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Guests: David Corn, Chris Dodd, Thad Allen, Clarence Page
CHUCK TODD, GUEST HOST: A sorry Charlie.
Let's play HARDBALL.
Good evening. I'm Chuck Todd, in tonight for Chris Matthews. Leading off: Should he stay or should he go? As "The Washington Post" put it this morning. Charlie Rangel's ethics problems leave him with three choices—resign, accept the charges and stay on, or defend himself. Democrats had hoped Rangel would choose option one or two. Today, he chose option three, defend himself, at a time when Democrats have enough problems that they don't need the stench of a possible ethics scandal following them. We'll get the latest on that.
Another story the administration wishes would just go away is Shirley Sherrod. President Obama said today Agriculture Secretary Tom Vilsack jumped the gun in firing her. But why is this president, perhaps the nation's most eloquent spokesman on race, so reluctant to discuss the matter?
Plus, Andrew Breitbart, the right-wing activist who released the Sherrod tape, insists his real target was the NAACP, that its members laughed at, cheered at Sherrod's anti-white comments. Really? That's going to—we're going to look at this videotape and you're going to see that's not true, either.
Also, just what we didn't need, a tropical storm named Bonnie bearing down on the Gulf Coast and delaying efforts to drill that relief well that will finally, permanently end the BP leak. We're going to get the latest from the source, national incident commander Thad Allen.
And with rumors that Jeb Bush may consider running for president, David Letterman argues that the Bushes are like the "Godfather" movies, it's best to stop at two. We shall see. That's in the "Sideshow."
But we're going to start with Congressman Charlie Rangel. Luke Russert is NBC News's Capitol Hill correspondent. And Luke, let's start with a contrite Charlie Rangel today at a Harlem press conference. First we're going to play the exchange he had with you late yesterday, and then we're going to go to what Congressman Rangel said today. Let's roll it.
LUKE RUSSERT, NBC CORRESPONDENT: All right.
Did you ever worry about losing your job?
REP. CHARLES RANGEL (D), NEW YORK: What are you talking about?
You're just trying to make copy? What job? The one I got?
RUSSERT: Yes. I mean (INAUDIBLE) serious violations.
RANGEL: How do you think—how do you think I got my job? I was elected, right? How do you think I'd lose it?
RUSSERT: There's two ways. You could lose it by your colleagues voted you out of here because of ethics violations, or your constituents (INAUDIBLE)
RANGEL: What station are you from?
RANGEL: It doesn't really sound like NBC asking these dumb questions. It just shows what has really happened to a channel that did have some respect.
TODD: All right. And now let's play Congressman Rangel this afternoon at his Harlem press conference.
RANGEL: And I called this morning and I had a very good conversation with Luke Russert and apologizing for the way I treated him on television. But it's awkward when you can't give answers to questions. And sometimes, reporters feel compelled to go beyond what I can do.
TODD: All right, let's take this in two parts, Luke. Number one, the public relations aspect to this. Clearly, he realized how poorly he came across, that he came across like somebody who was being evasive, being a bully, whatever you want to look at it as. And he was trying to fix that today.
RUSSERT: He absolutely was, Chuck. I mean, something that you and I talked about this morning with Andrea is that you can often, as a politician, have a strategy to sort of blame the media, if you will, sort of saying, It's the media making a mischaracterization about me and my policies and—but these allegations against me are false, but I can't (INAUDIBLE) anything right now, but the media has it wrong, so I'm going to make the media coverage of me the story. And that's what Mr. Rangel chose to do with me yesterday.
Obviously, we weren't asking really pressing questions about specifics about what the allegations were. We were simply asking, myself and my colleagues around me, Are you worried whether or not you're going to lose your job? He's facing a very stiff primary opponent coming up in September that's going to give him a real—a real shot there. Also, with these type of allegations, there's a real chance, Chuck—and I spoke to two vulnerable House Democrats today—that if this were to go to a vote on the House floor, there's a real chance that Nancy Pelosi does not have the votes to protect Mr. Rangel. Remember, that's how he lost his gavel in March...
TODD: Right. That's how he lost the gavel.
RUSSERT: ... that he did not have the votes to protect him back then.
That would be the same right now just for him to be a member of Congress. It's a very, very tough situation for Mr. Rangel right now. And every Democrat I have spoken (SIC), to a man and to a woman, has said, We do not want this public trial going forward on Thursday. It's absolutely the last thing we want in an election year.
TODD: Well, walk us through this timeline, Luke. What is Thursday? We heard Congressman Rangel refer to it today. What happens Thursday? And then walk us through the process, assuming he continues on this course of where he's going to basically fight these charges in the Ethics Committee.
RUSSERT: Well, Chuck, Charlie Rangel put it the best today when he said at his press conference, quote, "I'm in the kitchen, and I'm not walking out." So that's all giving us an indication that he's ready to go into this open trial, which is the House Ethics Committee, which is made up of his peers, which is even-handed with the five Democrats and five Republicans. He's ready to go into this trial and essentially listen to the charges against him, and then speak regarding his innocence.
Remember, the House Ethics Committee, which was essentially really propped up after Speaker Pelosi took the gavel in 2006, has really done a lot of their work behind closed doors...
TODD: Right.
RUSSERT: ... and is very secretive, obviously, because they don't want—they don't want leaks. They don't want to involve the press in every step of the way. But let's say on Thursday, this goes forward. This will be the first time we've ever seen this play out since in 2002 with James Traficant. You'll see the open thing (ph) on Thursday. And then depending on how that goes, you could possibly see all sorts of recommendations, whether or not it's censure, whether or not he accepts an apology...
TODD: Right.
RUSSERT: ... what they—what they give him, what's the punishment. It's really open to interpretation from the House Ethics Committee standpoint.
TODD: All right, Luke Russert on Capitol Hill for us. You were in the middle of that storm, withstood it. Stay alert this weekend. It's funny how members of Congress, after they sleep on things like this over the weekend, suddenly may have a change of heart. I have a feeling Monday could be just as busy for you as it was today. Thank you, Luke.
RUSSERT: Absolutely. They desperately want him to just make an apology and let this all be done with. Be well.
TODD: All righty. Thanks very much.
All right, I want to bring in David Gregory, moderator of "MEET THE PRESS." Let's quickly deal with Rangel here because the big fear among Democrats on Rangel is, if you look at 1994, the final thing was the stench of Dan Rostenkowski. In 2006, the final thing was that stench of Tom DeLay coupled with what happened with the Mark Foley situation. An ethics thing is sort of—can be a tipping point for a political party.
DAVID GREGORY, MODERATOR, "MEET THE PRESS": Well, it really can. And what the congressman is most sensitive about was the question that was closest to the real sensitive point, which is, is he afraid of losing his job? Because one way or the other, either at the polls or because of his colleagues really putting pressure on him, he could, in fact, lose his job. And that's why there have been discussions privately about how he might handle this behind the scenes just so all of this does not come out because it was Nancy Pelosi who said they wanted to drain the swamp. They don't want ethics to be an issue.
Look at the low esteem that Congress has held in at the moment. You have enough of this, only to have it be exacerbated by somebody who could be a real figure for Republicans to use around the country.
TODD: Here's an odd Catch-22 for the Democrats. Here they are, doing
going through with this ethics procedure. Pretty tough. Pretty—and showing that they did what they said they were going to do with the way (INAUDIBLE) willing to have it show up in the middle of an election season. And yet they end up getting—it's going to punish them.
GREGORY: Yes, right.
TODD: That's the irony to this.
GREGORY: Well, I mean, I—look, and there's something that can be said for actually moving through with the process. But you know, realize this isn't always on the merits here. It's about how it looks. And you know, we'll see, ultimately, just how far along that gets.
But there's all these different points where they have a question of emphasis right now. And they spent the last week-and-a-half very comfortably talking about how Republicans don't want anything but a return to the Bush record, and now they're going to have an ethics issue that's going to flare-up.
TODD: Speaking of timing, let's talk about timing. Timing's been everything in a negative way for this White House. When you think about the month of July—you and I both had heard from leaders inside the administration they really wanted to take a hard turn toward the economy. But from General McChrystal, then the news that Robert Gibbs made on your show two Sundays ago having to do with about—it seems like every week has had some other story. And of course, this week, it's Shirley Sherrod.
GREGORY: Right.
TODD: What has this done to this—and what have you seen out of this administration? First of all, are they handling distractions better now, say, than six months ago?
GREGORY: Well, you know, I think that's always going to be open to interpretation. I think what you can say constructively about the Sherrod incident—I mean, the last thing they wanted is for this to play out and be a key figure. And unfortunately, there is now a record with this administration, I mean, the president going back a year ago, hastily condemning the Boston or the Cambridge police without knowing all of the facts here, something he's accused the media of doing, and indeed, his agricultural secretary of doing in this case. But they did also reverse course rather quickly, too, and put this to bed.
On the economy, what's interesting is that the difficulty is how much more can the administration to do to focus on the economy? You'll hear Secretary Geithner say on Sunday, as others have, that right now, it's the private sector's role to really deal with the jobs issue. So government can assist, but the private sector has to lead the way.
TODD: Do they feel as if the private sector's voting? You know, in a weird way, that...
GREGORY: Yes.
TODD: ... corporate capital—because I've heard the same thing. Basically, there's what is it, almost $2 trillion in private capital not being put into jobs. You know, there are some that are saying that this is, like, you know, the Chamber of Commerce and others' way of encouraging -- No, no, no, no. This is your way of voting.
GREGORY: Well, I think there's a couple of things. There's still a confidence issue. I mean, looking at the Fed chief saying, essentially, I don't know what it's going to look like here. Is it a double dip recession? I don't know. A lot of CEOs...
TODD: That didn't help uncertainty. Larry Summers agreed with him.
Yes. It's pretty uncertain.
GREGORY: Right. Secretary Geithner does not agree with that per se, but—and a lot of CEOs don't agree with that, either. They don't think that there's another dip coming. But you also got the housing market. As long as the housing market is still in the crisis that it's in, which is because unemployment is where it is, you really can't—you can't really move a whole lot. And I think that's a big factor weighing on what's happening in corporate America.
TODD: Also on "MEET THE PRESS," you have an interesting person on your roundtable, Anita Dunn, former communications director. And the reason I bring this up is that this Shirley Sherrod story, part race story...
GREGORY: Right.
TODD: ... part media story. You and I had a conversation about it...
GREGORY: Right.
TODD: ... this morning. And you can go either way. She had some very harsh words about Fox when she was sitting in the position as a spokesperson for the Obama administration. Is this one of these where she's going to feel an, I told you so?
GREGORY: Well, I think probably. I mean, I think, you know, it was her view, although she extended that to saying that you don't—you don't engage with Fox News if it has a particular agenda, was her view, which—
I don't know if that was widely shared within the administration, you know, completely.
But the point is that you're right, a big part of this story is the excesses of media, a portion of which is ideologically-driven media, and how that ultimately plays itself out and forces a story to reach critical mass, or forces in this case, the administration to act hastily when so many members of the administration, namely the president, are critical of this sort of culture we're in. So there's a lot to go around.
TODD: Another fascinating (INAUDIBLE) Rick Santelli.
GREGORY: Rick Santelli...
GREGORY: Well, that's because I think that another big part of this piece, as well, is the NAACP going after the tea party. Again, I mean, the fringes, the ideological fringes, are capturing the center of the debate sometimes too much.
TODD: Well, that's an interesting Sunday! Tim Geithner and a fascinating roundtable. Good luck. You might need to bring shields.
GREGORY: Yes. Exactly. Exactly.
TODD: Good stuff. David Gregory, thanks very much.
All right, coming up: As a follow-up to the Shirley Sherrod story, why is President Obama so reluctant to discuss the matter of race?
You're watching HARDBALL, only on MSNBC.
TODD: One of the last of the Edward R. Murrow boys has died. Daniel Schorr spent years at CBS News and at National Public Radio and also worked as a commentator for CNN and as a newspaper columnist. But for all of his success, his first-class reporting and his gifted writing, Schorr insisted that one of his proudest accomplishments was being included in President Richard Nixon's so-called "enemies list" as a result of his reporting on the Watergate scandal.
Daniel Schorr was 93 years old.
TODD: Welcome back to HARDBALL. The Shirley Sherrod story dominated Washington this week. So what did we learn about the president, the media and our attitudes in our country when a racially charged story like this hits?
Princeton professor Melissa Harris-Lacewell is an MSNBC political analyst and Clarence Page is a syndicated columnist for "The Chicago Tribune." Thank you both.
I want to start—I want to start with you, Clarence, and that is this issue of whether the president is just not willing to engage in race, and it may be because he knows Washington can't handle it.
CLARENCE PAGE, "CHICAGO TRIBUNE": Well, it's always daunting talking to a guy that did a book on how Obama won.
TODD: Well, but it's a numbers book!
PAGE: You remember—well, you remember, though (INAUDIBLE) he didn't talk about race during the campaign, except when he had to. (INAUDIBLE) and that was around Reverend Wright.
TODD: Right.
PAGE: A year ago, you had the "beer summit."
TODD: Right.
PAGE: It distracted from health care. Now we've got Sherrod—
Shirley Sherrod, and her story is—has distracted from—from this huge Wall Street reform bill that was signed this week...
TODD: Right.
PAGE: ... and the unemployment compensation finally being freed up for the jobless. It's astounding. Race keeps haunting the president, you could say. But you know, he has to be the visual embodiment of racial change. He does that. But when it comes to talking about it, it's just caused him trouble.
TODD: Professor, you have the luxury of not being here in Washington right now.
TODD: And I say this because I want to ask you a simple question.
Was this a story about race or a story about the media?
MELISSA HARRIS-LACEWELL, MSNBC POLITICAL ANALYST: No, it's a bit of both. So you know, when I think about the media aspects of this, there's clearly the fact that when this clip hit the air that the—members of the administration believed that it was likely true. Members of the Civil Rights organization and the national level, the NAACP, believed it was true. And so in that sense, it's sort of a media story because it means that our government, our political organizations are still assuming that media means that something came from a kind of vetted, you know, set of sources that an editor took a look at, that sort of thing.
TODD: Right.
HARRIS-LACEWELL: But it is about race in this sense. You know, if I called up HARDBALL and said, I—you know, Here I am in New Orleans and I've got a video of a Martian on the corner of St. Charles Avenue, you would say, Oh, really? Even though breaking a story about a Martian would be exciting, you would assume that it wasn't true because you know that Martians are a myth.
TODD: Right.
HARRIS-LACEWELL: So the fact that when someone said, I've got a video clip here of reverse racism in action, that so many people immediately believed not only that it was true, but that it was likely...
TODD: That it could be true.
HARRIS-LACEWELL: ... tells us that—yes, that the right has really won in defining reverse racism as something that's true, as something that's likely, when, in fact, it's something that is much more on the order of a Martian standing on St. Charles Avenue.
TODD: Well, here's the president talking today about the issue about Agriculture Secretary Tom Vilsack on ABC this morning. Let's listen. Notice the issue he doesn't bring up.
BARACK OBAMA, PRESIDENT OF THE UNITED STATES: He jumped the gun partly because we now live in this media culture where something goes up on YouTube or a blog, and everybody scrambles. And I've told my team and I've told my agencies that we have to make sure that we're focusing on doing the right thing instead of what looks to be politically necessary at that very moment. We have to take our time and think these issues through.
TODD: That is a president saying, in answer to my question, it's a media story, it is not a race story.
TODD: That is his way of saying that, wasn't it.
PAGE: Well, this became a big story when the White House reacted the way they did...
TODD: Right.
PAGE: ... firing the woman without due process, without hearing her side of the story, without looking at the tape. And as Melissa mentioned, the NAACP criticizing her without looking at their own video. There is sort of a certain freak-out that has occurred around the "R" word. The very notion of being called racist by Glenn Beck or someone else in the media is what upset the White House. And the question is why. Why did they react the way they did?
TODD: Professor, I'm going to play this scene from the movie "Crash," because you asked us to do it because you believe there's a lesson in here on the Sherrod story. So, we're going to play the clip and explain what—why you think we should look—there's something to be—that the two are connected. Take a watch. Take a watch.
MATT DILLON, ACTOR: All right, well, you know what I can't do? I can't look at you without thinking about the five or six more qualified white men who didn't get your job.
LORETTA DEVINE, ACTRESS: It's time for you to go.
DILLON: No, I'm saying this because I'm really hoping that I'm wrong about you. I'm hoping that someone like yourself, someone who may have been given a helping hand, might have a little compassion for someone in a similar situation.
DEVINE: Carol, I need security in my office.
DILLON: You know, you don't like me, that's fine. I'm a prick. But my father doesn't deserve to suffer like this.
TODD: Professor, now, is this a case where Hollywood is pushing a—
I guess a stereotype of what they assume the way people think when it comes to race these days?
HARRIS-LACEWELL: Well, I mean, I think that they are reflecting—I try not to blame Hollywood.
HARRIS-LACEWELL: I think Hollywood in this moment is reflecting that what Americans feel most comfortable with is an idea that sort of everybody is racist. Everybody holds prejudices. You know, anybody might say something out of their mouth that is discriminatory towards one group or another and that it's all sort of equal.
But, again, what that analysis does is it fails to recognize that what's going on here is a much more insidious form of racism. I think part of what really angered people about the Sherrod clip was that she, as a black woman, was saying, I have angry feelings about white people.
And, now, this was out of the context, before people understood that her father was murdered by the Ku Klux Klan.
TODD: Right.
HARRIS-LACEWELL: But the same thing happened to Michelle Obama when she talked about being proud of the country for the first time in her adult life during the campaign.
You know, the idea that African-Americans would have a critical perspective on the country, on white people is—is generally not accepted. We just—we just buried Senator Byrd with such enthusiasm about the fact that a person who began as a white racist ended up as someone who understood racial equality.
But we don't like the idea that African-Americans should ever have the right to have difficult feelings towards whites.
TODD: Have gone through the same—yes.
Clarence, I want to go to one other aspect to this. And that is the generational aspect, in that race—that you have some editors and producers of a certain generation who were there covering the civil rights movement or grew up in it.
PAGE: Right.
TODD: And then you have some of us who were not there and did not cover it...
PAGE: Right.
TODD: ... and maybe were conditioned to assume race is sometimes a bigger—bigger issue with some voters than maybe it is. And maybe that's why there were—there were so many different opinions back during the Obama campaign. Do you see some of that?
PAGE: Politics is defined by classes of alternative realities.
Ms. Sherrod and I are the same age. She was 17 years old when her father was killed. And the man who shot him in the back was never prosecuted. I remember those days, too. Remember, that was around 1963, before the Civil Rights Act was passed. We still had white and colored waiting rooms and water fountains.
My perspective on the world is different than that of my 21-year-old son, who has grown up in a rainbow coalition out there. And my perspective is different from Melissa's perspective. So much of what she has studied about, I lived through.
But it's still a fact these days that the Tea Party movement, which kind of got this whole discussion started...
TODD: Yes.
PAGE: ... their average age is around 55 and up. And they're more my generation, the older generation, that is more anxious about too much change happening.
Obama was elected mostly by kids my son's generation involved, who are
have a different sense about change and aren't as threatened by African-Americans gaining power, in the sense that they're going to change the world.
TODD: I have to leave it there. Professor, thank you for letting us get a clip of "Crash" on the air there.
TODD: Anyway, Melissa Harris-Lacewell and Clarence Page, thank you for a very thoughtful discussion this Friday.
PAGE: Thank you.
TODD: All right, up next, probably a little less thoughtful: David Letterman's take on the future of the Bush dynasty. That's in the "Sideshow."
You're watching HARDBALL, only on MSNBC.
TODD: Well, back to HARDBALL. Now to the "Sideshow."
All this week, David Letterman and those Stangel brothers focused on a retired pol with a famous last name. Take one. Guess who?
DAVID LETTERMAN, HOST, "LATE SHOW WITH DAVID LETTERMAN": President Obama was on vacation. And this is his 65th vacation day since he's been in the White House.
LETTERMAN: Sixty-five days off since he's been in the White House, which means he's only 300 vacation days shy of tying George Bush.
LETTERMAN: Very, very close.
Oh, my gosh. The brother of former President George Bush, Jeb Bush, is running for president.
LETTERMAN: People who know the Bushes are saying that Jeb Bush is smarter than his brother.
LETTERMAN: That's damning with faint praise, isn't it?
LETTERMAN: I feel the same about Bush presidencies as I do about the "Godfather" films. You're better off stopping at two.
LETTERMAN: That's—that's fine.
TODD: And now you know why Jeb Bush is probably not going to run for president. That's the baggage he would be carrying. So, when he changes his last name to Smith, we will know he's thinking about it.
Next: a curious get-out-the-vote effort in Tennessee. Republican gubernatorial candidate Congressman Zach Wamp says Americans must elect a new government to repeal health care reform. But what if they don't?
Well, here's what Wamp told the hot line—quote—"I hope that the American people will go to the ballot box in 2010 and 2012 so that states are not forced to consider separation from this government."
We will see what voters think of secession talk on August 5, Tennessee primary day. Wamp is in a very competitive—competitive Republican primary.
Now for tonight's "Big Number."
Five years ago, a luxury yacht dropped anchor of the coast of Belize, allegedly coasting big damage to the coast's barrier reef. Why is this a political story? Well, the yacht belonged to Democratic Florida Senate candidate Jeff Greene. So, what kind of fine does Greene face if he returns to Belize? -- $1.87 million. Even though Greene's campaign says the incident never happened, the fine stands. Jeff Greene has got a nearly $2 million reason to never again visit Belize.
There's tonight's "Big Number." You're trying to become a senator from Florida, you can't be damaging coral reefs.
Anyway, up next: The activist who released the Sherrod tape insists the NAACP laughed and cheered at her racially charged statements. Really? Well, we're going to go to the videotape after the break.
You're watching HARDBALL, only on MSNBC.
AMANDA DRURY, CNBC CORRESPONDENT: I'm Amanda Drury with your CNBC "Market Wrap."
Well, stocks bounding higher for the second day in a row, the Dow Jones industrials surging 102 points, the S&P 500 adding nine, and the Nasdaq jumping 23 points.
Investors excited about another batch of encouraging earnings report and breathing a bit easier now that they have the results of those European bank stress tests. Only seven out of 91 European banks failed the test. But critics complain they weren't tough enough, especially when it came to sovereign debt.
U.S.-traded shares of European banks ended the day mixed, with Royal Bank of Scotland and the Bank of Ireland surging about 4 percent each.
But back to earnings now, Verizon leading the Dow after beating expectations and delivering an optimistic full-year forecast. Ford blowing past expectations and saying it expects even better results in 2011. McDonald's shares, however, slipped after posting a profit that just barely squeaked past estimates.
And General Electric shares surged, after its board approved a 20 percent hike in its dividend.
That's it from CNBC. We're first in business worldwide. Now it's back to HARDBALL.
TODD: All right, welcome back to HARDBALL.
Now even Andrew Breitbart's alleged motivation that he says for putting Shirley Sherrod on the Internet is falling apart. Here's what he said.
ANDREW BREITBART, PUBLISHER, BREITBART.COM: So, my motivation was to say, I have evidence that shows, based upon your standard of people in the audience behaving racist, we have an NAACP-sanctioned event in which the speaker is talking in a racist narrative in which the audience, when she refers to a white farmer—when she refers a white farmer to a white lawyer to send it one of your own kind, and when she talks about not giving him the full weight of what she could do with her position, the audience cheers.
TODD: Well, here's what Shirley Sherrod said, and listen closely for the reaction that Breitword (sic) claims—Breitbart claims happened.
SHIRLEY SHERROD, FORMER USDA OFFICIAL: I was struggling with the fact that so many black people had lost their farmland, and here I was faced with having to help a white a person save their land.
So, I didn't give him the full force of what I could do.
I did enough, so that when he—I—I assumed the Department of Agriculture had sent him to me.
TODD: David Corn is the Washington editor of "Mother Jones" magazine and writes for PoliticsDaily.com. Pat Buchanan is an MSNBC political analyst.
This was alerted to me. Will Saletan on Slate did a—sort of a frame-by-frame study of this. We went back and we watched this whole thing. And the reactions that Breitbart said were there are not there. So, it—this part of his—I understood that that was his claim. This part of it falls apart.
DAVID CORN, WASHINGTON BUREAU CHIEF, "MOTHER JONES": Well, it's another lie, but it's a lie after the fact, because that wasn't the original motive.
If you go back and look at the original piece, it accused Shirley Sherrod of being a power-abusing Obama official. This was all about targeting the Obama administration for reverse racism and basically for screwing white people. "Here, we have the evidence."
And, when that fell apart, he tried to come up with a different justification. Listen, I have known Andrew a long time. And for a lot of those years, I actually have gotten along with him. I have liked him. We have had a fun time together.
But he lives out in Hollywood. And when a project goes bad, what do you do? You call for a rewrite? And that's what he's doing here, but it's a false rewrite.
TODD: Pat, as I understood what Breitbart's motivation has been sort of over the last couple of years, it's this idea that he's one of these conservatives that believes that the rest of the mainstream media has a liberal agenda, and, by golly, he's going to create a...
PAT BUCHANAN, MSNBC POLITICAL ANALYST: Right.
TODD: ... a—his own journalistic enterprise. Does this undermine his attempts at becoming even a credible conservative activist journalist?
BUCHANAN: Well, in Breitbart's defense, if you will, he says the audience reacted in a fashion that he said they seemed to be cheering or approving of what was done.
The NAACP saw the exact same tape, and they said, not only was the lady's conduct shameful, et cetera—we know that was a limited slice—it was shameful, intolerable and racist; they said...
TODD: Right.
BUCHANAN: ... we got to take a look at that organization, that NAACP unit down there.
So, they made the same assumption, frankly, that I did. I couldn't hear it clearly when I first heard it on "MORNING JOE."
TODD: Right.
BUCHANAN: It sounded like there was sort of ho, ho, ho, and you really took it to that guy.
And that is what Breitbart is saying. That's what the NAACP...
CORN: But it's not there. But it's not there. And Breitbart had the tape.
BUCHANAN: Now, hold it. Just hold it a second.
BUCHANAN: The point is, the NAACP looked at it, and they seemed to conclude it was there as well. And they certainly didn't...
TODD: I understand that. But I'm just saying, what does this mean for Breitbart's attempt to be taken more seriously?
BUCHANAN: Oh, I think the very—the controversy of this, the fact
it blew up, and the fact that Breitbart is there, I think he has got a real
Breitbart has got a real problem of people taking and using his material, because it turned out that he had a splice of a tape, that he did not have the full tape, and the story came out was much more fuller, and it contradicted...
TODD: Everything.
BUCHANAN: It contradicted—certainly contradicted the fact that she was..
BUCHANAN: ... racist form.
CORN: Pat, Pat, it wasn't an accident. It wasn't just a simple screw-up. They characterized the tape in the worst possible ways for the most partisan, ideological motives.
TODD: Right. There was no journalistic...
CORN: There was no vetting. This wasn't a journalistic enterprise.
BUCHANAN: Right.
TODD: Right.
CORN: It was a right-wing smear that was meant to do damage to the Obama administration.
TODD: But, Pat, you just talked about the NAACP mistake.
BUCHANAN: Let me respond to that.
BUCHANAN: Let me just respond here.
TODD: Go ahead.
CORN: It wasn't a right-wing smear meant to do damage?
BUCHANAN: How in heaven's name could the Department of Agriculture, the NAACP, and the White House look briefly at this thing and say, get rid of her, this is a disaster? They came to the same stupid conclusion.
CORN: They overreacted...
BUCHANAN: I will say.
CORN: ... to the way that the story was being covered.
But it doesn't excuse what Breitbart did. He was very happy at first.
TODD: But this is where it goes to this question that you and I just talked about off camera. And I want you both to answer it.
BUCHANAN: Right.
TODD: Was this a story about race this week or a story about the media?
BUCHANAN: A story about politics.
TODD: A story about politics?
BUCHANAN: It is a story about politics. The big story here is not Andrew Breitbart.
The president of the United States and the Department of Agriculture -
or the White House, I should say—threw Rosa Parks under the bus based on an element of a tape that was contradicted by the whole tape, without looking at it themselves.
This was their employee. This was one of their people. They threw them out of fear and panic that maybe FOX News is going to run the tape? That's the story.
CORN: This is a story about the politics of race, of people using race very deliberately to try to get a political end, which is to damage the Obama administration. So, it's a story of a smear that actually worked initially and then didn't last.
TODD: But you both just made it about politics here a little bit, which is: What did we learn—what did you learn about the Obama White House and what did you learn about the Obama White House?
BUCHANAN: If the Obama White House had delayed for 24 hours, Breitbart and anybody at FOX that used the tape would have had egg all over their face. And the administration would have said, look, you guys doing this nonsense, you clipped this thing. They would have been fools. Who's the fool this week?
TODD: Everybody has been.
CORN: Pat is right. I mean, we agree on this. Because the White House—first, it was really the Agriculture Department overreacted and the White House didn't intervene in time whether they, you know, may have been involved—we still don't have all the answers to this—
TODD: Right.
CORN: -- as you know, Chuck. But they didn't get involved, didn't stop, that's for sure. They were nervous. They are running scared. And if you don't protect and stand up for your own people, then the public doesn't believe you're going to be fighting for them.
TODD: All right. Pat, you dealt with an opposition press—
BUCHANAN: Right.
TODD: -- during the Nixon administration.
BUCHANAN: And the Reagan administration.
TODD: What's your—what's your advice to the Obama folks in dealing with this part of the opposition?
BUCHANAN: Well, look, you got—you now have—FOX News who is very powerful. And if I were with the president, I say, Mr. President, they are out there. And the shows at night, several of them at night, clearly have a real edge to them and it's not what our agenda. Stop worrying about these guys.
TODD: You would ignore them.
BUCHANAN: I wouldn't ignore them because I think they're legitimate news organization. They got powerful programs. But the idea that you're sitting there watching and somebody says, oh, my God, Glenn Beck could have this on in the afternoon and you panic. It's preposterous.
TODD: You agree with him on that?
CORN: Yes. I don't know how powerful they are. More people watch "Dancing with the Stars" than Bill O'Reilly on any given night. I think that, you know, it's like in the campus here in Washington—
TODD: Yes.
CORN: And they're like—they're like one of the campus TV stations.
TODD: I'm getting a hard, hard right.
David Corn, Pat Buchanan, a lively and interesting discussion on Mr.
Breitbart and everything else.
All right. Up next: Just this week, the president signed into law Wall Street reform, cracked down on government waste and extended unemployment benefits. So, why is he not getting any credit—despite an unemployment rate there to worry about?
This is HARDBALL, only on MSNBC.
TODD: Former Colorado Republican congressman, Tom Tancredo, is threatening to turn the Republican gubernatorial primary in Colorado upside down. He's told the two Republican candidates for governor that if they don't drop out, he's jumping in. Tancredo believes the two Republican candidates on the August 10 primary cannot win against Denver's Democratic mayor, John Hickenlooper.
Tancredo says he may run as an unaffiliated or with a third party if he has to that would likely split any sort of Republican or conservative vote and hand the race to the popular mayor. Crazy times in Colorado.
We'll be right back.
TODD: Welcome back to HARDBALL.
President Obama knows that he's got to turn around the economy. And this week, he went a long way, he believes, into achieving that. He signed into law Wall Street reform. He cracked down on government waste, and he extended unemployment benefits.
But until Americans really feel the economy improving in their own lives, will they give President Obama any credit?
Senator Chris Dodd is chairman of the banking committee, and he, of course, has his name on the Dodd-Frank Wall Street Reform and Consumer Protection Act that the president signed this week.
Senator Dodd, thank you for joining us.
So, let's start with Wall Street reform. Explain this. How do you go back to Connecticut, to somebody in Waterbury who's struggling to find work and say, "This is how Wall Street reform is going to help the economy get better to get you a job"? How do you tell that person that?
SEN. CHRIS DODD (D), CONNECTICUT: Well, it's hard thing to say because this bill doesn't give you your job back. It doesn't restore your foreclosed home. It doesn't put money back into your retirement account.
It's designed specifically to look ahead, to make sure we never again have to go through the very crisis we've been through. We'll have other economic crises, but they should never metastasized, or, if you will, spread out, as this one did, coming from a housing crisis to one that's contaminated almost every aspect of our economy.
So, we never made the claim that this bill is designed to restore all of that. It's trying to minimize the kind of problems that we're going through as a result of this crisis. So, that's the intention of the bill.
Now, obviously, what it does do as well, hopefully, is by stabilizing institutions, by getting them to focus on the flow of credit to businesses that are needed, stopping such things as, of course, this proprietary trading where insured deposits are being risked at taxpayers' expense, consumers' expense, giving protections to consumers, sort (ph) of taking them to the cleaners as they were in the home mortgage crisis, (INAUDIBLE) that you got an early warning systems that you can try to minimize the effects of crisis when they occur.
All of that ought to reassure the markets that we're in better shape to prepare against the next crisis that comes. So, those things I think can help.
TODD: But, Senator, you know, sometimes especially when it comes to legislating money, whether campaign money or when it comes with Wall Street -- sometimes, today's reform is tomorrow's problem, you know?
DODD: Yes.
TODD: You know, it happened, let's say, with political action committees. How are you confident that something that's being created today that is supposed to be a reform doesn't lead to an untended negative consequence?
DODD: That's a great question, Chuck. And anyone who tells you they can't be clairvoyant on that is kidding themselves. You can't be. One of the things we tried to do, I just mentioned, is the idea of this early warning process and to cover the shadow economy.
TODD: Right.
DODD: Too often, I'm sure there's some 19- or 20- or 22-year-old who's reading through this bill trying to figure six ways to get around the language of it already.
TODD: The loopholes, right.
DODD: Exactly. So, what you're trying to do is to reach around that by saying, if you're—if you are a financial institution—and we define a financial institution—no matter how creative you get, if you fall within the definition of one, then you're going to be covered by the legislation. So, we tried to anticipate that kind of thinking to see to it we're never left again with an area developing where there aren't any regulators and there's no one controlling what's going on—which is what occurred in the area of brokers or in the shadow banking system.
So, we're anticipating that and by looking beyond the horizon. It isn't just what happens here any longer. Whoever thought than an economic crisis in Greece or a market collapse in Shanghai would pose significant risks to our economy in this country.
TODD: Right.
DODD: So, we need the ability to be able to watch these items as they occur globally and then harmonize these rules as well. I intend to be a part of that G-20 conference when it occurs and urge the president to establish within the G-20, annual meetings of regulators so that we have some ability here not to race around the world and have countries develop a race to the bottom, so you can protect against the kinds of things that have occurred in our country as a result of lacking that harmonization globally.
TODD: Senator, a couple other questions.
DODD: Yes?
TODD: A lot of people had advice for you a year ago when they thought you had some troubled electoral prospects before you made the decision not to run. Any advice to Congressman Charlie Rangel?
DODD: Well, listen, I know Charlie well from many, many years. And I think he said it well today. That report is coming out, what is it, next week, next Thursday or so, and there will be a process and a hearing. Let's see what it says.
Obviously, he's been through a rough couple of years. And people want to, you know, throw him out the door before he's had a chance to be heard. Obviously, he's got his difficulties. He's got his problems.
TODD: Right.
DODD: But he ought to be given a chance to make his case.
TODD: Any regrets yourself you're not on the ballot?
DODD: No.
TODD: It's been a year almost since you made this decision.
DODD: No, Chuck, not at all. And I've enjoyed immensely the 36 years. We had a very productive couple of years on health care and financial reform, Iran sanctions, other bills—and I'm looking forward to a new chapter in life and I'll be watching you regularly here and television commenting on the events that are occurring.
The election is this year. I'll bee able to sit in the bleachers and watch it instead of being on that ballot for the first time in more than three decades. So, I'll be watching out there.
TODD: You never know. We love to bring ex-politicians out and they become our chief analyst.
Anyway, Senator Chris Dodd, thanks for joining us. Have a good weekend and travel safe back home.
DODD: Thank you, Chuck, very much.
TODD: All righty.
Up next: a storm is coming to the Gulf of Mexico. And we're going to get the latest on the oil spill as that storm approaches.
You're watching HARDBALL, only on MSNBC.
MICHELLE OBAMA, U.S. FIRST LADY: In the name of the United States of America, I christen this Stratton. May God bless this ship and all who sail in her.
TODD: Never easy to get those things done and we are back. That was First Lady Michelle Obama today christening a Coast Guard cutter on the Gulf in Pascagoula, Mississippi. And in just a few weeks, the first family is return together area for a vacation on the Florida Gulf Coast.
But today, all eyes are on Tropical Storm Bonnie and its looming path toward the well.
Admiral Thad Allen is the national incident commander of the Gulf oil spill and he joins me now from New Orleans.
Admiral Allen, simple question here: this Tropical Storm Bonnie, is it still making a direct line for the spill site?
ADM. THAD ALLEN (RET.), NATIONAL INCIDENT COMMANDER: It's pretty close and because of that reason, we're not taking any chances and we're pulling up our equipment and getting ready to move out of the path of the storm.
TODD: And the whole point of this cap that's on there now—I mean, this was something the government wanted to have in place because you knew you were getting into the beginning—to the more active portion of hurricane season, correct?
ALLEN: That's correct. The cap was originally proposed as a way to go to four production platforms. It would give us up to 80,000 barrels a day and that allow us to more contain the flow of the oil out of the well itself. But it also have the opportunity to close off all the valves and actually shut in the well.
We've assiduously looked at the results of this over the last six days and we have confidence that if we have to leave the site, we can leave the capped well unattended.
TODD: So, this will be the first time that it will be unattended. It will be—when does it officially, will there be nobody physically at the site? At what point? Is it later today, tomorrow, Sunday?
ALLEN: We're going to leave some of the ROV-tending vessels out there until the last minute and it's possible, depending on the path of the storm, they could ride out the storm over the wellhead and continue to have an ROV deployed.
But we believe that we need to understand the implications if they have to leave and we think the window could potentially be about 48 hours and that could happen, you know, sometime later on after midnight this evening. But there going—right now, the—it will be conditions-based or remain on the scene as long as they can.
TODD: And how—and you'll be able to get back pretty much immediately, correct?
ALLEN: Well, again, it will depend on the storm passage.
TODD: Sure.
ALLEN: The real heavy lift is with the Development Driller III which is drilling the relief well.
TODD: OK. Two other quick questions—there's been some more research being done about these underwater plumes. Have you seen this research from the University of South Florida? And are you getting this confirmed from the government side?
ALLEN: Well, I've been working very closely with Jane Lanchengco (ph), who has been trying to coordinate not only the efforts of the private universities but the NOAA acquisition regarding hydrocarbons in the water column well. We need to know more about that. We've had—this is obviously the largest spill in U.S. history and we've all sort of been using subsea dispersants and we need to understand more about it. So, welcome the additional information.
TODD: And I'm glad you brought up the dispersants. When are you going to get an EPA report? There's been a lot of talk about the dispersants but not as much research being done by the EPA on what happens to the oil after it's interacted with the dispersants. When do you expect to have another study back from the EPA on this issue?
ALLEN: Well, Lisa Jackson and the EPA have been very aggressive on this. And those test are ongoing right now. In fact, they're concluding, I believe—they're about ready to undergo peer review and I think she'll be making some kind of an announcement in the future on that. But I can tell you, they are aggressive looking at the testing on the dispersants as it mixes with the oil that we know that's out there.
TODD: And when you say in the future, do you mean next week? This is something we're going to know in the next week?
ALLEN: Well, I wouldn't want to speak for Lisa. But I know that they've been working on it very, very hard. And I think they're nearing the end and I would leave the timing of that to her.
TODD: OK. Admiral Thad Allen, thank you for your time. Good luck with the storm this weekend. And let's hope it stays as weak as it looks right now. Good luck out there.
ALLEN: Thank you.
TODD: All right.
Well, that's HARDBALL for now. Thanks for being with us.
Right now, it's time for "THE ED SHOW" with Ed Schultz.
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Our Group organises 3000+ Global Conferenceseries Events every year across USA, Europe & Asia with support from 1000 more scientific societies and Publishes 700+ Open Access Journals which contains over 50000 eminent personalities, reputed scientists as editorial board members.
Tetanus affects skeletal muscle, a type of striated muscle used in voluntary movement. The other type of striated muscle, cardiac, or heart muscle, cannot be tetanized because of its intrinsic electrical properties.The tetanus toxin initially binds to peripheral nerve terminals. It is transported within the axon and across synaptic junctions until it reaches the central nervous system. There it becomes rapidly fixed to gangliosides at the presynaptic inhibitory motor nerve endings, and is taken up into the axon by endocytosis.
The effect of the toxin is to block the release of inhibitory neurotransmitters glycine and gamma-aminobutyric acid (GABA) across the synaptic cleft, which is required to check the nervous impulse. If nervous impulses cannot be checked by normal inhibitory mechanisms, the generalized muscular spasms characteristic of tetanus are produced.
The toxin appears to act by selective cleavage of a protein component of synaptic vesicles, synaptobrevin II, and this prevents the release of neurotransmitters by the cells Passive immunization with human tetanus immune globulin (TIG) shortens the course of tetanus and may lessen its severity. A dose of 500 U may be as effective as larger doses. Therapeutic TIG (3,000-6,000 units as 1 dose) has also been recommended for generalized tetanus. Other treatment measures include ventilatory support, high-calorie nutritional support, and pharmacologic agents that treat reflex muscle spasms, rigidity, tetanic seizures and infections.1 extrapolate case was found


text:
Maryland offensive line coach Dave DeGuglielmo – whose hiring was announced by the school six days ago – is leaving to accept a job with the New England Patriots, the NFL team announced Wednesday.
The Terps will begin a search immediately to replace DeGuglielmo, who was most recently a New York Jets assistant.
His tenure barely lasted long enough for Wikipedia to update his status, and for local reporters to learn how to spell his name. Maryland had not yet held his introductory meeting with the media.
How would you assess the DeGugliemo era? In a word, I'd characterize it as "truncated."
Actually, this sort of thing is not uncommon these days. Maryland seemed to understand that it had hired an NFL-caliber assistant who was presented with another job too tempting to resist.
"I would like to congratulate Dave on this exciting opportunity for his career," head coach Randy Edsall said in a written statement. "Dave is a great coach who brings a wealth of experience and will be a valued asset at the next level. We are honored that NFL teams pursue members of our coaching staff as we feel this is a compliment to our program."
DeGuglielmo's departure comes before next month's national signing day. Among Maryland's most coveted targets is offensive lineman Damian Prince.
DeGuglielmo was also an assistant with the Miami Dolphins and New York Giants. As chronicled by the New York tabloids, DeGugliemo had some minor feuds with the New York media — one was over reporters' access — when he was a Jets assistant.
DeGugliemo, who has a Super Bowl ring from his tenure with the Giants, also spent five seasons (1999-2003) as an assistant at South Carolina.
In a statement released by Maryland today, he said:
"I was excited about the direction of the Maryland football program and coaching in the Big Ten. I was looking forward to working with Randy and couldn't have been more confident in where this program is heading. Because of family issues this is an opportunity that I could not pass up."
Maryland will have a new wide receivers coach (Keenan McCardell), a new defensive line coach (Chad Wilt) and a new offensive line coach next season. DeGuglielmo was to replace longtime Maryland assistant Tom Brattan, whose contract was not renewed.


text:
Artist Joining (Selection):
Arleen Augér · Daniel Barenboim
Arturo Benedetti Michelangeli
Teresa Berganza · Leonard Bernstein
Pierre Boulez · Montserrat Caballé
José Carreras · Plácido Domingo
Mirella Freni · Sir John Eliot Gardiner
Emil Gilels · Carlo Maria Giulini
Carlos Kleiber · Gidon Kremer
Sir Yehudi Menuhin · Kurt Moll
Anne-Sophie Mutter · Seiji Ozawa
Maurizio Pollini · Mstislav Rostropovich
Krystian Zimerman · Pinchas Zukerman
The History of Deutsche Grammophon
Learn more about what happened in the 120 years since The Yellow Label has been founded in Hanover, Germany.
A major event is the return of Deutsche Grammophon to Berlin ... read more
A new Mozart Complete Edition "Mozart 225" is released together with Decca Classics
The DG Curator Channel on Apple Music is launched
Clemens Trautmann takes over operational management
Archiv Produktion celebrates its 66th Birthday
Beethoven 9 app is released
The Berliner Philharmoniker & DG celebrate 100 years of recording together with a consumer-selected CD-Edition
Deutsche Grammophon returns to Berlin
Salzburg Recital
Ott · Tristano
Barenboim · Boulez
At the beginning of the new millennium, the Universal Music Group is ...read more
To mark its 111th birthday in 2009, Deutsche Grammophon releases a 55-CD box-set containing 111 of its most celebrated recordings, with a broad range of great artists and favourite repertoire.
After half a century at their Alte Rabenstrasse address, Deutsche Grammophon moves its headquarters to the historic Slomanhaus building near Hamburg harbour.
Deutsche Grammophon is named "Label of the Year" at the 2007 Classic FM/Gramophone Awards.
Launching of the edge label, dedicated to music that embraces the world.
At the beginning of the new millennium, The Seagram Company Ltd. sells its Universal entertainment holdings to Vivendi.
Netrebko · Harnoncourt
Le Nozze di Figaro
Kozená · McCreesh
St. Matthew Passion
Schubert · Brahms
Lang Lang
Concerto Veneziano
In 1989 and 1990 respectively, the music world loses two great conductors long associated with Deutsche Grammophon, Herbert von Karajan and Leonard Bernstein ... read more
Contemporary composers and musicians find a new forum with the introduction of the quickly acclaimed 20/21 label.
International celebrations for Deutsche Grammophon's 100th anniversary. Release of the 63-CD set Centenary Collection, featuring the artists that shaped Deutsche Grammophon over the past century.
Archiv Produktion celebrates its 50th anniversary.
Opening of the Emil Berliner Haus museum in Hanover.
Launch of The Originals series, featuring legendary recordings from the Deutsche Grammophon catalogue.
Introduction of 4D Audio Recording technology.
Domingo · Levine
Studer · Hampson
Barber Songs
Giuseppe Sinopoli conducts his first Deutsche Grammophon recording in 1980 ... read more
In celebration of the conductor's 80th birthday, Deutsche Grammophon releases the Karajan Edition, 100 masterpieces with the Berliner Philharmoniker, on 25 CDs.
Deutsche Grammophon releases its first Vladimir Horowitz recording (a soundtrack to the documentary The Last Romantic).
Introduction of the CD and first Deutsche Grammophon title in mass production: Richard Strauss's Eine Alpensinfonie with the Berliner Philharmoniker conducted by Herbert von Karajan.
First compact disc launched at the Salzburg Easter Festival by its co-developers, Sony and Philips, and PolyGram, its first European producer.
Emerson String Quartet
Westside Story
Brandenburg Concertos
Kremer · Maazel
Mutter · Karajan
Violin Concertos
A restructuring of the DGG/PPI group in 1971 is followed by the formation of PolyGram, with headquarters in Baarn (Netherlands) and Hamburg ...read more
First digital recording (Tchaikovsky's Violin Concerto with Gidon Kremer and the Berliner Philharmoniker conducted by Lorin Maazel).
Archiv Produktion releases its first Bach Edition in eleven volumes (on 99 LPs) to mark the 225th anniversary of the composer's death.
Leonard Bernstein makes his first recording for Deutsche Grammophon.
Formation of PolyGram International.
Chopin Études
Chopin Mazurkas
Orchestral Recordings
Giulini in Vienna
Ozawa · Pletnev
conducts Bernstein
Mozart Symphonies
In 1960, DG signs an exclusive agreement with Martha Argerich ... read more
Deutsche Grammophon releases its first 12-part Beethoven Edition on 76 LPs.
Introduction of the MusiCassette (better known as the cassette).
First stereo recording of the nine Beethoven Symphonies with Karajan.
Siemens and Philips merge their recording interests to form DGG/PPI (Philips Phonographic Industry).
Schubert Lieder
Grace Bumbry
The Art of Grace Bumbry
Amadeus Quartet
Schubert · Mozart
Keilberth · Fischer-Dieskau
Argerich · Abbado
Anda · Fricsay
Bartók Piano Concertos
In 1950 78-rpm records with up to nine minutes playing time per side are introduced, based on the DG invention of variable grooves ... read more
A second factory in Hanover begins production of injection-moulded records.
The new Deutsche Grammophon trademark, the "cartouche", is introduced – and is still used today.
The company's offices move to Hamburg. First stereo recording is made.
Karl Böhm signs with Deutsche Grammophon and makes his first recording (Beethoven: Symphony no. 5).
Introduction of 33-rpm vinyl long-playing records (ie, the LP).
Amadeus Quartet makes its first recordings for Deutsche Grammophon.
Wilhelm Kempff begins his first complete recording of Beethoven's Piano Sonatas for Deutsche Grammophon.
Beethoven Symphonies
Spanish Guitar Music
Dieskau · Ristenpart
Bach Cantatas
conducts Hindemith
A Life in Music
After the outbreak of World War II and faced with a shortage of raw material, Deutsche Grammophon again stagnates ... read more
First recordings with Dietrich Fischer-Dieskau and Ferenc Fricsay.
First postwar printed catalogue is issued.
The Archiv Produktion label, dedicated to early-music recordings, is founded.
Berlin studios destroyed in war.
Berlin office destroyed in war.
Hanover factory partly destroyed in war.
Siemens becomes sole owner of Deutsche Grammophon GmbH.
Complete Recordings
Bach Organ Works
Live Recordings
It ain't necessarily so
Ravel's Boléro is recorded by the company's new French subsidiary Société phonographique française Polydor S.A. in 1930 ... read more
Herbert von Karajan makes his first Deutsche Grammophon recording.
First experiments with stereo recording in USA.
High Fidelity ("hi-fi") recording is developed.
Polyphon-Musikwerke and Deutsche Grammophon merge and the Leipzig factory is sold. The firm retains the name Deutsche Grammophon.
de Sabata
First Recordings
In 1920 the 25-year-old Wilhelm Kempff makes his first Deutsche Grammophon recording ... read more
Emile Berliner dies on 27 November.
Complete recording of Beethoven's Missa Solemnis (Berliner Philharmoniker conducted by Bruno Kittel) is released on eleven 30cm discs.
Wilhelm Furtwängler's first recordings for Deutsche Grammophon (Beethoven's Fifth Symphony and Weber's Freischütz Overture) with the Berliner Philharmoniker
Introduction of the electro-acoustic recording system, using microphones, allowing much improved sound quality in comparison with the previous acoustic recording system.
CD1 · Track 7
conducts Strauss
The earliest orchestral recording is marketed in 1910: the opening movement of Grieg's Piano Concerto with Wilhelm Backhaus ... read more
Deutsche Grammophon is taken over by the Leipzig firm Polyphon-Musikwerke.
Outbreak of World War I. Deutsche Grammophon is forbidden to produce war-goods and its assets are confiscated by the German government as enemy property. In 1916, the German and English companies split. The latter continues as the Gramophone Company – then, in 1931, merges with UK Columbia Gramophone to create Electric and Musical Industries Limited (now better known as EMI)
First complete recording of Beethoven's Fifth Symphony – with the Berliner Philharmoniker conducted by Arthur Nikisch.
CD 33 · Track 15-20
The story of Deutsche Grammophon goes back as far as the birth of recording itself ... read more
The Deutsche Grammophon "Recording Angel" logo is replaced by the now-legendary "His Master's Voice" logo, featuring Nipper the dog – designed by Francis Barraud.
Deutsche Grammophon becomes supplier by appointment to the royal households of Britain and Spain.
In Milan, the acclaimed tenor Enrico Caruso records ten arias for the company. The most famous Russian opera singer of his time, bassist Feodor Chaliapin, signs a contract with Deutsche Grammophon.
Deutsche Grammophon Gesellschaft mbH is founded on 6 December.
Emile Berliner receives a patent for his new invention, the gramophone and the flat gramophone disc.
CD 1 · Track 1
The Twelfth Decade
Artists Joining (Selection):
Avi Avital · Lisa Batiashvili
Joep Beving · Seong-Jin Cho
Mahan Esfahani · Pablo Heras-Casado
Jóhan Jóhannsson · Jan Lisiecki
Albrecht Mayer · Andris Nelsons
Yannick Nézet-Séguin
Vikingur Ólafsson · Nemanja Radulovic
Max Richter · Anoushka Shankar
Ksenija Sidorova · Grigory Sokolov
Daniil Trifonov
A major event is the return of Deutsche Grammophon to Berlin in September 2011.
Since its foundation Deutsche Grammophon has always been a pioneer in the use of new technology but it is during this decade where digital technology is on a level to move beyond familiar audio and video products: the first of these is Beethoven's 9th Symphony released in 2013: an audio-visual, interactive and informative iOS app, combining these three elements into a revolutionary experience. It is followed by the Vivaldi Four Seasons App in 2014 which compares the original Four Seasons by Vivaldi, represented by the acclaimed recording by Trevor Pinnock, with a Recomposed version by Max Richter. In 2015 DG releases the universal iPhone / iPad app "Peter and the Wolf in Hollywood" together with the New York producers Giants Are Small, an unforgettable journey of classical music, visual wonder, and digital play, giving an invigorating new perspective on Prokofiev's classic. Narrators of the story are Alice Cooper and, for the german version, Campino.
By end of 2015 senior media executive and award-winning Juilliard scholar Dr. Clemens Trautmann takes over operational management of the label. He succeeds Mark Wilkinson who takes up a global role within Universal Music's classical business as Vice President International Strategy & Artist Development.
The Streaming of Music is one of the great changes for listeners and recording companies in this decade. So it is quite natural that Deutsche Grammophon started a Curated Channel on Apple Music with recordings especially selected by a team of Deutsche Grammophon curators. This channel can act as a guide, both for its many faithful followers and for novices who may not know where to begin in the world of classical music.
2015 also sees the announcement of a new longterm collaboration DG and the Bayreuth Festival to join forces for future video releases on Deutsche Grammophon.
New signings in this decade include the conductors Pablo Heras-Casado, Andris Nelsons and Yannick Nezet-Seguin; pianists Seong-Jin Cho, Jan Lisiecki, Daniil Trifonov, Vikingur Ólafsson, Murray Perahia and Grigory Sokolov; violinists Nemanja Radulovic and Lisa Batiashvili, oboist Albrecht Mayer, and in a series of instrumentalists new or rare to Deutsche Grammophon harpsichordist Mahan Esfahani; mandolinist Avi Avital, sitarist Anoushka Shankar and accordeonist Ksenija Sidorova.
In an important strategic development in the area of streamed music DG signs composer-performers in the areas of neo-classical, film music and ambient music, including Max Richter, Jóhan Jóhansson and Joep Beving.
The Eleventh Decade
Artists Joining (Selection):
Pierre-Laurent Aimard · Roberto Alagna
Ildebrando D'Arcangelo · Rafa? Blechacz
Giuliano Carmignola · Gustavo Dudamel
El?na Garan?a · Osvaldo Golijov
Hélène Grimaud · Hilary Hahn
Daniel Hope · Lang Lang
Anna Netrebko · Alice Sara Ott
Patricia Petibon · Rolando Villazón
Yuja Wang
At the beginning of the new millennium, the Universal Music Group is purchased by the Vivendi Group, adding the largest record company to its portfolio as its new-media vision expands.
Deutsche Grammophon focuses on strengthening its artist roster through new exclusive recording agreements including singers (Anna Netrebko, 2002; Rolando Villazón and Elina Garanča, 2006; Patricia Petibon, 2008; pianists (Hélène Grimaud, 2002; Lang Lang, 2003; Rafał Blechacz, 2006; Pierre-Laurent Aimard, 2007; Yuja Wang and Alice Sara Ott, 2008); violinists (Hilary Hahn, 2002; Giuliano Carmignola, 2003; Daniel Hope, 2007); and, in a decade that witnessed the passing of the legendary conductors Giulini, Kleiber, and Sinopoli, new conductor Gustavo Dudamel (2005).
In 2006 a new digital-only imprint, DG Concerts, brings top-flight, live orchestral recordings directly to iTunes listeners, inviting them into the great concert halls of the world via the internet.
In recognition of these achievements, Deutsche Grammophon is named "Label of the Year 2007" by Gramophone magazine," who writes: "Deutsche Grammophon stands for all that is best about classical music."
The Tenth Decade
Artists Joining (Selection):
Myung-Whun Chung · David Garrett
Evgeny Kissin · Oliver Knussen
Magdalena Kožená · Paul McCreesh
Marc Minkowsky · Maria João Pires
Bryn Terfel · Christian Thielemann
In 1989 and 1990 respectively, the music world loses two great conductors long associated with Deutsche Grammophon, Herbert von Karajan and Leonard Bernstein. At the same time two other acclaimed conductors begin new phases of activity at DG: Pierre Boulez and André Previn, featuring works of the 20th century (including their own). On the Archiv label John Eliot Gardiner conducts period-instrument recordings of Baroque (Bach oratorios, Monteverdi operas), Classical (Mozart operas and Beethoven symphonies), as well as Romantic works.
New recording agreements are made with conductors Myung-Whun Chung, 1990; Oliver Knussen and Christian Thielemann, 1995. Archiv Produktion's roster is further internationalized through the signing of Paul McCreesh and his Gabrieli Consort & Players; Marc Minkowski and his Musiciens du Louvre; and the Renaissance wind band Piffaro. In 1998 PolyGram is acquired by Seagram – and is merged with its subsidiary Universal, forming the world's largest record company, Universal Music Group. Deutsche Grammophon also reaches its centenary in 1998, as the world's largest and most successful classical record company of its day.
The Ninth Decade
Artists Joining (Selection):
Kathleen Battle · Emerson String Quartet
Giuseppe Sinopoli · Hagen Quartett
Thomas Hampson · Vladimir Horowitz
Neeme Järvi · James Levine
Mischa Maisky · Jessye Norman
Orpheus Chamber Orchestra
Anne Sofie von Otter · Ivo Pogorelich
Giuseppe Sinopoli conducts his first Deutsche Grammophon recording in 1980 – and three years later signs the first of several long-term exclusive recording-agreements, resulting in a complete Mahler-cycle with the Philharmonia Orchestra, Bruckner symphonies with the Dresden Staatskapelle, and several opera projects. James Levine becomes an exclusive DG artist in 1987, making recordings including Mozart's complete symphonies and violin concertos with the Wiener Philharmoniker and Itzhak Perlman and the Metropolitan Opera production of Wagner's Ring.
The label's three premiere pianists following Kempff's retirement, Martha Argerich, Maurizio Pollini, and Krystian Zimerman, all make distinguished recordings with repertoire that Kempff generally avoided, particularly Chopin, Liszt, and music of the 20th century. Ivo Pogorelich begins recordings in 1981. Two elder statesmen of the keyboard come to Deutsche Grammophon: Rudolf Serkin in 1981 and Vladimir Horowitz – the latter releases five successful discs between 1985 and 1989. A younger generation of artists begins to join the label, including singers (Kathleen Battle, 1984; Anne Sofie von Otter, 1985; then later, Bryn Terfel, 1993; and Thomas Quasthoff, 1999), instrumentalists (cellist Mischa Maisky, 1982; pianist Maria João Pires, 1989), string quartets (Hagen, 1985; Emerson, 1987), and orchestras (Orpheus Chamber Orchestra, 1985).
At the end of 1984 Siemens sells 40% of its half share in PolyGram International to Philips, who later buys the remaining 10% in 1987. In 1986 the Hanover factories – the first and largest producers of CDs – are taken over from PolyGram by Philips as part of a Hanover factories joint venture with the chemical company, DuPont; Hanover remains the label's most important supplier. In 1987 DG, with its sister PolyGram labels Philips and Decca, begins to release videocassettes and laser discs of mainly concert and opera recordings licensed from Unitel, entering a new era of video recordings of classical music.
The Eighth Decade
Artist Joining (Selection):
A restructuring of the DGG/PPI group in 1971 is followed by the formation of PolyGram, with headquarters in Baarn (Netherlands) and Hamburg. In 1973, to mark its 75th anniversary, Deutsche Grammophon releases The Symphony on ninety-three LPs. Also in this decade, DG continues to expand its international horizons as Arturo Benedetti Michelangeli makes a series of distinguished recordings beginning in 1971. In 1972, three conductors begin long-term associations: Daniel Barenboim (also as a pianist), Seiji Ozawa and, most prominently, Leonard Bernstein, who in 1981 becomes an exclusive DG artist. Bernstein begins recording the Austro-German symphonic repertoire, largely from live concerts with the Wiener Philharmoniker, as well as many of his own and other American works (his 1985 recording of West Side Story becomes one of the bestselling releases in the company's history).
Carlo Maria Giulini makes his first recordings for DG in 1976 with the Chicago Symphony Orchestra. During the coming years the company documents his return to opera after a long absence to record Rigoletto in Vienna, Falstaff in Los Angeles, and Il trovatore in Rome. Carlos Kleiber's first recording, Der Freischütz in 1973, is followed over the next decade by La Traviata, Die Fledermaus, Tristan – and symphonic works by Beethoven, Brahms, and Schubert. In 1978 a brilliant career begins as 14-year old violinist Anne-Sophie Mutter makes her debut recording of Mozart with the Berliner Philharmoniker under her mentor Karajan.
Also Gidon Kremer records the first of many lauded projects for Deutsche Grammophon. The LaSalle Quartet's recordings of the Second Viennese School win numerous prizes. Archiv Produktion signs exclusive contracts with the violinist Reinhard Goebel and his Musica Antiqua Köln in 1977 and with the harpsichordist Trevor Pinnock and his English Concert the next year. These represent the company's first period-instrument ensembles since Wenzinger's Schola Cantorum Basiliensis in the 1950s. Also in 1978, John Eliot Gardiner makes his first recording for Archiv with the English Baroque Soloists. In 1980, PolyGram takes over Decca Records.
The Seventh Decade
Artists Joining (Selection):
Claudio Abbado · Martha Argerich
Janet Baker · Grace Bumbry
Christoph Eschenbach · Brigitte Fassbaender
Pierre Fournier · Friedrich Gulda
Gundula Janowitz · Rafael Kubelik
Christa Ludwig · Sir Charles Mackerras
Gerald Moore · Edda Moser
Birgit Nilsson · Narciso Yepes
In 1960, DG signs an exclusive agreement with Martha Argerich, one of a number of leading pianists who join the label over the next decades.
In 1962 Karajan's first stereo recording of the nine Beethoven Symphonies with the Berliner Philharmoniker is released as DG's first subscription package.
In this decade's early years, the label records Verdi operas at La Scala – Claudio Abbado, who makes his DG debut in 1967, resumes the series in the mid-'70s. His numerous recordings over the coming decades include the complete symphonic works of Beethoven, Brahms, Mahler, Mendelssohn, Ravel, and Schubert, as well as more than a dozen complete operas.
Significant large-scale projects in this period include Fischer-Dieskau with Schubert's complete lieder, followed over the next ten years by his comprehensive collections of lieder by Brahms, Liszt, Schumann, and Wolf.
In 1969, anticipating the Beethoven bicentenary in 1970, DG releases its first Beethoven Edition on 76 LPs. Other generously documented complete composer anniversary editions undertaken include: Beethoven again in 1977 and 1997; Bach in 1975 and 1985; Brahms in 1983 and 1997; and Berg in 1985.
The electronics companies Siemens (Munich) and Philips (Eindhoven) combine their interests in the recording business in 1962, establishing a new entity DGG/PPI (Philips Phonographic Industry); however DG retains control of its own recording activities and catalogue.
The Sixth Decade
Artists Joining (Selection):
Amadeus Quartet · Karl Böhm
Christoph von Dohnányi
Dietrich Fischer-Dieskau
Ferenc Fricsay · Monique Haas
Paul Hindemith · Eugen Jochum
Lorin Maazel · Igor Markevitch
David Oistrakh · Igor Oistrakh
Karl Richter · Sviatoslav Richter
Hans Rosbaud · Wolfgang Schneiderhan
Maria Stader · Rita Streich
Fritz Wunderlich · Nicanor Zabaleta
In 1950 78-rpm records with up to nine minutes playing time per side are introduced, based on the DG invention of variable grooves, and the next year the company releases its first 33-rpm long-playing records (also known as LPs). Wilhelm Kempff begins a new Beethoven piano-sonata cycle in 1950 and records the Beethoven Concertos in 1953 (he re-records both in stereo in the '60s).
Furtwängler resumes his association with Deutsche Grammophon in 1951. The Amadeus Quartet and the violinist Wolfgang Schneiderhan make their first DG recordings in 1951 and 1952 respectively. In 1959, having already recorded Brahms, Haydn, Mozart, and Schubert, the Amadeus Quartet embarks on a complete stereo recording of the Beethoven Quartets. Also that year, Karajan returns to the company from EMI – he will make some 330 records for DG over the next thirty years, including three Beethoven cycles and the complete Ring.
Two other conductors play a significant part in establishing Deutsche Grammophon's strong postwar position in the Classical and Romantic repertoire: Karl Böhm (most notably in Mozart and the conductor's friend Richard Strauss) and Rafael Kubelik (most notably in Dvorˇák and Smetana, Lohengrin, and a complete Mahler cycle). The versatile American conductor Lorin Maazel is signed in 1957.
Archiv Produktion makes some pioneering recordings of medieval and Renaissance music during its first decades; however the focus is on Baroque, above all the complete Bach organ works with Walcha and German and Italian repertoire directed by Rudolf Baumgartner, Fritz Lehmann, August Wenzinger, and Karl Richter, who after Lehmann's death becomes the label's chief Bach interpreter.
In 1956 the company transfers its headquarters to Hamburg, while the production plants remain in Hanover. In the following year, the new Deutsche Grammophon trademark, the "cartouche", is introduced.
The Fifth Decade
Artists Joining (Selection):
Géza Anda · Maria Cebotari
Hilde Güden · Hans Hotter
Herbert von Karajan · Margarete Klose
Annelies Kupper · Max Lorenz
Maria Müller · Helmut Walcha
After the outbreak of World War II and faced with a shortage of raw material, Deutsche Grammophon again stagnates – and in 1941 it is taken over by the electronics and engineering company Siemens & Halske. In spite of curtailed production, recording projects such as a relatively complete St. Matthew Passion conducted by Bruno Kittel in 1942 are produced (with the matrices taken by submarine to Japan, where Nippon Polydor has ordered 17,000 sets). On 9 May 1942 the Gestapo formally prohibits DG from producing masters using Jewish artists and orders the destruction of all records in which they are featured. Some recordings continued to be issued during this and the following year, notably of Karajan conducting the Berlin Staatskapelle, Concertgebouw, Berliner Philharmoniker, and RAI Orchestra of Turin. Among the other recordings from 1943 is Strauss's Ein Heldenleben, conducted by the composer.
After the war's end, a small record-manufacturing facility is opened in Berlin while the destroyed factory and administrative buildings in Hanover are being rebuilt. In 1946, Deutsche Grammophon becomes the first company to make all recordings using magnetic tape. In the following year, Archiv Produktion is founded to promote early music – its first recordings are of Bach played in Lübeck's Jakobikirche by organist Helmut Walcha, who remains closely related with the label for 30 years. In 1949 exclusive rights to the trademark "His Master's Voice" in Germany are sold to Electrola (EMI Germany) and the yellow Deutsche Grammophon label with tulip crown is introduced. Eugen Jochum, Ferenc Fricsay (who is to be a mainstay of the company's roster during the 1950s), and Dietrich Fischer-Dieskau make their first recordings for the now-Yellow Label.
The Fourth Decade
Artists Joining (Selection):
Claudio Arrau · Erna Berger
Alexander Brailowsky
Willi Domgraf-Fassbaender
Samuel Dushkin · Max Fiedler
Galimir String Quartet
Manfred Gurlitt · Hans Knappertsbusch
Pietro Mascagni · Maurice Ravel
Wilhelm Rode · Victor De Sabata
Carl Schuricht
Ravel's Boléro is recorded by the company's new French subsidiary Société phonographique française Polydor S.A. in 1930, with the composer himself conducting the Lamoureux Orchestra. The worldwide "great depression" precipitates a decline in record sales and in 1932 the company merges with Polyphon and moves its headquarters back to Hanover.
In 1937, after further years of falling production, Deutsche Grammophon AG goes into liquidation and in its place Deutsche Grammophon GmbH is founded, co-financed by the Deutsche Bank and Telefunken Gesellschaft. In spite of increasing Third Reich restrictions, some important recordings continue to be made. In December 1938 the first record by Herbert von Karajan (the Zauberflöte Overture with the Berlin Staatskapelle) is released.
Other DG artists in this period included conductors Paul van Kempen, Carl Schuricht, and Victor de Sabata; pianist Elly Ney; violinist Georg Kulenkampff; and singers Erna Berger, Tiana Lemnitz, Walther Ludwig, and Julius Patzak.
The Third Decade
Artists Joining (Selection):
Fritz Busch · Carl Flesch
Wilhelm Furtwängler
Wilhelm Kempff · Otto Klemperer
Alexander Kipnis · Emmi Leisner
Caspar Melchior · Hans Pfitzner
Elisabeth Schumann · Richard Strauss
In 1920 the 25-year-old Wilhelm Kempff makes his first Deutsche Grammophon recording (Beethoven), as does Elisabeth Schumann ("Non so più" from Figaro, sung in German). Thus begins a new direction for the company with artists including the soprano Maria Ivogün, conductors such as Hermann Abendroth, Leo Blech, and Hans Pfitzner and a recording philosophy of uncut performances, faithful to the score.
In 1921 Frida Leider records Elisabeth's Greeting from Tannhäuser and Richard Strauss is the pianist in his own lieder for baritone Heinrich Schlusnus, who soon becomes one of the company's leading singers. In 1924 DG is allowed to resume use of the Nipper "His Master's Voice" trademark as well as its pre-war matrices for issue in Germany, while the Polydor logo is introduced for exported records. The releases of this period emphasize Wagner and often feature the Berlin Staatskapelle under Leo Blech or the Berliner Philharmoniker under Max von Schillings.
By 1925, when the electro-acoustic recording system is introduced, the company has brought out all nine Beethoven Symphonies, with Oskar Fried and others conducting the Berlin Staatskapelle, plus such large-scale symphonies as Bruckner's Seventh and Mahler's Second. In 1926, Wilhelm Furtwängler overcomes his scepticism regarding the medium to record Beethoven's Fifth Symphony and Weber's Freischütz Overture with the Berliner Philharmoniker. In "Beethoven Year" 1927, when the company takes over the American Brunswick label, its catalogue also contains the composer's symphonies conducted by Otto Klemperer, Hans Pfitzner, and Richard Strauss, as well as the Adagio from Bruckner's Eighth conducted by Klemperer, Haydn's "Oxford" under Hans Knappertsbusch, the Mozart 39 and "Jupiter" conducted by Strauss, Tchaikovsky's "Pathétique" with Bruno Walter and the Fledermaus Overture under Erich Kleiber, all with the Berlin Staatskapelle, which also plays for Strauss's recordings of his symphonic poems (1926–33).
By the time of Joseph Berliner's death in 1928 and Emile's the following year, DG's annual production has reached nearly 10 million records, with the Hanover factory employing some 600 people.
The Second Decade
Artist Joining (Selection):
Wilhelm Backhaus · Mattia Battistini
Berliner Philharmoniker · Claire Dux
Alfred Hertz · Fritz Kreisler
Lotte Lehmann · Arthur Nikisch
Heinrich Schlusnus
The earliest orchestral recording is marketed in 1910: the opening movement of Grieg's Piano Concerto with Wilhelm Backhaus, who two years earlier made his recording debut for the company playing selections from Bach's Well-Tempered Clavier. Another famous pianist, Ignace Jan Paderewski, makes his recording debut in 1911.
In 1913, Deutsche Grammophon causes a sensation with its first complete recording of an orchestral work: Beethoven's Fifth Symphony, with the Berliner Philharmoniker under its principal conductor Arthur Nikisch, is released on four double-sided discs, for Mark 9.50 (then equivalent to about $2.25 / 1,70 €) per disc; in Britain it is issued on single-sided discs over several months. Also published at this time are excerpts from Wagner's Parsifal with the Berliner Philharmoniker under Alfred Hertz.
With the outbreak of World War I, Deutsche Grammophon's assets are impounded by the German government on the grounds that the company is English and therefore its holdings are enemy property. In 1916, the German and English firms – the latter destined to become the modern EMI – go their separate ways. Deutsche Grammophon can no longer use the trademark "His Master's Voice" or export from Germany discs recorded abroad. Because the company can no longer sell records by such top names as Caruso, Melba, and Patti, a new repertoire has to be built up. In the next years, recordings will focus on the finest artists of Germany and central Europe.
The First Decade
Artists Joining (Selection):
Sarah Bernhardt · Emma Calvé
Enrico Caruso · Feodor Chaliapin
Leopold Demuth · Emmy Destinn
Geraldine Farrar · Mary Garden
Alfred Grünfeld · Maria Gutheil-Schoder
Josef Hofmann · Joseph Joachim
Nellie Melba
The story of Deutsche Grammophon goes back as far as the birth of recording itself. In June 1898, the company is founded in Hanover along with the first record and gramophone manufacturing works. Its directors are Emile Berliner – the Hanover-born American inventor of both the disc and the player – and his brother Joseph. Their factory uses American-made hydraulic presses to produce shellac discs for the Gramophone Company, established earlier that year in London by Emile's associate William Barry Owen, with recordings supervised by Emile's American associate Fred Gaisberg. By 1900, when the Deutsche Grammophon Gesellschaft becomes a joint-stock company with headquarters in Berlin, Berliner's disc has eclipsed Edison's cylinder as the industry standard, and Gaisberg is busy acquiring respectability for the new medium by signing up famous artists.
Enrico Caruso makes his first recording for the Gramophone Company in Milan in 1902. Among others following suit are Mattia Battistini, Emma Calvé, Alessandro Moreschi (the last castrato), Antonio Scotti, Leo Slezak, Francesco Tamagno (Verdi's first Otello), Geraldine Farrar, Mary Garden, and Elena Gerhardt.
The Russian bass Feodor Chaliapin becomes the first singer whose reputation is actually established by the gramophone. In 1904, the company finally succeeds in persuading the great Nellie Melba to record for it, and a year later Gaisberg brings his recording team and equipment to the Welsh castle of Adelina Patti – after Melba the world's biggest opera star. Deutsche Grammophon is soon appointed purveyor to the British and Spanish royal households, thereby acquiring the ultimate seal of approval. By 1907 its Hanover factory has some 200 record-pressing machines in operation and that year it turns out the first two-sided records.


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BlackBerry 10 launch by the numbers: Over 50% returns, 71% of people don't want under any circumstances, 83% of Americans unaware it even launched (Updated)
Six years after Apple took the smartphone industry by surprise with its release of the iPhone, former market leader BlackBerry Limited, or RIM as it called itself until just recently, launched what some consider to be a true iPhone competitor.
The problem is that almost no one has seemed to notice. A recent poll by MKM Partners reveals that an overwhelming 83% of Americans do not know that BlackBerry has launched their new BlackBerry Z10 smartphone or new Blackberry 10 platform.
The company's trouble does not just include marketing woes. The Wall Street Journal reports that over 50% of customers have returned their BlackBerry smartphones after trying out the platform.
That is not to say that BlackBerry hasn't reached the top of any list. We learned today that BlackBerry is the most undesirable smart phone, learning that 71% of people would not consider the BlackBerry under any circumstances.