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Taylor Swift was named Favorite Country Artist at the 2014 People's Choice Awards on January 8. This is her fifth People's Choice Award so far.
|Taylor Swift Covers February Issue Of Vogue
|Written by Taylor
|Monday, 23 January 2012 18:34
As Taylor Swift embraces a glamorous new look, the country-pop sensation talks about fame, ambition, and the joys of being on her own.
Taylor Swift is sitting in the front row of the Rodarte spring 2012 ready-to-wear show during New York Fashion Week looking prim, if not chaste, in an ivory-colored confection with long, lacy sleeves, a high neck, and a full-length skirt—a look from Rodarte's fall collection that was inspired in part by the spirit of the Kansas homestead. It is the sort of getup that treads a fine line between sincerity and irony, between too-literal costume and clever fashion reference. In other words, it takes a girl with a special sort of moxie to wear it without looking like Melissa Sue Anderson from Little House on the Prairie. The fact that Swift is supermodel thin, towers over everyone (at five feet ten she clocks in at well over six feet in platform Miu Mius), and has skin as pale as a gold-rush bride's—well, let's just say she falls somewhere on the continuum from fetching to dazzling.
That irony is not Swift's strong suit makes her triumph all the more satisfying: She is wearing the dress; the dress is not wearing her. Perched here among the professionally blasé, she is all smiley gee-whiz confidence, full of hugs and exclamation points. Strangely enough, her opposite is sitting just two seats down: Rooney Mara, still in Lisbeth Salander mode, wearing all black and looking pale-to-green spooky. An editor sitting nearby jokes that the two could be the good witch and the wicked witch from The Wizard of Oz.
As the models begin their procession, it quickly becomes clear that Rodarte, whose bad-witch aesthetic has made the Mulleavy sisters fashion darlings, has moved into Glinda territory. It looks as though they asked their casting director for an army of Taylor Swifts—lithe, pretty blondes with long, wavy hair, but wearing zombie makeup. Indeed, the entire collection—a parade of girly-pretty dresses, skirts, and hand-knit sweaters in a swirl of cornflower blue and sunflower yellow, with a few van Gogh Starry Night prints thrown in for good measure—looks as if it were designed for Swift. "I have never been to a show where I wanted to wear everything," she says breathlessly.
Afterward, as we plunge into the crush on the street to find Swift's car and driver, I overhear someone describe the collection as "prom on acid." It strikes me that Swift herself might be described as all prom and no acid—for a certain audience, her music and her look are stuck in teenage gear. Which is why it comes as a nice surprise to discover just how sharp she is. She is clever and funny and occasionally downright bawdy as we ride around town with a small entourage on this hot fall day, visiting designer showrooms.
Indeed, one of the first things she mentions is the infamous honey-badger clip on YouTube that features a deadpan obscenity-laced narration. Swift knows every line—though she asks if her cursing can be off the record. She may be edgier than her image suggests, but she is not Courtney Love. She has a deeply ingrained sense of appropriateness. She also knows her audience—and knows that they aren't ready for her to grow up quite yet.
As we crawl through lower Manhattan gridlock toward Alexander Wang's showroom, we wind up in a conversation about how one never really gets over high school. If Swift has been criticized for being somewhat arrested in her creative development—stuck in prom, as it were—that tendency has lent her an uncanny ability to capture in her songs the vulnerable mind-set of teen girls everywhere. "Why you gotta be so mean?" she sings in the straight-up country song that defined her amazing year in many ways and has been nominated for two Grammys. Clearly, her school days remain all-too-vivid. Swift, who grew up on a Christmas-tree farm in rural Pennsylvania, tells me that when she was in fourth grade her family moved to Wyomissing, an affluent suburb of Reading. "So . . . middle school? Awkward," she says, launching into the first of many comic riffs. "Having a hobby that's different from everyone else's? Awkward. Singing the national anthem on weekends instead of going to sleepovers? More awkward. Braces? Awkward. Gain a lot of weight before you hit the growth spurt? Awkward. Frizzy hair, don't embrace the curls yet? Awkward. Try to straighten it? Awkward!" She starts to laugh. "So many phases!"
As hard as it is to imagine now, Swift always felt like an outsider. "I think who you are in school really sticks with you," she says. "I don't ever feel like the cool kid at the party, ever. It's like, Smile and be nice to everybody, because you were not invited to be here."
When I confess I played the cymbals in marching band during my freshman year, she high-fives me. "All of my favorite people—people I really trust—none of them were cool in their younger years," she says. "Because if you know how to be cool in middle school, maybe you have skills you shouldn't. Maybe you know how to be conniving, like, naturally." She laughs. "There's always that seventh-grade girl who looks like she's 25. And you're like, How do you do it? How do you do it, Sarah Jaxheimer?" She lets out a comically ear-piercing shriek: "Why is your hair always so shiny?!" (Later, I Google Sarah Jaxheimer, and sure enough, she has perfect, lustrous Jennifer Aniston hair.)
Swift finally stopped caring about being cool. "I think that happened as soon as I left school, when I was sixteen, because then all that mattered was music and this dream that I'd had my whole life. It never mattered to me that people in school didn't think that country music was cool, and they made fun of me for it—though it did matter to me that I was not wearing the clothes that everybody was wearing at that moment. But at some point, I was just like, I like wearing sundresses and cowboy boots."
Apparently, so do a lot of other people. A couple of weeks earlier I watched Swift perform for a stadium of 50,000 people in Philadelphia, for all intents and purposes her hometown crowd. I had never seen so many teens and tweens and little girls with their mothers in sundresses and cowboy boots. "I look out at the stadiums full of people and see them all knowing the words to songs I wrote," says Swift. "And curling their hair! I remember straightening my hair because I wanted to be like everybody else, and now the fact that anybody would emulate what I do? It's just funny. And wonderful." The fact that Swift, at 22, already appreciates the delicious irony in that speaks volumes about her grown-up sense of perspective. That she's also the only kid at the table when it comes to filling huge stadiums also suggests she has a heft beyond her years. How many artists can even fill a stadium these days?
"Um . . . Kenny Chesney, U2, and Paul McCartney. There aren't many stadium shows anymore," she says. "It's no small feat, and I know that. When you walk out onstage in front of 65,000 people, it can bring you to tears. If you really take it in at the end of a song and you hear that many people screaming, it will make you cry."
Do you ever get freaked out?
"This is what I've wanted to do my whole life," she says. "It never freaks me out. Never. Ever." She pauses for a moment. "But you know what does freak me out? When is the other shoe going to drop? I am so happy right now. So I am always living in fear. This can't be real, right? This can't really be my life."
"You are so tall!" shouts Alexander Wang when he first lays eyes on Taylor Swift.
"I think I am still growing," she says. "I haven't topped off yet."
Wang discreetly checks out her look. "Is this Rodarte?"
"Yes," says Swift. "It's from their fall collection."
"Well, it fits you perfectly." And then, handing out fashion's highest compliment, "You are sample-size!"
"It's really nice when I get on shoots and everything fits," says Swift.
"But I bet it also makes it difficult for you," says Wang, "because they're probably like, 'Oh, she's sample-size, and that means she can wear anything from the runway collection.' And you're like, 'I am not wearing that.' " They laugh. The two head over to the clothes hanging nearby, Wang's futuristic-BMX-sporty collection that he showed a few days earlier. He pulls something from the rack that he calls a "knit racing sweater," and Swift says, "How Tron of you."
"She gets it! I love it!" says Wang, clearly charmed. They walk over to the accessories. "Need a motocross helmet?" asks Wang, who has designed one with flowers on it.
"That's amazing," says Swift. "You should send one to Pink. She would love that." There is something reflexively generous about Swift, who says to Wang as they hug goodbye, "I love how happy you are."
As we ride the elevator down, Swift offers her take. "Some people just attract attention and excitement," she says. "It's kind of unexplainable. People study it. There's a science to the It factor. There are certain people who elicit a really passionate response. It's crazy. That's my Alexander Wang theory."
Now, in the car on our way to Prabal Gurung's studio in midtown, I tell her that I was just in Stone Harbor with my family, having lunch, and mentioned that Taylor Swift is sort of from there. "I am totally from there," she says. "That's where most of my childhood memories were formed."
She goes on, "When you say, 'I spent my summers at the Jersey Shore,' people always say, 'Oh, really?' They think of the TV show. So I just say, 'A cute little harbor town in New Jersey.' As with her music, there is a sprinkling of fairy dust on Swift's childhood memories of Stone Harbor. "We lived on this basin where all this magical stuff would happen. One time a dolphin swam into our basin. We had this family of otters that would live on our dock at night. We'd turn the light on and you'd see them, you know, hanging out, just being otters. And then one summer, there was a shark that washed up on our dock. I ended up writing a novel that summer because I wouldn't go in the water. I locked myself in the den and wrote a book." She stares at me, wide-eyed. "When I was fourteen." She laughs. "Because of a shark!"
"I was thinking, What is a strong female? Doesn't necessarily have to be tough. Could be pretty."
Suddenly, Gurung plants himself directly in front of the pop star, who is easily a foot taller, and says, "Well, I am sure you get this all the time, and I'm sure it's redundant, but I am such a huge fan. I love your music. It's really beautiful—but you know that. But more than anything, it's the way that you have conducted yourself. Really. The way you handle yourself is incredible."
Swift lets out a heartfelt "Thaaaaaaank yoooooooou."
"No, no, seriously," Gurung goes on. "Because it's very easy to get carried away into the wrong things and be like the rest of them, but you have held your ground, and it's really impressive."
Swift throws her arms straight out—"Give me a hug"—and envelops him.
As we leave, she says, "That kind of made my day. People don't usually compliment your character." She shakes her head in disbelief, and then a big smile spreads across her face. "And he had good hair. Good throwback hair."
One day not long ago, Swift was interviewed onstage by Katie Couric at Billboard's Women in Music luncheon. At one point Couric asked Swift a question she has heard many, many times before, which is, essentially, When are you going to have some sort of scandal or meltdown, or, at the very least, an embarrassing photograph? When I bring this up, Swift says, "Ever since I was sixteen, the question that I get in every single interview is 'So, all the pop stars right now who are stumbling out of clubs and going crazy—are you going to do that?' When I was younger, I had to be more insistent with people because they would say, 'Yeah, they all say that when they're sixteen, honey. Just wait till you're nineteen or 20. That's when it all goes off the tracks!'
"But you know, as time has gone by, I've gotten that question less and less. I think, for me, the bigger pitfall is losing your self-awareness. Even though I am at a place where my dresses are really pretty and the red carpets have a lot of bright lights and I get to play to thousands of people . . . you have to take that with a grain of salt. The stakes are really high if you mess up, if you slack off and don't make a good record, if you make mistakes based on the idea that you are larger than life and you can just coast." She pauses. "If you start thinking you've got it down, that's when you run into trouble—either by getting complacent or becoming mouthy." She laughs. "And nobody likes that."
Do you ever lose it and act bratty?
"Yeah, but if I do I usually spend the next four days apologizing," she says. "I get post-conversation anxiety. 'I am so sorry if I said something weird. Did I make that weird? I am sorry if I made that weird!' "
I ask Swift what she frets about, and her answer reveals a potential downside to being born with so much drive. "I fret about the future," she says. "What my next move should be. What the move after that should be. How I am going to sustain this. How do I evolve." She lets out a big sigh. "I get so ahead of myself. I'm like, 'What am I going to be doing at 30?' But there's no way to know that! So it's this endless mind-boggling equation that you'll never figure out. I overanalyze myself into being a big bag of worries."
But Taylor Swift is a girl who likes to be one step ahead of everyone, even herself. "Lately I've been focusing on trying to be here," she says. "Trying to be who I am, where I am, at the moment." She laughs. "But, you know, I am having a big meeting with my team next week, planning 2013. Which makes it hard!"
Swift splits her rare days off between her condo in Nashville ("very Alice in Wonderland imaginarium") and a little cottage she recently bought in Beverly Hills ("cozy, Anthropologie, grandma chic"). She's been spending time in L.A. because she's quietly looking for the right role in the right movie. Does she feel pressure to work out? "I don't ever want to be that person whose self-image overtakes who they are. I am not a fan of working out that much. There's no regimen. There's no personal trainer. I love to go hiking because it's an experience. If I need to gain stamina for a tour, I will run every single night on the treadmill, but I don't necessarily like being at the gym."
Swift is very close to her parents, Andrea and Scott Swift, both of whom are very involved in her career. I ask her to describe them: "Mom is calculated, logical, business-minded; kind but very, very direct. Makes you better by giving you these little pointers but doesn't baby you. My dad is a Chatty Cathy, the social butterfly; friendly; knows everybody in the whole world by six degrees; tells me that every performance is the greatest he's ever seen, every new outfit is the coolest. Constant cheerleader. It's cool to have pie-in-the-sky Dad, down-to-earth Mom."
She seems to bring both worldviews to her romantic life. As she puts it, "I think I am smart unless I am really, really in love, and then I am ridiculously stupid." Swift has famously dated some famous boys—Joe Jonas, Taylor Lautner, John Mayer, Jake Gyllenhaal. When she was eighteen, Jonas notoriously broke up with her over the phone—in a call that lasted 27 seconds—an experience that fueled her songwriting. She wrote a damning song about Mayer called "Dear John." She dated Gyllenhaal through the fall of 2010 (he broke up with her around the Christmas holidays). When I ask her if she is seeing anyone, she says, "I got nothing going on! I just don't really feel like dating. I really have this great life right now, and I'm not sad and I'm not crying this Christmas, so I am really stoked about that." Were you crying last Christmas? "I am not gonna go into it! It's a sad story!"
Swift is working on her fourth album: "There's just been this earth-shattering, not recent, but absolute crash-and-burn heartbreak," she says, "and that will turn out to be what the next album is about. The only way that I can feel better about myself—pull myself out of that awful pain of losing someone—is writing songs about it to get some sort of clarity." Swift's music is not exactly straight diary entry—it's cleverer than that—but somehow the specifics of her past relationships continue to have a universal appeal. When I ask her if she can detail a few things she's learned along the way, she seems delighted to play along. "I have red flags now," she says.
1. "If someone doesn't seem to want to get to know me as a person but instead seems to have kind of bought into the whole idea of me and he approves of my Wikipedia page? And falls in love based on zero hours spent with me? That's maybe something to be aware of. That will fade fast. You can't be in love with a Google search."
2. "If a dude is threatened by the fact that I need security, if they make me feel like I am some sort of princessy diva—that's a bad sign. I don't have security to make myself look cool, or like I have an entourage. I have security because there's a file of stalkers who want to take me home and chain me to a pipe in their basement."
3. "If you need to put me down a lot in order to level the playing field or something? If you are threatened by some part of what I do and want to cut me down to size in order to make it even? That won't work either."
4. "Also, I can't deal with someone who's obsessed with privacy. People kind of care if there are two famous people dating. But no one cares that much. If you care about privacy to the point where we need to dig a tunnel under this restaurant so that we can leave? I can't do that."
"It was great," says Swift. "It was very race car–driver slash Tron slash ski slope slash parka-without-being-a-parka." They walk over to a rack, and Altuzarra picks out a very sexy black dress. "That is soooo Jada Pinkett Smith," says Swift. "She would look great in that." Swift heads toward another black dress. "Ooooh. I like that. That's what you wear if you are a spy." Pause. "Or if you're playing a spy on TV." She holds the dress under her chin. "This is me if I was on Covert Affairs." She pulls a sweater dress from the rack, and Altuzarra says, "You could wear that on Covert Affairs as well."
"No," says Swift. "I would wear this on Without a Trace, if I was playing Samantha Spade." She laughs at herself. "I watch so much TV."
If at times she seems far younger than her age, Swift can also seem far older. At Madison Square Garden in November, near the end of her yearlong, 80-city, sold-out Speak Now tour, she invited Selena Gomez and James Taylor, two performers who couldn't fall at more opposite ends of the spectrum. Even though Swift is "best friends" with the nineteen-year-old Gomez, one got the sense that she was much more excited about—and has more in common with—James Taylor, the 63-year-old songwriting legend.
It turns out that Swift has a laundry list of iconic American figures to whom she feels some sort of connection. "The only time in my life I have ever been starstruck was meeting Caroline and Ethel Kennedy," she says. "I got to spend the afternoon with Ethel a couple of weeks ago. She is one of my favorites because you look back at the pictures of her and Bobby and they always look like they are having the most fun out of everybody. You know, eleven kids, all these exotic animals on their property. I've read a lot about them."
When I ask whose career she would most like to emulate, she places herself squarely in baby-boomer territory, identifying in some ways more with her parents than with her peers: "I look back and I think about Kris Kristofferson," she says without missing a beat. "He is so versatile and so appreciated for all of the things that he has done. The fact that he shines in songwriting, shines in his solo career, shines in movies and does it all so tastefully. I got to meet him last year, and he's just one of those people who has been in this business for years but you can tell it hasn't chewed him up and spit him out. He just seemed like the human embodiment of gratitude." She ponders for a moment. "Sometimes you see these people who are just so—God—so affected by all of it, where ambition has taken precedence over happiness. But when I meet people who really embody this serenity of knowing that they have had an amazing life—James Taylor, Kris Kristofferson, and Ethel Kennedy. . . ." She smiles her twinkly-eyed smile. "They just seem to be effervescent."
View the original news article at: Vogue: "Taylor Swift: The Single Life"
|Last Updated on Monday, 23 January 2012 18:36


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Department of Revenue News Release
January 17, 2014Excelsior Springs License Office contract awarded
JEFFERSON CITY - The Office of Administration, in conjunction with the Missouri Department of Revenue, has awarded the management contract for the Excelsior Springs License Office to the Excelsior Springs Area Chamber of Commerce. All license office contracts in Missouri are awarded through a competitive bid process.
The Excelsior Springs License Office will remain at its current location at 115 Crown Hill, Suite 1.
In fiscal year 2013, more than 50,000 transactions were conducted at the Excelsior Springs office, generating approximately $174,854 in agent processing fees. The Excelsior Springs Area Chamber of Commerce's contract includes an annual commitment to return 4.01 percent (approximately $7,011.65) of future processing fees to the state.
All local license offices are overseen by the Missouri Department of Revenue, but each is operated by an independent agent.
Follow the Missouri Department of Revenue on Twitter @MoRevenue

subset: commoncrawl


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Flooring on the bridge between the two Ocean Avenue overlooks was installed yesterday.
Note: This was originally part of the Civic Center Parks Project website that served as the central community engagement tool throughout the life of the project, from selection of landscape architects James Corner Field Operations in April 2010 to opening day in October 2013.
About the Project
Project News / Background: Site & Project Library / Community Participation / Design / Construction / Community Celebrations / Awards / Press Kit
The Civic Center Parks Project was a collaborative effort of the City of Santa Monica's Community & Cultural Services and Public Works Department. The City project team worked closed with the design/build team led by W.E. O'Neil Construction and James Corner Field Operations.
Flooring on the bridge between the two Ocean Avenue overlooks was installed yesterday.


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Rbk EDGE Being Dumped!
As you know, I hate to post rumor and gossip. I prefer actual facts to back up my information so naturally I was unsure about posting this at all. But since I started this blog, I've made contacts with a lot of great people inside the NHL and Reebok. (Honestly, how do you think I was able to get much of the information I did over the summer?)
I was asked not to write about this, but I can't do that to you guys. As NHL fans, you have the right to know. I've been told the league will be dropping the Rbk EDGE uniforms entirely next season and is cutting all ties with Reebok. Naturally, this news comes as quite a shock considering all the time and money that was put into the project in the first place. My Reebok rep called it a "failed experiment" and said the split with the NHL was "best for both parties."
What might be most surprising is the league is discussing redesigning all 30 uniforms once again! (Like once wasn't enough.) A new deal is still being worked out, but right now it appears league commissioner Gary Bettman would consider having the folks at Bravo TV series Project Runway design the new sweaters in one of next season's new episodes. Manufacturing would then be handled by Nike, believe it or not.
My source (who I unfortunately can't name due to legal issues) inside the league says Bettman is "delighted" at the prospect of getting the league this sort of national television recognition. I'm tempted to take him at his word as that sounds just like Bettman to me. Not surprisingly, this is going to make the NHL look like a complete joke on the national stage.
Personally, I really think they should have just stuck it out for at least one more season. Sure, the Rbk EDGE system had its issues, but so do most new things. On the other hand, the prospect of new uniform designs is kind of exciting. But we just went through it last year. This is just overkill and rather annoying.
Finally, I just wanted to take the time to thank you guys for continuing to visit the blog. Without you, I certainly wouldn't be where I am. News regarding these uniform changes will supposedly start trickling out as the playoffs wind down. Looks like we'll be doing the uniform re-design watch for yet another summer.
I'll post more information on this as I get it.
UPDATE (4/2 2:12 AM): Happy April Fools' Day! I love you guys!


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It's been a long time since I've been on the site but I am seeking everyones help! As ghost town explorers, we know we always run across outhouses and sometimes very unique and curious ones. I am working on a personal photography project and would love to hear of any sites you think are worth checking out, and their general location. I will be (lucky enough) on the road for approximately 1-2 months, so I can travel anywhere but realize there most likely in the southwest and great basin area. Any advice or suggestions would be great! Thank you for reading my odd post.
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Welcome to the U-M Mobile App Center
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The Mobile Apps Center is designed to encourage all students, faculty and staff to develop and distribute useful mobile apps to the university community. We provide news, information, and services available anytime, anyplace on your mobile device.
Developing applications in the university environment can sometimes present unique challenges. The Mobile App Center contains helpful information on topics such as data access and branding requirements. Read on to discover how following a cyclical development process can help you create a successful, usable application at the University of Michigan.
This is where it all begins. Learn how to design your app to be user-friendly, graphically polished, and accessible to all. From U-M-specific guidelines to best practices, get the info you need to go from vision to plan.
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Handbook of Genetic Counseling/Arthrogryposis
Jump to navigation Jump to search
- Acknowledge prior phone contact
- What questions or concerns would you like to address today?
- Overview of agenda for the session
Intake and Family History[edit]
- Pregnancy and medical history
- Maternal fever or viruses during pregnancy?
- Oligohydramnios or unusually shaped uterus? (Crumply ears, thin or hyperextensible skin?)
- Was the baby active throughout the pregnancy?
- Any problems with hands, wrists, elbows, shoulders, knees, jaw, or back?
- Any muscle weakness or hypotonia?
- Has she had any muscle biopsies or other blood tests to rule out possible disorders?
- Family history
- Anyone else with club foot, joint dislocations, scoliosis?
- Individuals who are short in stature?
- Anyone with any muscular dystrophy, muscle disease, muscle weakness?
- Anyone with cleft lip and/or palate, hearing loss, mental retardation?
- Condition describing the presence of multiple joint contractures at birth
- Joint contractures are limitations in the range of motion of joints
- May affect few or all joints to varying degrees
- Includes hands, wrists, elbows, shoulders, hips, feet, and knees
- Severe cases may include the jaw and back
- Can be caused by anything that prevents normal joint movement before birth
- When joint is not moved, extra connective tissue may grow around it and fix it in position
- Tendons connecting to joint not stretched to normal length, making joint movement difficult
- Four possible reasons for limitation of joint movement prenatally
- Muscles do not develop properly (atrophy)
- Muscle diseases, including congenital muscular dystrophies
- Maternal fever during pregnancy
- Viruses that damage cells transmitting nerve impulses to muscle
- There is not sufficient room in the uterus for normal movement
- Oligohydramnios
- Abnormally shaped uterus that causes crowding
- Central nervous system or spinal cord malformations
- Tendons, bones, joints, or joint linings don't develop properly
- Muscles do not develop properly (atrophy)
- May be environmental or genetic depending on cause of contractures
- Genetic cause identified in about 30% of cases
- Incidence is about 1 in 3000 live births
Causes of Arthrogryposis[edit]
- Diagnosis usually made by ruling out other causes or syndromes
- Cartilaginous abnormalities
- Beal Syndrome
- Linked to fibrillin locus on chromosome 5q23-31
- Autosomal dominant
- Crumpled ears, long slim limbs and fingers, frontal bossing, short neck
- Antley-Bixer Syndrome
- No confirmatory testing
- Probably autosomal recessive
- Crouzon syndrome-like appearance and midface hypoplasia
- Distal Arthrogryposis Syndrome
- Autosomal dominant with variable expression
- Facial features usually normal
- Arthrogryposis of hands and lesser extent feet
- Beal Syndrome
- Physical constraint to movement
- Oligohydramnios Sequence
- Diagnosis made by clinical findings
- Arthrogryposis usually involves knees and feet
- Wrinkled skin, squashed nose, low-set ears, short neck
- Often secondary to bilateral renal agenesis
- Escobar Syndrome
- Autosomal recessive condition
- Thick skin folds keep joints in fixed position
- Restrict joint motility in neck, axilla, antecubital, popliteal, and digital areas
- Oligohydramnios Sequence
- Neurological Abnormalities
- Trisomy 18 and Trisomy 13
- Cause distal arthrogryposis
- Causes severe mental retardation and facial dysmorphism
- Smith-Lemli-Opitz
- Autosomal recessive condition
- Due to defect in cholesterol biosynthesis leading to severe MR and early death
- Microcephaly, cryptorchidism, hypospadias, and arthrogryposis of hands
- Zellweger Syndrome
- Caused by genetic mutations at 7q11.23 and 1p22-21
- Autosomal recessive inheritance
- Severe hypotonia, brachycephaly, open fontanels, cryptorchidism, hypospadias, and distal arthrogryposis
- Infantile Spinal Muscular Atrophy
- Autosomal recessive and X-linked inheritance
- Arthrogryposis occurs in 10-20% of neonates with SMA
- Moebius Syndrome
- Sporadic or autosomal dominant in some cases
- Causes bilateral facial weakness and arthrogryposis in about 30% patients
- Congenital Myotonic Dystrophy
- Due to trinucleotide repeat expansion at 19q13
- Autosomal dominant disorder
- Marked body and facial hypotonia with arthrogryposis in lower extremities
- Congenital Muscular Dystrophy
- Inheritance pattern varies depending on type of muscular dystrophy
- Hypotonia, muscle weakness, and distal arthrogryposis
- Serum creatine kinase may be normal or elevated
- Trisomy 18 and Trisomy 13
Clinical Manifestations and Natural History[edit]
- Wide variation in degree to which muscles and joints are affected
- May be accompanied by other conditions tat complicate the picture
- Outlook is generally very positive
- Not a progressive condition
- Substantial improvements seen with treatment
- Most individuals are of normal intelligence and lead independent lives as adults
- Possible features
- Head and neck
- Facial asymmetry
- Micrognathia, notched chin, or malar hypoplasia
- Immobile facies
- Low-set posteriorly located ears or overfolded helices
- High nasal bridge
- Highly arched palate, cleft lip, or cleft palate
- Eyes
- Keratoconus
- Downslanting palpebral fissures
- Blepharoptosis, hypertelorism, or ophthalmoplegia
- Retinopathy
- Short neck, fused cervical vertebrae, and pterygia
- Chest deformities
- Inguinal hernia
- Hand and foot
- Overlapping fingers, tapered fingers, camptodactyly, or syndactyly
- Clenched fists
- Positional foot deformities or clubfoot
- Single or bridged palmar creases
- Absent or hypoplastic distal flexion creases
- Extremities
- Radial head dislocation, contractures, and limitation of motion
- Affects shoulder, elbow, wrist, knee, ankle, and hip joints
- Scoliosis and kyphosis
- Microphallus and cryptorchidism
- Elevated serum creatine phosphokinase
- Head and neck
- Occasional growth and mental retardation
- First important to determine the cause
- Influences prognosis, recurrence risk, and treatment
- Definite diagnosis may not be possible in neonatal period
- Important to separate neurological from non-neurological causes
- MRI study for infants with neurological findings suggesting brain or spinal cord involvement
- Chromosome analysis or genetic testing for those who appear to have genetic syndrome
- Influences prognosis, recurrence risk, and treatment
- Physical therapy
- Helps improve muscle strength and range of motion
- Includes stretching, strengthening, mobility training, and training in ADL skills
- Casting or splinting
- Splints can augment stretching to increase range of motion
- Casting can improve foot position
- Removable splint such as bi-valve cast or wearing splint at night often still allows motion and stretching
- Surgeries
- Usually considered supportive measure to other forms of treatment
- Performed on ankles to put feet in weight-bearing position
- Tendon transfers can sometimes improve muscle function
- Parental concern over underlying cause of condition
- Reaction to infant requiring braces, casts, or surgeries
- Difficulty bonding with a child who looks different or requires special care
- Guilt, depression, anger over new diagnosis
- Concern for child's future
Support Resources[edit]
- National Support Group for Arthrogryposis
- Web: [1]
- Email: firstname.lastname@example.com
- NORD (National Organization of Rare Disorders)
- Web: [2]
Arthrogryposis Multiplex Congenita Support Inc.
- Web: [3]
- Alfonson I, et al. "Arthrogryposis Multiplex Congenita." International Pediatrics (2000) 15:4;197-204.
- "Arthrogryposis Multiplex Congenita." Multiple Congenital Anomaly/Mental Retardation Syndromes: US National Library of Medicine. http://www.nlm.nih.gov
- "What is Arthrogryposis?" Published by AVENUES. http://www.avenuesforamc.com
The information in this outline was last updated in 2002.


text:
State of the World 2011 Launches in New Delhi
Event Date:February 18, 2011 - 6:00pm
Location:India International Centre (Annexe)
Centre for Environment Education
Worldwatch Institute, USA
Invite you to the launch of
State of the World 2011:
Innovations that Nourish the Planet
Date: 18 February 2011
Time: 6 pm to 7.30 pm
Venue: Conference Room
Max Muller Marg, Lodhi Estate, New Delhi 110003
Kiran Chhokar, Program Director, CEE, firstname.lastname@example.com, 9999620955
For review copies or to schedule author interviews contact:
Amanda Stone, email@example.com, 1(202)-452-1999 ext. 514
Amanda Stone, firstname.lastname@example.com, 1(202)-452-1999 ext. 514


text:
COSTA DO SAUIPE, Brazil (AP) — The draw to divide the 32 World Cup teams into eight groups of four is expected to take about 35 minutes.
Here's a quick look at how it will work Friday:
STEP 1: From the pot containing 9 European qualifiers, known as Pot 4, one team is picked at random. It is put in Pot 2, which has the 5 teams from Africa, plus Chile and Ecuador. This ensures that all 4 pots now have the same number of teams: 8.
STEP 2: The 8 teams in Pot 1 — containing host Brazil plus the top 7 seeded teams — are picked out one after another, starting with Brazil, and then divided into 8 groups, labeled A to H, with 1 team in each group.
STEP 3: One of the South American teams that was in Pot 1 — either Brazil, Argentina, Colombia or Uruguay — is designated at random.
STEP 4: The European team in Pot 2 is now put into that South American team's group.
STEP 5: Pot 2 is emptied, with its 7 remaining teams picked out one after another and divided into the groups, with one in each group.
STEP 6: The 8 teams in Pot 3 are drawn and put into the groups.
STEP 7: The 8 teams in Pot 4 are drawn and put into the groups.
Groups A to H now all have 4 teams.


text: HTC Surround is a Windows Phone 7 music-centric device, since it features Dolby Mobile and SRS surround sound, audience noise suppression and the aforementioned integrated stereo speakers. The screen size is 3.8" with 480x800 pixels of resolution. The HTC Surround also covers all the WP7 basics, of course - 1GHz chipset and 5MP camera with LED flash, which is also HD video capable. Please visit this link for more info on our new HTC 7 Surround.


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David Geffen
Which superstars has David Geffen worked with? There are too many to list.
He founded both Asylum Records and Geffen Records, homes to Guns n' Roses, Elton John, Nirvana, Joni Mitchell, Carly Simon and Bob Dylan at one time or another.
David Geffen has touched every corner of the entertainment industry, but none moreso than his first love: the music business.
He is the founder of Asylum Records and Geffen Records. The former label launched or furthered the careers of numerous singer/songwriters and proto-Americana artists, from Jackson Browne to the Eagles. The latter label broke such galvanizing contemporary artists as Guns n' Roses and Nirvana, while returning veteran acts like Aerosmith and Elton John to the top of the charts.
Born in Brooklyn, Geffen grew up wanting to make his mark on show business. He dropped out of the University of Texas and took a job in the mailroom of the William Morris Agency, which served as his point of entry into the music business. Early on, he nurtured the career of singer/songwriter Laura Nyro. He started Asylum Records in 1970 because he couldn't get a record deal for another of his charges, Jackson Browne. After turning down Browne at Atlantic Records, Ahmet Ertegun challenged Geffen, "If he's such a big star, why don't you do it yourself?"
With his ear to the ground, Geffen did just that. In addition to Browne and the Eagles, Asylum signed the likes of Linda Ronstadt, Joni Mitchell, Carly Simon, Tom Waits and Warren Zevon. Even Bob Dylan released two albums on Asylum—Planet Waves (1974) and Before the Flood (1974)—during his mid-Seventies hiatus from Columbia Records. Asylum became one of the greatest music-business success stories, and Geffen sold it to Warner Bros. in 1975 for $7 million.
After spending the latter half of the Seventies at Warner Bros. Pictures, he launched Geffen Records (which was funded by Warner Bros. Records). Early successes included Double Fantasy (1980) by John Lennon and Yoko Ono, and Donna Summer's The Wanderer (1980), the label's first release. Other signings to the label ranged from New Wave (Wang Chung) to old guard (Cher). Peter Gabriel and Don Henley flourished as solo artists at Geffen. Such acts as Asia and Whitesnake also thrived.
Geffen sold Geffen Records to MCA in 1990 for $550 million in stock. His contract called for him to continue to run the label through 1995. The hits kept coming with Geffen at the helm, as Nirvana's Nevermind—released in 1991 on Geffen's edgier DGC subsidiary—became a million-selling album that brought grunge and alternative music into the mainstream. In a Rolling Stone interview with Geffen from 1993, the year in which the mogul turned 50, writer Patrick Goldstein summarized Geffen as "savvy, ruthlessly competitive, willful, restless, unpredictable...a pop-culture colossus, a man with pole position on any entertainment fast track, be it Hollywood, Broadway or the music business."
In 1995, after stepping down from Geffen Records, Geffen partnered with fellow Hollywood titans Stephen Spielberg and Jeffrey Katzenberg to launch Dreamworks SKG, a multimedia empire. In 2009 Geffen ranked forty-fourth on Fortune magazine's annual list of The 400 Richest Americans, with a net worth of $5 billion. Fortune referred to him as "Hollywood's richest man."
Geffen is a noted art collector, owning one of the finest collections of postwar American art in the world, including prized pieces by Jackson Pollock and Willem de Kooning. In recent decades, Geffen has become a noted philanthropist as well. In 1995 the former Westwood Playhouse (in Los Angeles) was renamed the David Geffen Playhouse after he made a founding gift to keep it a theater. In 2002 the UCLA School of Medicine became the David Geffen School of Medicine at UCLA after Geffen donated $200 million—the largest gift in the history of the University of California system.
Inductee: David Geffen (born February 21, 1943)


text:
Mec Hostel
Mount Eccles Court hostel has a great city centre location on one of Dublin's finest historical streetscapes. Doubles/twins and a selection of other room sizes available, ensuite and standard. Light breakfast and linen included in rates.
Availability & RatesTo view availability and prices please select dates and click 'Update Dates'
Hostel Facilities & Policies
- 24 Hour Reception
- 24 Hour Security
- Adaptors
- Airport Transfers
- Bicycle parking
- Board Games
- Free Breakfast
- Cable TV
- Common Room
- Cooker
- Credit Cards Accepted
- Free City Maps
- Free Internet Access
- Free WiFi
- Foosball
- Games Room
- Hair Dryers
- Hair Dryers For Hire
- Hot Showers
- Internet Access
- Iron / Ironing Board
- Key Card Access
- Self-Catering Facilities
- Linen Included
- Security Lockers
- Luggage Storage
- Meeting Rooms
- Microwave
- No Curfew
- Non Smoking
- Outdoor Terrace
- Pool Table
- Shuttle Bus
- Tours/Travel Desk
- Towels For Hire
- Towels Not Included
- Utensils
- Vending Machines
- Wi-Fi
Cancellation PolicyThis property has a 1 day cancellation policy. Failure to cancel within this time will result in a cancellation charge equal to the first night of your stay.
Must-Read Hostel InfoThis property has specific Terms & Conditions.
Guests can pay the remainder of the cost for their booking on arrival by cash or debit/credit card.. A transaction charge of 2 Euro applies to each debit/credit card charge (to recoup bank charges).
Group bookings are required to pay a security deposit on arrival of up to 200 Euro, depending on the size of the group.
We have a 24hr cancellation policy. Late cancellations and no-shows shall be charged the equivalent of the first night accommodation. You can also cancel a booking within 24 hours of initially making the booking without charge.
Confirmed bookings will not be refunded for unused nights.
We have a maximum booking duration of 7 nights stay within a 12 month period.
DirectionsShow MapHide Map
From O'Connell street, Dublin's main thoroughfare, walk away from the river toward the Parnell monument.
At the monument turn right down Parnell street. North Great Georges street is first on the left, and we are halfway up on the right.
Located Near
The city centre.
5 minutes walk from O'Connell St (Dublin's main street)
Dublin's biggest shopping area (on Henry street).
Easy walking distance to Croke park & the O2 concert venue.
A short walk from Dart/Luas and rail services.
A part of Georgian Dublin.
A few doors up from the James Joyce Centre.


text:
Riccardo Tisci showcases geometrical Bauhaus shapes with ethnic patterns, an evolution from the women's Spring/Summer 2014 fashion show. He pushes the boundary between masculinity and femininity like in a wood frame print top paired with a long pleated wool skirt accented by triangle cut-outs. The mosaic pixel print, inspired by Gustav Klimt's use of bright colors, is worn as a men's pantsuit or mixed as full-looks in dresses, tops and skirts.
Red, beige and black intertwine with earthy tones of okra, copper and saffron. The horizontal striped top and skirt in knitted jacquard juxtaposes a biker men's coat. The buckle that made its first appearance in the women's Spring/Summer 2014 fashion show is reworked on rings, bracelets and belts. The pyramid bags in mink and leather adopt a taller shape for a more urban look. The new and smaller Rave bag is paired with a printed and sequins-embroidered dress.
With a surrealist touch, the long trompe l'oeil sequins-printed pleated dresses are worn with fox, beaver and marmot fur. The new collection is a juxtaposition of colors, shapes and materials with contrasting tribal and geometric prints.


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SUBJECT: The Force on a Moving Charge in a Time-Changing Field
DESCRIPTION: A positive point charge moves out of the page rigin in a time-changing external field. This external field is uniform in space but varies in time with a period T as indicated by the blue vector in the animation.We assume that the variation of the external field is so rapid that the charge moves only a negligible distance in one period of this field.
When the external magnetic field is zero, we see only the magnetic field of the moving charge. Since the charge is moving out of the page, its field circulates counter-clockwise. When the vertically downward external magnetic field is at its maximum, we see to the left of the charge an enhancement of the the magnetic field. This enhancement arises because the field of the charge is in the same direction as the external magnetic field (downward) on that side. To the right of the charge, where the field of the charge is opposite that of the external magnetic field, we see a reduction in the total magnetic field.
This overall field configuration indicates a net force to the right on the moving charge. This occurs because the pressure of the magnetic field is much higher on the left as compared to the right. Note that if the charge had been moving into the page instead of out of the page, the force would have been to the left, because the magnetic pressure would have been higher on the right.
The animation shows dramatically the inflow of energy into the neighborhood of the charge as the external magnetic field grows, with a resulting build-up of stress that transmits a sideways force to the moving positive charge. The white vector indicates direction and magnitude of this force.


text:
The holidays are upon us and 'tis the season for giving! And giving we most definitely are!
We are launching a season of fortnightly games giveaways on Windows.AppStorm and have a stunning array of award-winning games up for grabs! Be sure to follow Windows.AppStorm, and get stuck in, for a chance to enter future giveaways.
By participating in this giveaway, you'll get a chance at winning one of three award-winning games!


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YOUNG HARRIS, Ga. - The Georgia Southwestern men's soccer team traveled to Young Harris College Saturday afternoon to face the Mountain Lions for the first time as Peach Belt Conference foes.
Two Young Harris goals within the first ten minutes of the match proved costly for the Hurricanes as the Blue & Gold fell to the Mountain Lions, 4-0, on the afternoon.
YHC's Mouhamed Bechir headed in a goal off a pass from Andreas Pechmann at the 4:26 mark of the first half to put Young Harris up, 1-0.
A mere two minutes later Young Harris' sophomore forward Ilija Ilic took a pass from Khurram Shazad and found the back of the net.
Ilic wasn't finished as he scored his second goal of the game, and tenth on the season, as he took a serve in from Pechmann and found the right corner of the net to give the Mountain Lions a 3-0 lead headed into halftime.
In the second half, Shazad and Ilic teamed up again for a score although this time Shazad took a pass from Ilic and shot passed the outstretched arms of the goal keeper to put the finishing touches on a 4-0 Mountain Lion victory.
On the afternoon, YHC held a commanding 13-1 shots on goal advantage. Senior goal keeper Cade Jones accounted for five saves on the day.
GSW falls to 1-11-1, 0-7 PBC, on the season while Young Harris improves to 11-2-1, 3-1-1 PBC.
Southwestern is back in action this Wednesday, Oct. 17, as they return to Hurricane Field for a 1 p.m. contest against Clayton State.


text:
Public Tour – 7 pm
Date of Event: Friday, March 29
Time: 7:00 pm to 8:00 pm
Join us for a Public Tour and Tasting of our recently expanded distillery. Tours last about one hour and include optional samples of our OYO craft spirits. The cost is $10 per guest, limited off-street parking is available.


text:
The Associated Press Media
Editors Association condemns, in the strongest possible terms, the actions of
the Justice Department in seizing phone records of The Associated Press.
In condemning this action, APME joins the Society of Professional
Journalists, the Radio Television Digital News Association and many other
journalists across the country.
"In a continuing witch hunt
for leaks and whistleblowers, the Obama administration has chosen to trample
the First Amendment," said APME President Brad Dennison. "Freely tossing around
the word 'transparency,' as this administration is prone to do, does not make
it so. This action clearly demonstrates that President Obama and U.S. Attorney
General Eric Holder Jr. have absolutely no interest in an open and transparent
AP President and CEO Gary
Pruitt called the action a "massive and unprecedented intrusion" into how news
organizations gather news, and has requested that all phone records be returned
immediately. APME is standing behind this request.
"There is no conceivable
explanation for this overly broad request," Dennison said. "So ultimately, the
entire news industry must view the administration's actions as blatant
intimidation and a not-so-veiled effort to let news organizations know their
records also can be seized with impunity."
In addition to supporting its colleagues at the AP, APME is calling for
discussion and implementation of a federal shield law. This law would protect
journalists from having to reveal their sources and documents, ensuring that journalists
and confidential informants would not be silenced by the threat of federal prosecution
or subpoena. Under a proposed shield law, the federal government must prove to a
judge that the information sought outweighs a journalist's need to maintain confidential
"A shield law would keep lazy prosecutors from going after
reporters' notes and phone records," said APME First Amendment Chair Teri Hayt,
"and compel them to actually conduct investigations that do not step all over
the First Amendment."
APME and other journalists have been pushing for a shield law for
several years to protect, in part, against exactly the type of outrageous activity
the AP is facing.
The Associated Press Media Editors represents
thousands of journalists in the United States and Canada. APME works closely
with The Associated Press to foster journalism excellence and to support a
national network for the training and development of editors who will run
multimedia newsrooms in the 21st Century. APME is on the front line in setting
ethical and journalistic standards for newspapers, and in the battle for
freedom of information and the First Amendment.
For more information
contact: Brad Dennison, email@example.com,
Remember Me
9/13/2019Mike Simons of The Tulsa World wins May Member Photo of the Month
6/20/2019Peter Diana of the Pittsburgh Post-Gazette receives the April Photo of the Month
6/19/20192019 APME awards honor AP journalists for powerful stories
9/27/2019Milwaukee NewsTrain
10/25/2019 » 10/26/2019Albuquerque NewsTrain
APME is a professional network, a resource for helping
editors and broadcasters improve their news coverage and
newsroom operations.


text:
Blog Archives
Perry's Ice Cream and Buffalo Sabres: Shoot! Score! Read More! 2011 with Derek Roy
Since 2007, Perry's Ice Cream has teamed up with the Buffalo Sabres to present the…read more
Posted in videos Tagged Buffalo Sabres, Derek Roy, Perry's Ice Cream, Sabretooth, St. Leo Elementary School Leave a comment


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If you�re a meal card holder, June 1 is an important date to remember.
If you�re a meal card holder, June 1 is an important date to remember.
That is the day the Breeze Dining Facility will close for renovations as part of an Air Force-wide Food Transformation Initiative.
In August, 2012, the Air Force awarded Sodexo the contract to conduct food operations at several bases, including Eglin. The goal is to provide a better dining experience for Airmen by improving the quality and variety of food service.
Dorm residents will see a change to their paycheck June 15 when a basic allowance for substance, or BAS, is added to their pay. That money will allow Airmen to �choose to eat wherever they want and whatever they want, until the dining facility is back on line, and their meal card entitlement is restored,� said Capt. Julie Teffeteller, 96th Force Support Squadron Sustainment Services Flight Commander.
Sodexo is currently operating food services at Legends, the Bayview Club, bowling alley and golf course. A temporary alternate feeding location will be established at Crossroads, co-located in the building housing Legends, for former meal card holding Breeze patrons. Meals, served buffet style, will be available the same hours the Breeze currently operates.
�This is to facilitate the need for accessible meals because everyone doesn�t have a vehicle,� said Chief Master Sgt. Nyron Alexander, 96th Force Support Squadron Sustainment Services Flight Superintendent.
The Breeze renovations are projected for completion in October. Then, all Sodexo-operated food service facilities will fall under the food transformation umbrella when campus dining comes on line. Part of the enhanced food operations includes expanding readiness training to Airmen who feed the force both at home or during deployment operations. Airmen currently working at the Breeze will be immersed in other operations within 96 FSS during renovations.
Noteworthy changes at the Breeze will be the addition of a Mongolian wok, expanded sandwich bar and themed meals and ethnic trends.
�Currently we operate within the AF World Wide Menu Preface; since we will be working with the contractor, we�ll have other options, including a master chef, who will really expand the menu with gourmet cuisine. Under the campus dining experience, we will target all the demographics with total food choices,� the Chief said.
Alexander said food transformation is an important initiative for not just dorm residents.
�It is a quality of life initiative to provide a better dining experience for our Airmen,� he said. �Everyone must eat, we feed the fight.�
The 33rd Fighter Wing dining facility continues to be open for authorized personnel only. 96th Test Wing Airmen are not permitted to eat in this facility.
�The overall objective of FTI is to better meet essential station messing and our service member needs by modernizing food service, which will transform appropriated funded and non-appropriated funded feeding capabilities into a campus dining concept similar to those found on university campuses,� Alexander said.
The Breeze will celebrate a grand reopening under the Food Transformation Initiative on or about Oct. 1. They will offer a robust option of feeding platforms under the �campus style� feeding concept.
�At that time, anyone with access to the installation including officers, civilians, contractors, dependents and retirees will be able to dine at the Bayview, Legends, Breeze and Golf Course,� Teffeteller said.


text:
Latest News
Guatemalan ex-commando loses U.S. citizenship, gets jail term for massacre
A federal judge in California on Monday revoked the U.S. citizenship of a former Guatemalan special forces officer and sentenced him to a maximum 10-year prison term for deceiving U.S. immigration officials and covering up his role in a 1982 massacre of 250 villagers in Guatemala, one of the worst atrocities in modern times in Latin America.
Jorge Sosa Orantes, now 55, was a lieutenant when he led fellow Guatemalan commandos into the Dos Erres jungle hamlet and killed villagers, according to a Justice Department statement, by "bludgeoning them on the head with a sledgehammer, shooting them or throwing them into the village well while still alive."
"This prosecution demonstrates our resolve to deny safe haven to human rights violators and to ensure that these criminals are held accountable," said acting Assistant Attorney General Mythili Raman.
Human rights activists said the jail term handed down to Sosa sends a message to other retired Latin American military officers living in the United States that they remain vulnerable despite past accommodation between previous U.S. administrations and repressive regimes in the Western Hemisphere.
Sosa "was a middle lower-level guy," said Almudena Bernabeu, head of the transitional justice program at the San Francisco-based Center for Justice and Accountability, a legal advocacy group. "But he was a guy with blood on his hands."
Bernabeu said survivors of massacres in Central America have awaited justice for decades knowing that some perpetrators obtained U.S. citizenship.
"From the victims' perspective, this is really exciting," she said.
The extent of the 1982 Dos Erres massacre became fully exposed only in the mid-1990s, when an Argentine team of forensic anthropologists excavated a 40-foot well where they found 162 skeletons, 67 of them of children under age 12.
According to testimony at Sosa's trial, he and some 40 commandos under his leadership entered Dos Erres on Dec. 6, 1982, seeking to recover weapons lost in a nearby guerrilla ambush two months earlier that left 21 soldiers dead. The commandos removed villagers from their homes, separated the men from the women and children, and raped some of the young girls.
Experts now say they believe the commandos exterminated nearly all 250 villagers in Dos Erres, believing they sympathized with a leftist guerrilla movement.
Guatemala admitted responsibility for the massacre in 2000 before the Inter-American Commission on Human Rights, but a 2004 judicial decision gave the perpetrators amnesty.
The 36-year civil war in Guatemala that ended in 1996 left 200,000 people dead, the vast majority killed by state forces trying to end the leftist insurgency.
Sosa eventually settled east of Los Angeles, where he worked as a karate instructor, according to an investigation by ProPublica, a nonprofit investigative journalism organization. When Sosa got wind of a federal investigation against him in 2010, he fled to Mexico, then on to Canada, where he was arrested in 2011.
Sosa's attorney, H.H. Kewalramani, said his client maintains his innocence.
"We're disappointed with the sentence and we'll be filing a notice of appeal," Kewalramani said.
A federal jury convicted Sosa on Oct. 1 of making false statements and unlawfully procuring U.S. citizenship when he applied for U.S. residency in 1997 and when he obtained citizenship a decade later.
U.S. immigration agents have taken action against other Guatemalan special forces commandos, known as Kaibiles, involved in the Dos Erres massacre.
In one case, an ex-commando, Gilberto Jordan, had already become a U.S. citizen. In 2010, Jordan was sentenced in Florida to a 10-year jail term for lying on his citizenship application.
Another former Kaibil, Pedro Pimentel Rios, was deported to Guatemala in 2011 and subsequently tried for the Dos Erres massacre and sentenced to 6,060 years in prison. A fourth ex-Kaibil, Santos Lopez Alonso, is currently held in a holding facility pending a U.S. decision on his deportation.


text:
U.S. Equal Employment
Opportunity Commission
NEW YORK -- Sterling and Sterling, Inc., an insurance company on Long Island, New York, will pay $120,000 to settle a lawsuit for retaliation filed by the U.S. Equal Employment Opportunity Commission, the agency announced today.
In its lawsuit, the EEOC charged that Sterling fired Rochelle Legette from her position as a sales telemarketer after she filled out an EEOC questionnaire stemming from her complaints of race and sex harassment. Legette, who had been hired in March 2007, filled out the questionnaire in September 2009. Legette was on maternity leave at that time and returned to work on Feb. 1, 2010. Sterling, citing her EEOC filing, suspended her two weeks later, and fired her on March 1, 2010.
Retaliation against an employee for taking action against perceived discrimination violates Title VII of the Civil Rights Act of 1964. The EEOC filed suit in September 2011 with U.S. District Court for the Eastern District of New York (No. CV-11-4786) after first attempting to reach a pre-litigation settlement through its conciliation process.
The consent decree settling the suit, in addition to the monetary relief, includes provisions for equal employment opportunity training, reporting, and posting of anti-discrimination notices.
"Employers need to be aware that employees have the right to come to the EEOC, and we hope this lawsuit will discourage other employers from punishing employees who contact this agency," said Elizabeth Grossman, regional attorney for the EEOC's New York District Office. Michael J. O'Brien, a senior trial attorney, added that "employees should be confident that they can approach the EEOC."
The EEOC is responsible for enforcing federal laws against employment discrimination. Further information is available at www.eeoc.gov.


text:
Hey there, today marks another installment of my handy how-to's for educators.
This particular activity is awesome when paired with observing Painted Lady butterflies grow and change in your classroom. It's a visually appealing model that represents a unique hands-on opportunity to record the stages in the life cycle of organisms in their natural environment — using inexpensive materials and items gathered from outdoors.
What You'll Need:
From Caterpillar to Butterfly by Deborah Heiligman (very basic)
The Lifecycles of Butterflies by Judy Burris and Wayne Richards (more detailed)
Light blue construction paper cut into 3 x 18-inch (8 x 35-cm) strips – one strip per child
Rotini pasta – one piece per child
Bowtie pasta – one piece per child
Mini shell pasta – one piece per child
Orzo pasta (rice also works well) – one piece per child
Small twigs or brown craft stems cut into 3-inch strips – three per child
Fresh leaves or leaves cut from construction paper– two per child
Wildflower or flower sticker – one per child
Washable markers
Liquid water color paint in green and another color of your choice
School glue
What You Do:
1. Cut construction paper into strips; one per child.
2. Color rotini pasta and mini-shell pasta green by placing pasta in a baggie with green liquid water color and shaking gently. Spread out and allow the pasta to dry.
3. Color bowtie pasta a bright color of your choice in the same manner.
1. Read: From Caterpillar to Butterfly by Deborah Heiligman aloud to the class. This story is about a Painted Lady Butterfly raised in a classroom. Painted Lady Butterfly Kits are available in the Houston Museum of Natural Science Museum Store (use your educator's discount!). Live specimens will ship to you after you mail in the card contained in the kit — allow time for this.
2. Take your class on a short field trip in the green areas on school grounds.
3. Each child will collect three small sticks and two fresh leaves. (Keep in mind that it is a good idea to check with school administrators to verify that collecting on school grounds is permissible.)
4. Each child will fold a strip of light blue construction paper into four equal sections, creasing well.
5. In the first section, a stick and a leaf are glued into the square, as if it were a leaf hanging from the stick. Glue a single piece of orzo atop the leaf. What does the orzo represent?
6. Glue a stick and leaf in a similar way in the second square. Glue a piece of green rotini pasta to the top of the leaf. What does this represent?
7. In the third square, a stick should be glued with one mini-shell pasta hanging straight from the middle. What does this represent?
8. In the last square, a flower or flower sticker will be glued, along with the colorful piece of bowtie pasta. What does the bowtie pasta represent? Why do we have the flower in this square?
9. Label each section as follows: EGG, CATERPILLAR, CHRYSALIS, and BUTTERFLY. They must be labeled in this order.
10. Have children practice presenting the butterfly life cycle to one another using the project that was created.
Questions to expand those kiddie minds:
Why did you glue the "egg" and the "caterpillar" to the leaves?
Why did you glue the "chrysalis" to the stick?
Why was there a flower with our butterfly?
How many stages are there in the butterfly's life cycle?
How is your life cycle similar to the life cycle of a butterfly? How is it different?
Name other life cycles you observe around you.


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On Bloomberg TV this morning Meredith Whitney put it as bluntly as it gets — laid off Wall Streeters need to lower their expectations and take a pay cut. It's that simple.
Obviously this isn't what anyone wants to hear, but here's what she said word for word:
"The problem to date has been that those that have been laid off have been sitting on their couches because they do not want to take a downgrade in pay. They are not going back to work and the longer you are out of work, the more difficult it is to get a new job. My advice to them is take what you can get. It is very hard to transfer skills from a high-paying job…so recalibrate your expectations.
As if it could get worse, the famed bank analyst had more dark words for Wall Streeters on top of that. Basically, that more layoffs are coming, especially in investment banking.
"I think the industry goes for another 50,000. We're already close to 200 deep…Across the board. London is as miserable as New York."
From Whitney's perspective, no one is safe — not regional banks, not European banks, not Wall Street banks either. The cost of capital is simply too high and the business can no longer depend on mortgages for leverage.
In terms of what's going on with big banks, Whitney thinks Citi needs to make some dramatic cuts, while Bank of America and JP Morgan are on the right track.
Still, she told Bloomberg TV, we're only halfway there.
For more on Whitney's life and calls, click here>
Watch this video for an analysis of what these lay offs mean:


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I have a feeling I am not going to be able to find any more puzzle pieces without forking out some bucks.
Recently I have been looking into Italian Immigrants in general and what they endured. Thanks to the blog post Italian Americans of Boston, by Jenny Tonks I was able to get a glimpse of their way of life:
I can't wait until this project is done. It's going to be awesome. Joe's parents and cousins all lived in Boston's North End when they came over. It seemed that they all lived at either 4 or 5 North Square.
View Larger Map
Here is another look at the life of Italian Immigrants:


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A clean alternative to painting - something I have recently seen on Art for Little Hands as well as Mom to 2 Posh Lil Divas. I needed a way to keep Mina busy on this particular afternoon so I could work on getting homework done with my 7 year old. I took a paint brush and a cup of water to the chalk board and let her take the ropes.
The chalkboard had not been erased from some "playing school" the previous day and had some words written on it. Mina immediately began tracing over the letters. Wow, I didn't know this was going to be an educational experience for her. Even better! I had never thought to have her trace letters before, but I can see now that she is ready.
Eventually, after she had gone over all the letters on the board she began to fill in the spaces and "paint" with the water. Once the water would start to dry, she would start over again. This kept her busy for a good 30 minutes or so - enough time for me to watch over my 7 year old as she completed her homework.


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What if your dance partner, business partner, and fiancé was stepping out with another woman? That's exactly what happens to Stacy Graysin, who shares ownership of a ballroom dance studio with the man who broke her heart, Rafe Acosta.
But when Stacy discovers Rafe's dead body in the studio one dark night, the police suspect her of killing him. To clear her name and save her studio, Stacey teams up with Rafe's estranged cousin from Argentina, Tav, to find the real killer. And if Stacy doesn't watch her step, the killer may make this dance her last.
Continue reading REVIEW by Heather: Quickstep to Murder by Ella Barrick (@LauraDiSilverio , @_Shoe_Girl_)


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True Purpose Of DRM: To Let Copyright Holders Have A Veto Right On New Technologies
from the why-they-fight-so-hard-for-anti-circumvention deptA whole bunch of people have been submitting Ian Hickson's writeup on the true purpose of DRM. Given how many people have submitted it, perhaps you've seen it already, but there are some really good points in there. His main thesis is that the debates over DRM tend to focus on the wrong thing. The anti-DRM crowd points out that DRM does not and cannot stop copying. Supporters of DRM say that's not true. Hickson agrees that DRM does not stop copying, but he argues that the purpose of DRM has never really been about stopping copying, but about gaining control over software and hardware tools that play content:
The purpose of DRM is not to prevent copyright violations.He provides a few examples, such as how DVD players force you to watch "unskippable" ads, how services like Netflix can try to limit you from watching the same movie simultaneously on two devices, and how if you buy a movie on iTunes, and want to then watch it on a non-iPhone, you'll have to buy it again. As he notes none of those things are really about copyright violations.
The purpose of DRM is to give content providers leverage against creators of playback devices.
Content providers have leverage against content distributors, because distributors can't legally distribute copyrighted content without the permission of the content's creators. But if that was the only leverage content producers had, what would happen is that users would obtain their content from those content distributors, and then use third-party content playback systems to read it, letting them do so in whatever manner they wanted.
In all three cases, nobody has been stopped from violating a copyright. All three movies are probably available on file sharing sites. The only people who are stopped from doing anything are the player providers -- they are forced to provide a user experience that, rather than being optimised for the users, puts potential future revenues first (forcing people to play ads, keeping the door open to charging more for more features later, building artificial obsolescence into content so that if you change ecosystem, you have to purchase the content again).If you're wondering why copyright holders are soooooooo desperate to have anti-circumvention provisions in copyright law, this is why. In the past, we'd pointed out that it didn't make sense for the movie studios and record labels to be so focused on anti-circumvention/digital locks, since if people are violating copyright law (such as by reproducing or distributing copies), existing copyright law already covers that. So why add in a separate provision all about circumvention -- and then be so focused on making sure the same provision exists in all laws around the globe? It seemed silly, because the only "additional" benefit it seemed to be providing was to outlaw legal forms of copying, since everything else was already covered under existing law.
However, Hickson's argument explains much more clearly why anti-circumvention provisions are seen as an absolute necessity. It has nothing to do with copying, and everything to do with controlling the players so as to limit the kind of innovation they can provide. It's basically a de facto veto power over new technologies. And, really, that puts a bunch of other statements in context as well. Remember how former Copyright Register Ralph Oman was saying that new player technologies should be illegal until Congress approved them? Yeah, same basic thing.
All of this shows a legacy copyright industry that is so focused on holding back innovation so that they have a veto right and control over the pace of innovation. That, of course, is bad for the economy, bad for the public and bad for society. Innovation is important in growing the economy, and due to silly laws around DRM, we are purposely holding it back.
Filed Under: control, copyright, drm, ian hickson, purpose


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'Never stay up on the barren heights of cleverness, but come down into the green valleys of silliness,' said the Austrian-Brit philosopher Ludwig Wittgenstein back in 1947 (please come back, I'm not going to turn this into a Joey Barton Twitter feed). Apparently a lot of twentieth century pop culture icons took Wittgenstein at his word: think of Laurel and Hardy, of Monty Python and of Woody Allen's early films; think of Spielberg's blockbusters; of Indiana Jones and Star Wars and all of the great Eighties testosterone-fueled action flicks. All are inherently silly.
One of the reasons that the public's love for these masterpieces of absurdity has endured over decades is that such care, love and thought has evidently been pumped into crafting their escapism; the process of actually creating something brilliantly silly was undertaken with utmost seriousness. What you might have guessed by now is that Rituels d'un Nouveau Monde, the new album from French electronica duo Zombie Zombie, is quite silly.
If Rituels..., or Rituals of a New World, isn't quite Junior on the Schwarzenegger Scale of Silliness™ then it certainly falls closer to End of Days than The Terminator. Clearly though the project has been taken seriously, but this has somehow left it with a sour, po-faced expression that's a million miles from the camp fun of their previous work reinterpreting John Carpenter soundtracks. Rather than recalling an enticing bygone age, the outmoded burping synths on tracks such as 'The Wisdom of Stones' jolt rather than charm.
This isn't to say that there isn't the odd moment of inspiration on the album. 'Watch the World from a Plane' and 'Foret Vierge' are the two highlights, giving the album its neat apex, with their duelling flanged synths and soft, first-half-of-NEU! 75-style rhythms you have around 13 minutes of cool, melodic Teardrop Explodes-type stuff. 'L'Age D'Or', too, has its moments dripping with 1968 counterculture that could pass for, well, if not Can then a pretty tight covers band. There's even a kind of kitsch appeal to 'Rocket #9' with its robot vocals if you're in the mood for it.
Apparently with the title Rituels d'un Nouveau Monde Etienne Jaumet and Cosmic Neman (man I wish that was my name) were looking to emphasise the 'made in France' nature of the album. This is naturally in stark contrast with anything actually on the album; there is a huge debt owed to the Krautrock movement's more self-indulgent moments, and at times it tips over into the kind of prog Kansas might be embarrassed by. Many people love to embrace something a bit fantastical and silly; it just doesn't sound like Zombie Zombie really enjoy what they're doing anymore.
5Dan Lucas's Score


text: Show Hide image Culture 7 September 2012 Mortality by Christopher Hitchens – review There is a timeless, aphoristic quality to the writer's final work. Sign-up Mortality Christopher HitchensAtlantic Books, 240pp, £10.99 For much of the last decade of his life, Christopher Hitchens was spoken of in terms normally reserved for the supposedly immortal. In his memoir, Experience, Martin Amis wrote of his friend, "Against the Hitch, physical and intellectual opposition are equally futile". That one man could write so much, talk so much, smoke so much and drink so much was, his theist opponents would occasionally quip, persuasive evidence of the supreme being he rejected. In 2005's Love, Poverty and War, Hitchens wrote, with a mixture of pride and surprise, "I have never had a serious illness or injury". Five years later, after a diagnosis of oesophageal cancer, he conceded: "I have been taunting the Reaper into taking a free scythe in my direction". This collection, the first to be published since Hitchens's death at the age of 62 last December, includes the six elegant pieces he wrote for Vanity Fair chronicling his illness and a closing chapter of dying reflections from what he called "Tumourtown". Hitchens's traditional strengths – his mastery of irony, his range of reference, his contempt for euphemism – are all in evidence here but there is a timeless, aphoristic quality to these essays that distinguishes them from his writings on politics and literature. "To the dumb question, 'Why me?'" he writes, "the cosmos barely bothers to return the reply: 'Why not?'" Following a series of adulatory proto-obituaries, he observes: "it seems that rumours of my life have also been exaggerated." After enduring the petty humiliations of chemotherapy (he suffered from a permanently runny nose after discovering that "hair loss extends to the disappearance of the follicles in your nostrils"), he appreciates "the truth of the materialist proposition that I don't have a body, I am a body". The title's eloquent brevity calls to mind Bertrand Russell's declaration that "when I die I shall rot". For Hitchens, the corollary of this atheistic conclusion was that life should be prized above all else. Though his chances of survival were slim (his cancer had already reached stage IV at the time of diagnosis), he underwent the severest course of radiotherapy available, while also having his entire genome sequenced in order to receive an experimental treatment developed by Francis Collins, former director of the Human Genome Project (a privilege that prompted him to donate his body to medical science). In the case of Hitchens, the aim was not so much to continue living as to continue writing. For him, the two were indistinguishable. When I interviewed him for the New Statesman in London in May 2010, I asked him what he would have been had he not been a writer. "Have been someone else, because writing is all I ever wanted to do," he told me. "It's what I am, rather than what I do." From most writers, this would sound absurdly grandiose but the range and quality of Hitchens's output and his work ethic meant that, from him, it did not. In his remembrance of Hitchens, Ian McEwan, who visited him in his final weeks, wrote movingly of how "his head would droop, his eyes close, then with superhuman effort he would drag himself awake to type another line". There is a natural journalistic temptation to immortalise the above as Hitchens's "greatest battle" or his "final struggle" but it is one that he repudiates as powerfully as John Diamond did. When your body is slowly filled with "chemo-poison", he writes, "the image of the ardent soldier or revolutionary is the very last one that will occur to you. You feel swamped with passivity and impotence: dissolving in powerlessness like a sugar lump in water." Being Hitchens, whose motto could have been "I argue, therefore I am", Mortality also continues and deepens his confrontation with the religious. Though he occasionally adopts a tone of indignation towards those who contend that his cancer is a punishment from God, more often than not he appears to relish such dialectical combat. "Those who say I am being punished are saying that god can't think of anything more vengeful than cancer for a heavy smoker," he laconically observes. Wit, irony, the consolations of philosophy – these are the reserves we draw on when medicine can do no more. And rarely were they more formidably deployed than by Hitchens. George Eaton is assistant editor of the New Statesman. Subscribe £1 per month This article first appeared in the 10 September 2012 issue of the New Statesman, Autumn politics special SUBSCRIBE More


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Getting Started (October)
Event Information
19 Oct 2010 10:00am - 12:00pm
- Queensland State Archives Lecture Theatre 2, Compton Road
- Runcorn
- Queensland
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- Cost: Free
Learn about the Queensland State Archives collection and how best to find the information you are seeking. This seminar, presented by one of our experienced Reference Archivists, will provide you with the basis you need to start your research at QSA. The seminar includes morning tea and a short tour.
Entry is free. To book telephone 07 3131 7777
If you are unable to attend this seminar, please click here to view the PowerPoint presentation.
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Meet your fellow owners in our Owners Clubs
Chevrolet Equinox: Test Drives - Tell us what you think?
Test driven an Equinox? We'd love to hear about it.
angie7 Posts: 3We went out to check out the Equinox LS because the dealer was running a special. After seeing the 2007 Equinox and test driving it we liked it so much we purchased it. It has lots of room to be comfortable. It handled very nice and smooth. I do hope it will give us many years of being a great vehicle0
enox05 Posts: 1We purchased a 05 equinox new. We have had nothing but trouble starting from day one with airleaks/windnoise.
I was told over and over there was no air leak. Then the General manager went a test drive with me and yep you guessed it, AN AIRLEAK a big one. Since then my car has gone in 8 times to fix this problem. I've been told that it is a common complaint about wind drag in the equinox. They have replaced all weatherstripping, tightened the door,and have sealed and resealed the mirror. To no avail.
I love my car but with no undercoating it is the noisiest car I have ever driven. Taking it across country sounds like a windtunnel inside. We have to turn up the stereo to try and ignore it. Thinking of buying an Equinox? All I can say is DON'T.0
grosloup Posts: 239I drive a 2005 Equinox FWD LT bought it new. Went cross country twice since with no problems at all and very quiet. I adore my Nox. The only problem was the front wheels rotors had to be turned (re surfaced) twice since 2005 because of braking vibrations. Other than that, it's a jewel. Would buy the same model anytime.0
lostwrench Posts: 288As soon as GM gets rid of that engine from China, I will test drive one.0
joey2brix Posts: 463but made in Japan? That's gonna be your only other option.
Except for the V8's, I don't think any of the smaller engines will be made in the US. Mexico will make all the V6's. SOuth America for all the Ecotec engines.0
hazeyfla Posts: 2i too have an 05 lt and had the same noise problem. after three times at the dealership they seemed to have not fixed the problem but lessoned the wind noise. but more noticeably the road noise was bad. the odd size 17" tires don't help in changing tire brands. the oem replacements were the only option for us but 75 bucks in dynamat on the floors and behind the door panels we can hear the radio at highway speeds now. other than that, i feel that 26k for a decent suv with leather and pulls the hell out of my 18 bay boat i'm satisfied with our purchase.0
ben05 Posts: 3own a 05 nox and we've had it in for a leaking intake gasket,(oil in antifreze) still looses antifreze in 6,000 mi. this winter I started hearing a loud clicking noise coming from the rear of the vehical when 4 wheel drive kicks in, especially when on it preaty good to get through deeper snow. Denny hacker says it's normal, sure don't remember hearing it to be that loud in previous year. also a burnt lube smell coming from rear of vehical after just a drive to get the sunday newspaper. got another 3000 mi before warrantys up , looking for some help if anyones having the same problems im having. or if normal noise dealer seams to think so?
Sincearly: Ben :confuse:0
lesms808 Posts: 1I test drove two '07 Equinoxes at a used car sales dealer and found them both to have very soft gas pedals, as if you rest your foot on it, it will go down too easily. Normally you have to press to go, however I found I had to hold my foot up so as to control my speed. Is this a normal feature of the Equinox? Thanks.0
sgr5516 Posts: 156Not sure what you are driving now or how old it is, but most late models cars utilize throttle by wire. There is no mechanical connection (via a cable) between the gas pedal and the engine throttle plate. The pedal inside the car has a position sensor attached to it. The position sensor sends an electrical signal to the computer. The computer interprets pedal position and sends another electrical signal to a small motor which opens or closes the throttle plate. It all happens in a split second. These set-ups are extremely sensitive and you do not need a lot of force to push the pedal down. After you drive one of these for a while, you get used to it.0
kristy8 Posts: 72LOVED the NEW 2010 so much we purchased one. Bought it last Novembver of 2010, it roomy, comfortable, stylish and LOVE the on-star feature and with it's crash ratings being superb how could we pass this one up? I just hope down the road this car turns out to be reliable. Besides my resent issue with the car
(which I hope GM is working on it as we speak)-other than that I LOVE this crossover.0
lisamarch Posts: 1Test drove the 2010 Equinox today. No 2011s on the lot yet. I like the vehicle but engine seemed loud (we drove 4 cylinder). Just not sure about how it will perform on long trips.0
donthegreek Posts: 127Test drove a 2LT AWD 4cyl. Been looking for a new SUV, and liked the looks of the new Equinox/Terrains...
I hate the 4cyl...not enough power, bout what i expected.The V6 should be ok (haven't driven one of these yet).Exterior looks really nice as does the interior. What i hate and is a deal breaker is the cheap materials used in the interior.Really horrible.I'm disapointed in GM.They can do so much better. Really low rent plastic. Sad. I'm crossing these off my list.0
darb2 Posts: 1I just purchased a 2010 AWD V6 LTZ I enjoy the way it handles very quite. My first problem that scared me was the automatic transmission, the drive gear does not hold the vehicle in place when on sloped ground. As soon you take your foot off the brake the car begins to roll backwards faster and faster I find this to be very dangerous and should be recalled. I would sugust if you own one you should find a slight hill and try to let your transmission hold you in place or like mine it will take off too.0
gmcustsvc Posts: 4,252Hello Darb2,
Have you taken the vehicle back to the dealership and explained the concern? Or have them come to your house to have them see what is going on? Thank you,
Mariah GM Customer Service0
jlpetzold Posts: 1I recently pruchased a 2007 Equinox. Decent car, lousy design on the cockpit but I see Chevy fixed this later. My big problem is stability on the highway in wind or when being passed by a truck or bus. This thing is worse than my old 82 rv in a crosswind. A bus passing at 70 gives you that "RIGHT TURN CLYDE" thing going on. Anyone seen this or could I have a tire/alignment issue. Car has 70k & new tires when I bought it.0
moparblue2 Posts: 86#1 Has it every been in a wreck #2 You could have a bad tire even though there new. You have no idea were the tire came from. You can still buy cheap made tires. #3 You could need an alignment. We have 2012 Equinox no such issues it handles to good for what it is. Alot of saftey built in. Odds are its bad news probley #1 or #20


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Stay at our sumptuous 5* hotels in Naples, surrounded by Florida's natural beauty.
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text: The school's Ph.D. program offers innovative and rigorous education in research skills leading to original research and the creation of knowledge. The program of study leads to the student's dissertation proposal and dissertation. Ph.D. students work closely with the school's publishing faculty members, creating original research examining real-world issues. Students take up to 46 hours, including a core of theory and research methods courses; 12 hours in a concentration in an academic unit outside of the J-School; a comprehensive exam, and then complete an acceptable dissertation.


text: Offered is the medium size mixing bowl in the Crocus pattern. The bowl stands 4 1/4 inches tall and measures 7 1/2 inches wide. The bowl holds 2 quarts. The bowl is signed on the base, Halls Superior Quality kitchenware Made in USA. The bowl is in mint condition, having no chips, cracks, scratches, or stains. The platinum trim is 100% complete.


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Soundgarden's 'Live to Rise' Takes No. 1 Spot on Active Rock Airplay Chart
Soundgarden have roared back into the rock world with a vengeance. Not only will the band release a new album later this year, but the grunge goliaths recently hit fans with their first 100-percent new song in 16 years, 'Live to Rise.' Now, the track off the 'Avengers Assemble' compilation has taken over the No. 1 spot on the Active Rock airplay chart.
Although 'Black Rain' and 'The Telephantasm' were both new songs to listeners when they were released on the 2010 compilation album, 'Telephantasm,' the tracks were first recorded in 1991 and 1987, respectively. 'Live to Rise' proves that Soundgarden still have what it takes to write good music in the studio, even though the band has stated that the track does not necessarily reflect the sound of their upcoming album.
Chris Cornell recently spoke about the upcoming disc with Seattle radio station KISW. "Some of the songs on our new album are pretty far left of center, and sort of zero in on more of a hardcore Soundgarden fan and not necessarily a family that goes to see a film like that," says Cornell. "Although ['Live to Rise' is] not really what I think of as a necessarily family friendly song, but it's as close as we've ever come."
As 'The Avengers' soared to the top of the box office, 'Live to Rise' went right up with it as the track hit the No. 1 spot on its sixth week climbing the Active Rock chart. This tune takes over the top spot from Halestorm's 'Love Bites (So Do I),' which last week made history as the first song to hit No. 1 on the tally by a female-fronted rock band.
The as-yet-untitled new Soundgarden album is expected to be released in October 2012.