his ability to capture an emotion, thought or reaction truly superb," said Elkies.

In one striking shot being offered the band members are photographed at a news conference from behind. Each of their heads is encircled in a thin halo of light.

Christie's said the photographs were expected to have broad appeal for Beatles and rock history fans but were conservatively priced because Mitchell is not a known photographer.

The photos will go on public exhibition in June at Christie's and Grosvernor House hotel in London, followed by the New York exhibit and sale in July.

Cost aparat dentar

UK's Glyndebourne fest stages tainted Wagner opera

birou notarial

By Michael Roddy

LONDON | Fri May 20, 2011 8:55am EDT

LONDON (Reuters) - The founder of Britain's Glyndebourne festival loved Wagner and performed excerpts from "Die Meistersinger" on the organ, but that was before the Nazis adopted the composer's longest opera as their signature piece.

On Saturday, in its first production of "Die Meistersinger von Nurnberg" and only second Wagner opera, Glyndebourne will attempt to show that a work used to stir up nationalism and anti-Semitism by the Third Reich is fitting musical fare for its well-heeled patrons, fortified for the seven-hour journey with lobster tail and rack of lamb during a long interval.

"I don't think Wagner was imparting ideas which were outspokenly fascist," conductor Vladimir Jurowski, who will lead the performance, said, confronting the issue head on.

"The fact that they (Wagner's operas) have been abused by the Nazis later on only says something about the ambiguity of Wagner's ideas," he told Reuters in a telephone interview.

Everyone associated with the production, staged by the world-renowned director David McVicar, is aware that a lot is riding on the artistic, as well as financial, success of what is probably the most expensive and ambitious opera produced at Glyndebourne since it was founded in 1934 by wealthy landowner John Christie and his opera-singer wife.

Although details of the staging, as is usual in these affairs, have been kept under wraps, it is known that the historical period of Wagner's tale about a song contest sponsored by an opera guild in 16th-century Nuremberg has been moved to Wagner's time, the 19th century.

In addition to the soloists, there will be some 140 people on stage, including circus performers, a full orchestra in the pit and a chorus of about 90.

These are big -- and costly -- forces for the Glyndebourne Opera Festival, which gets all its funding from sponsors and ticket sales, but the fact that all 10 performances of an opera which begins just before 3 p.m. and, with two intervals, ends almost seven hours later, are sold out is music to the ears of general director David Pickard.

To accommodate those who can't get in for love or money, the opera will be streamed on the Guardian newspaper's website for its final performance on June 26.

"This gives truth to the myth that this place is about nice, light entertainment with a picnic attached," Pickard told Reuters in a telephone interview.

"Serious operas are wonderfully suited to the sort of overall experience here at Glyndebourne, especially spending a day immersed in music and a beautiful garden."

"Honor YOUR GERMAN MASTERS"

Harder to shake are the opera's Nazi associations. It was Hitler's favorite and he was a regular visitor, before and during World War Two, to see it performed at the Festspielhaus in Bayreuth, the hall in northern Bavaria that Wagner purpose-built to showcase his works.

At the end of the opera, the main character, cobbler and poet Hans Sachs, sings the line that endeared it to the Nazis and has caused trouble ever since: "Honor your German masters."

Jurowski, for one, thinks the words, and the whole opera, have been taken out of context.

"He (Wagner) ...was trying to give his support to (Chancellor Otto von) Bismarck's reunified Germany and ...the idea of national identity in the 19th century in the time when Wagner was growing up was a highly liberal idea...

"But of course we know the consequences of this idea in the 20th century, and we also know about the popularity of this opera in the Third Reich. It was a piece that enjoyed greater popularity than any other work by Wagner."

Canadian baritone Gerald Finley, singing the role of Sachs, is less worried about the political and historical overtones than he is with managing what someone has figured to be 6,000 words of German -- the biggest baritone role in the repertoire.

It is the first time Finley, 51, has sung the part -- a huge departure from his recent appearance as radio personality Howard Stern in the premiere at the Royal Opera House of "Anna Nicole," based on the life of the celebrity playgirl.

"It's been one of the fuller years of my career," Finley said, adding that while it may seem like a huge leap from Stern to Sachs, the first was a supporting role while the second requires him to be on stage almost the entire time.

"But in fact it's one of those things where hopefully one gets into a groove and they're paced nicely with four days between shows," he said. "So there's enough recovery time and, one hopes, rejuvenation time, too."

(Wagner's "Die Meistersinger von Nurnberg" in rotation at the Glyndebourne Opera Festival from May 21 through June 26. www.glyndebourne.com)

(Editing by Paul Casciato)

Birou Notarial Bucuresti

Baloane

By Michael Roddy

LONDON | Fri May 20, 2011 8:55am EDT

LONDON (Reuters) - The founder of Britain's Glyndebourne festival loved Wagner and performed excerpts from "Die Meistersinger" on the organ, but that was before the Nazis adopted the composer's longest opera as their signature piece.

On Saturday, in its first production of "Die Meistersinger von Nurnberg" and only second Wagner opera, Glyndebourne will attempt to show that a work used to stir up nationalism and anti-Semitism by the Third Reich is fitting musical fare for its well-heeled patrons, fortified for the seven-hour journey with lobster tail and rack of lamb during a long interval.

"I don't think Wagner was imparting ideas which were outspokenly fascist," conductor Vladimir Jurowski, who will lead the performance, said, confronting the issue head on.

"The fact that they (Wagner's operas) have been abused by the Nazis later on only says something about the ambiguity of Wagner's ideas," he told Reuters in a telephone interview.

Everyone associated with the production, staged by the world-renowned director David McVicar, is aware that a lot is riding on the artistic, as well as financial, success of what is probably the most expensive and ambitious opera produced at Glyndebourne since it was founded in 1934 by wealthy landowner John Christie and his opera-singer wife.

Although details of the staging, as is usual in these affairs, have been kept under wraps, it is known that the historical period of Wagner's tale about a song contest sponsored by an opera guild in 16th-century Nuremberg has been moved to Wagner's time, the 19th century.

In addition to the soloists, there will be some 140 people on stage, including circus performers, a full orchestra in the pit and a chorus of about 90.

These are big -- and costly -- forces for the Glyndebourne Opera Festival, which gets all its funding from sponsors and ticket sales, but the fact that all 10 performances of an opera which begins just before 3 p.m. and, with two intervals, ends almost seven hours later, are sold out is music to the ears of general director David Pickard.

To accommodate those who can't get in for love or money, the opera will be streamed on the Guardian newspaper's website for its final performance on June 26.

"This gives truth to the myth that this place is about nice, light entertainment with a picnic attached," Pickard told Reuters in a telephone interview.

"Serious operas are wonderfully suited to the sort of overall experience here at Glyndebourne, especially spending a day immersed in music and a beautiful garden."

"Honor YOUR GERMAN MASTERS"

Harder to shake are the opera's Nazi associations. It was Hitler's favorite and he was a regular visitor, before and during World War Two, to see it performed at the Festspielhaus in Bayreuth, the hall in northern Bavaria that Wagner purpose-built to showcase his works.

At the end of the opera, the main character, cobbler and poet Hans Sachs, sings the line that endeared it to the Nazis and has caused trouble ever since: "Honor your German masters."

Jurowski, for one, thinks the words, and the whole opera, have been taken out of context.

"He (Wagner) ...was trying to give his support to (Chancellor Otto von) Bismarck's reunified Germany and ...the idea of national identity in the 19th century in the time when Wagner was growing up was a highly liberal idea...

"But of course we know the consequences of this idea in the 20th century, and we also know about the popularity of this opera in the Third Reich. It was a piece that enjoyed greater popularity than any other work by Wagner."

Canadian baritone Gerald Finley, singing the role of Sachs, is less worried about the political and historical overtones than he is with managing what someone has figured to be 6,000 words of German -- the biggest baritone role in the repertoire.

It is the first time Finley, 51, has sung the part -- a huge departure from his recent appearance as radio personality Howard Stern in the premiere at the Royal Opera House of "Anna Nicole," based on the life of the celebrity playgirl.

"It's been one of the fuller years of my career," Finley said, adding that while it may seem like a huge leap from Stern to Sachs, the first was a supporting role while the second requires him to be on stage almost the entire time.

"But in fact it's one of those things where hopefully one gets into a groove and they're paced nicely with four days between shows," he said. "So there's enough recovery time and, one hopes, rejuvenation time, too."

(Wagner's "Die Meistersinger von Nurnberg" in rotation at the Glyndebourne Opera Festival from May 21 through June 26. www.glyndebourne.com)

(Editing by Paul Casciato)

Baloane

Cost aparat dentar

By Michael Roddy

LONDON | Fri May 20, 2011 8:55am EDT

LONDON (Reuters) - The founder of Britain's Glyndebourne festival loved Wagner and performed excerpts from "Die Meistersinger" on the organ, but that was before the Nazis adopted the composer's longest opera as their signature piece.

On Saturday, in its first production of "Die Meistersinger von Nurnberg" and only second Wagner opera, Glyndebourne will attempt to show that a work used to stir up nationalism and anti-Semitism by the Third Reich is fitting musical fare for its well-heeled patrons, fortified for the seven-hour journey with lobster tail and rack of lamb during a long interval.

"I don't think Wagner was imparting ideas which were outspokenly fascist," conductor Vladimir Jurowski, who will lead the performance, said, confronting the issue head on.

"The fact that they (Wagner's operas) have been abused by the Nazis later on only says something about the ambiguity of Wagner's ideas," he told Reuters in a telephone interview.

Everyone associated with the production, staged by the world-renowned director David McVicar, is aware that a lot is riding on the artistic, as well as financial, success of what is probably the most expensive and ambitious opera produced at Glyndebourne since it was founded in 1934 by wealthy landowner John Christie and his opera-singer wife.

Although details of the staging, as is usual in these affairs, have been kept under wraps, it is known that the historical period of Wagner's tale about a song contest sponsored by an opera guild in 16th-century Nuremberg has been moved to Wagner's time, the 19th century.

In addition to the soloists, there will be some 140 people on stage, including circus performers, a full orchestra in the pit and a chorus of about 90.

These are big -- and costly -- forces for the Glyndebourne Opera Festival, which gets all its funding from sponsors and ticket sales, but the fact that all 10 performances of an opera which begins just before 3 p.m. and, with two intervals, ends almost seven hours later, are sold out is music to the ears of general director David Pickard.

To accommodate those who can't get in for love or money, the opera will be streamed on the Guardian newspaper's website for its final performance on June 26.

"This gives truth to the myth that this place is about nice, light entertainment with a picnic attached," Pickard told Reuters in a telephone interview.

"Serious operas are wonderfully suited to the sort of overall experience here at Glyndebourne, especially spending a day immersed in music and a beautiful garden."

"Honor YOUR GERMAN MASTERS"

Harder to shake are the opera's Nazi associations. It was Hitler's favorite and he was a regular visitor, before and during World War Two, to see it performed at the Festspielhaus in Bayreuth, the hall in northern Bavaria that Wagner purpose-built to showcase his works.

At the end of the opera, the main character, cobbler and poet Hans Sachs, sings the line that endeared it to the Nazis and has caused trouble ever since: "Honor your German masters."

Jurowski, for one, thinks the words, and the whole opera, have been taken out of context.

"He (Wagner) ...was trying to give his support to (Chancellor Otto von) Bismarck's reunified Germany and ...the idea of national identity in the 19th century in the time when Wagner was growing up was a highly liberal idea...

"But of course we know the consequences of this idea in the 20th century, and we also know about the popularity of this opera in the Third Reich. It was a piece that enjoyed greater popularity than any other work by Wagner."

Canadian baritone Gerald Finley, singing the role of Sachs, is less worried about the political and historical overtones than he is with managing what someone has figured to be 6,000 words of German -- the biggest baritone role in the repertoire.

It is the first time Finley, 51, has sung the part -- a huge departure from his recent appearance as radio personality Howard Stern in the premiere at the Royal Opera House of "Anna Nicole," based on the life of the celebrity playgirl.

"It's been one of the fuller years of my career," Finley said, adding that while it may seem like a huge leap from Stern to Sachs, the first was a supporting role while the second requires him to be on stage almost the entire time.

"But in fact it's one of those things where hopefully one gets into a groove and they're paced nicely with four days between shows," he said. "So there's enough recovery time and, one hopes, rejuvenation time, too."

(Wagner's "Die Meistersinger von Nurnberg" in rotation at the Glyndebourne Opera Festival from May 21 through June 26. www.glyndebourne.com)

(Editing by Paul Casciato)

Cost aparat dentar

"Dead Reckoning" remains on top of best-sellers list

birou notarial

NEW YORK | Thu May 19, 2011 2:08pm EDT

NEW YORK (Reuters Life!) - "Dead Reckoning" retained the top spot on Publishers Weekly best-sellers list on Thursday for the second week.

The list is compiled from data from independent and chain bookstores, book wholesalers and independent distributors nationwide.

Hardcover Fiction Last Week

1. "Dead Reckoning" by Charlaine Harris (Ace, $27.95) 1

2. "Buried Prey" by John Sandford (Putnam, $27.95) -

3. "10th Anniversary" by James Patterson & Maxine Paetro (Little, Brown, $27.99) 2

4. "The Sixth Man" by David Baldacci. (Grand Central, $27.99) 3

5. "The Land of Painted Caves" by Jean M. Auel (Crown, $30) 5

6. "Sixkill" by Robert B. Parker (Putnam, $26.95) 4

7. "The Fifth Witness" by Michael Connelly (Little, Brown, $27.99) 7

8. "The Girl Who Kicked the Hornet's Nest" by Stieg Larsson (Knopf, $27.95) 13

9. "Caleb's Crossing" by Geraldine Brooks (Viking, $26.95) 10

10. "Those in Peril" by Wilbur Smith (Thomas Dunne, $27.99) -

Hardcover Nonfiction

1. "Lies That Chelsea Handler Told Me" by Chelsea's Family, Friends, & Other Victims (Grand Central, $24.99 -

2. "The Dukan Diet" by Dr. Pierre Dukan (Crown, $26) 4

3. "Does the Noise in My Head Bother You?" by Steven Tyler with David Dalton (Ecco, $27.99) 2

4. "Bossypants" by Tina Fey by (LB/Reagan Arthur, $26.99) 1

5. "The 17 Day Diet" by Dr. Mike Moreno (Free Press, $25) 7

6. "In the Garden of Beasts" by Erik Larson (Crown, $26) -

7. "Unbroken" by Laura Hillenbrand (Random House, $27) 12

8. "20 Years Younger" by Bob Greene (Little, Brown, $27.99) 8

9. "Place of Yes" by Bethenny Frankel with Eve Adamson (Touchstone, $24.99) -

10. "Seal Team Six" by Howard E. Wasdin & Stephen Templin (St. Martin's, $26.99) -

(Editing by Patricia Reaney)

Birou Notarial Bucuresti

Baloane

NEW YORK | Thu May 19, 2011 2:08pm EDT

NEW YORK (Reuters Life!) - "Dead Reckoning" retained the top spot on Publishers Weekly best-sellers list on Thursday for the second week.

The list is compiled from data from independent and chain bookstores, book wholesalers and independent distributors nationwide.

Hardcover Fiction Last Week

1. "Dead Reckoning" by Charlaine Harris (Ace, $27.95) 1

2. "Buried Prey" by John Sandford (Putnam, $27.95) -

3. "10th Anniversary" by James Patterson & Maxine Paetro (Little, Brown, $27.99) 2

4. "The Sixth Man" by David Baldacci. (Grand Central, $27.99) 3

5. "The Land of Painted Caves" by Jean M. Auel (Crown, $30) 5

6. "Sixkill" by Robert B. Parker (Putnam, $26.95) 4

7. "The Fifth Witness" by Michael Connelly (Little, Brown, $27.99) 7

8. "The Girl Who Kicked the Hornet's Nest" by Stieg Larsson (Knopf, $27.95) 13

9. "Caleb's Crossing" by Geraldine Brooks (Viking, $26.95) 10

10. "Those in Peril" by Wilbur Smith (Thomas Dunne, $27.99) -

Hardcover Nonfiction

1. "Lies That Chelsea Handler Told Me" by Chelsea's Family, Friends, & Other Victims (Grand Central, $24.99 -

2. "The Dukan Diet" by Dr. Pierre Dukan (Crown, $26) 4

3. "Does the Noise in My Head Bother You?" by Steven Tyler with David Dalton (Ecco, $27.99) 2

4. "Bossypants" by Tina Fey by (LB/Reagan Arthur, $26.99) 1

5. "The 17 Day Diet" by Dr. Mike Moreno (Free Press, $25) 7

6. "In the Garden of Beasts" by Erik Larson (Crown, $26) -

7. "Unbroken" by Laura Hillenbrand (Random House, $27) 12

8. "20 Years Younger" by Bob Greene (Little, Brown, $27.99) 8

9. "Place of Yes" by Bethenny Frankel with Eve Adamson (Touchstone, $24.99) -

10. "Seal Team Six" by Howard E. Wasdin & Stephen Templin (St. Martin's, $26.99) -

(Editing by Patricia Reaney)

Baloane

Cost aparat dentar

NEW YORK | Thu May 19, 2011 2:08pm EDT

NEW YORK (Reuters Life!) - "Dead Reckoning" retained the top spot on Publishers Weekly best-sellers list on Thursday for the second week.

The list is compiled from data from independent and chain bookstores, book wholesalers and independent distributors nationwide.

Hardcover Fiction Last Week

1. "Dead Reckoning" by Charlaine Harris (Ace, $27.95) 1

2. "Buried Prey" by John Sandford (Putnam, $27.95) -

3. "10th Anniversary" by James Patterson & Maxine Paetro (Little, Brown, $27.99) 2

4. "The Sixth Man" by David Baldacci. (Grand Central, $27.99) 3

5. "The Land of Painted Caves" by Jean M. Auel (Crown, $30) 5

6. "Sixkill" by Robert B. Parker (Putnam, $26.95) 4

7. "The Fifth Witness" by Michael Connelly (Little, Brown, $27.99) 7

8. "The Girl Who Kicked the Hornet's Nest" by Stieg Larsson (Knopf, $27.95) 13

9. "Caleb's Crossing" by Geraldine Brooks (Viking, $26.95) 10

10. "Those in Peril" by Wilbur Smith (Thomas Dunne, $27.99) -

Hardcover Nonfiction

1. "Lies That Chelsea Handler Told Me" by Chelsea's Family, Friends, & Other Victims (Grand Central, $24.99 -

2. "The Dukan Diet" by Dr. Pierre Dukan (Crown, $26) 4

3. "Does the Noise in My Head Bother You?" by Steven Tyler with David Dalton (Ecco, $27.99) 2

4. "Bossypants" by Tina Fey by (LB/Reagan Arthur, $26.99) 1

5. "The 17 Day Diet" by Dr. Mike Moreno (Free Press, $25) 7

6. "In the Garden of Beasts" by Erik Larson (Crown, $26) -

7. "Unbroken" by Laura Hillenbrand (Random House, $27) 12

8. "20 Years Younger" by Bob Greene (Little, Brown, $27.99) 8

9. "Place of Yes" by Bethenny Frankel with Eve Adamson (Touchstone, $24.99) -

10. "Seal Team Six" by Howard E. Wasdin & Stephen Templin (St. Martin's, $26.99) -

(Editing by Patricia Reaney)

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Woody Allen, Ethan Coen, make Broadway debut

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Director John Turturro poses during a photocall for the movie ''Passione'' at the 67th Venice Film Festival September 4, 2010.

Credit: Reuters/Tony Gentile

By David Rooney

Wed May 18, 2011 3:02pm EDT

NEW YORK (Hollywood Reporter) - John Turturro will make his Broadway directing debut next fall with an evening of three one-act comedies by Ethan Coen, Elaine May and Woody Allen, collectively titled "Relatively Speaking."

The production also marks the first foray into Broadway for Coen, whose two programs of one-acts, "Almost an Evening" and "Offices," were hits Off Broadway for the Atlantic Theater Company.

Julian Schlossberg and Letty Aronson will produce "Relatively Speaking," which is slated to begin previews in September for an October opening.

Turturro has a long association with the Coen Brothers, having appeared in "Miller's Crossing," "Barton Fink," "The Big Lebowski" and "O Brother, Where Art Thou?"

Allen's latest feature, "Midnight in Paris," premiered last week at the Cannes Film Festival and will open domestically May 20 through Sony Classics.

(Editing by Zorianna Kit)

Birou Notarial Bucuresti

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Director John Turturro poses during a photocall for the movie ''Passione'' at the 67th Venice Film Festival September 4, 2010.

Credit: Reuters/Tony Gentile

By David Rooney

Wed May 18, 2011 3:02pm EDT

NEW YORK (Hollywood Reporter) - John Turturro will make his Broadway directing debut next fall with an evening of three one-act comedies by Ethan Coen, Elaine May and Woody Allen, collectively titled "Relatively Speaking."

The production also marks the first foray into Broadway for Coen, whose two programs of one-acts, "Almost an Evening" and "Offices," were hits Off Broadway for the Atlantic Theater Company.

Julian Schlossberg and Letty Aronson will produce "Relatively Speaking," which is slated to begin previews in September for an October opening.

Turturro has a long association with the Coen Brothers, having appeared in "Miller's Crossing," "Barton Fink," "The Big Lebowski" and "O Brother, Where Art Thou?"

Allen's latest feature, "Midnight in Paris," premiered last week at the Cannes Film Festival and will open domestically May 20 through Sony Classics.

(Editing by Zorianna Kit)

Baloane

Cost aparat dentar

Director John Turturro poses during a photocall for the movie ''Passione'' at the 67th Venice Film Festival September 4, 2010.

Credit: Reuters/Tony Gentile

By David Rooney

Wed May 18, 2011 3:02pm EDT

NEW YORK (Hollywood Reporter) - John Turturro will make his Broadway directing debut next fall with an evening of three one-act comedies by Ethan Coen, Elaine May and Woody Allen, collectively titled "Relatively Speaking."

The production also marks the first foray into Broadway for Coen, whose two programs of one-acts, "Almost an Evening" and "Offices," were hits Off Broadway for the Atlantic Theater Company.

Julian Schlossberg and Letty Aronson will produce "Relatively Speaking," which is slated to begin previews in September for an October opening.

Turturro has a long association with the Coen Brothers, having appeared in "Miller's Crossing," "Barton Fink," "The Big Lebowski" and "O Brother, Where Art Thou?"

Allen's latest feature, "Midnight in Paris," premiered last week at the Cannes Film Festival and will open domestically May 20 through Sony Classics.

(Editing by Zorianna Kit)

Cost aparat dentar

Chinese rocker reported detained after backing Ai Weiwei

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Birou Notarial Bucuresti

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China says Ai case nothing to do with freedom of expression

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Chinese artist Ai Weiwei poses for a photograph with his new installation entitled 'Sunflower Seeds', at its unveiling in the Turbine Hall at the Tate Modern gallery, in London October 11, 2010.

Credit: Reuters/Stefan Wermuth

BEIJING | Fri Apr 29, 2011 12:35am EDT

BEIJING (Reuters) - The case of detained Chinese artist Ai Weiwei has nothing to do with freedom of expression and the art scene in China is thriving, the country's embassy in London wrote in a letter to a state-run newspaper on Friday.

Ai was detained at Beijing airport on April 3 and is now being investigated on suspicion of economic crimes.

His detention has prompted heavy criticism in the West, with U.S. officials raising the case in human rights talks in Beijing this week.

"The Ai Weiwei case, in essence, is not a human rights matter, nor is it about freedom of speech. No one is above the law. Just like in other countries, acts of violations of the law will be dealt with by the law," the embassy wrote in the letter, carried in the English-language China Daily.

"Art is thriving in China. One can find art in all its forms and genres in China, from classical to post-modern, from Chinese to Western, from realism to abstract art," it wrote.

The Chinese authorities have given few details of what exactly Ai is being investigated for.

Earlier this month, a Hong Kong newspaper under Beijing control said police had firm evidence he avoided tax.

In a sign of the sensitivity for Beijing, a Hong Kong-based rights group said on Thursday that a Chinese rock musician had been briefly detained by police after voicing support for Ai.

"It is natural for China and Western countries to see human rights and democracy differently given their different historical and cultural traditions and national circumstances," the letter said.

"China is not the former Soviet Union. China has no need for 'lecturers', who cling to the Cold War mentality and follow double standards in their preachings."

The China Daily said the letter had been written in response to an article in a British newspaper written by author Salman Rushdie calling on China to set Ai free.

(Reporting by Ben Blanchard, editing by Jonathan Thatcher)

Birou Notarial Bucuresti

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Chinese artist Ai Weiwei poses for a photograph with his new installation entitled 'Sunflower Seeds', at its unveiling in the Turbine Hall at the Tate Modern gallery, in London October 11, 2010.

Credit: Reuters/Stefan Wermuth

BEIJING | Fri Apr 29, 2011 12:35am EDT

BEIJING (Reuters) - The case of detained Chinese artist Ai Weiwei has nothing to do with freedom of expression and the art scene in China is thriving, the country's embassy in London wrote in a letter to a state-run newspaper on Friday.

Ai was detained at Beijing airport on April 3 and is now being investigated on suspicion of economic crimes.

His detention has prompted heavy criticism in the West, with U.S. officials raising the case in human rights talks in Beijing this week.

"The Ai Weiwei case, in essence, is not a human rights matter, nor is it about freedom of speech. No one is above the law. Just like in other countries, acts of violations of the law will be dealt with by the law," the embassy wrote in the letter, carried in the English-language China Daily.

"Art is thriving in China. One can find art in all its forms and genres in China, from classical to post-modern, from Chinese to Western, from realism to abstract art," it wrote.

The Chinese authorities have given few details of what exactly Ai is being investigated for.

Earlier this month, a Hong Kong newspaper under Beijing control said police had firm evidence he avoided tax.

In a sign of the sensitivity for Beijing, a Hong Kong-based rights group said on Thursday that a Chinese rock musician had been briefly detained by police after voicing support for Ai.

"It is natural for China and Western countries to see human rights and democracy differently given their different historical and cultural traditions and national circumstances," the letter said.

"China is not the former Soviet Union. China has no need for 'lecturers', who cling to the Cold War mentality and follow double standards in their preachings."

The China Daily said the letter had been written in response to an article in a British newspaper written by author Salman Rushdie calling on China to set Ai free.

(Reporting by Ben Blanchard, editing by Jonathan Thatcher)

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