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International Journal of Otolaryngology
Volume 2010, Article ID 523976, 29 pages
Ototoxicity from Combined Cisplatin and Radiation Treatment: An In Vitro Study
1Department of Otolaryngology, Singapore General Hospital, Singapore 169608
2Department of Clinical Research, Singapore General Hospital, Singapore 169608
Received 10 June 2010; Revised 29 July 2010; Accepted 10 August 2010
Academic Editor: Leonard P. Rybak
Copyright © 2010 Wong-Kein Low et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Objective. Combined cisplatin (CDDP) and radiotherapy is increasingly being used to treat advanced head and neck cancers. As both CDDP and radiation can cause hearing loss, it is important to have a better understanding of the cellular and molecular ototoxic mechanisms involved in combined therapy. Procedure. The effects of CDDP, radiation, and combined CDDP-radiation on the OC-k3 cochlear cell line were studied using MTS assay, flow cytometry, Western blotting, and microarray analysis. Results. Compared to using CDDP or radiation alone, its combined use resulted in enhanced apoptotic cell death and apoptotic-related gene expression, including that of FAS. Phosphorylation of p53 at Ser15 (a marker for p53 pathway activation in response to DNA damage) was observed after treatment with either CDDP or radiation. However, posttreatment activation of p53 occurred earlier in radiation than in CDDP which corresponded to the timings of MDM2 and TP53INP1 expression. Conclusion. Enhanced apoptotic-related gene expressions leading to increased apoptotic cell deaths could explain the synergistic ototoxicity seen clinically in combined CDDP-radiation therapy. CDDP and radiation led to differential temporal activation of p53 which suggests that their activation is the result of different upstream processes. These have implications in future antiapoptotic treatments for ototoxicity.
1. Introduction
Combined chemoradiotherapy is increasingly being used to treat advanced head and neck cancers. During radiotherapy, the ear structures are often included in the radiation fields and it is generally accepted that radiation-induced sensorineural hearing loss can result. Cisplatin (CDDP), widely used as an effective antineoplastic drug for these cancers, is also known to cause ototoxicity. In a randomized blinded study, it was demonstrated that patients who had received radiotherapy and concurrent/adjuvant chemotherapy using CDDP experienced greater sensorineural hearing loss compared with patients treated with radiotherapy alone [1]. This was especially so in the high-frequency sounds of the speech range, resulting in significant hearing disability.
In recent years, immortalized cell lines derived from the mouse organ of Corti had been developed and characterized [2]. For example, the OC-k3 cell line was derived from the organ of Corti of the transgenic mouse. It encoded the large T antigen of the SV40 (simian virus 40), a thermolabile viral protein which drove the cells to proliferate indefinitely at 33°C and in the presence of gamma interferon [3]. This cell line expressed the neuro-epithelial precursor cell marker nestin and the inner ear cell marker OCP2, but did not exhibit markers for glial or neuronal cells. In addition, OC-k3 cells expressed specific auditory sensory cell markers (myosin VIIa and the acetylcholine receptor alpha-9) and the supporting cell marker connexin 26. This and other similar cell lines had been regarded as good models to study the mechanisms of cell fate in the organ of Corti of the cochlea [4].
P53 had been found to play an important role in apoptotic cell death associated with ototoxicity. In a CDDP-induced apoptosis experiment using cochlear organotypic cultures prepared from rats at postnatal days 3-4, significant upregulation of phospho-p53 serine 15 expression was found and apoptosis was suppressed by pifithrin-α, a p53 inhibitor [5]. Other studies have shown that the deletion of the p53 gene protects sensory hair cells from CDDP-induced cell death, caspase-2 activation, and cytochrome c translocation [6]. In radiation-induced ototoxicity, it was found that p53 together with reactive oxidative species (ROS) played an important role in cochlear cell apoptosis [7].
In the combined use of CDDP and radiation, the cellular and molecular mechanisms leading to ototoxicity had not been studied. It is important to have a better understanding of these mechanisms as effective preventive strategies directed at the relevant pathways can potentially be developed. The present study found that although p53 played a role in both CDDP and radiation-induced cochlear cell apoptosis, p53 was activated at different time points after each treatment which corresponded to the time MDM2 and TP53INP1 were expressed. Additional apoptotic-related genes that were not expressed when CDDP or radiation was used alone were expressed when used in combination. This included FAS, an important element involved in the extrinsic apoptotic pathway.
2. Materials and Methods
2.1. Cell Culture
The immortalized OC-k3 cell line derived from the organ of Corti of the transgenic mice (Immortamouse H-2Kb-tsA58, Charles Rivers Laboratories, Wilmington, MA) was used. The cell line was cultured in high-glucose Dulbecco's Eagle's medium (DMEM, Gibco, Grand Island, NY) supplemented with 10% fetal bovine serum (FBS, Gibco, Grand Island, NY), 1% penicillin-streptomycin (P/S, Gibco, Grand Island, NY), and 50 U/ml gamma-interferon (mouse recombinant, Sigma-Aldrich, St. Louis, MO) and maintained at 33°C with 10% CO2. To study the impact of chemoradiation treatment, OC-k3 cells were exposed to 5 Gy of gamma irradiation alone, 0.5 μg/ml of cisplatin alone, or 5 Gy of gamma irradiation in the presence of 0.5 μg/ml cisplatin (Pfizer, Bentley, WA).
2.2. Cell Viability Assay
The OC-k3 cells were seeded in 96-well plates at densities of cells/well in 200 μl complete medium after being exposed to chemo-irradiation treatment. Cell viability was determined using CellTiter 96 Aqueous One Solution Cell Proliferation Assay (Promega Corp., Madison, WI) containing tetrazolium compound 3-[4,5-dimethylthiazol-2-yl]-5-(3-carboxymethoxyphenyl)-2-(4-sulfophenyl)-2H-tetrazolium (MTS) at 3 h, 24 h, 48 h, and 72 h after chemo-irradiation. This test was based on the bioreduction of MTS compound into a soluble and colored formazan product by NADPH or NADH, which is produced by dehydrogenase enzymes in metabolically active cells. Twenty microliters of MTS were added to each well, incubated at 33°C for 3 h, and then the absorbance was recorded at 490 nm with a microplate spectrophotometer (Benchmark Plus, Bio-Rad Laboratories, Hercules, CA).
2.3. Cell Death Analysis
The cells were collected at each time point post CDDP-radiation treatment, fixed in 75% ethanol and stored at 4°C. Upon analysis, the cells were washed with PBS and incubated with 100 μg/ml propidium iodide (PI) containing 0.1% Triton X-100 and 500 μg/ml RNase A in 50 μl PBS for 30 mins in darkness at 4°C. The DNA contents of cells were analyzed using the flow cytometer CyAnTM ADP Analyser (Beckman Coulter, Fullerton, CA). The magnitudes of the sub-G1 fractions were determined using the Summit 4.3 software (Beckman Coulter, Fullerton, CA). DNA fragmentation resulting from apoptotic cell death would manifest in the sub-G1 fraction.
2.4. Western Blot Analysis
Protein extraction was done by incubating the cells at 4°C for 30 minutes in lysis buffer containing 150 mM NaCl, 10 mM Tris-HCl pH 7.4, 2 mM EDTA, 0.5 mM EGTA, 1 mM sodium orthovanadate, 0.1% sodium deoxycholate, 0.5% NP-40, and 1% Triton X-100 supplemented with 1x complete protease inhibitor mixture (Roche, Basel, Switzerland). Equal amounts of protein samples were denatured separated by 10% SDS-PAGE and transferred onto nitrocellulose membrane by iBlot dry blotting system (Invitrogen, Carlsbad, CA). The membrane was blocked with 5% nonfat milk in PBS with 0.1% Tween-20 (PBST) for 1 h, followed by an overnight incubation of primary antibodies in 5% BSA/PBST at C. Primary antibodies included anti-p53 pAb (NCL-p53-CM5p, Novocastra), anti-phospho-p53 (ser-15) pAb, anti-phospho-c-jun (ser-73) pAb, anti-c-jun (60A8) mAb (Cell Signaling Technology, Inc.), and anti-beta-actin mAb (Sigma-Aldrich, St. Louise, MO). After washing the membrane extensively, incubation with horseradish peroxidase-conjugated antirabbit or antimouse secondary antibody (Cell Signaling Technology, Inc.) was done for 1 h at room temperature. After washing, the membrane was incubated in Immobilon Western chemiluminescent HRP substrate (Millipore, Billerica, MA), and the chemiluminescence signals were detected using UVIchemi (UVItec, Cambridge, UK), a dedicated chemiluminescence documentation system. For reprobing with a new primary antibody, the membrane was stripped in Re-Blot plus strong solution Western blot stripping buffer (Chemicon, Temecula, CA) at room temperature for 30 minutes and rinsed 3 times with PBST for 10 minutes each time.
2.5. Microarray Analysis
The global changes of gene expression were analyzed at 3 h, 24 h, and 72 h after chemoirradiation, on the GeneChip Mouse Genome 430A 2.0 Array (Affymetrix, Santa Clara, CA). Biological duplicates of experiments were performed. Briefly, RNA was extracted from cells using TRIzol reagent (Invitrogen, Carlsbad, CA) followed by generation of double-stranded cDNA. These were used as templates for synthesis of biotin-labeled cRNA, using the GeneChip IVT labeling kit in accordance with the manufacturer's instructions. The biotinylated cRNA was purified using RNeasy Mini kit (Qiagen, Hilden, Germany) and fragmented before reconstitution in a hybridization cocktail mixture containing eukaryotic hybridization control. The hybridization was performed at 45°C for 16 h in a rotisserie oven set at 60 rpm. Upon completion, the arrays were then loaded onto an Affymetrix Fluidic station, washed according to the standard Affymetrix EukGE-WS2v5 protocol and stained with streptavidin-phycoerythrin (SAPE) solution. After washing and staining, the arrays were scanned with the Gene Array scanner (Affymetrix, Santa Clara, CA). Hybridization intensity data detected by the scanner were automatically acquired and processed by the Affymetrix GeneChip Operating Software (GCOS, Affymetrix, Santa Clara, CA). The average intensity for all the genes was normalized to 100. The statistical algorithms implemented in GCOS software were used for analysis. In a comparison expression analysis, each probe pair on the experimental array was compared to the corresponding probe pair on the baseline array (control). This generated an associated "change" (increased, no change, or decreased) to determine the relative expression of transcripts. To have an overview of gene expression profiles, probe sets showing chemoradiation-induced increased or decreased expressions in both duplicated experiments were retrieved. The differentially expressed genes of chemoradiation treatment were submitted for biological functional analysis using Ingenuity Pathway Analysis (IPA) tools (Ingenuity Systems, http://www.ingenuity.com).
3. Results
3.1. Combined CDDP-Radiation Treatment Reduced Cell Viability More than CDDP or Radiation Treatment Alone
Cell viability analysis by MTS assay at different time points revealed that although CPPD and radiation each exerted a negative effect on cell viability, treatment when combined appeared to have a greater effect. These effects were observed at 48 hrs after treatment and became even more marked at 72 hrs after treatment (Figure 1).
3.2. Apoptosis Occurred Predominantly at 72 h after Combined CDDP-Radiation Treatment
At 72 hrs after treatment, combined CDDP-radiation led to a greater increase in the sub-G1 phase as compared to using CDDP and radiation alone (Figure 2). As pointed out previously, DNA fragmentation resulting from apoptotic cell death manifests in the sub-G1 fraction.
3.3. Apoptosis-Related Gene Expressions were Enhanced by Combined CDDP-Radiation Treatment
On analyzing the results of molecular and cellular functions under the biological functions of IPA, it was found that among the 3925 probe set IDs which were differentially expressed in at least one treatment, 942 represented 623 unique genes associated with apoptosis (see Table 1). Their distribution at each time point for the different treatment regimes is summarized in Venn diagrams (Figure 3). A subset focusing on the genes, which had a direct upstream or downstream relationship with p53, is shown in Table 2. Combined CDDP-radiation treatment resulted in an increase in the number of gene expressions which was more than merely a summation of the number of expressions resulting from individual treatments (Figure 3, Table 2). At 72 hrs after treatment, 40 out of the 163 genes listed (24.5%) were expressed in combined CDDP-radiation treatment, but not when CDDP or radiation was used alone (Table 2). Among these 40 genes was FAS, an important element of the extrinsic apoptotic pathway.
3.4. Differential Temporal Activation of p53 Occurred with CDDP and Radiation Treatment
It was observed that Posttreatment activation of p53 occurred earlier in radiation than in CDDP (Figure 4). In response to DNA damage, activation of the p53 pathway normally occurs with the phosphorylation of ser-15 in p53. The present study showed radiation-induced phosphorylation of p53 occurred at 3 hrs after treatment, compared to CDDP-induced activation which was observed only at 24 hrs or later (Figure 4). These timings corresponded with those observed for the expression of apoptotic-related genes after radiation and CDDP treatment (Figure 3). For example, MDM2 and TP53INP1 were expressed at 3 hrs after radiation. They were however, expressed only at 24 hrs after CDDP (Table 2).
4. Discussion
Combined chemoradiation is increasingly being used to treat advanced head and neck caners. As radiation and CDDP are both ototoxic, it is of concern that significant sensorineural hearing loss will result. Indeed, patients with nasopharyngeal carcinoma who had received radiotherapy and concurrent/adjuvant chemotherapy using CDDP were found to experience greater sensorineural hearing loss compared with patients treated with radiotherapy alone, especially to high-frequency sounds in the speech range [1]. It is of interest to note that different etiologies of sensorineural hearing loss, such as noise, ototoxic drugs, and aging, result in similar patterns of audiometric changes and cochlear cellular degeneration [8]. The cellular and molecular mechanisms involved in sensorineural hearing loss from diverse causes appear to lead to a final common pathway which results in apoptosis of cochlear hair cells [6, 9].
In radiation-induced ototoxicity, cochlear cell apoptosis and ROS generation were observed after irradiation, and p53 was thought to play a key role [7]. This phenomenon was dose dependant and occurred predominantly at 72 h after irradiation. Microarray analysis supported these findings, as associated dose-dependant apoptotic gene regulation changes were observed.
The ototoxic manifestations of CDDP are primarily due to its effects on the cochlear hair cells although the spiral ganglion cells and the stria vascularis are also affected to some extent. According to Rybak et al. [10], CDDP ototoxicity appears to be triggered by ROSs that initiate a cascade of molecular events that lead to apoptosis of outer hair cells, resulting in hearing loss. Ototoxic effects on the stria vascularis are transient, resulting in temporary reduction of endocochlear potential associated with stria edema. The endocochlear potential recovers but residual shrinkage of the strial persists. The spiral ganglia are thought to be least affected.
Although the cellular and molecular processes of ototoxicity have been described for radiation and CDDP when used alone, those involved in combined therapy have not been studied previously. The present study demonstrated that combined therapy led to decreased viability of cochlear cells, with an increase in the subG1 population. These findings support the belief that as in other etiologies of sensorineural loss, apoptosis of cochlear hair cells is important in CDDP-radiation.
It is well established that p53 plays a key role in the cellular response to nuclear DNA damage [11]. It regulates cell cycle arrest and dictates cell fate like senescence, apoptosis, and DNA repair. It is believed that the nature of DNA damage enables p53 to selectively discriminate between promotors in the induction of target genes, thereby regulating their expression and subsequent cellular outcome [12].
In a study on HEI-OC1 cells derived from the cochlea, CDDP caused an increase in p53 at 3 hrs prior to the activation of Bax, cytochrome-c, and caspase 8 and 9 [13]. In the case of radiation-induced ototoxicity, the role of p53 in triggering apoptotic cell death in cochlear hair cells has also been studied [7]. Based on microarray analysis, the p53 gene was found to be up-regulated after irradiation and p53 expression was confirmed by Western blotting. Although p53 plays a role in both CDDP and radiation-induced ototoxicity, the present study showed that p53 was activated at different time points after treatment. Posttreatment phosphorylation of p53 occurred after 24 hrs for CDDP, whereas it occurred as early as 3 hrs for radiation. These timings corresponded to the times MDM2 and TP53INP1 were expressed after treatment with CDDP and radiation respectively. Therefore, although both CDDP and radiation-induced cochlear cell apoptosis appear to involve activation of p53, the upstream processes involved may well be different.
In the present study, combined CDDP-radiation treatment triggered more apoptotic-related gene expressions than those that could be accounted for by a summation of gene expressions resulting from individual treatments. This could explain the synergistic ototoxic effects of combined CDDP-radiation treatment, an observation seen clinically [1]. Interestingly, among the genes which were expressed in combined treatment but not when these entities were used alone was FAS, a key element involved in the extrinsic apoptotic pathway. Although the extrinsic apoptotic pathway has generally been regarded to play only minor role in ototoxicity resulting from the use of CDDP or radiation alone, it may well be important in situations when they are used in combination [14, 15].
The OC-k3 cell line expressed the neuroepithelial precursor cell marker nestin and the inner ear cell marker OCP2, specific auditory sensory cell markers myosin VIIa and the acetylcholine receptor alpha-9 and the supporting cell marker connexin 26. It had been regarded as a good model to study the mechanisms of cell fate in the Organ of Corti of the cochlea [4]. Therefore, the finding that combined treatment actually led to enhanced apoptotic gene expressions including FAS should be further investigated in in vivo animal studies which may have implications in future antiapoptotic treatments against ototoxicity.
5. Conclusion
Like in other etiologies of sensorineural loss, apoptosis of cochlear hair cells appears to play a role in ototoxicity resulting from combined CDDP-radiation therapy. Differential temporal activation of p53 suggests the possibility of different upstream processes leading to its activation after CDDP and radiation treatment. Enhanced apoptotic gene expressions including that of FAS were observed in combined treatment which could possibly explain the synergistic ototoxic effects seen clinically.
This study has been supported by a grant from the Department of Clinical Research, Singapore General Hospital. The authors thank Dr F. Kalinec (House Ear Institute, LA, USA) for providing the cell line and Mr Alvin WC Chua (Department of Plastic Reconstructive & Aesthetic Surgery, Singapore General Hospital) for his guidance in cell culture.
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Cross-Country Pt. Deux: Grand Junction, CO to Los Angeles, CA
So I wouldn't go for as to say that I'm "settled" in California, since half of my car has yet to be unpacked, and I'm currently living out of bags and boxes in the living room of a friends apartment. But I have had a few days to get accustomed to things here and catch up on my sleep. So now that I've successfully driven to LA, I'll finish up the post about my drive.
When we left Grand Junction, CO, the coolest part of the trip started. The desert in Utah was incredibly scenic. The speed limit was pretty consistently 75 mph, and the enormous red rocks were awesome. There were a whole lot of scenic viewing areas where you could get out of your car and look around, and I wanted to stop at every single one of them. Unfortunately, we were meeting up with a friend in Vegas, and the hotel was in my name, so we had to be careful with our time.
We did get off of 15 South to drive to Moab, but once we got there, we decided not to pay to get into Arches National Park (due to time constraints). We drove back up to 15 and continued on our way. We did end up driving through Zion National Park though. That was pretty cool, and I got a lot of good pictures.
When we left Zion, we decided we needed to start making better time, so our stops were less frequent. The sun started to set about 40 miles from Vegas, and seeing the city lights from the desert was very cool.
The hotel that we stayed in (Las Vegas Marriott Residence Inn South) was pretty nice, and wasn't too far from the main strip. We ate way too much pizza, shotgunned beers, and took the Marriott shuttle to MGM Grand.
I've said before that I'm not crazy about gambling, but checking out the MGM Grand Casino was pretty cool… For about half an hour. After I finished savoring every last golden drop of my $11 Bud Light bottle, we decided to get out of there and go explore. This was a good decision.
There are convenience stores on the strip that sell pounders (big cans of beer, not sure if that is East coast slang) for like $2, so we grabbed some of those and checked out the sites and sounds of Las Vegas. What a convenient place for an open container policy… It was nice to be able to walk into casinos with my own beer.
I've heard of the prostitute trading cards before, but this was my first time in Vegas, so I'd never seen them before. There are people standing all over the place on the strip, handing out baseball-card sized ads for escort services. Each card has a girl's name and picture on it, along with contact info (and sometimes prices). Pretty entertaining, but within 5 minutes I had a stack about 3 inches thick… A stack of cards, to clarify.
Anyway, I didn't go all-out in Vegas, because I wanted to be able to drive the next day without being hungover. My first day of work was also the following Monday, so I wanted to be in tip-top shape for that. We spent the rest of our night in a casino called O'Sheas that a couple of people had recommended. It was obviously aimed towards the college crowd, as they had a bunch of beer pong tables setup, and bad cover bands playing Blink 182 songs.
Ate a huge free breakfast the next morning, compliments of the Marriott, and then hung out by the pool for a while before hitting the road. That last day of driving was rough. We were both pretty exhausted at that point, and just wanted to be done with the drive. We hit a lot of traffic coming out of Vegas, and ended up arriving in LA around 6:30 or so. My sister's flight back to Philly wasn't leaving LAX until 11:30, so I decided I'd push through my exhaustion and try to do some sightseeing with her. We checked out Hollywood Blvd and Sunset Blvd, and then headed to LAX.
My first week of work has gone pretty well. I haven't had a whole lot of work to do so far, but I did some research on mobile SEO for a huge client. The people I work with all seem cool and knowledgeable, and it's definitely a very casual, welcoming environment.
We filled out some paperwork today for an apartment in Redondo Beach. Hopefully everything goes smoothly, because it was a pretty nice place… And I can't wait to have my own room again.
I believe we're heading to Joshua Tree for the weekend to do some rock climbing and camping. It will be a little while until I'm situated and can actually sit down and upload some photos, but when I do, I'll be sure to post them here. Weekend begins… Now.
Tags: arizona, california, cross-country, las vegas, road trip
3 Responses to Cross-Country Pt. Deux: Grand Junction, CO to Los Angeles, CA
Zion. That place rules.
Well done on the cross country trip without a flat tire or other car troubles. Be safe out there. Let me know how the medical marijuana is.
I guess pounders are called tallboys on the westcoast. Unless you are talking about a 40 oz. Not sure if your going to get your medical licence, but here is some advice for you. Go to Venice beach. There people are selling them ALL over the beach, just listen for some dirty hippie yelling "MED CARDS! GET LEGAL". Pay his price ($50) and you get a piece of paper with all your information. DONT USE IT YET! Go home, kinkos, any copy machine and make about 10 of those. Keep the original at home. The reason for this is say your in your car or out in public enjoy god's gift and you happened to get pulled over/ caught by police. Using the copy of the original you tell the cop your doing nothing wrong and your allow to smoke based on a "health condition". The cop as two options: a) let you off tell you to keep it off the streets, or b) be an ass, give you a lecture, threaten consequences, and lastly rip the paper allowing you to purchase marijuanna. MAKE COPIES!


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Our different personal laws, and how they are stacked against women
Applies to Buddhists and Jains, and anyone who is not Muslim, Christian, Parsi or Jew or from an exempt scheduled tribe
Inheritance and succession : While it gave inheritance rights to both men and women, the Hindu Succession Act 1956 did not give women a birthright in ancestral property
Under the Mitakshara school of law, when a male member of the family died, the share in the family property went to male survivors (son, grandson), while his daughters and wife got part of his personal share
* But in 2005, that 'coparcenary' right was extended to married daughters as well
Marriage : Governed by Hindu Marriage Act (1955, amended later). Marriage is traditionally seen as a sacrament, solemnised by customary ceremonies
* Neither bride nor groom should have a living husband or wife, the bride should be at least 18 and the boy at least 21 years old
* They should not be within 'prohibited degrees of relationship' or 'sapindas', unless permitted by local custom. For example, one can't marry one's niece or stepmother
* Bigamy is criminal, but the complainant wife must prove that both marriages were performed according to appropriate ceremonies
Divorce, alimony and support: It's a long-drawn procedure, since marriages seen as sacred
Divorce could be sought on specific grounds like adultery, cruelty, religious conversion, mental illness, etc.
* One can't file for divorce within the first year of marriage
* There is a mandatory cooloff period to reconsider the decision, from six months to 18 months. A bill for easier divorce on grounds of irretrievable breakdown is pending
* Hindu women can claim interim and ongoing maintenance. Men can also claim interim maintenance
* Patriarchal assumptions persist in divorce and alimony. Refusing to live with the husband's parents has been held as cruelty and grounds for divorce. A Hindu woman has no right to her matrimonial home, unless purchased with her earnings. If she is 'unchaste' or converts to another religion, she forfeits her rights to maintenance
Adoption and guardianship: The Hindu Minority and Guardianship Act 1956 allows Hindus to legally adopt. The law favours the father by default after the child is over five years old, in terms of guardianship, but was read down by the Supreme Court
Personal law not codified apart from the Muslim Personal Law Shariat Application Act (1937) and the Dissolution of Muslim Marriages Act, 1939 and the Muslim Women (Protection of Rights on Divorce) Act 1986 (MWPRDA). There are four schools of Sunni jurisprudence (Hanafi, Maliki, Shaifii, Hanbali), and two Shia schools (Ja'fari and Zaidiyyah)
Inheritance and succession : There is no distinction between self-owned and ancestral property— individual claims to property are recognised
* There is no birth right, heirs get property only after the death of their ancestor
* Men and women have equal rights, but in practice women are given half their share because they are assumed to get the other half as mehr and maintenance after marriage
Marriage: It is a civil contract with clear obligations and duties
* A mehr (dower) is given by the groom to the bride for her use, either at the time of marriage or deferred for later payment
* The ceremony takes place in the presence of two adult witnesses (but a man is necessary, two women are not deemed enough)
* Polygamy is allowed
Divorce and spousal support: According to the Quran, a husband can pronounce divorce only after four attempts at reconciliation
* He has to also wait for three months (iddat)
* A man has rights of unilateral divorce, but a woman can move for divorce only on certain specified grounds, and this is often used by the husband to deny the mehr
* After the MWRPDA and Danial Latifi judgement, courts have ordered men to pay ongoing maintenance within the three-month iddat period before divorce
* Under the halala practice, a divorced woman must marry another man and consummate the marriage and get divorced again, to remarry her former husband
Adoption and guardianship: Muslims, like Christians and Parsis, had no specific adoption laws and had to approach the court under the Guardians and Wards Act, 1890
* They could only take a child in foster-care, and the child was free to break off the connection after reaching adulthood
* They had no right to inheritance either
* A mother is not seen as a natural guardian of the child
Inheritance and succession : The Indian Succession Act 1925 provides that property be divided equally among the children after deducting one-third, which is the widow's share
* But testamentary power is absolute, a father can will his property entirely to his sons if he wants, saying that women had been given their share at marriage
Marriage : Governed by the Indian Christian Marriage Act 1872, with the exception of those in Travancore-Cochin area, Manipur and J&K
Divorce and spousal support : Divorce was traditionally much easier for men than women, until discriminatory provisions were reformed in 2001
Adoption and guardianship : Have no specific adoption laws. Can only apply under the Guardians and Wards Act, 1890
Inheritance and succession: Parsis penalise those who marry out of the community. A non-Parsi woman who is either a wife or widow of a Parsi cannot inherit, though their children can. If a Parsi woman marries out of the community, her children are not considered Parsi
Marriage : The Parsi Marriage and Divorce Act, 1936 was amended in 1988. Marriage is a spiritual compact, solemnised by a priest
Divorce and spousal support : Divorce claims can be filed only after two years of marriage
* There are specific, onerous grounds for divorce; mutual consent or irretrievable breakdown are not accepted as such
* Special Parsi marriage matrimonial courts adjudicate disputes
* Wives can claim maintenance under the Act until they remarry or start a relationship with someone else
Adoption and guardianship : The community does not recognise adoption as a means of childbearing
They follow their own customary laws
Source : timesofindia
This post first appeared on Daily Kiran, please read the originial post: here


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Genesis Health Ventures, the Pennsylvania-based nursing home chain that operates 50 nursing homes in Maryland, plans to reorganize its way out of bankruptcy by persuading lenders to accept equity in the company, not by selling assets, spokeswoman Lisa Salamon said yesterday.
To some degree, that may reflect Genesis' confidence in its "network strategy," building dense regional operations which include not just nursing homes but also pharmacies, rehabilitation contractors and other related businesses.
However, according to analysts and industry sources, it also reflects the difficulty of selling facilities in the current depressed market.
"The likelihood of any meaningful transfer of assets out of the public companies is virtually nonexistent for the near future," Lawrence R. Deering, chairman and chief executive officer of Tandem Health Care, said yesterday. Tandem, based in Pittsburgh, has bought about 50 nursing homes over the past two years.


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A SENIOR girl guider from Caernarfon has been chosen to take part in a special project to help her fellow guides.
In February, Catrin Roberts, 22, from Bro Helen, will be travelling to Switzerland to take part in a community project.
She is only one of five people from Britain to be selected to take part.
Catrin, who works at Parciau Day Nursery, will meet guides and scouts, all aged between 18-26, from all over the world at one of the four guiding world centres in Adleboden, called Our Chalet.
It is the oldest guiding centre, having opened in 1932 as a place where girls from all over the world could go and share the guiding spirit and have adventures in the Alps.
Her trip will involve ensuring that Our Chalet can be enjoyed by fellow guides for many more years to come.
Catrin joined the brownies when she was seven and today, is a guider with the first Caernarfon Rainbows, the second Caernarfon Brownies and an assistant guider with the Portdinorwic Guides.
But guiding runs in the family as her mum Lesley, is also a leader with a rainbow and brownie group.
However, Catrin is not just a guider, she is one of the county's representatives on Llais y Ddraig, the Welsh junior council and is working towards the highest award in guiding, the Queen's Guide Award and her gold Duke of Edinburgh award.
Catrin explained why guiding is important to her.
"I like giving back to the community, and I like being able to give back to the girls. I have had so many different experiences and I wouldn't have been able to do half of the things I have done now if I hadn't been a guider.
"I have also got friends all over the place and every time I go to any guiding event now, there is bound to be someone I know.
"It's amazing how many opportunities I have had."
In the summer she went to Denmark for 15 days helping to lead a group of 12 girls for a jamboree, and now she is eagerly awaiting her next trip.
For her visit to Switzerland, Catrin needs to raise £650 and has held a number of fundraising events to try and reach her target.
"I'm not sure what the project will be yet, but it will involve bettering Our Chalet for future use."
Anyone who would like to sponsor Catrin, can contact her by e-mailing firstname.lastname@example.com.


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NEW YORK — An upcoming audiobook will feature former
"Conversations With Joe" will be released Oct. 16 by Audible, the publisher and distributor owned by Amazon.com. The recordings are taken from Biden's "American Promise" tour from last year, when he was promoting his memoir "Promise Me, Dad." He
Audible announced Wednesday that "Conversations With Joe" will feature Biden's thoughts on his son's life and his family's determination to
The Associated Press


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More on the Size of Higman-Haines Sets: Effective Constructions
A not well-known result [9, Theorem 4.4] in formal language theory is that the Higman-Haines sets for any language are regular, but it is easily seen that these sets cannot be effectively computed in general. Here the Higman-Haines sets are the languages of all scattered subwords of a given language and the sets of all words that contain some word of a given language as a scattered subword. Recently, the exact level of unsolvability of Higman-Haines sets was studied in [10]. We focus on language families whose Higman-Haines sets are effectively constructible. In particular, we study the size of Higman-Haines sets for the lower classes of the Chomsky hierarchy, namely for the families of regular, linear context-free, and context-free languages, and prove upper and lower bounds on the size of these sets.
Unable to display preview. Download preview PDF.
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KEITH HARING The political Lineby Mara Hoberman
Musée d'Art Moderne de la Ville de Paris
April 19 – August 18, 2013
Nearly 30 years after the Musée d'Art Moderne de la Ville de Paris introduced Keith Haring in Figuration Libre: France/USA (1984) alongside Jean-Michel Basquiat, Robert Combas, Hervé Di Rosa, and Kenny Scharf, the museum's current Haring retrospective delivers the artist well beyond this neo-Expressionist context. Cogently framing Haring as an artist/activist along the lines of Jenny Holzer and Barbara Kruger, Keith Haring: The political Line underscores the urgency of Haring's socio-political messages. Boasting over 250 drawings, paintings, sculptures, and monumental works (not to mention documentary photographs, films, and plenty of Pop Shop memorabilia), this thematically organized exhibition ascribes Haring's iconic pictographs to diverse political causes—from AIDS awareness to nuclear disarmament. Even more impressive than the exhibition's scale and scope is the relevance of Haring's messages even 23 years after his untimely death.
In 1978, four years before he would be invited to broadcast his messages on the Times Square Spectacolor screen as part of the Public Art Fund's "Messages to the Public" (1982–1990), a 20-year-old Haring was already expanding his practice into New York City's streets and subways. The current exhibition's "Public Spaces" section begins with an early series of "Cut-Ups" (1980) inspired by William S. Burroughs's Dadaist literary technique of the same name. Motivated to challenge mainstream mass media, Haring used New York Post headlines to create provocative messages like "Reagan: Ready to Kill" and "Pope Killed for Freed Hostage." Like Holzer, who began posting anonymous "Truisms" and "Essays" around lower Manhattan in the late 1970s, Haring's earliest interventions involved plastering lampposts and newsstands with absurd and seditious collaged texts.
Similarly subversive and bringing the artist greater exposure, Haring's large-scale "Subway Drawings" (1980–1985) protested the encroachment of advertising into community spaces. Covering over subway station ads with black paper, Haring replaced commercials for Coke and Camels with chalk drawings of barking dogs, dancing figures, TV-headed monsters, spaceships, and tags like "Still alive in '85." Over the course of five years Haring made between 5,000– 10,000 such drawings, risking fines or possible arrest for each one. A dozen excised artifacts from this series are presented here, but the performative and political essence of the "Subway Drawings" is best conveyed through Tseng Kwong Chi's documentary photographs, which are also on view. These black and white photos (which would become the basis for the book Art in Transit published in 1984) show Haring's graffiti in situ—next to dingy tile walls, broken payphones, cheesy movie posters, and alternately enthusiastic, disdainful, and ambivalent subway commuters.
In addition to characterizing many of his public interventions, Haring's capitalist critiques also appear in numerous paintings. "Andy Mouse—New Coke" (1985), is an interesting example that melds three American icons: Coca Cola, Mickey Mouse, and Andy Warhol. The painting's background is a red and white New Coke label overlaid with yellow dollar signs and black line drawings of Disney's most famous cartoon character. A hybrid figure—Mickey's body with a human head sporting thick-rimmed glasses, frizzy hair, and mouse ears—at the center of the composition, represents Andy Mouse. This recurring character synthesizes two of Haring's heroes and encapsulates the intersection of pop culture and high art navigated by Disney, Warhol, and Haring himself. Details like the "®" beneath the Coke logo and the dollar sign motif signal a critique of commercialism, copyright, and wealth, but "Andy Mouse—New Coke" is also a celebration of artists harnessing mass production for their own creative projects.
Though Haring's work is often thought of as being celebratory, comical, and even cute, his deceptively simple hieroglyphics also communicate complicated issues and disturbing subjects. The figure with a hole in its chest gracing the retrospective's poster and catalogue ("Untitled" 1982), for instance, appears frequently in Haring's work and was invented shortly after John Lennon's fatal shooting. More explicitly violent, the works in the exhibition's "Religion" section criticize the church by depicting an assortment of mutilated bodies—gutted and bleeding in front of crosses, impaled on crucifixes, and piled into mass graves. Another grim section, "Sex, AIDS and Death," mixes somber symbols like graves, angels, and open armed figures, with gruesome depictions of the disease that eventually claimed Haring's life in 1990.
The AIDS crisis affected Haring most personally, but it is the "Racism" section that introduces the most harrowing image in the exhibition. "Michael Stewart—USA for Africa" (1985) depicts a blood-red naked male with a grossly elongated neck being strangled by a pair of disembodied pink hands. The tortured figure's limp wrists are handcuffed to a white dove and a skeleton. Other ominous symbols include a globe spewing blood and a dollar sign attached to a menacing green hand that also reaches for the victim's throat. This powerful painting is Haring's response to the death of his friend, Michael Stewart, a young black artist who died in police custody after having been picked up for allegedly writing graffiti in the subway. In addition to illustrating bigotry in America, this painting also confronts racism on a global level. Xes marking New York and South Africa on the blood-spilling globe link this specific incidence of police brutality to the larger issue of apartheid, which Haring tirelessly rallied against—notably printing and distributing 20,000 "Free South Africa" posters in Central Park in 1985.
Though very much a time capsule of the 1980s underground scene and political fervor that informed Haring's New York-based practice, this retrospective also feels contemporary and surprisingly French. Amidst recent protests across France following ratification of the "marriage for all" law this past spring, Haring's equal rights and gay pride messages appear as relevant and critical as ever. Making a more calculated French connection, curators Dieter Buchhart and Odile Burluraux play up Haring's interest in Rimbaud, Cocteau, Sartre, Genet, Artaud, and Barthes. Links are also made to Dubuffet and Christo whose "Running Fence" (1972–76) is credited as steering Haring towards public art. Amidst plenty of back-patting for having hosted Haring's first solo show (Bordeaux, 1985-6), the exhibition's Francophile subtext also finds support in the artist's own words. As cited in the exhibition catalogue, Haring wrote presciently in his journal at age 10: "When I grow up I would like to be an artist in France."
11 Avenue du Président Wilson // Paris, France
ContributorMara Hoberman
by Gillian Jakab
Hervé Koubi Drops Day and Night on the Pillow
SEPT 2016 | Dance
What the Day Owes to the Night (Ce Que le Jour Doit à la Nuit). The title of choreographer Hervé Koubi's spectacle de la danse is drawn from Yasmina Khadra's 2010 novel: a coming-of-age love story set in the period before, and the aftermath of, the French-Algerian war. It's not that the piece draws from the novel's plot or characters, but rather the novel's setting, Oran, Algeria, was the home of Koubi's ancestors, and the poetry of the title captured his imagination as apropos of the work.
by Paul Felten
The Films of José Luis Guerín
SEPT 2016 | Film
Spanish director José Luis Guerín is one of contemporary cinema's foremost practitioners of the documentary/fiction hybrid; and Anthology Film Archive's near-complete retrospective of his films is ideal relief from the ugly campaign pageantry glutting the dog days of our absurd American summer.
THE LADY IS A TRAMP Vigée Le Brunby Adele Tutter
APR 2016 | ArtSeen
200 years after the end of her painting career, it's high time Louise Élisabeth Vigée Le Brun (1755 1842), better known as Vigée Le Brun, had a major retrospective. An opportunity to see a sizeable amount of her work unlikely to be repeated anytime soon, it also helped save her from the almost certain obscurity that few female artists of her time escaped.
with Anna Deeny Morales
SEPT 2018 | Poetry
Mercedes Roffé is one of Argentina's leading poets. Widely published in the Spanish-speaking world, several of her books have been published in translation in Italy, Quebec, Romania, France, England, and the United States. She is the editorial director of Ediciones Pen Press,specialized in contemporary poetry from around the world. Roffé was awarded a John Simon Guggenheim (2001) and a Civitella Ranieri fellowship (2012).
Anna Deeny Morales has edited and translated works by Raúl Zurita, Mercedes Roffé, Malú Urriola, Alejandra Pizarnik, Amanda Berenguer,and Gabriela Mistral, among other Latin America poets. Deeny's recent work in theater includes adaptations of Gonzalo Roig's Cecilia Valdés and Tomás Bretón's La verbena de la Paloma. She received a PhD from UC, Berkeley, and teaches at Georgetown University. Deeny is currently writing a book on poetry and consciousness. She was recently awarded an NEA Fellowship to translate Tala [Fells] by Gabriela Mistral.


text:
Tapes Tapas
Av Francesc Ferrer i Guardia, 13 08038 Barcelona Spain Map
- Montjuic
- ...
Average price €14.00
423 reviews
44 reviews
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3/44 reviews
Cati R.
Foodie(21 reviews)
- Meal date : 20 Jul 2018
Personal atento y servicial
Maria Jose V.
Adventurer(1 review)
- Meal date : 16 Jun 2018
Muy amables
Cati R.
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- Meal date : 29 Jul 2017
Lugar agradable


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Acclaimed singer/songwriter Kate Long and brilliant up and coming duo Siamese Cycle will highlight our next Route 60 Saturday Night show, as our 2018 season rolls on Saturday, Nov. 17. This latest installment of our monthly 90-minute music variety show, now in its second year, begins at 7 p.m. at Route 60 Music Co., 60 Peyton St., Barboursville. Hosted by Randy Yohe and Michelle Lewis, the show, which takes the stage on the third Saturday night of each month, also features The 1937 Flood as the house band. In addition, each month's show features new and established musical acts as guest artists.
Here are the headliners for the upcoming show:
--Kate Long is an award-winning songwriter, storyteller, and journalist who hails from Fayette County, WV. Her songs, which have been recorded by notable artists, are rooted in Appalachian traditional music and she branches into swing, blues, and jazz. Her performance of "Who Will Watch the Homeplace," a song by Clearwater Connection, won the International Bluegrass Music Association Song of the Year in 1994. She has also won awards at Merlefest, South Florida Folk Festival and Kerrville. California-based bluegrass artist Laurie Lewis has said of Kate, "She writes with a depth of love and understanding that is all too rare in the world." Kate also is a writing teacher, journalist, and public radio commentator. She was named Public Citizen of the Year National Association of Social Workers, West Virginia chapter. In 2010, she received B. B. Maurer WV Folklife Scholar Award, sponsored by the Frank and Jane Gabor West Virginia Folklife Center and she helped found a healthy living initiative named "Try This West Virginia."
-- Siamese Cycle is a musical duo based out of Huntington, West Virginia composed of Emily Cloer and Jon Parsons. Possessing an eclectic style due to a variety of musical influences, the best description of their sound is ghost folk punk. Vocalist Emily Cloer is a Marshall University graduate with a background in opera, classical, folk, and jazz singing; she currently teaches voice and piano lessons at Route 60 Music. Guitarist Jon Parsons is a sound engineer at Suave Sounds in Ashland Kentucky; he received his degree from Full Sail in audio engineering. He has been playing guitar since age sixteen and has played in several punk bands. Both contribute to the lyric and music writing process.
Proceeds for the show will be donated to support the local chapter of the Boys and Girls Club of Huntington. Admission will be a $5 donation.
A broad spectrum of Mountain State music -- from the inventive, expressive compositions of Marshall University jazz legend Mark Zanter to the poetry and grace of beloved songwriter Colleen Anderson -- was featured as our 2018 season rolled on Saturday, Oct. 20. This latest installment of our monthly 90-minute music variety show, now in its second year, begins at 7 p.m. at Route 60 Music Co., 60 Peyton St., Barboursville. Hosted by Randy Yohe and Michelle Lewis, the show, which takes the stage on the third Saturday night of each month, also features The 1937 Flood as the house band. In addition, each month's show features new and established musical acts as guest artists.
Here were the headliners for the upcoming show:
-- Colleen Anderson was born in Bay City, Michigan, and discovered the Mountain State when she left her studies at Western Michigan University Honors College to temporarily serve with VISTA (Volunteers In Service To America) in Cabin Creek, WV. There she helped start Cabin Creek Quilts, a cooperative of 150 low-income quilters. Following 15 months of volunteer service and a year of work as an editor, Colleen returned to college, this time at West Virginia University, where she received a B.A. in English in 1975. Twenty-five years, she earned a Master's degree in Humanities, this time from Marshall University. Colleen has been self-employed as a writer and designer since 1975, and formed "Mother Wit Writing and Design" in 1983. Her creative studio has earned numerous honors, including West Virginia Communicators' Best of Show award and several First Place awards from the National Federation of Press Women. Her stories and poems have been published by the PEN Syndicated Fiction Project, Redbook, Embers, Kestrel, Arts & Letters, Passager, Carolina Quarterly, The Sun, and many other periodicals. Meanwhile, her beautiful songs have been featured on Public Radio International's "Mountain Stage" and "The Folk Sampler," and she has produced two albums of original songs, Fabulous Realities (1991) and Going Over Home (2001). Over the past two decades, she has frequently performed with guitarist George Castelle, who for several decades was the Chief Public Defender in Kanawha County, where he still works on a part-time basis. Colleen's song "West Virginia Chose Me" is included in several anthology recordings of West Virginia music, and two others have won the FOOTMAD songwriting contest and qualified for the semi-finals in the Mountain Stage NewSong performing songwriter competition.
-- Mark Zanter, coordinator of music theory and composition at Marshall University's School of Music, is an active composer and performer who has received commissions from diverse orchestra around the country. He also has appeared as a composer and performer on NPR's "Live at the Landmark." Dr. Zanter's works have been performed nationally and internationally at festivals such as MUSIC X, The Cortona Contemporary Music Festival, the Atlantic Center for the Arts, and ECHOFLUX 14. He is the recipient of grants and awards from The American Society of Composers and Publishers, The American Music Center, The American Composers Forum, Meet the Composer, The West Virginia Division of Culture and History, and WV Music Teachers Association. As a performer Mark is equally at home performing standard repertoire, creative music, and jazz and has appeared with orchestras, chamber groups, and improvisers. "I am interested in the expression of an idea," he says, "in creating pieces through observation of the inherent musical potential of my sound material. In each piece, I invent processes that express this potential, generating contexts for their realization. In that sense my music results from the interaction of observations, intuition, and processes, rather than from a willful shaping of my materials."
Proceeds for the show were donated to support Huntington Cabell-Wayne Animal Shelter. Admission will be a $5 donation.
Two wonderful singer-songwriters -- the legendary John Lilly and exciting newcomer Cat Cirner -- were our guest artists Saturday, Sept. 15, as we launched the third big season of Route 60 Saturday Night. The monthly 90-minute music variety show begins at 7 p.m. at Route 60 Music Co., 60 Peyton St., Barboursville. Hosted by Randy Yohe and Michelle Lewis, the show, which takes the stage on the third Saturday night of each month, features The 1937 Flood as the house band. In addition, each month's show features new and established musical acts as guest artists.
Here were the headliners for the fall season debut show:
-- Cat Cirner says her musical influences range from the acoustic sound of the Indigo Girls, Tracy Chapman and Sheryl Crow to the soulful tones of India Arie and Lauryn Hill and everything in between. "I love making music," she says. "There is no genre exempt from influencing my music." When listening to her music you'll catch glimpses of folk, blues, pop, bluegrass and some jazzy undertones. And "there is no life experience, no interaction, great or small, that does not affect my life. As a writer how can I not bear witness to everything that impacts us all?" Born in Manila, Philippines and transplanted onto a farm in Ann Arbor, Michigan, Catherine Maria Cirner had more than enough room to run with her adoptive family of 4. She then moved to steel country in Steubenville, Ohio where she began piano lessons at the age of eleven. After several years of listening to her brother practicing his guitar through the bedroom wall, she begged her mother to let her learn a new instrument. Her mother agreed and Cat excitedly started to teach herself to play the acoustic guitar. She was heavily involved in her church music ministry, as well as her middleschool and highschool choir, and she used every experience to hone her musical abilities. At 15, she started composing her own songs and performing at any venue available, churches, festivals, and some small TV shows. She met many different musicans who helped her continue her musical education.
-- John Lilly is a multi-faceted performer and songwriter who makes his home in Charleston, WV. An award-winning songwriter, John is also recognized as an accomplished vocalist and song stylist. He accompanies himself on acoustic guitar and mandolin, playing original songs that sound as old as the hills and old songs like they were made yesterday. According to one reviewer, "If Hank Williams had a sunny disposition, he'd be John Lilly." (Durham, NC, Independent) Born in Chicago, John has traveled to 48 states, South and Central America, and in the United Kingdom, both as a solo artist and as member of performing groups including the Green Grass Cloggers, Ralph Blizard and the New Southern Ramblers, Company Comin', and, most recently, Blue Yonder. He is especially known for his mastery of the early country music styles of Jimmie Rodgers and Hank Williams. John is considered a fine yodeler and frequently teaches workshops in yodeling, as well as workshops in the songs of Jimmie Rodgers and Hank Williams. He has been on the teaching staff for Early Country Music Week at the Augusta Heritage Center of Davis & Elkins College five times. John has recorded six solo CDs. His most recent release is titled "Thinking about the Weather," a solo acoustic recording featuring 12 original songs and released in January 2015. Other solo recordings include "Cold Comfort" (2011), "LIVE on Red Barn Radio" (2009), "Haunted Honky Tonk" (2007), "Last Chance to Dance" (2003) and "Broken Moon" (2000).
Proceeds for the show were donated to support the Cabell-Wayne Association of the Blind. Admission was a $5 donation.
Two wonderful West Virginia singer-songwriters were our guest artists Saturday, June 16, as we wrapped up the spring season of Route 60 Saturday Night:
-- Mike Bennett is a long-time friend of Route 60 Music, having played at its Songwriter Show many times over the years. In fact, Mike was the first performer ever to play at Route 60 Music; that was 18 years ago. Calling himself "just an old hippy who loves to play music," the St. Albans native writes songs based on his personal experiences, ranging from dealing with the grief of his sister's battle with cancer to the his childhood memories of growing up beside the big, beautiful Coal River. Accompanying himself on guitar and harmonica, Mike has played in various venues around the state. In 2015, he received his first CD. The self-titled five-song EP is available on CD Baby.
-- Paul Callicoat was born and raised in the foothills of the Appalachians and has been involved in writing, performing, teaching, recording and producing music for more than 50 years in the Tri-State Area. Paul has played guitar in many bands, including Territories whose CD "Unreconciled" is still considered a local classic. He's also played with local favorites like Rob McNurlin, Jeff Ellis, Sasha Collete, Joe Lambiotte and Doug Imbrogno and has performed on many prestigious stages, including The Americana Crossroads Stage and Radio Show, Mountain Stage, The Woody Hawley Concert Series, Jorma Koukenon's Fur Peace Ranch and The Kentucky Folk Life Festival. Paul has two CDs: "The Wayward Truth," his first collection of all original songs that evolve around the classic themes of home, family, love, faith, history and justice, and "Trampled Flowers," his second release, which continues the narrative.
Proceeds for the show were donated to support Huntington's Harmony House.
Two fine singer-songwriters were our guest artists Saturday, May 19, as the second big season of Route 60 Saturday Night continued: The monthly 90-minute music variety show begins at 7 p.m. at Route 60 Music Co., 60 Peyton St., Barboursville.
-- Emmy Davis, who has had a passionate for music for as long as she can remember. "Growing up, music became my closest friend," she says. As a young girl she began to share her voice in church, local theatre productions, festivals, fairs and singing competitions. She began to write songs in her journal and discovered a love for songwriting. At 12, Emmy received her first guitar from her grandfather, and she couldn't put it down. "I remember growing up and singing along with my grandpa to traditional country songs by Willie Nelson and Patsy Cline. I grew up listening to an array of styles like pop/blues, but I really developed an appreciation toward the story and honesty country music portrayed." Realizing Nashville is where many aspiring artist must go to get their start, she set her sights high on making her mark. After several trips to Nashville, 15-year-old Emmy left without the record deal she envisioned, but with a fire in her heart to move forward. In order not to be overlooked, she realized she had to be different. Emmy came back home and instead of trying to write what was already out there, she looked for influences at her roots. She began to play for anyone willing to listen. Youtube videos, Fairs, restaurants/bars, festivals, benefits and sporting events. Now in her 20s, Emmy believes she has finally found the sound she's been searching for, and she's ready to share.
--Paula Davis Stewart, who grew up in Danville IL, was exposed to music at an early age as her parents were amateur traditional folk and bluegrass musicians. Jam sessions were regular occurrences at her house. She took a few guitar lessons from a family friend when she was 14 and also played around on her dad's Autoharp. She played open mic nights here and there prior to getting married and having children. As an adult, Paula sang in Sweet Adeline's for a while and has been in several Huntington Outdoor Theater productions. At 45 she put music on a simmer when she went to Marshall to pursue a BA in family and consumer science with an emphasis on family and child development. She graduated with honors in 2005. During her last semester at Marshall, while at Huntington's Hilltop Festival, Paula's husband, Bob, suggested she take the "Free 5-Minute Harmonica Lesson" offered during the Huntington Harmonica Clubs' set. She has been an active member of the club ever since. Most recently Paula has been playing solo acts at various open mics. You can usually find her at Black Sheep Burritos and Brews on Sunday nights. She was a recent guest at Roger Rabalais Songwriter Stage at Unity in Charleston. Paula also just began recording her first CD.
Proceeds for the show were donated to support Tri-State Aids Task Force.
Our guests — including visiting storyteller Norman Davis and co-host Paul Callicoat — rocked the house tonight for the second big show of the 2018 season. Our featured artists for the evening were:
-- Emily Kinner, who started performing on stage at the age of nine. By 12, she had won the Charleston, WV, Teen Idol then went on to win the Texaco Country Showdown for the state of Kentucky. A recent trip to Nashville gave her an opportunity to meet and play for renowned producer and songwriter Jerry Cupit, president of Cupit Records, as well as producer Ray Barnette with Barnette Publishing/Records. Emily has played at legendary lounges in Nashville such as Tootsie's and 12th and Porter. Also active in student government at Marshall University, where she works on a double major in broadcast journalism and political science and a minor in Spanish, she hopes to be a political commentator some day. But music will always be a passion.
--Rob McNurlin, who was raised in Eastern Kentucky, the hymns in church, the Johnny Cash Show on TV, a harmonica from his grandmother, his parents records and a guitar on his ninth Christmas set him on a very musical path. He began studying traditional music learning hundreds of folk, hillbilly-blues and Gospel tunes. Inspired by Cash, Dylan, Woody Guthrie and Hank Williams he started writing songs and mixing these originals with the traditional .Rob has released nine cds including "Cowboy Boot Heel", recorded at Johnny Cash's Cabin Studio, produced by his son John Carter Cash and a duet with guest Ramblin' Jack Elliott.
Proceeds for the show were donated to support Branches Domestic Violence Shelter and its crisis hotline.
Illnesses threatened to derail the start of the new season -- one of the planned featured acts had to cancel at the last minute because of the flu and
resident storyteller Dave Peyton also was under the weather -- but with a little help from our friends, we bounced back for a great St. Patrick's Day show.
-- The Shadowshaker Band brought a great selection of original tunes to the night. The duo came together in December 2014 when Eve Marcum-Atkinson and Michael Lyzenga began getting together, intertwining their gravelly voices and cranking out a steady flow of original blues rock tunes. In their first year, the duo churned out 50 original songs thanks in part to the prolific mind of Lyzenga, who had just bounced back with vigor following a major surgery that took him off the scene for months. Their third CD, "Heart On the Line," features 13 new songs and comes on the heels of "U Don't Bother Me," an original album that the Huntington Blues Society sent to Memphis' International Blues Challenge for its original CD contest.
-- Rob McNurlin, who was one of the featured performers back in October, was in the audience and answered the call to be a surprise guest. He began studying traditional music learning hundreds of folk, hillbilly-blues and Gospel tunes. Inspired by Cash, Dylan, Woody Guthrie and Hank Williams he started writing songs and mixing these originals with the traditional .Rob has released nine cds including "Cowboy Boot Heel", recorded at Johnny Cash's Cabin Studio, produced by his son John Carter Cash and a duet with guest Ramblin' Jack Elliott.
-- Co-host Randy Yohe -- with his years of experience in the television news industry includes reporting, anchoring, editing, and producing compelling news stories -- stepped up to admirably fill Brother Dave's storytelling slot for the evening.
Proceeds for the show were donated to support CONTACT of Huntington Rape Crisis Center and its 24-hour hotlines (866-399-7273 / 304-399.1111). Admission will be a $5 donation.
To help us wrap the first season of the Route 60 Saturday Night! show, we invited two beloved performers:
-- Ritch Collins, whose songs are rich in vivid images of friendly characters and family memories often going back into his own Appalachian mountain roots. He is a third-generation road musician with a long family history of music that has been the starting ground for a career in the entertainment industry as a musician, composer, arranger, engineer, and producer. Ritch has a wide and diverse background of styles and influences ranging from country, to classical, to rock n'roll, and big band/jazz. Combine that with an overwhelming desire to present professional entertainment and he says it's been key to being able to walk the fine line between artist/ engineer/ producer. After decades in the music business, Ritch says, "It's still really all about the music."
-- Ron Sowell grew up on the high desert plains of Roswell, New Mexico, learned to sing by mimicking his dad's high tenor in church. At age 13, his life was altered forever when his mother bought him a guitar and lessons. The realization that "girls dig it," made Ron practice till his fingers hurt and he began playing in a series of rock bands and folk groups. Moving on to Eastern New Mexico University with a scholarship to sing in the choir, Ron dove headlong into developing his guitar, song writing and singing skills. After graduation he hit the road playing clubs and coffee houses til four years later, on a brief visit to the beautiful hills of West Virginia, he felt "so right" that he unloaded his car and put down roots. In WV he formed two eclectic and critically acclaimed bands, "The Putnam County Pickers" and "Stark Raven." performing across the United States, as well as touring Greenland, Iceland, Germany, Greece, Turkey, Crete and Ethiopia. Ron joined a fledgling local radio show called Mountain Stage as the resident guitar and harmonica player, eventually becoming the music director. Still thriving, Mountain Stage is a staple of NPR programming.
Click the "Play" button in the box above to seeing the entire 90-plus-minute show!
Proceeds for the show were donated to support Lily's Place, the Huntington center (1320 7th Avenue) that provides medical care to infants suffering from Neonatal Abstinence Syndrome (NAS) and offers non-judgmental support, education and counseling services to families and caregivers.
Two seasoned performers, both talented singer-songwriters,were featured in our third big Route 60 Saturday Night! show:
-- Douglas Imbrogno is a singer-songwriter based in Barboursville, WV. He sings and plays guitar with the four-part harmony electric folk quartet The BrotherSisters while also performing his original songs and select cover tunes a solo performer. His first CD, "Saint Stephen's Dream," featured some of West Virginia's most notable artists as guest performers. The BrotherSisters debut CD, "You Can't Be Lost" (available on CDBaby.com) includes a variety of his original compositions, with songs ranging from introspective ballads to uptempo rockers to a song from a space opera. He spends way too much money at Route 60 Music on musical gear.
-- Chet Lowther has written and performed his songs throughout the Mid-Atlantic region of the United States for more than a decade. In that time, his awards have included first place in the Virginia Organization of Composers And Lyricists songwriting competition. The Lewis County native also has performed in well-known venues throughout the United States and Europe, including the Bluebird Cafe in Nashville, Tennessee and the Sports Palace in Geneva, Switzerland, while closer to home, he has played at the Clay Center in Charleston as part of the Woody Hawley Concert Series. Besides his original compositions, he also performs an eclectic and compelling mix of cover material in the rock, folk, blues and pop genres. Chet's first CD, "Wildcat Road," garnered excellent reviews. He is recording his second CD release. Chet also is a visual artist.
Despite nasty weather -- a torential rain storm moved in just as the show was started -- the fans came and nearly all the chairs in front of the show were filled. And the show raised hundreds of dollars for the month's charity, Huntington City Mission.
Here is the video of the full 90-minute show, hosted by Randy Yohe and Michelle Lewis, complete with storyteller Dave Peyton's yarn about his witchy great grandmother and tuneful interludes by our house band, The 1937 Flood.
We had two veteran area entertainers with national reputations on hand for our second big Route 60 Saturday Night! show:
-- Rob McNurlin was raised in Eastern Kentucky, the hymns in church, the Johnny Cash Show on TV, a harmonica from his grandmother, his parents records and a guitar on his ninth Christmas set him on a very musical path. He began studying traditional music learning hundreds of folk, hillbilly-blues and Gospel tunes. Inspired by Cash, Dylan, Woody Guthrie and Hank Williams he started writing songs and mixing these originals with the traditional .Rob has released nine cds including "Cowboy Boot Heel", recorded at Johnny Cash's Cabin Studio, produced by his son John Carter Cash and a duet with guest Ramblin' Jack Elliott..
-- Kanawha Tradition featuring Bobby Taylor. Bobby is a fourth generation West Virginia fiddler who has played the fiddle for over 40 years, starting at the age of 13. He learned his music from the legendary Clark Kessinger and Mike Humphreys, both of whom lived near where he grew up in Dunbar, WV. Bobby has also studied countless American fiddle styles and conducts workshops showcasing his special blend of various styles. He retired from playing contests in 1977 to start coordinating contests for the West Virginia Division of Culture and History. Among his wins is the 1977 West Virginia State Open Fiddle Championship in Elkins, WV. This prestigious contest allowed all champions from other states to enter as well as West Virginians, drawing in fiddlers from all over the eastern United States and as far as Canada. He will appear with his group, Kanawha Tradition, featuring old-time banjo picker Kim Johnson.
We had standing room only for the evening's show, and, through the gracious help of our friends, we raised hundreds of dollar for the month's charity, the animal rescue efforts of Little Victories.
Here it video of the full 90-minute show, hosted by Randy Yohe and Michelle Lewis, complete with storyteller Dave Peyton's yarn about his witchy great grandmother and tuneful interludes by our house band, The 1937 Flood.
And here's an extra! On the Tuesday night before his performance, Rob McNurlin dropped by The Flood's weekly rehearsal to work out a few tunes. Here's his "I'm Working on a Building" from that night which we used in a YouTube promo for the show, as you'll see.
We were honored to have two exciting young singer-songwriters as our featured guest artists for our inaugural Route 60 Saturday Night! show.
-- Sasha Colette is an Olive Hill, Ky., native, who makes a soulful, bluesy mix of folk and rock, what one critic called a "sweet mix of hillbilly meets hippie."
-- Traci Ann Stanley, a Prichard native who parlayed her job in a radio sales department to featured time on the other side of the mike to opening for touring Nashville stars including LeAnn Rimes, Kelli Pickler, and even superstar Kenny Chesney.
We had a fantastic crowd. It was standing room only at Route 60 Music Co. We were thrilled. The only hitch was that our plans to broadcast the 90-minute premiere show on Facebook Live were thwarted by some goofy wifi. But persevering in that technological maelstrom, Vicky and Randy Yohe were able to get us enough video from the night for this nifty little 8-minute sampler of the fun we had. Click the link at the right to see it.