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Damian Jude Mancini died suddenly on Saturday, Aug. 26 at his home in upstate Cortland., where he owned an auto dealership. He was 47 years old.
Mancini was born in February of 1970 in Yonkers, the son to Arthur and Ellen (Stubenvoll) Mancini of Brewster.
Damian graduated from Brewster High School in 1988, attended Florida Atlantic University in Boca Raton, FL and graduated from Tompkins Cortland Community College. Damian was the owner and operator at Evolution Auto in Cortland, located off I-81.
Damian loved billiards, participating in many pool tournaments. He had a passion for business, cars, cooking, history and he enjoyed singing. He was a dedicated volunteer for the Salvation Army. Damian was known for his big heart and his sense of humor.
Damian is survived by his parents, his daughter Anna Marie Mancini of Sedona, AZ, his son Giancarlo Mancini of Cortland, NY his son Nicholas Mancini of McGraw, NY, brother Francis Mancini of New Paltz, NY, brother Gregory Mancini of Brewster sister Christine Mancini of Brewster and his niece Gabriella.
The entire family is grateful for the gift of Damian's life and love and he will be greatly missed.
The family will receive friends at Beecher Funeral Home, 1 Putnam Avenue in Brewster on Thursday, Aug. 31 from 4 p.m. to 8 p.m. with a service at 7 p.m.. A graveside service will take place on Friday, Sept. 1 at Milltown Rural Cemetery in Brewster at 11 a.m.
There will be a memorial celebration of life for Damian on Sept.10 from noon to 3 p.m. at Uncle Louie's Backyard, 294 Tompkins Street Cortland 13045.
In lieu of flowers, contributions may be made in Damian's memory to a fund for his three children on youcaring.com.
Click here to sign up for Daily Voice's free daily emails and news alerts.


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Athlete Registration and Eligibility
There are two ways to access programs, support and services:
- You receive funding through the Athlete Assistance Program from Sport Canada (carding) and currently reside in Alberta.
- Your name is listed on a Canadian Sport Institute Approved Training Group (TG) roster submitted by your National Sport Organization
Registration Process
To book an appointment to complete the registration process with the Life Services Manager, or to learn more about qualifying for services at the Canadian Sport Institute, please call 403.202.6809 or email the Athlete Services Coordinator at email@example.com.
Coaches are encouraged to book an information session with the Life Services Manager to review the programs and services available to athletes as well as themselves.
Visiting Athletes
Carded athletes traveling to Calgary for training or competition who wish to access services during their stay should contact Cara Button, Life Services Manager, upon arrival at 403.220.8184 or by email at firstname.lastname@example.com

subset: commoncrawl


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XOXO Festival
Update: 50 hours after launching, we're sold out of conference tickets! Thank you! If you missed it, you can still grab the DIY Kit to experience some of XOXO at home. Or come out to the market, which will be open to the public on September 14-16. All the details are on the official XOXO site.
Hey Kickstarter! We're organizing XOXO, an arts and technology festival in Portland, Oregon this September 13-16th.
XOXO is a celebration of disruptive creativity. We want to take all the independent artists using the Internet to make a living doing what they love — the makers, craftspeople, musicians, filmmakers, comic book artists, game designers, hardware hackers — and bring them together with the technologists building the platforms that make it possible. If you have an audience and a good idea, nothing's standing in your way.
XOXO is in three parts:
- Conference (Saturday – Sunday). Talks from artists and creative technologists around the country that are breaking new ground.
- Market (Saturday – Sunday). A large marketplace with a tightly-curated list of the best of Portland's arts and tech scenes, sharing and selling their work, with food supplied by the best of our thriving food cart scene.
- Fringe (Thursday – Sunday). A series of unique events around the city, including live music, film screenings, indie videogames, and craft beer and coffee tastings.
Portland's the perfect place for XOXO — it's the most independent and DIY-friendly cities in the world, which runs through every part of its culture. It's no wonder that Portland's one of the biggest cities on creative platforms like Kickstarter and Etsy. This is a great way to experience the best of Portland under one roof.
On the top floor of XOXO, we're building a stage to host a single-track of talks from people we love who are changing the world.
Confirmed speakers include the leaders of amazingly creative communities like Etsy, Kickstarter, Canvas and Metafilter, the fiercely independent creators behind World of Goo, MakerBot, Indie Game: The Movie, Star Wars Uncut, Diesel Sweeties and Black Apple, and industry-changing startups like The Atavist, Simple, CASH Music, and VHX.tv.
The full lineup's still evolving, and we'll announce additions and changes as they happen. So far:
Film - James Swirsky and Lisanne Pajot (Indie Game: The Movie)
Comics - R. Stevens (Webcomic creator, Diesel Sweeties)
Music - Julia Nunes (Independent singer-songwriter)
Art / Illustration - Emily Martin (Author and illustrator, Black Apple)
Video Games - Ron Carmel (Cofounder, 2D Boy / World of Goo)
Hack / Hardware - Bre Pettis (Founder, MakerBot)
Business - Matt Haughey (Creator, Metafilter)
Funding - Yancey Strickler (Cofounder, Kickstarter)
Community - Chris Poole (Founder, Canvas and 4chan)
Education - Kio Stark (Author and professor, ITP at New York University)
Handmade Art - Chad Dickerson (CEO, Etsy)
Music - Maggie Vail & Jesse Von Doom (Directors, CASH Music)
Online Video - Jamie Wilkinson (Cofounder, VHX for Artists / Star Wars Uncut)
Publishing - Evan Ratliff (Cofounder/Editor, The Atavist)
Downstairs, we're taking over the entire ground floor to bring the best of Portland to you — a curated selection of stalls and booths from our favorite local creators, with an active schedule of workshops, performances, and signings throughout each day.
Outside, the market continues with some of our favorites from Portland's ridiculously active food cart scene, featuring a sampling of some of the best food and drinks the city has to offer. We're still reaching out to creators and making the schedule, and we'll announce the festival's project lineup and food carts as we have them.
We're taking the ideas behind the conference and building a fringe program around it, teaming up with local partners to take over venues around the city for a series of unique events, including lectures, workshops, hackspace, live music, film screenings, indie videogames, a craft beer festival, meetups and parties.
This is a perfect opportunity to experience the best that Portland has to offer, to explore the city and interact with its rich maker culture with other like-minded attendees. We're deep into fringe event planning, and will announce updates as the schedule comes together.
We're holding the event at the YU Contemporary in the historic Yale Union Laundry Building in SE Portland, a cavernous two-story brick building within easy walking distance to some of the best restaurants, microbreweries, coffeehouses, and bars in town.
For rewards, we're offering a few options:
- Conference passes. These are limited to the seating upstairs, and may not last long. Backers at this level also get an XOXO shirt and early access to the talk videos.
- The DIY Kit. Can't make it to Portland? We'll send a little bit of XOXO to you. This kit gives you early access to the talk videos, the downloadable assets for our identity, an XOXO shirt, and a box of goodies we love from Portland-area businesses and creators involved with XOXO.
- Talk videos. Backers receive early exclusive access to each of our talk videos as they go online.
We're working with Portland's own Factory North on the XOXO identity, including an exclusive t-shirt design for everyone who attends the conference or backs the DIY Kit. Some samples are above, and we'll announce the final design before the Kickstarter project ends.
Who Are You?
Hey, I'm Andy Baio. I helped build Kickstarter and am a long-time advisor to the team. I've written about Internet culture on Waxy.org for ten years, like making geeky things (see: Playfic, Supercut.org, Kind of Bloop, Upcoming.org), and write a weekly column for Wired.
Hi, I'm Andy McMillan. I run a bunch of different projects under the name "Fiction". Right now it's responsible for Build, a week-long festival, and The Manual, a tri-annual journal, both of which have a focus around designing for the web and who we are as designers.
Have any questions or comments? Ask a question below and we'll do our best to answer.
Special thanks to Paul and Kelly Searle for the video production, and Todd McHatton for the music.
Funding period
- (24 days)


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About FIFA
FIFA President completes Middle East trip in Israel
09 Jul 2013
FIFA President Joseph S. Blatter completed his trip to the Middle East in Israel, where he arrived yesterday.
Accompanied by the President of the Israel Football Association, Avi Luzon, and its Secretary General, Ori Shilo, the FIFA President was received this morning by Israel's Prime Minister Benjamin Netanyahu.
Israel's Minister of Culture and Sport, Limor Livnat, also attended this meeting.
Before departing the country, Joseph S. Blatter also had a personal call with the President of the State of Israel, Shimon Peres.
At a press conference in Jerusalem, the FIFA President stated:
"I'm very happy that Israel's Prime Minister Benjamin Netanyahu opened his doors to receive me and my delegation, as well as the delegation of the Israel Football Association - including President Avi Luzon and Secretary General Ori Shilo this morning. This is a sign that my mandate is of national interest.
"I explained to him the content of the mandate I've been given by the FIFA Congress in May. In a nutshell: to ease the movements of teams, referees - but also football equipment - in and out of and within Palestine.
"I've asked for the Prime Minister's help and he said yes, but with truth and fair-play. He also asked me to help him so that football is not used as a political tool.
"I've suggested that FIFA organises a Task Force with the Presidents of FIFA, UEFA, AFC and the Football Associations of Israel and Palestine. This proposal was welcomed by the Prime Minister. The Task Force will meet in Zurich before the next meeting of the FIFA Executive Committee in October.
"FIFA - and me personally - will continue to work on this dossier. We will keep you informed about the next steps."


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The top advisor to incoming Mexican president Peña Nieto said the world's first full legalization of marijuana in Colorado and Washington "changes the rules of the game" in the war on drugs, The Washington Post reports.
Mexican officials have called for a review of joint U.S.-Mexico drug policies because, as Mexican Congressman Manlio Fabio Beltrones pointed out, "the largest consumer in the world has liberalized its laws."
Over the last six years Mexico has spent billions of dollars per year to combat drug trafficking only to see cartels become stronger and more than 100,000 Mexicans be killed.
We reported that U.S. voters may have won the Drug War on Tuesday because one or more states growing weed could meet most of domestic demand and sink cartel revenues, but Codirector of RAND Drug Policy Research Center Beau Kilmer reminded us that the U.S. government will have something to say about that.
"The scenario where a state or two ends up dominating all of the U.S. market, that requires some really big assumptions," Kilmer told BI. "I have a hard time imagining that the federal government and other states would let that happen."
Imminent resistance aside, the U.S. government may no longer be in the position to force its drug crusade on other countries.
"What happened on Tuesday was a game changer," drug analyst Alejandro Hope from the Mexican Institute for Competitiveness told Time. "Now it would be very hard for the U.S. to tell people not to legalize marijuana."
Even prior to Tuesday, prominent voices including America's closest South American allies, President Obama's drug czar Gil Kerlikowske, Former President of Mexico Vincente Fox, Prime Minister of Canada Stephen Harper, The Global Commission on Drug Policy and the Council on Hemispheric Affairs the U.S.-led drug policy of criminalizing drug use and employing military tactics to fight traffickers has been a failure.
So the U.S. government faces a dilemma: does it double down on a decades-long losing war or accept failure and rethink it's position on drugs, especially its extreme stance on marijuana?
One Mexican national-security expert estimated that the Sinaloa cartel, Mexico's oldest and most powerful, moves a kilo of cocaine over the U.S. border about every 10 minutes. Sinaloa has also been flooding key U.S. cities with heroin and methamphetamine.
And yet weed (along with heroin) is classified as a Schedule I substance—meaning that it has "no currently accepted medical use in treatment in the U.S."—while cocaine, along with meth, is a Schedule II substance.
Mexico may provide a solution by not cooperating with the U.S. drug crusade.
"Why are Mexican troops … searching for tunnels, patrolling the borders, when once [marijuana] reaches Colorado it becomes legal?" Jorge Castañeda, a former foreign minister of Mexico and an advocate for ending what he calls an "absurd war," told The Post.
The irony for the U.S. government is that Mexico, and the rest of the world, now has a U.S. precedent to cite when creating blueprints for a post-Drug War world.
"Now we are not like madmen in the desert," Jorge Hernández, president of the Collective for an Integral Drug Policy and legalization advocate, told Time. "This transforms the debate."


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The rogue warrior who smashes Gatorade dispensers and blows off team charters was absent Friday night at Great American Ball Park, replaced by the dominating pitcher who can also beat you with one swing of the bat.
But after earning his 100th career victory in a 2-1 triumph over Cincinnati, Zambrano vowed to retire in five years.
"After this contract, I'm gone," he said. "I'll betcha $100. I'm serious."
In his first start since serving a six-game suspension, he hit a solo home run for a 2-0 lead in the fifth and threw 6 2/3 shutout innings.
Many consider Randy Johnson the last 300-game winner, partly because quality pitchers make so much money they won't hang around to earn such milestones.
Zambrano signed a $91.5 million deal through 2012, with a vesting option for 2013 at $19.25 million. So why would he retire at 33?
"Because I don't want to play," he said. "I want to help this team. I want to do everything possible to win with this team. And after five years, four years, or whatever is left on my contract. ...
"You know how many Mother's Days I haven't spent with my mother? Twelve. You know how many things I've been [missing] in my life? It's good to be here, it's good to play baseball. But in five years. ... I will retire. And I won't have to see you anymore."
Zambrano had a no-hitter two outs into the fifth inning and allowed only two singles on the night. He passed Bill Hutchinson for sixth place on the Cubs' all-time strikeout list with 1,225 and became one of only 21 pitchers to win 100 games wearing a Cubs uniform.
With the Cubs leading 1-0 in the fifth, the switch-hitting Zambrano decided to bat right-handed against Reds right-hander Micah Owings, citing a bum left hand. The switch worked, and Zambrano cranked a 408-foot home run to right-center, the 18th of his career.
A great leaping catch by Micah Hoffpauir, who robbed Jerry Hairston of an extra-base hit, saved two runs later in the inning, and Zambrano was lifted after 108 pitches in the seventh. Angel Guzman stranded a pair of runners to get out of the inning, but another leadoff walk by Carlos Marmol, in the eighth, led to a run when Brandon Phillips hit a one-out RBI triple.
Kevin Gregg entered in the ninth with a one-run lead and retired the first two men but proceeded to scare the daylights out of manager Lou Piniella. Ryan Hanigan singled, and Hairston reached after striking out on a wild pitch.
Déjà vu for Gregg?
Not this time. Chris Dickerson popped out to end the drama.
"We need to make the ninth inning not as exciting," Piniella said. "My mouth is cotton dry. I feel like a water moccasin."
Buy Chicago Cubs Tickets
Up nextSaturday at Reds, 6:10, WGN-Ch. 9


text: Applies to: Experience Manager 6.4 Forms You're viewing help content for version: 6.4 6.3 6.2 Older Versions This list contains links to the manufacturer websites for all supported application servers. JBoss:http://www.jboss.com/products/platforms/application Oracle WebLogic:www.oracle.com/us/products/middleware/application-server/index.html IBM WebSphere:www-01.ibm.com/software/websphere/ Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy


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Lectures in October 2012
October 12 Second Friday
- Friday, October 12, 2012
- Museum of Art
4–6 PM Hands on! art-making for ages 4+ w/adult (while supplies last)
6–6:30 PM Open Eyes: informal guided gallery conversation
7–8 PM Lecture by Suzanne Folds McCullagh, Curator of Prints and Drawings, The Art Institute of Chicago | Graham Hall, Hillyer Hall
PLEASE BE SEATED: Members reserved seating available Reserve by October 10: email@example.com or 413.585.2777
Image Credit: Bartolomeo Cesi. Bologna 1556–1629 Bologna. A Striding Youth Carrying a Bundle of Sticks; verso,A Veiled Woman Praying, 1591/94. Red and white chalk on blue paper; verso, red chalk. 13 3/8 x 8 5/8 in.; 340 x 220 mm. Private Treasures, cat. 26


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Greenwich radio station to be acquired by retired Hartford exec
A Connecticut man has swooped in to purchase Greenwich's radio station, WGCH AM 1490.
Rocco Forte, a Hartford native and former CFO of Abate Insurance Agency and AIA Risk Services, has filed an application with the Federal Communications Commission to buy the half-century-old station from Business Talkradio Networks, according to a news release received Thursday by WGCH.
The BTRN on Wednesday announced that its assets -- which had been previously placed in receivership by a Delaware court and put up for sale following an executive's involvement in a civil suit brought by the Securities and Exchange Commission -- had been acquired by an Arlington, Texas, holding company, Center Post Holdings.
The terms of neither sale were available Thursday.
Forte, who now splits his time between Lyme, and Sarasota, Fla., is buying the station using an entity called Forte Family Broadcasting. Beginning Nov. 4, his organization will operate the local station under a "local marketing agreement," the release said, until Forte can secure approval from the FCC, which could happen as soon as December.
"I am excited to be able to buy such a heritage station in Connecticut, and look forward to making the 50th anniversary year (2014) of WGCH a successful and even more profitable one," Forte said in the statement.
"My love for radio began in college, when I worked both on-air and in sales," said Forte, who attended the University of Connecticut.
"Now I'll be able to draw on my business experience in marketing and advertising to expand WGCH's client base and enhance its presence in the community."
Current plans are to keep and expand the local news and sports coverage and syndicated talk format. The station broadcasts around the clock and is licensed to Greenwich and part of the Stamford-Norwalk market; it reaches listeners in both Fairfield and
BTRN last year became entangled in the legal troubles of its former CEO, Michael Metter, who was charged with securities fraud related to his tenure as CEO of another company, Spongetech Delivery Systems. The fraud charges against him were dismissed, and he pleaded guilty in January to one count of failure to disclose to regulators some $250,000 he received from the sale of Spongetech stock between 2007 and 2009. He was fined $100 and received five years' probation.


text: A lot of people knock AK type rifles but one thing THEY WORK! On the left is an AK-74 Polish Tantel in 5.45x38 and an Henderson Arms AK 47 in 7.62x39...I am a "gun addict" and just love guns, shooting and hunting....I will post more if others jump in with their fun guns! ARs, Garands, Lugers.......love em all!!!


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The FBI has released a video showing the terrifying speed and force with which a Tsunami hit American Samoa on September 29th.
In the video -- taken from a surveillance camera at the FBI office there -- the wave appears suddenly and sends parked cars crashing into each other with remarkable ease during the deadly deluge. The trucks and cars are tossed around like seaweed. Seconds earlier a man is seen running away from the on-coming tsunami.
The water hit the parking lot at 7:14 a.m. in American Samoa, about 26 minutes after an 8.3-magnitude earthquake shook the South Pacific. At least 183 people were killed in the Sept. 29 tsunami, including 142 in Samoa. An additional 32 people were killed in American Samoa and nine in Tonga.
"As someone who lives on a Pacific island myself, it really brought home the level of destruction that a tsunami brings along with it," said FBI special agent Thomas Simon Jr. in Honolulu.
Check it out:
Visit msnbc.com for Breaking News, World News, and News about the Economy


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Hypersexuality is blamed for wrecking lives and leading to financial ruin, but UCLA researchers suggest so-called sexual addiction may not be a real disorder.
A newly released study published in the journal Socioaffective Neuroscience and Psychology measured how 39 men and 13 women, who identified themselves as being hypersexual, reacted to seeing erotic images.
Researchers found that the brain response was tied to their level of sexual desire, and that having a high sex drive was not necessarily an indication of hypersexuality.
"If they indeed suffer from hypersexuality, or sexual addiction, their brain response to visual sexual stimuli could be expected [to] be higher, in much the same way that the brains of cocaine addicts have been shown to react to images of the drug in other studies," a UCLA news release stated.
According to Nicole Prause, the study's senior author, hypersexuality symptoms, such as uncontrollable sexual urges and frequent sexual behavior, are not representative of an addiction.
However, Prause said the study needs to be replicated before the idea of sex addiction is dispelled.
More Southern California Stories:
- Police Brace for "Bash Mob" Vandals
- Public's Help Sought After Fatal Hit-And-Run
- Mountain Fire Nears Idyllwild, Palm Springs
- Outage Leaves 123,000 Without Power
- SoCal Rally for Trayvon Martin Turns Violent
- Civilians to Issue Parking Tickets in Malibu
- 4-Year-Old Girl Allegedly Starved by Mom
- San Pedro Residents Rally Against Crime


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I'm making a card game and I want to make a shuffle class to randomize the cards.
I'm using an arraylist to store all the cards and I was planning on using the arraylist as a parameter for my constructor, but netbeans won't let me do it.
I was hoping it'd look like
And then I could use that in my main class to shuffle the cards.


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MIST Decorative Wall Tile
GLAMOUR Designs (5 Designs in 4 Colors)
Sizes: 2"x2", 3"x3", 4"x4", 5"x5", 6"x6", 8"x8" and 12"x12" (Texture: ORS / Finish: GLOSSY)
Recommended for Interior Walls (Dry & Wet) and Residential Bathroom Floors ONLY
MIST - GLAMOUR Designs
Misty GREY
Misty IVORY
Misty TAUPE
Misty SLATE
Availability: All items are custom made per order. No cancellations allowed. Allow 2 to 16 weeks for delivery, depending on item and quantity ordered. Most orders are supplied in 4 to 8 weeks. Product Order: When placing an order, please SPECIFY TEXTURE, COLOR and FINISH for EACH item. Texture: Embossed Designs are available in ORS Texture only. Sizes: All sizes are NOMINAL and have the usual hand molded terracotta variations. If an EXACT measure is required, due to layout design or combination with other type of material, please contact us to evaluate all possibilities. Color Variations: All items are produced per order and therefore each order may have a slight difference in color or stain shade with other prior orders. Add-on orders may not have the exact same look as original orders. Decorative Tile Variations: All Decorative Designs items are handmade. Color and design variations, within the same tile or between tiles of the same lot, should be expected and accepted. Digital Colors: Product pictures are intended to be as accurate as possible and should be considered as approximations only. For aesthetic purpose, some pictures may have the grout areas filled using digital colors. Actual samples and/or grouted sample boards (with the Final Finish), representing the "finished" look of the installed tile, should be used in making a final decision.
TICSA proudly produces a wide range of HAND CRAFTED and LUXURY tile products, including:
Handmade Terracotta Floor & Wall Tile- Antiqued Terracotta Floor & Wall Tile- Handmade Glazed Terracotta Floor & Wall Tile - Hand Painted Floor & Wall Tile- Hand Painted Terracotta Glazed Designs - Hand Painted Terracotta Glazed Dots - Handmade Terracotta Floor & Wall Mosaics- Handmade Terracotta Engraved Designs- Handmade Terracotta Carved Designs- Handmade Terracotta Relief Designs- Handmade Terracotta Outline Designs- Handmade Terracotta Embossed Designs- Handmade Pre-Finished Terracotta Floor & Wall Tile- Handmade Pre-Stained Terracotta Floor & Wall Tile- Handmade Pre-Waxed Terracotta Floor & Wall Tile- Handmade Pre-Sealed Terracotta Floor & Wall Tile- Handmade Metal Leaf Wall Tile- Handmade Terracotta Metallic Colors Wall Tile- Handmade Terracotta Extra Large Formats & Sizes- Handmade Terracotta Thin Brick- Handmade Glazed Thin Brick- Handmade Terracotta Thick Brick- Handmade Terracotta Stair Treads - Handmade Terracotta Pool Coping & Deck Tile- Handmade Terracotta Trims- Handmade Terracotta Pavers- Handmade Terracotta Moldings- Handmade Terracotta Glazed Moldings- Handmade Terracotta Architectural & Landscaping Pieces - Handmade Terracotta Custom Colors & Pieces- Handmade Terracotta Mesh-Mounted Floor & Wall Tile- Handmade Terracotta Floor & Wall Tile Patterns & Combinations - Handmade Tile Mediterranean Designs- Handmade Tile Traditional Designs- Handmade Tile Classic Designs- Handmade Tile Rustic Designs- Handmade Tile Vintage Designs- Handmade Tile Modernist Designs- Handmade Tile Art-Deco Designs- Handmade Tile Art-Nouveau Designs- Handmade Tile Andalusia Designs- Handmade Tile Spanish Designs- Handmade Tile Italian Designs- Handmade Tile Medieval Designs- Handmade Tile French Designs- Handmade Cement Tile Style Designs- Handmade Tile Contemporary Designs- Handmade Tile Eurasian Designs- Handmade Tile Russian Designs- Handmade Tile Arabian Designs- Reclaimed Style Terracotta Floor & Wall Tile- Reclaimed Look Terracotta Floor & Wall Tile- Old World Style Terracotta Floor & Wall Tile


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Who do CEOs look up to?
Marissa Mayer, CEO of Yahoo, admires 2002 Olympic gold medalist Sarah Hughes. The figure skater was an underdog who landed on top because everyone who was favored messed up.
Meanwhile, Hughes performed a near-perfect routine. Mayer thinks of her role at Yahoo that way.
"No one thought Sarah Hughes had a chance to win," Mayer tells Bloomberg Businessweek. "Afterward, Hughes said that she didn't quite know how she had done it and she wasn't sure she would ever be able to repeat it. It was the routine of her life…I feel like Sarah Hughes. Actually, I still have her performance saved on my TiVo."
Here's the inspiring performance from the Salt Lake City, Utah 2002 Olympics:
Get the latest Yahoo stock price here.


text: The view from above at the Statue of Liberty, where webcams were turned on today. EarthCam.com hide caption toggle caption EarthCam.com The Two-Way Live From New York: Statue Of Liberty Webcams Are On October 28, 2011 On this 125th anniversary of the Statue of Liberty's dedication, live cameras have been turned on. The views include a live stream from the lady's torch.


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InDepth InterView: Marshall Brickman Talks JERSEY BOYS From Stage To Screen, Plus ROY ROGERS, ADDAMS FAMILY, Woody Allen & More
Today we are talking to a spectacularly talented screenwriter and bookwriter known for his legendary string of onscreen collaborations with Woody Allen as well as for writing and directing films himself in addition to penning the Best Musical Tony Award-winner JERSEY BOYS and others - the accomplished and entertaining Marshall Brickman. Discussing bringing the tale of Frankie Valli and the Four Seasons via JERSEY BOYS to the stage as well as the new big screen movie musical adaptation that is finishing up principal photography, directed by Clint Eastwood, Brickman outlines his role in the international stage sensation and what we can expect from the highly anticipated celluloid creation on the way in 2014. Besides JERSEY BOYS, Brickman also sheds some light on the ongoing success of THE ADDAMS FAMILY, touring the country and being performed around the world. Plus, Brickman shares first details on his new musical project, a biomusical based on the life of legendary 20th century American entertainer Roy Rogers. Additionally, Brickman details the finer points of his decades-spanning collaboration with Woody Allen on an incomparable assortment of modern comedy classics, including MANHATTAN, SLEEPER, MANHATTAN MURDER MYSTERY and the iconic, Best Picture Academy Award-winning Annie Hall, for which he and Allen received the Oscar for Best Original Screenplay. All of that, reflections on his early career working in the Golden Age of television with legends like Johnny Carson and Dick Cavett and comments on some of his own projects as a writer/director (like bringing Christopher Durang's SISTER MARY EXPLAINS IT ALL to the small screen), as well as how his skilled banjo playing figures into a classic DELIVERANCE Hollywood moment, developing a new The Mamas & The Papas biopic - and much, much more! Talk Like A ManPC: Would you comment on the fact that five movie musicals are currently likely for release in 2014 - one of them being your very own JERSEY BOYS? MB: Well, I don't think it's such a crowded field - I think it's great, actually. But, really, all I can say is I wish everyone well! You know what they say: a rising tide floats all boats. So, I think they will each stand on their merits - just as any movie stands on its merits. Some will work and some less so. I mean, remember RENT? Didn't quite work.PC: Movie musicals are tough. Could you take me through the process of how the screenplay for JERSEY BOYS developed? John Logan was involved at one point when the film was with Jon Favreau as a director, of course. MB: Here's what happened: part of the understanding when Rick [Elice] and I signed on with Bob Gaudio and Frankie [Valli] and ultimately the Dodgers to do the stage musical was that we had first refusal on the screenplay, which we did. So, we wrote it and Sony didn't like it or somebody didn't like it and then they hired John to do it. PC: Was the screenplay close to the stage show? MB: No. No, it wasn't. It was enough of the stage show so that people who had seen the stage show would come and not only not be disappointed, but they would be even more excited to see the stage show and all of this other stuff that we added that we knew after having had spent so much time with the guys and having done so much research and knowing stuff that basically no one else really knew. So, what happened was that that screenplay, more or less, is now being shot by Clint.PC: John Logan and Jon Favreau's version came in between, then? MB: Yeah, I'm not sure if Favreau was brought in before John did his second version or after - and, I'm not sure why he left. We weren't really part of that whole negotiation period where the movie was landing at different studios, but it's ended up at Warner Brothers now that Clint Eastwood is doing it. To be honest, we weren't keeping the pulse of it at every minute because otherwise we would have had a heart attack! [Laughs.] PC: Was Des McAnuff considered to direct? What about Martin Scorsese? MB: There were a lot of directors early on who wanted to do this - the top of the A-list. I can't get into it with the tape recorder on, though, Pat... [Laughs.]PC: It's great to know that Eastwood's film will be following your original vision for the movie musical version of JERSEY BOYS. When did you first pitch the movie concept? MB: We didn't pitch the movie until many, many years after we were on Broadway, actually. It was only after the rights were acquired that we even started working on the screenplay. Since we had first refusal, there wasn't really any pitch, per se - we wrote it and now it's being done. Clint Eastwood apparently only agreed to do this after his A STAR IS BORN got put on the back burner and he was looking around for another project and he happened to be in Vegas, so he saw JERSEY BOYS and they called us from Vegas a little later and said, "Guess who's back to see the show tonight - again?!" It was Clint. And, we said, "Hmm. That's interesting!" And, so, as it turns out - and I haven't been on the set myself; neither has Rick - everybody is just thrilled with it so far. You know, he is a great director, especially when you look at his resume and all the great films he has done. PC: Have you seen the casting tapes for the various actors who auditioned for the main parts? MB: Well, I've only been involved in the casting in the sense that Clint - in his vast genius - primarily cast with actors from the stage show. PC: Indeed. Christopher Walken, Vincent Piazza and Kathrine Narducci are the only major non-stage participants, right? MB: Right. As I said, we mostly got people from the stage except for Vincent from BOARDWALK EMPIRE and Kathrine from THE SOPRANOS, and, of course, Chris Walken who is going to be so wonderful as the mafia guy.PC: An Annie Hall re-teaming, too! Talk about full-circle. MB: Isn't that funny?! I know. I know.PC: Too much. MB: It's like that old saying, though: Hollywood is a small town.PC: He comes from the theatre, as well, in any event. MB: Yes, he does. He's a brilliant, brilliant theatre actor.PC: So, I'm curious: how do you look at how Hollywood has changed in your time? MB: Well, I think that there are so many different venues now - with cable and the internet and the fact that the technology allows you to make a good-looking movie for not a lot of money. I think that all of that has opened up the possibility of an independent cinema now where you can make a movie for a half-million dollars and it looks good on the screen, too. So, I think that part of it is just wonderful. PC: What about writing for cable someday yourself? MB: Actually, Rick and I have been working on something recently that is exactly that - it will either be for Showtime or HBO, I think. But, as you know, there are like 5 or 6 cable companies now that are doing interesting stuff. So, I have an idea that is like, you know, ROME - something that you couldn't do in a film, but you could do it for HBO with all of the vast resources they provide; meaning, lots of money! [Laughs.] PC: Your last movie project was at Showtime, of course, too - SISTER MARY EXPLAINS IT ALL. MB: Oh, yes - that was just a crazy, weird, fun thing to do. Thanks for mentioning that, though.PC: So, what about an ADDAMS FAMILY musical film someday soon? MB: Well, to be perfectly honest, I think the chances of that are probably slim to none! [Laughs.]PC: Your next stage project is the just-announced Roy Rogers biomusical. What can you tell us about that? MB: Am I crazy?! I must be. They came to me with this idea for a Roy Rogers musical and I thought, "This is so outside of my wheelhouse that I just have to do it! This is the ultimate challenge - I have to make this work!" And, so, I think I've come up with something that is going to be really good. But, I hate when writers talk about what they are going to do, though - it's very fatuitous; that is, full of empty promise. So, the less I say about Roy Rogers the better at this point - at least until I get to where it is something that I can be confident about. PC: It's a work in progress at this early stage of the game. MB: It is. But, let me tell you, the more I learn about this guy, the more interesting he gets. I mean, he was the most popular country music star ever! He did a hundred movies! He had millions of people in his fan club. So, I've sort of gotten bitten by the bug about it I guess - I felt the same way back when I was writing JERSEY BOYS, too; I fell for the Four Seasons. I mean, I was a banjo player! I was playing folk music and "We Shall Overcome" while they were doing "Can't Take My Eyes Off Of You". PC: How precisely did you become involved with JERSEY BOYS in the first place? MB: Rick came to me and he said, "This guy has just acquired the catalogue of the Four Seasons and he wants to do a musical like MAMMA MIA!" And, I said, "No." [Laughs.] PC: Classic initial response, right?! MB: Of course. But, then, Rick said, "Listen to their music." And, so, he sent me their double album - the Rhino hits album - and I thought it was really great. It was very eclectic, too - they would use all of these weird instruments and the harmonies and everything; it was both very sophisticated and very simple at the same time. It was a bunch of guys singing about girls - not singing to girls, but singing about girls to other guys, essentially; you know, stuff like "Walk Like A Man" and "Walk Away From Her".PC: An instructive point. MB: Yeah - it all became interesting to me after that. So, I sat down with Bob and Frankie and they said, "So, what about it?" And, we said, "We don't want to do MAMMA MIA!, we want to do your life because your life is amazing - these kids growing up in New Jersey in the ghetto and trying to make ends meet and involved with the mob and all of that." We said, "If you let us do that, that's really worth doing." And, what's also interesting is that people actually didn't know a lot about the Four Seasons - about their background and all of that. They didn't want it to come out, actually, I don't think - you know, some of those guys did time and stuff like that. As opposed to The Beach Boys or the Beatles - everybody knew everything about them - we thought, "Oh, here's a chance to tell a little bit about the inside story of this group who sold 150 million records." And, so, after that, they were pretty good about it. They said, "Go ahead and try it. Do a scenario." So, we wrote a 70-page scenario and they read it and they said, "OK. We're in." PC: Is there anything that you put into the screenplay that you always wanted to put in the show? MB: Yes, there is. A lot. There is so much anecdotal material and interesting stuff that we discovered doing the research that we just couldn't have in there - you know, we wanted people to be able to be back at their cars by 10:30 rather than midnight; so, there were some songs that didn't make it and some anecdotal material in some scenes that didn't make it. And, you know, onstage, what is wonderful is that it is live and it is happening before your eyes, but what is limiting is in terms of locations - so, what we did was we designed the show around a very simple set that could be anything; it could be a bunch of guys in a car or a nightclub or somebody's living room or anything. But, when you have a camera you can go anywhere, so we really took advantage of that with the screenplay. So, yes, there are many scenes and some songs and anecdotal stuff that we couldn't do when we were doing it onstage that we do in the movie. And, then, there is the most obvious thing when comparing the musical to the movie: a song that is two minutes and thirty seconds will hold very well because it's the strong personality of the people who are doing it, but if you just film four guys singing a song for two and a half minutes onscreen it dies. So, you have to come up with a whole lot of other stuff to look at and think about while the song is going on because of that. There were definitely some technical difficulties and challenges that we had to address in translating it. There will be some things that are new that are not in the musical onstage and there are some things that we have taken out to try to make it work better. PC: Will there be any Four Seasons source records used, as far as you know? MB: I don't think so. I think the songs that are in the show - the 30 or so of them - are all going to be performed by the actors in the movie. There will be no source records, I don't think - I don't think they want people to compare them. And, you know, the tempos are different and the feel and the tone is different, so I think - and Clint is very savvy about this stuff - we want it all coming from the same source; the performers.PC: It will run shorter than the show, as well, I assume? MB: Yes. You have so much more information coming off the screen per minute than you do onstage that you don't really miss anything, though. They are really very, very different media, after all. So, it should be around an hour and forty minutes or so, I would say. PC: Are you looking forward to seeing the final finished film, particularly now that shooting has wrapped? MB: I am. I would think Clint would ask Rick and I to come in and see it just to see what we think of it, but he may want to keep it private. On the other hand, I am happy just to go to the premiere! [Laughs.] I say, you know, "Get it out there and it will help the theatrical version." As you may know, there hasn't been a movie made of a Broadway musical currently running that hasn't helped them. I can't wait to see it.PC: Moving from musicals to your comedies: is it true that there is a connection between Annie Hall and MANHATTAN MURDER MYSTERY? Elements from the latter in the former script or vice versa? MB: Someone else said that to me, too - but, no, there is not. It was an idea Woody had years and years ago and I guess he put it in the drawer, but, then after we had done a bunch of films he said, "I've got this idea, why don't you write it?" And so we talked about it a little bit - you know, just a couple of conversations - and then I went off and wrote it. But, then, something happened and it was one thing or another and Woody ended up directing it and he was in it, too - but, it had nothing to do with Annie Hall, really. It was its own thing - MANHATTAN MURDER MYSTERY.PC: How does your process work with Woody? Do you write together or separately and then revise together? Perhaps rewrite each other's work? MB: A little bit of all of that. The work process on the first one, a screenplay we did years ago, before SLEEPER, never saw the light of day - we didn't like it and so it just went in a drawer - turned out to be mostly ineffectual and time-wasting, where we would literally discuss each line of dialogue as we went along. That turned out not to be the way to write at all. PC: What did you find did work? MB: We would talk out the shape of the thing, and, then, the finer points - more or less what the scenario would be - and then what happened usually would be that Woody would go off and write a draft and then he would come back and give it to me. So, then, you know, it was always brilliant! After that, there was some stuff of his that I'd have a lot to do with and some not a whole lot. Usually I'd suggest a few things and we would go back and forth and I'd work on some scenes, too. Because he was in these things, though, too, who better than Woody to write for himself?PC: Nobody. MB: Right. So, the structural part of it and the initial ideas and scenario we would usually work out together first and then he would go write the first draft and give it to me and we would trade off back and forth rewriting it. Actually, most of the time we would walk around New York City and just talk it out - endless walks...PC: How picaresque - like an actual scene from a classic Woody Allen film! MB: Exactly. Endless, endless walks.PC: Where? Central Park? MB: Sure. Central Park or wherever. Everywhere. And we'd talk about the whole scenario and the script and then we'd talk about food and we'd talk about women and we'd talk about how terrible the business was and all of that, too. PC: Are you more the Yale to Woody's Woody, then, to cite characters in MANHATTAN? MB: Oh, no, no - I'm not Yale at all! [Laughs.] We didn't split it up like that, though, either. I'm too Jewish to be Yale!PC: How did you and Woody meet in the first place? I would assume through show business given you have a colorful past. MB: I do, I do - you're right. I tell my kids, "My life is no example of how to plan a life!"PC: You can't plan a life anyway, though, can you? MB: No, I guess not - but, basically, I have just taken each step to avoid falling on my face. I didn't ever really set any long-term goals or agendas, but, as it turns out, when you look back on your life there is usually a pattern of some sort there and I think for me the pattern is that I usually wanted to do projects where I didn't mind having lunch with the people working on the project - that was my main criteria. Honestly.PC: It worked out pretty well, to say the least! MB: It did! To answer your question, though - the way we met: I was out of college, not knowing what to do with my life at the time. I had been a banjo player...PC: How unique! MB: I was! I'm telling the truth. And here's a tidbit for you: you know DELIVERANCE?PC: Of course! The most classic banjo scene ever. MB: That was my roommate and I playing that! PC: Tell me the story behind that - this is modern movie history! MB: Well, here's the thing: I was in this group called the Terriers in, like, the middle-to-late-'60s or something like that - just out of college - and there were four guys in this group. Now, it was the middle of the big folk scene, and, so, I was a pretty good instrumentalist - you know, I was this kid from Brooklyn who was infatuated with bluegrass music, and, so I became a pretty good player. But, my roommate in college, Eric, was an even better player and so we put out an album on a little label back then called Elektra Records and it was called NEW DIMENSIONS IN BANJO & BLUEGRASS - it was the kind of thing that Steve Martin and his band are out there doing now.PC: It's a recently revitalized genre in itself, actually. MB: Yeah, yeah, yeah - it is. Anyway, we made this record and it sold like twelve copies or something. So, then, John Boorman was putting together DELIVERANCE and he somehow heard this music and he wanted something like that in his movie. I guess James Dickey, who wrote the novel and the screenplay, had written a scene with a guy with a guitar and the albino kid and the dueling banjos and all of that. But, by then, I was out of the music business and I was Johnny Carson's head writer. DELIVERANCE came out in about '72 or so, I think. So, one day, I got a call from my business manager and he said, "I have this big check sitting on my desk made out to you from Warner Brothers and it's for $170,000 - what's going on?!" And, I said, "I have no idea!"PC: What happened? MB: What happened was the movie came out and they called Eric to come and play dueling banjos with somebody and that's what they used in the scene in the movie. The soundtrack for the ad for the movie was us - these radio spots that Warner Bros was running around the country; the "Dueling Banjos" we did was used behind it. So, in Detroit, somebody sort of locked on to it and kept playing it over and over and people called in and said, "We love it! Where can we find this?" and, so that got back to Warner Brothers Records who went to Elektra Records, who had since been bought, and they reissued our album by Warner Brothers Records. And, now they own our masters. So, what they did was take the first side off the old LP and then slapped on "Dueling Banjos" and the rest of the tracks are all ours from our original album, NEW DIMENSIONS IN BANJO & BLUEGRASS. Then, they renamed it THE SOUNDTRACK TO DELIVERANCE, which it is not, and they issued it - and it goes platinum! PC: No way! MB: A platinum record! And a gold record - back when it passed 500,000 units years and years ago,PC: Did you go see the movie anticipating the music you had a hand in would be in it? MB: I had no idea! It was a total surprise. Of course, in the movie it is Eric and the guy John got to do the scene, but the soundtrack for the movie - what they call the soundtrack; the CD - is our old album. So, I keep getting checks... [Big Laugh.]PC: What a fantastic story. MB: Isn't that weird? It's so weird. But, my goodness...PC: Did you ever consider pursuing songwriting as a profession? MB: No, I didn't. The reason for that is the music that I was interested in was usually folk music and that was essentially to meet girls - you know, you could show off, but you were protected in a way and there was no risk. I'm actually working on writing a movie about that era and about John and Michelle Phillips and The Mamas & The Papas right now, as a matter of fact.PC: What a fabulous project that could be! So many great songs from that catalogue. MB: Yeah, Michelle called me awhile ago and she said, "We want to make a movie. There's some interest in doing something about the rise and the fall of the group and we couldn't think of anybody better than you since you were there!" [Laughs.]PC: A first-hand account. MB: Yeah! You see, I was with John and Michelle in this little trio called the New Journeyman and it got too crazy for me - I mean, I was with the New Journeyman for eight or nine months and they were all so stoned and everything and I am basically just a nice Jewish boy trying to do well and so I said, "I love you all, but I want to be a writer - I don't want to carry a banjo around for the rest of my life." PC: You're more likely to reenact the cocaine sneeze from Annie Hall in real life, right? MB: Oh, that's so funny you mention that - that's a perfect example of how Woody and I used to work. He was in the middle of shooting Annie Hall, and, so, occasionally he would call and say, "There's this scene and it's followed by this other scene but we need something in between them - a transitional thing or something to get from one time period or another. I just need a great visual joke or something." So, we talked for a couple of minutes about what we could do and we came up with the idea about sneezing in the cocaine. You know, sometimes the best stuff just comes out of desperation! [Laughs.]PC: Another classic movie moment on your credits. MB: Yeah, we came up with that on the spot - that was not in the original script. That was just sort of a save.PC: Were the dense conversations and intellectual name-drops like Ingmar Bergman and Isak Dinesin in MANHATTAN scripted? MB: Yeah, most of that stuff was pretty much scripted. You see, Woody is not absolutely adamant about getting every scripted comma and word exactly the way it was in the script as long as you get across the idea of the line and say it in your own words. He's very smart that way, because he wants the actors to contribute as much as possible...PC: And with Diane Keaton... MB: Oh, Diane's contribution to Annie Hall was immense - that whole personality and the way she dressed herself and the way that she spoke. I mean, the character that she created is 60% of that film.PC: The juxtaposition between her performances in your films with Woody is so impressive - SLEEPER to MANHATTAN MURDER MYSTERY. MB: The range that she had that she could do all of that - the intellectual stuff in MANHATTAN and then Annie Hall and MANHATTAN MURDER MYSTERY and the silly stuff in SLEEPER; she's extraordinary. An amazing talent. PC: Would you be open to collaborating with those two again in the future? MB: We flirt with it, yeah. It's a bit of the ROBERT & MARIAN problem - the Sean Connery and Audrey Hepburn movie; Robin Hood and Maid Marian thirty years on. All I can think is that people are going to look at it and say, "Well, she aged pretty well, but maybe he hasn't," or whatever. You know, there's always that risk that you want people to remember the characters and the movies the way that they were when you first saw them. So, I think that in terms of doing a sequel to Annie Hall, we would move away from that sort of thing. I would love to work again with him, though, and we still take our walks in the park. We started out that way many years ago and we still take our walks and talk about the same stuff we used to.PC: Did Woody ask for any advice on the new musical version of BULLETS OVER BROADWAY coming up, particularly given your theatrical hits? MB: Oh, BULLETS is already in great shape as it is! He doesn't need me. I said to Woody, "Oh, who's going to do the libretto?" and he said to me, "I think I am going to. It's not a lot of work. I just have to take out some stuff to make room for the songs." So, I certainly think Woody is clever enough to create a libretto from a movie of his own. PC: Speaking of your hits, what can you tell us about the new ADDAMS FAMILY tour? MB: You're right - there is a new tour going out. You know, we just can't kill it with a stick! I mean, it keeps living! [Laughs.]PC: What a way to put it. MB: After our sort of rocky entrance onto Broadway, as we stumbled in from Chicago, I just thank God for Bebe [Neuwirth] and Nathan [Lane] - they gave us a really nice run in New York and so after that we thought that was going to be it. But, the guys who have the subsidiary rights have been great and have booked this thing all over the world, so go figure.PC: Is it true the first tour was professionally filmed? MB: No, I don't believe it was. You can check with the producer, but I don't think it ended up happening - I know that they were trying to do it, but they never quite came up with the right deal or the right money or whatever they needed. PC: What are your thoughts on in-theater showings of filmed productions being so popular recently? MB: Oh, I think it's great that people who can't come to New York can see the performances and get the chance to go to their local movie theater and see it instead - it brings more attention to Broadway and to the theatre and that's a great thing. What could be bad about that? They are great performances, too.PC: Lastly: one of your own writer/director projects, SIMON, is now available on demand and in a new DVD release, in case you were not aware! MB: Oh, how wonderful! Thank you for telling me that. Hopefully, now I can look forward to a check for 92 cents or so! [Laughs.] Honestly, though - that's great. Thanks for telling me. I hope some new people get the chance to see it.PC: Thank you so much for this today, Marshall - what a fascinating life and career you have had so far. MB: So far! So far. Don't get me depressed now, Pat. [Laughs.] Thank you for being so nice and I appreciate this so much. Bye bye.
Photo Credits: Walter McBride, etc.


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Baby girl shot 5 times dies, father survives
Authorities say a 6-month-old Chicago girl who was shot five times Monday while her father was changing her diaper has died.
The Cook County Medical Examiner's office said Jonylah Watkins died Tuesday morning at Comer Children's Hospital.
Her father, Jonathan Watkins, was also shot and is in serious but stable condition at Northwestern Memorial Hospital.
Police are searching the South Side neighborhood of Woodlawn, where the shooting happened and looking for security footage that might help them track down the shooter.
Witnesses said the shooter fled in a blue van.
Authorities said a gunman approached Jonathan Watkins while he was standing outside of his minivan and changing his daughter's diaper while she was lying in the front seat.
Chicago Police Superintendent Garry McCarthy said the father of the slain girl has an extensive criminal background and is a gang member.
McCarthy spoke at a news conference Tuesday hours after Jonylah Watkins died.
McCarthy said he's not sure whether the Jonathan Watkins will decide to cooperate with police. He said authorities have surveillance video of a blue van believed to be the gunman's getaway vehicle.
McCarthy said police saturated the neighborhood Monday night to prevent retaliation for the baby's shooting.


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Originally published in Travel + Leisure, October 2009
No one can agree precisely when it started, let alone where it starts.
South of Houston Street? 14th? 23rd? Does it include the farther-flung galleries of Chelsea? The Financial District? Do the leafier blocks of the West Village still count, or are check-cashing joints and graffiti a prerequisite? Some say Downtown New York is less a place than an idea, more about sensibility than geography. (For the purposes of our discussion, let's call it the swath between 14th and Chambers Streets, from the Hudson to the East River.).
The one thing New Yorkers can agree on is that Downtown just feels different. You sense it the minute you cross that disputed border. Few cityscapes have such recognizable iconography—the cast-iron façades of SoHo, the Belgian block–paved lanes of TriBeCa, the water towers punctuating rooflines like squat wooden rocket ships, the hoardings plastered with dance-mix ads, the congee joints and Puerto Rican bodegas, the bodega that last Tuesday became a bistro.
Funky. Gritty. Hip. Eccentric. Indie. Irreverent. Cool. The prefix Downtown has come to connote all sorts of things, not all of them endemic to Lower Manhattan. Downtown's attitude and aesthetic have been codified, commodified, and sold in a million pieces, such that any clued-in kid visiting from the mainland can dress the part and pass as a local. And while it's still the de facto hub, Downtown no longer corners the countercultural market in New York. Artists, designers, and musicians—and the galleries, shops, and clubs that support them—are increasingly drawn to the cheaper reaches of way-Uptown and the outer boroughs. It's a sign of the times that most of New York's top rock acts (MGMT; TV on the Radio; the National; the Yeah Yeah Yeahs; Santigold; the Hold Steady) are based in Brooklyn.
You might conclude that the bohemian culture Downtown nurtured as its own has up and moved elsewhere. No question, this isn't the Lower Manhattan of your uncle's hard-core band. Money, both corporate and private, plays more of a role here than ever: the median price of a two-bedroom condo is $1.37 million, compared with $315,000 in 1993. Not even 9/11 could knock Downtown off its gentrifying trajectory. Today, the area has far fewer art galleries, far fewer poetry clubs, and six American Apparel stores. It is markedly easier to buy eye shadow than a New York Dolls record.
Yet underneath the spit-shine gloss—in the cracks between La Perla and L'Occitane—that churning, inventive, pioneering spirit improbably surges on. You can see it in the young provocateurs of fashion, art, and design who followed their muse to Lower Manhattan, in spite of the costs. You can hear it at experimental music venues like (Le) Poisson Rouge and the Stone (run by avant-garde hero and longtime Downtowner John Zorn). You can knock it back in the innovative new breed of cocktail bars—including PDT, Pegu Club, Mayahuel, and Death & Co.—that are transforming New York nightlife. Downtown has become the anchor of the city's restaurant scene, as well as the preferred location for new hotels. And after decades in the doldrums, New York is finally back to creating bold new architecture, much of it below 14th Street: Witness the fabulous New Museum, opened in 2007 on the Bowery, and, nearby, the soon-to-rise headquarters for the Sperone Westwater gallery, designed by Norman Foster. Even those interloping luxury brands and national chains are copping a Downtown edge: consider Derek Lam's striking new SoHo store, by Japanese firm sanaa (who also designed the New Museum), or J.Crew's actually-quite-hip men's emporium in TriBeCa, the Liquor Store (co-conceived by Andy Spade).
"If one reads anything about the history of New York, one sees that it's a whole different city every ten years," says Sean MacPherson, who, with the Bowery Hotel, has done plenty to define the current phase. I'd say his timetable is off by about, oh, 10 years. These days, Downtown changes itself every other week.
More than most parts of New York, Downtown readily evokes Then and Now, Before and After. History is forever bursting to the surface here, like the underlayers of subway posters for last season's blockbusters. For this reason Downtown also evokes in its denizens a keen sense of nostalgia, usually of the pessimistic sort: Everything went downhill after Florent/CBGB/the Mudd Club closed. Alphabet City was better when it was just artists and dealers and thieves. TriBeCa was better when it didn't exist. I moved to Manhattan at age 24—in time to catch Jeff Buckley at Sin-é but too late to glimpse Basquiat chalk-painting sidewalks. Whenever you arrived, it seems, you were either too late or too old.
A favorite lament concerns the Fall of SoHo—where, eight years ago, in a metaphor too preposterous to make up, the Downtown branch of the Guggenheim Museum was replaced by a Prada store. It's true that SoHo's most recent metamorphosis is startling even in a city defined by metamorphoses. But too often we neglect the long view—and across its history, the curious expanse between Houston and Canal Streets has seen plenty of ebbs and flows. Mostly farmland in the 18th century, it became, by 1825, one of the richest and most densely populated neighborhoods in Manhattan. John Jacob Astor was a principal landowner. But trendiness had its drawbacks. The 1860's saw an influx of high-end retail—Tiffany; Lord & Taylor—that forced out a quarter of its residents. (Does any of this sound familiar?) It was at this time that SoHo's iconic architecture took shape: the grandly ornamented commercial buildings and warehouses clad in cast iron. But in the 1890's retailers began relocating Uptown, and SoHo spiraled into decline; through the first half of the 20th century it became a wasteland known as Hell's Hundred Acres.
"The Fluxus artist George Maciunas really pioneered SoHo as a place to live and work," explains Lisa Phillips, director of SoHo's New Museum. Starting on Wooster Street in 1967, Maciunas set up co-ops in disused cast-iron buildings. So began the rise of New York's most famous artists' colony. "It was about more than just affordable space," Phillips says. "It was about seeing beauty in unconventional environments—living in those interzones, in places that people wouldn't normally think of as appropriate or safe."
It's easy to forget how desolate the city used to feel south of Houston Street. In 1970, TriBeCa had only 243 residents. Today, it has 26,151. Downtown still came off as a wild, vaguely menacing frontier as late as 1985, when Martin Scorsese shot his cult classic After Hours here. The film starred Griffin Dunne as an Uptown Mr. Jones lost down the rabbit hole of pre–hedge fund SoHo and TriBeCa. In the course of one long night he's accosted by burglars and mohawked punks, flummoxed by a kinky sculptress, chased by an angry mob, and ultimately sent back to Midtown encased in plaster of paris.
"At the time it was all just called Downtown," Dunne recalls. "Terms like NoHo, TriBeCa, and Nolita hadn't taken form yet. And it was truly a no-man's-land. There was no traffic to block—we would shoot all night long and no one would bother us."
You certainly couldn't find a place to spend the night back then, unless you count three-dollar SRO's. High-end hotels were scarce Downtown until the mid-90's, when a handful of boutique properties made inroads. Now they're on every other block. The past 18 months have ushered in Robert De Niro's Greenwich Hotel, in TriBeCa; Sean MacPherson's cheap-chic Jane Hotel, in the West Village; André Balazs's the Standard, New York; the Cooper Square Hotel, designed by Carlos Zapata Studio; and the just-opened Crosby Street Hotel, in SoHo, the first stateside property from London's ever-stylish Firmdale group.
Downtown's hotel boom has helped to lure a relatively new demographic over the past decade: tourists. Indeed, some weekends there appear to be more visitors on Spring Street than in Times Square. No surprise, either, for SoHo and its satellite neighborhoods have become retail destinations to rival Madison Avenue, with both global and homegrown brands, outsize designer flagships and back-alley boutiques cheek-by-jowl.
Today even Uptown girls stray as far south as (gasp!) Howard Street, on the grungy fringes of Chinatown, to peruse the racks at Opening Ceremony. Carol Lim and Humberto Leon—U.C. Berkeley grads who'd worked for Bally and Burberry—cofounded the boutique in 2002, selling their own line of clothing alongside a mix of labels from Europe, Asia, and South America. A branch in Los Angeles followed. In August the duo opened an eight-story department store in Tokyo. But their hearts remain in Lower Manhattan, specifically the "alternate universe" of Howard Street.
"This is a tiny pocket of Old New York," Lim tells me. "Even when we opened in 2002, it was deserted after 7 p.m." Yet they found plenty of kindred spirits. "Up the block is E. Vogel, the 120-year-old custom shoe place; Ted Muehling, who's made jewelry around here since the 90's; and newer stores like De Vera and BDDW—it's this incredible little street."
The culinary landscape, too, has exploded. In contrast to a decade ago, most of New York's restaurants-of-the-moment—those that aren't in Brooklyn—are below 14th Street: the Spotted Pig, Locanda Verde, the Waverly Inn & Garden, Elettaria, and the genre-defying, destination-defining restaurants of Keith McNally (including Balthazar, in SoHo; Pastis, in the Meatpacking District; Schiller's Liquor Bar, on the Lower East Side; and the new Minetta Tavern, in Greenwich Village). And then there are the Lower East Side's WD-50, where relentlessly innovative Wylie Dufresne conjures his metaphysical cuisine, and David Chang's border-jumping Momofuku empire in the East Village. It's hard to imagine these latter restaurants—defiantly casual, offbeat, often quite affordable—existing anywhere but Downtown. And its appeal—for both diners and restaurateurs—remains undiminished (if not enhanced) by the area's gentrification. As Graydon Carter, co-owner of the Waverly Inn, says, "In any other city, downtown connotes a raffish, unbathed, countercultural sensibility—what Republicans would call 'edgy.' In New York it's all of that, plus it's geographically accurate."
Even Uptown chefs are migrating south. Daniel Boulud, whose namesake French restaurant sets the standard for Upper East Side fine dining, has arrived on the Bowery, of all places, with a resolutely informal, resoundingly loud boîte called DBGB Kitchen & Bar. (Yes, the name is a pun on CBGB, whose former quarters are just up the block; the legendary rock club closed in 2006.) Hearing the Replacements blasting while sampling Boulud's note-perfect charcuterie is quite the novelty. But if there's a disconnect between his name and the neighborhood, Boulud doesn't see it. "I've been a New Yorker for twenty-five years, and just happened to drop my suitcase Uptown," he says. "I've been coming down here just as long—partying, visiting friends. So opening a restaurant here seemed natural."
But Boulud might not have chosen this quirky strip were it not for the futuristic edifice looming down the street. The New Museum recalls a seven-story stack of gift boxes (an allusion to SoHo's retail transformation?). The setting is incongruous: two blocks north of a shop with a sign proffering cash registers, slicers, scales, bandsaws and two doors up from the Bowery Mission homeless shelter. Yet the museum embraces its context with an exuberant hell, yes! (so reads the rainbow-colored sign on the façade, an installation by Swiss artist Ugo Rondinone). The purview is global, yet the curators are dedicated to exhibiting artists who still live and work in Downtown, such as the up-and-coming Corsican-born multimedia artist Agathe Snow and established artists like Laurie Simmons.
"We were keen to bring a great work of architecture to the city, and to this street specifically," Phillips says. "The hope is that the Bowery will become a sort of laboratory for experimentation in architecture and design." It's certainly become a bona-fide tourist destination. And the museum has spurred an unexpected revival of the Bowery: besides DBGB and the Bowery Hotel, recent openings include Double Crown, a restaurant-lounge from design collective AvroKO; the clothing emporium Blue & Cream; Bowery Electric, a bar and rock club co-owned by musician Jesse Malin; a soon-to-debut pizzeria from McNally; and, in the former CBGB space, a splashy John Varvatos store.
Hold on, you say—the birthplace of punk rock is now a fashion boutique? Well, as Dave Navarro of Jane's Addiction put it recently, "Better this than a Pinkberry." To Varvatos's credit, rock and roll has always been part of his brand's aesthetic; he even hosts a monthly music show on Sirius XM. The Detroit native vividly recalls his first trip to New York in 1977—a pilgrimage to see the Ramones at CBGB. Now, in CB's old digs, Varvatos embraces his inner rock geek: selling vintage vinyl, displaying punk memorabilia, staging free concerts, and treating the room less like a clothing store than, well, a club.
"We see it as a cultural space," he says. "No way are we trying to emulate what was here before, but we wanted to keep to the history, and to keep music alive in the Bowery. We have a stage and a P.A., so on any given day, people show up and play—the guys from Cheap Trick, Ringo Starr, the New York Dolls." And plenty of curious young rock fans who aren't remotely interested in fashion drop in to the store just to see where CBGB once was.
Downtown is a place of endless collisions and near-misses, where disparate worlds rub up against one another with remarkable familiarity. Here's Yonah Schimmel's bakery (opened in 1910) abutting an art-house cinema; there's the Bowery Hotel sidling up to a methadone clinic. In an East Village basement, the sultry speakeasy PDT hides behind an unmarked door in a hot dog joint, while over on the West Side, a derelict elevated freight railroad is abloom with flowers, transformed into the city's newest park.
The High Line—the former railroad in question—is an apt symbol for Downtown's quirky charms, struggles, and (continual) rebirth. Yet were it not for the vision of two ordinary citizens, artist Robert Hammond and writer Joshua David, the High Line might be just a memory. Hammond moved to New York in 1993 and was captivated by the Meatpacking District and West Chelsea—semi-industrial areas "that weren't traditionally beautiful, that some consider eyesores." The High Line in particular caught his imagination: a rusted jumble of steel girders, concrete, and shadow that wound through Manhattan's far west side. Built in the 1930's, the 1.45-mile-long railway had been unused since 1980 and was marked for demolition. At a community board hearing on the subject in 1999, Hammond met David, and the two founded Friends of the High Line, an advocacy group dedicated to saving the structure. FHL would go on to raise $150 million to recast the railway as a pedestrian park.
"Downtown has more of the juxtapositions I love about New York—the glamorous and the gritty, the hard and the soft, the old and the new," Hammond says. "That's why I love the High Line: Who would have imagined a steel structure with wildflowers growing on top?" The first section of the park opened last spring to rave reviews.
"It's specifically a Downtown thing. It could go anywhere, but it makes more sense here." Andy Spade—founder of Jack Spade, husband of Kate, and all-around Renaissance man—is discussing his latest venture, Partners & Spade, an ephemera shop/exhibition space/creative consultancy headquartered on Great Jones Street. On any given day P&S's stock might include riding crops, antique globes, Super Balls, and a vintage photography book titled Brokers with Hands on Their Faces. For a time they also sold vintage guns. Oh, and live birds.
Spade remains dedicated to Downtown, but he admits misgivings. "It doesn't have as much diversity as it did, just because of how expensive it is to live and rent space here. I think half of Downtown has moved to Brooklyn," he says.
There are those who feel Downtown has betrayed itself—or, more to the point, them—in the name of mammon, that money has broken Downtown's spirit. Resentment over gentrification is nothing new, but it's grown increasingly bitter in the past 15 years. (That Guggenheim-Prada switch didn't help.) "For the first time in Manhattan's history, it has no bohemian frontier," declared Adam Gopnik in The New Yorker in 2007. "Another bookstore closes, another theater becomes a condo, another soulful place becomes a sealed residence." MacPherson seconds Gopnik's alarm: "I often wonder, Do we really need so many banks?"
But if the effects of millennial prosperity were undeniable, the effects of recession are now plainly visible. Storefront vacancy rates in New York are at their highest since the early 1990's, and a full one in 10 retail spaces in SoHo are presently unoccupied. "With prices loosening up a little," MacPherson says, "there might be more room for more adventurous projects.".
So will the softening of the real estate market spark a revival? Will poets and sculptors recolonize Lower Manhattan? Phillips is optimistic. "Downtown still represents the vanguard of the counterculture. There's still a lot of renegade thinking that takes place here—and the downturn is going to bring even more changes."
"Art and music do seem to be more inspired when people are struggling," Jesse Malin observes. "Downtown always needs that next kick in the ass."
If novelty is one of the only constants in New York, there are also places whose constancy is the novelty. Places that have held on so long they might as well be preserved in vinegar. Places like Russ & Daughters, the Jewish "appetizing" shop that's occupied the same Houston Street storefront since 1920. It's the sort of spot where you might join a nonagenarian widow, a tattooed drummer, and Harvey Keitel in line for bagels and whitefish.
"All these hipsters who've settled in the neighborhood are now discovering us," says Niki Russ Federman, the 31-year-old great-granddaughter of founder Joel Russ. "You'll see them chatting with the grandmothers, sharing tips—'Oh, you have to try the wasabi-roe and cream-cheese sandwich!'"
Federman remembers a wholly different neighborhood from her youth, when the Lower East Side was still dominated by working-class families. Its transformation into a trendsetters' bastion is now complete, though traces of the Old World remain: in the cacophonous weekend marketplace on Orchard Street; in the discount underwear shops run by Orthodox Jews; in the brilliantly conceived Lower East Side Tenement Museum, which documents the era when this immigrants' ghetto was the densest conurbation on earth.
Federman studied for an MBA at Yale and worked in international development and health care and as a yoga teacher until a few years ago, when she began to consider joining the family business. She got an unexpected boost from a Downtown icon. "I was at a friend's party, and Lou Reed happened to be there," she recalls. "I'd brought some hors d'oeuvres from Russ & Daughters, and Lou was hovering around the table, devouring the smoked salmon. Someone finally told him who I was. He marched right over and shook my hand and said 'Niki, I just wanted to say—you're New York royalty.' Lou Reed! I almost dropped on the floor."
And when Lou Reed speaks, Downtowners listen. Not long afterward Niki started work at the shop. •
Key Moments in the Rise & Fall (& Rise) of Downtown New York
1651: Peter Stuyvesant buys the Manhattan farm (or bouwerij) that gives the present-day Bowery its name.
1850's: Bohemians—actual Bohemians, along with other Eastern Europeans fleeing the 1848 revolutions—settle the Lower East Side.
1870: The city's first openly gay bar, the Slide, opens on Bleecker Street.
1902: A Polish immigrant family pays $4 a month for a 300-square-foot apartment on Delancey Street. A century later, a graphic designer shells out $2,500 a month for the same space.
1960's: Robert "My Way Is the Highway" Moses plots to ram a six-lane expressway through SoHo. Wanker!
1967: Joseph Papp's Public Theater, on Lafayette Street, opens with the world premiere of Hair.
1974: The band Television plays the first notable rock show at CBGB, paving the way for Patti Smith, Richard Hell, the Ramones, Blondie, and Talking Heads.
1982: NYC's Loft Law finally allows residential use of former commercial/industrial properties, giving Downtown artists a much-needed legal footing.
1984: Bright Lights, Big City glamorizes coke-fueled Downtown nightlife, sets stage for eventual invasion of TriBeCa by young bankers who only saw the movie.
1997: Balthazar opens, hardly anyone notices. "Table for two at eight this Friday? No problem!"
2001: Guggenheim Museum SoHo closes; becomes a Prada store. Designed by Rem Koolhaas. But still.
2007: Opening of the New Museum, the first-ever art museum to be constructed from the ground up in Lower Manhattan.
2009: The High Line debuts to wild acclaim, with would-be visitors queueing up for wristbands. (Some mistakenly believe it's a club.)
Bowery Hotel 335 Bowery; 212/505-9100; theboweryhotel.com; doubles from $425.
Cooper Square Hotel 25 Cooper Square; 888/251-7979; thecoopersquarehotel.com; doubles from $425.
Crosby Street Hotel 79 Crosby St.; 212/226-6400; crosbystreethotel.com; doubles from $525.
Greenwich Hotel 377 Greenwich St.; 877/888-1255; thegreenwichhotel.com; doubles from $475.
Jane Hotel 113 Jane St.; 212/924-6700; thejanenyc.com; doubles from $114.
The Standard, New York 848 Washington St.; 212/645-4646; standardhotels.com; doubles from $295.
Balthazar 80 Spring St.; 212/941-0364; dinner for two $100.
DBGB Kitchen & Bar 299 Bowery; 212/933-5300; dinner for two $80.
Double Crown 316 Bowery; 212/254-0350; dinner for two $120.
Elettaria 33 W. Eighth St.; 212/677-3833; dinner for two $110.
Locanda Verde Greenwich Hotel; 377 Greenwich St.; 212/925-3797; dinner for two $110.
Minetta Tavern 113 MacDougal St.; 212/475-3850; dinner for two $98.
Momofuku Ssam Bar 207 Second Ave.; 212/254-3500; dinner for two $80.
Pastis 9 Ninth Ave.; 212/929-4844; dinner for two $140.
Russ & Daughters 179 E. Houston St.; 212/475-4880; lunch for two $22.
Schiller's Liquor Bar 131 Rivington St.; 212/260-4555; dinner for two $70.
Spotted Pig 314 W. 11th St.; 212/620-0393; dinner for two $120.
Standard Grill The Standard, New York; 848 Washington St.; 212/645-4100; dinner for two $80.
Waverly Inn & Garden 16 Bank St.; 212/243-7900; dinner for two $100.
WD-50 50 Clinton St.; 212/477-2900; dinner for two $124.
Blue & Cream 1 E. First St.; 212/533-3088.
Derek Lam 12 Crosby St.; 212/966-1616.
J.Crew's Liquor Store 235 W. Broadway; 212/226-5476.
John Varvatos 315 Bowery; 212/358-0315.
Opening Ceremony 35 Howard St.; 212/219-2688.
Partners & Spade 40 Great Jones St.; 646/861-2827.
After Dark
Bowery Electric 327 Bowery; 212/228-0228.
Death & Co. 433 E. Sixth St.; 212/388-0882.
(Le) Poisson Rouge 158 Bleecker St.; 212/228-4854; lepoissonrouge.com.
Mayahuel 304 E. Sixth St.; 212/253-5888.
Milk & Honey 134 Eldridge St.; firstname.lastname@example.com.
PDT 113 St. Marks Place; 212/614-0386.
Pegu Club 77 W. Houston St.; 212/473-7348.
The Stone Corner of Ave. C and Second St.; no phone; thestonenyc.com.
See & Do
High Line: Entrances on Gansevoort St., 14th St., 16th St., 18th St., and 20th St.; 212/500-6035; thehighline.org.
Lower East Side Tenement Museum 91 Orchard St.; 212/431-0233; tenement.org.
New Museum 235 Bowery; 212/219-1222; newmuseum.org.


text: These supporters of Scottish independence are saying yes, and separatist groups in other parts of the world hope it will give them a boost as they seek to break away. David Cheskin/AP hide caption toggle caption David Cheskin/AP Parallels From Quebec To Kashmir, Separatists Watch Scotland Vote September 17, 2014 Scotland's referendum on independence has implications beyond the borders of the United Kingdom. We take a look at several other regions with breakaway movements.


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Special Events
Related Programming
Creation & Transformation: Defining Moments in Inuit Art
Art Eats
Friday, February 8, 2013 from 6pm to 9pm Friday, March 1, 2013 from 6pm to 9pm
The WAG's signature dinner and tour program features a 3-course exhibition-inspired fixed menu at Storm Bistro. Following dinner, guests will participate in a private guided tour of Creation & Transformation: Defining Moments in Inuit Art.
Please note: Art Eats offers a fixed menu. Click here to see it. If you have dietary issues or restrictions, please contact Storm Bistro at 204.948.0085.
Paper tickets will not be provided for Art Eats. By ordering, your name will be added to a reservation list. Gratuity is included in the price, wine/spirits are not. Reservations are available online at wag.ca, by calling 204.789.1290, or by emailing email@example.com. $40 members, $45 non-members
Click here to read a CBC Manitoba Scene article on how the chefs at Storm Bistro put together an Inuit dinner.
Gallery Hours
- Tuesday 11am-5pm
- Wednesday 11am-5pm
- Thursday 11am-5pm
- Friday 11am-9pm
- Saturday 11am-5pm
- Sunday 11am-5pm
- Closed Monday


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Star Wars®: Clone Wars Adventures™ is coming to the SOE Twitch TV channel this week! Join Justin "Mourde" Dazet, Content Designer, and Josh "Josh_CWA" Deeb, Senior Artist, for a discussion about the new Felucia Combat Zone, launching April 5, 2013. Learn how you can take part in the battle and hear how the Dev Team brought this planet to life for adventurers to explore.
Be there on Thursday, April 4, 2013, at 4:00 p.m. US Pacific Time* on Twitch TV! The webcast is expected to last about 20 minutes.
See you on Twitch TV!
*Convert to your local time


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Sheriffs: Nitrous oxide, or whip-its, becoming popular in Los Angeles
LOS ANGELES Los Angeles County authorities say the use of nitrous oxide has grown from a rave party drug to mainstream recreational use, fueled in part by social media.
They say the drug -- known as "noz," "whip-its," or "whippets" -- has spurred fatal car accidents, rapes and teen deaths, all in the name of a temporary high that lasts just a few minutes and costs just a few dollars.
Los Angeles County Sheriff's officials have zeroed in on the recreational use of the drug since September, cracking down on more than 350 illegal parties, nearly all of which were selling nitrous oxide, or "noz," spokesman Mike Parker said Thursday.
The operations are part of a new social media team set up by the department over the last six months to monitor and identify such illegal activities around the clock. The team has found that many of these public posts advertise alcohol and illegal drugs such as nitrous oxide and that their targets are teens.
"They're doing the social media equivalent of standing outside the front doors of a high school at 3 o'clock as school lets out with a megaphone announcing that there'll be drugs, noz and alcohol for children, and then handing out fliers to all the kids that are interested," Parker said.
Nitrous oxide is legal for dental work and is mixed with oxygen to produce "laughing gas." The food industry uses it in whipped cream container,s and it's used as a propellant for racecar drivers.
Dr. Robert Glatter, an emergency medicine physician at Lenox Hill Hospital in New York City, explained to CBSNews.com that when people inhale the canister and siphon the gas -- often through a balloon -- they may experience an "out of body" state, with extreme euphoria.
But the drug can also be deadly. He noted that when given therapeutically, like in a dentist's office, nitrous oxide is given with oxygen because the gas displaces the oxygen, leading to buildup of carbon dioxide. High levels of carbon dioxide could lead to respiratory problems, sleepiness, loss of consciousness, seizures, or worse.
"If you are frequently abusing it, there is a chance you may pass out and not wake up," said Glatter.
Long-term use can lead to neurologic problems like numbness or tingling in the fingers and toes, with some evidence suggesting chronic abuse leads to formation of "dark holes" in brain tissue, associated with lack of oxygen and death of brain cells, he added.
The nitrous parties can be very lucrative for those provisioning them, officials said.
Sheriff's deputies are currently tracking one distributor who is making more than $60,000 a month in the bulk sale of nitrous oxide, said Sgt. Glenn Walsh who works in the Sheriff's Department's narcotics bureau. Sheriff's officials believe they have prevented a least 30 violent and sexual assaults in the last six months because of their efforts to shut down such nitrous oxide-related illegal parties before they happen.
One party was forced to change locations three times in one night, before finally moving outside of the Sheriff's jurisdiction, Parker said. But the department also notifies neighboring departments of the illegal parties when it spots them, he added.
Some of the hotspots are unincorporated Los Angeles county and the San Gabriel Valley, where parties are held primarily in homes and warehouses, Parker said.
Part of the problem for law enforcement officers going after the illegal use of nitrous oxide is that its distribution or use as a recreational drug is only a misdemeanor, officials said.
Sheriff's Lt. Rod Armalin said that the department is working on legislation to increase the penalties. He supervises the team that responds to many of these illegal parties and tries to prevent them from happening.
"Over the past year we've seen an increase in incidents," Armalin said. "It seems like it's really taken off with young people...They're openly advertising, `Hey we're going to sell nitrous oxide, and there are going to be children there,' and that's a concern."


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Connecting with community is more than where you live. It's the people around you – your friends, your classmates, your bus driver, your barista, and even your professors (yes, profs are people too!). Community is everybody who's there to inspire you, help you rise to challenges and share in your successes. Whatever your path here, you'll meet others who share your experience.
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Cancer Surgery
The surgical removal of the primary tumor has been the cornerstone of treatment for most types of cancer. The rationale for this approach is straightforward -- if you can get rid of the cancer by removing it from the body, then a cure can likely be achieved. Unfortunately, this approach does not take into account that following surgery, the cancer will frequently metastasize (spread to different organs). Quite often the metastatic recurrence is far more serious than the original tumor. In fact, for many cancers it is the metastatic recurrence, and not the primary tumor that ultimately proves to be fatal (Bird 2006).
A growing body of scientific evidence has revealed that cancer surgery can increase the risk of metastasis (van der Bij 2009). Even though this contradicts conventional medical thinking, the facts are undeniable.
A complicated sequence of events must occur in order for cancer to metastasize (van der Bij 2009). Isolated cancer cells that break away from the primary tumor must first breach the connective tissue immediately surrounding the cancer. Once this occurs, the cancer cell enters a blood or lymphatic vessel. To gain entry, the cancer cell must secrete enzymes that degrade the basement membrane of the blood vessel (Wagennar-Miller 2004). This is vitally important for the metastatic cancer cell as it uses the bloodstream for transport to other vital organs of the body (i.e., the liver, brain, or lungs) where it can form a new deadly tumor.
Traveling within the bloodstream can be a hazardous journey for cancer cells. Turbulence from the fast moving blood can damage and destroy the cancer cell. Furthermore, cancer cells must avoid detection and destruction from white blood cells circulating in the blood stream.
To complete its voyage, the cancer cell must adhere to the lining of the blood vessel where it degrades through and exits the basement membrane of the blood vessel. Its final task is to burrow through the surrounding connective tissue to arrive at its final destination, the organ. Now the cancer cell can multiply and form a growing colony, serving as the foundation for a new metastatic cancer.
We now see that cancer metastasis is a complicated and difficult process. Fraught with peril, very few free-standing cancer cells survive this arduous journey (van der Bij 2009).
In a groundbreaking study, researchers reported that cancer surgery itself can greatly lessen the cancer cell's obstacles to metastasis (van der Bij 2009). Cancer surgery can produce an alternate route of metastasis that bypasses natural barriers. During cancer surgery, the removal of the tumor almost always disrupts the structural integrity of the tumor and/or blood vessels feeding the tumor. This can lead to either an unobstructed dispersal of cancer cells into the bloodstream or seeding of these cancer cells directly into the chest or abdomen (Ben-Eliyahu 2003; Yamaguchi 2000; Da Costa 1998; Shakhar 2003).This surgery-induced "alternate route" can greatly simplify the path to metastasis.
To illustrate, a study compared the survival of women with breast cancer who had surgery to that of women with breast cancer who did not have surgery. As expected, surgery substantially improved survival in the early years. However, further analysis of the data revealed that the surgery group had a spike in their risk of death at eight years that was not evident in the non-surgery group (Demicheli 2001).
Given these findings, a worthwhile strategy to protect against the increased risk of metastasis would be to examine all of the mechanisms by which surgery promotes metastasis, and then create a comprehensive plan that counteracts each and every one of these mechanisms.
What You Need to Know: Cancer Surgery
- Surgical removal of cancer typically provides the best chance of disease-free survival.
- Since metastatic disease is often deadlier than the original tumor, it is important to utilize preventive strategies to prevent cancer metastasis.
- A growing body of evidence suggests that cancer surgery itself may increase the risk of metastasis (spread to other areas) via numerous mechanisms including increasing cancer cell adhesion, suppressing immune function, promoting angiogenesis (growth of new blood vessels from pre-existing vessels), and stimulating inflammation.
- Choose surgeons and anesthesiologists who utilize advanced techniques that may reduce metastatic risk.
- Certain nutrients and drugs are associated with reduced risk of metastasis.


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Reef's high-end design meets the excellence that is three-time world champ and perennial pro surfing powerhouse, Mick Fanning. It's the Fanning athletic sandal we've all come to know and love with high quality full-grain leather upper and comfortable glove lining. These men's leather sandals feature a contoured injection molded EVA footbed with anatomical arch support and full 360-degree heel airbag enclosed in soft poly. And in the fun department, these sandals also feature a bottle opener built into the footbed to open your "soda" after a surf or hanging at the pool.
Bottle Opener™
Features a bottle opener built into the footbed to open your 'soda' after a surf session or hanging at the pool.
Arch Support
Outfitted with anatomical arch support to keep you comfortable through every adventure.
- Features a bottle opener built into the footbed
- Full grain leather upper
- Padded jersey liner
- Herringbone rubber outsole
- 360 degree heel airbag
- Compression molded EVA footbed


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wsb solutions necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 55 diseños de 10 diseñadores freelance.
I am a web developer and entrepreneur. My current project is a web application (http://www.101-smart-goals.com) for setting and tracking goals. I have implemented a beta version of the application with a very basic design. I now want to polish it with a clean, simple and fresh web 2.0 design.
The site should appeal to a wide range of adult men and women. The application should be easy to use. Based on some demographic research, I expect the majority of my audience to be women.
I expect the 5 pages delivered to show me enough aspects of the design for me to apply it to the entire site.
I expect the following 5 pages delivered: home, goal, goals, sign up and current tasks.
Design as many pages as you need to show your concept. I will need the design of the home page and goals page to select a winner. Remaining pages can be completed after the winner is selected.
I am looking for an engaging banner. Navigation should clearly indicate the current page.
The jQuery icons are bland. I want colorful fun icons for the actions. I prefer that the icons have a hover state. I am using 16x16 icons to indicate the following actions: check, delete and flag. I use a larger 32x32 icon to indicate a completed goal on the goal page.
Buttons should indicate when they are about to be pressed.
I am using the jQuery UI date picker widget with the Redmond theme. The design must not clash with this. If it does, it must blend with another jQuery UI theme.
I am targeting a resolution 1024x768.
Home Page:
Banner should be engaging. Sign In and Sign Up obvious. Page should be uncluttered.
Goals Page:
The categories will be collapsible. Design should show an expanded and collapsed category. Inspirational quote should standout slightly.
Goal Page:
Should be obvious to the user when they are viewing a completed goal. An idea I have is to color code tasks so that in progress tasks, completed tasks and tasks not in progress are distinguishable at a glance.
Shows ads. Currently using a 160x600 sky scrapper, but the design should not prevent experimenting with a 728x90 leader board.
Sign Up Page:
Here I am looking for a form design that I can also apply to the sign in and profile pages. This design should show a field with errors, a field without errors and global form messages.
Current Tasks Page:
Design should show a normal task row and task row being hovered over. Should show how the user would delete a task or mark it completed.
I would like the design of an overlay showing a successful action and one showing an error message. I'm at my 5 pages so this is optional.
A beta version of the application exists at http://www.101-smart-goals.com. I suggest you create an account and get a feel for the functionality.
I want a clean web 2.0 design. I wasn't impressed with the design of most of the other sites in this category.