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SAN JOSE — A teen boy is in police custody and another is being sought in the home-invasion robbery of an elderly couple during which they sexually assaulted an 85-year-old woman, then stole their car and tore through the city at breakneck speeds before crashing into a home across town, authorities said.
San Jose police said the sexual-assault victim was taken to the hospital and is expected to survive. The home that the suspects crashed into was vacant.
The frightening episode began around 4 a.m. Tuesday when the teen suspects — armed with "sharp instruments" — broke into the rear of the well-kept, two-story home in the 1500 block of Sunshadow Lane, near East Capitol Expressway and Story Road.
"Two suspects entered their home armed with weapons. They were forced to the back of the house," police spokesman Officer Albert Morales said. "At some point, the 85-year-old female was sexually assaulted."
Police declined to give additional details about the attack. The male resident, also 85, was not injured.
The suspects then stole the couple's Chevrolet Equinox SUV and were soon spotted weaving across all lanes of southbound Highway 101 near Tully Road, said Officer Ross Lee of the California Highway Patrol.
CHP officers followed the speeding vehicle as it exited at the next offramp at Capitol Expressway then turned south onto Senter Road, Lee said. When the driver of the SUV tried to take a hard turn at Singleton Road, he lost control and crashed into the garage of a vacant home near Andrew Hill High School.
The driver got out of the wrecked vehicle, ignored officers' commands, and ran off, hopping a fence in his escape, authorities said. The passenger, a 15-year-old boy, was still pinned in the SUV, and was arrested, interrogated and booked into juvenile hall.
It was only after the crash that investigators discovered the SUV had been stolen and traced it back to the site of the home invasion, police said.
Police say they discovered graffiti on a shed in the backyard of the couple's home on Sunshadow Lane but did not know if the markings were left by the suspects. Police did not immediately say if the graffiti was gang markings.
Tuesday morning police were searching for the driver, who they described only as a male suspect between the ages of 17 and 25 with possibly a severe laceration on his body.
Contact Mark Gomez at 408-920-5869. Follow him at Twitter.com/markmgomez.


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"When things cost so much, you appreciate it much more."
Quotes by Alejandro Gonzalez Inarritu
"'21 Grams' is only one story told by three different points of view, but they are really physically connected – literally, with the heart."
"'Babel' is about the point of view of others. It literally includes points of views as experienced from the other side. It is not about a hero. It is not about only one country. It is a prism that allows us to see the same reality from different angles."
"'Birdman' came from a very beautiful side of me, from a part of honesty and surrender about things."
"'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do."
"Actors are exposed in a way that nobody else can understand. They are subject to the likes and dislikes of people their entire life, no matter how successful they are. At the same time, in order to be liked, you have to not be yourself. So it's a very complicated human exercise – an alchemy that I have never understood."
"All my films I have shot in chronological order – always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film… the work itself starts being transformed, and you have to surrender."
"All of us want something in life, all of us have flaws, and all of us have strengths. So, I always try to discover those things in a character and then try to expose it in one way or another."
"Americans easily forget that the air they breathe is the same as those in Europe or Africa or Asia; it's the same air as Jesus breathed. I would like them to remember that connection."
"Antonio Sanchez is from Mexico City. I met him at a Pat Metheny concert. He did a solo, and I thought, 'This is an octopus man!'"
"As a Third World citizen, I always feel that I need to express my point of view. Sometimes the points of view of Third World countries are never expressed. We don't have that possibility, sometimes, to spread what we feel and how we see things."
"As the camera, I try to subordinate every word to be truthful and honest to each character's context."
"At a very young age, I was influenced enormously by Julio Cortazar or Carlos Fuentes. In that literature, there's always an exploration of different perspectives, points of view."
"Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment."
"Directing non-actors is difficult. Directing actors in a foreign language is even more difficult. Directing non-actors in a language that you yourself don't understand is the craziest thing you can possibly think of."
"Do you know the phrase, 'The word 'water' will not wet you?' It's one thing to write down an idea and another thing entirely to execute it."
"Everybody is looking for validation, no matter who you are, and I think that's a need of the human condition – to look for affection or recognition or validation."
"For me, it is especially important to maintain my interior life. My spirituality, my connectedness. That is the way I think. That is the way I deal with life and tough moments. I keep in touch with something bigger than me. And I connect with people who have an interior life – a connection with something bigger than them."
"For me, the most important thing that I have to accomplish is to be a good father. That's the most difficult challenge of my life. That's the most important thing for me, more than films."
"For the actors, the talent is to serve the demands that I ask of them, to do it with naturality and truth, and to be honest when we were terrified."
"Freedom comes with a lot of responsibility. When you are by yourself, you have to develop a third eye."
"From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things."
"Good directors don't answer questions with their work. They generate debate and create discussion."
"I always have considered Michael Keaton to be a phenomenal actor because he navigates drama and comedy."
"I am not a depressive person at all, but I reflect a lot on my life, and life in general, from the perspective of death."
"I began to learn about the camera and the actors. That gave me a lot of the skills. At the same time, advertising gives you a lot of vices, for example, an obsession for a superficial look, but at the same time, it gives you the capacity to synthesize the story – tell a story in one minute."
"I can't understand the conditions of a corporate product being designed and getting millions. I admire it, it's great, but I don't know how to do that."
"I can't understand the conditions of a corporate product being designed and getting millions. I admire it, it's great, but I don't know how to do that. I have to have the wheel."
"I do think that the emotional weight of 'Biutiful' has blinded some viewers to the beauty and complexity of the film."
"I don't know if I have a career or not, or where it ends or it begins. I have been working, doing what I do for a long time. But my creative process has always been so tortuous."
"I don't like the ironic tone that our pop culture, in the world, has taken. Everything is 'ironic.' Everything is 'cool.'"
"I have a lot of what you might call creative self-loathing – I have pretty high expectations, and they seem to consistently be higher than what I'm able to accomplish."
"I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen."
"I have always been very wary of what would happen when I die. I feel I would die every day, and that thought sometimes made me more aware that I am alive."
"I have always considered myself to be spiritual in a way that has less to do with religion and more with an awareness that you have, and the consciousness you have of being alive and the consciousness that you will be dead."
"I have been very lucky to have final cut in all my films; everything that is wrong in them is my fault."
"I have dark skin. My nickname is El Negro. They call me El Negro in Mexico because even in my country, the dark skin is evidence of Indian blood, a sign that one technically belongs to a third class. Even my grandmother had some kind of differentiation with me, because I was darker than my siblings."
"I have never directed anything for the stage. I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed."
"I know how to work with people. I've worked with the same people for 10 years. I'm not that kind of auteur. I hear ideas."
"I learned there are ways to approach life. You can never change the events, but you can change the way you approach them."
"I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you."
"I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you. The experience was so good."
"I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai."
"I love Sam Mendes, but I went to see 'Spectre' with my kid, and the opening scene of the Dia de Muertos party, with this kind of tropical music, in downtown Mexico City, with all these people dancing like it's the Rio de Janeiro carnival… I had to laugh."
"I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles."
"I personally think that you have to get lost to find something really worthwhile, at least sometimes."
"I realized – and I am probably the last person in the world to realize this – that we live our lives with no editing."
"I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture."
"I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed."
"I think Jenny Beavan is a masterful costume designer and very deserving of the Oscar for 'Mad Max: Fury Road.'"
"I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films."
"I think bad movies are made around the world, not just in Hollywood. There are as many bad art films in the whole world as there are bad commercial films."
"I think intelligence basically can be in a way defined by the possibility of having two opposite ideas living together and at the same time functioning. That's why I think a smart script has two things living in the same place, and they're absolutely contradictory."
"I think that in order to be a film director, one has to be a warrior who shouldn't be defeated by the daily onslaught of problems."
"I think that my films are basically family stories, beyond the fact that they are global and have political and social commentary."
"I think that the best things come from thought, without thinking. I think that's the smartest use of the intelligence that we all have."
"I think that when we wrestle with death… we start fearing life, because then we come to terms with something that is inevitable."
"I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing."
"I think there's nothing wrong with being fixated on superheroes when you are 7 years old, but I think there's a disease in not growing up."
"I think we are defined as human beings through our families, no matter what kind of family – through our relationships with parents, brothers and sisters."
"I think we do good things and bad things, sometimes simultaneously – or they may be the same thing."
"I think, unfortunately, everything is becoming about comfort, you know? A comfortable way to tell a story. The comfortable way, so that the audience will never be lost. A comfortable way to produce a film with green screens or without a lot of physical effort or losing control because of the weather or physical locations."
"I want the camerawork to fit the narrative and tell the story from the point of view of the character, but sometimes, to be interacting with the sensations of the story, you almost become like a ghost, you know? Like, someone that is floating, observing, not really judging what's going on."
"I'm always surprised when some director says, 'When I saw this film, that changed my life.' I don't have that."
"I'm less interested in reality. I'm more interested in perception, the truth of the universe that we see."
"I'm overwhelmed by the pain in the world; I'm affected by the news very much, and adding that to my work was becoming a little bit too much."
"I'm scared of horses, and I don't know how to shoot them, but that's what excites me. After 40 years old, if you don't do some things that really terrify you, I don't think they're worth doing."
"I've listened to music all my life. I've always felt that music tells more stories sometimes than films, with more possibilities. Every time you listen to them, songs bring different images and moods – depending on where you are in your life, you can listen to a song, and it means something different."
"If I had been at an assembly line for films, I don't know if I would be the best driver. I think I would have crashed the car."
"If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally."
"In 'A Confession,' Tolstoy found meaning that he could hold on to, and he lived for another 30 years."
"In a world where irony reigns, where you have to separate, protect and laugh at anything that is honest or has an emotional charge, I bet for catharsis. I like to invest emotionally in things. And catharsis, when it touches the emotional vein, can open the doors of even those who protect themselves."
"In families you can find the source of every human drama. It is interesting because the cell of a society, the cell of a country, the cell of humanity – everything lies in the family."
"In hotels, every time I make a reservation and they never find my name, they never can pronounce it; it's so long, and sometimes they confuse."
"Irony is a great tool to deal with things. It's an intellectualization, a way to go above things, which can work."
"It's different if you're self-fed by a culture such as the U.S. where it's so rich, you don't have to look outside. Everything's already there. But when you grow up in the desert, you have to be looking all over for inspiration."
"It's famous that comedians have a very dark personal state of mind. I think, in my case, it's the same. The only way to get deep is to have a balance, or a counterbalance."
"It's more enjoyable for me to know that life is finite. Knowing that, I would like to go to a party. When you get to the holidays, if you think that the holidays will be forever, you just take it for granted. But, if you know that you have just three days at the beach, you will be so happy to be there every day."
"It's not anthrax or terrorism or AIDS that is the worst ill in our world: The most horrible disease in the world is hate."
"Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago."
"Millions of Mexicans leave their kids in order to take care of other kids. That's a very painful thing."
"Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art."
"My cinema is an extension of myself. A sort of life-testimony of my vital experience, with my few virtues and my numerous limitations."
"My duty is to make probable the improbable. If I tell you how I did it, I will ruin your experience."
"My father had a difficult relationship with success, maybe because he never obtained it. But he was very wise about it because he observed how you can become rotten fruit once you get power."
"My kid will come home from seeing the latest 'Transformers' movie, and I'll ask him, 'How was it?' 'Amazing!' 'What was it about?' 'I don't know, but it was amazing!'"
"My mom had very low expectations for me, and she really had a point. I was a big problem at seventeen. If I had a kid like me, I would have those same expectations."
"My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility."
"Now is a time where there are so many social networks, such need for validation… you don't have to be a star or a politician to want to have likes or dislikes. Now there is a disease of popularity in the whole society."
"Now that we're poisoned with the culture of superheroes, I think it's important to laugh about it."
"Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible."
"On a transcendental level, a film is not going to be better or worse because there's a prize behind it. The work will be what it is, with or without a prize."
"People talk about the pain of defeat, but I think defeat has a lot of value. I think the wound of victory can be even more damaging than defeat. Very few people really know how to win."
"Really, Mexico City has always been this big, complex monster of a city that has always had real problems and needs, and I've always found my way through it in different ways."
"Sad music, I always thought, is more beautiful than other music. But at the same time, I am in my personal life a very happy guy. I have a sense of humor. I am not the kind of depressed guy all the time brooding. No. I am very enthusiastic about things."
"The cavemen, when they saw the antelopes, they had to scratch them on to the caves because they needed to express the immediacy of what they were being affected by – and I love that. That is why I do what I do. I need to express myself."
"The corporation and the hedge funds have a hold on Hollywood, and they all want to make money on anything that signifies cinema."
"The creative process is mysterious; a conversation, a ride in the car, or a melody can trigger something."
"The demographic complexity of this country should be reflected not only at the end of the chain, but since the beginning, in order that more of these people can be excited and integrated."
"The emotions of the actors are better when they understand the chronological factors that are adding to the story."
"The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film."
"The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature."
"The way America sees Mexico, if they have any sense of it, is like Taco Bell. Our countries are neighbors, and the only hard food to get in America is true Mexican. It's impossible to find, even in L.A. Why is that?"
"Time starts out as a notion. But after you turn fifty, time is not a notion anymore but a fact that you start feeling clearly, and in a way, it pushes you to become present in the present."
"To become a celebrity, a name – and I've actually met some that speak of themselves in the third person – it's scary. They become an object, not a human, complex, questioning thing where the cells are always changing."
"To direct actors is difficult. To direct actors in another language is more difficult, but directing non-actors in another language is one of the craziest things that I have done and one of the most rewarding experiences I have had."
"To question your own process is a necessity. If you don't question yourself, it's impossible to improve."
"To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over."
"To think that we can understand everything is such stupidity because our senses are so limited. We are so limited that to feel that we can understand the creation scientifically is a little bit naive. It's very childish."
"Trump doesn't know it yet, but he will become one of the guys that he hates very soon. Soon he will be a loser."
"Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity."
"Ultimately, with every film I'd done before, there was a reference. They have their own uniqueness, but there was always a precedent."
"Very little is known about Hugh Glass as a real guy that existed 200 years ago, except that he was attacked by a bear, betrayed and left for dead, and has to survive in the winter. I said, 'What really drives a human to survive those conditions?'"
"We are the only alive creatures that are mortals; the animals are immortal, which is why they live stupidly. We are the only creatures that know that we will die, but that is a gift. It's important because we know we have to take advantage and squeeze life and understand why we're here in the first place."
"We have always existed in different forms – carbon, oxygen, water, heat. Maybe Heaven is this brief period when the elements realize they're alive."
"We have these ambitions that are very hard to accomplish because life puts us in our place. We have this battle with mediocrity."
"We want to conquer the world and have 1,000 likes, 1 million likes, but at the same time, we are depressed. We are lonely, but we have 10,000 followers. We are all bipolar."
"What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way."
"When I have been exposed to so many films that are so bad, my soul gets crushed. I just feel intoxicated."
"When I think about growing up, I feel most affected by two travels that I made working in cargo boats when I was 16 and 18. One of them crossed through the Mississippi and Baton Rouge and Mobile, Alabama, and another went all the way to Europe."
"When I was about to turn 50, I went into a kind of personal revision and observed my own priorities and what led those priorities in my life. And many things that, in a way, were profound."
"When I was sixteen, I was an absolutely romantic guy. I fell in love every week. I mean, I was in love with everybody, but unfortunately, nobody was in love with me."
"When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing."
"When I'm working, I'm insufferable because I get stuck with myself, and suddenly I become obsessive, thinking about how to make something better."
"When we are looking for validation, that will never satisfy us. When we are looking for affection, for love, a little bit of that will be enough to be complete."
"When you are shooting in a conventional way, you put nets around yourself. It's very hard to fall and hit the ground. You can always manipulate things to make it not embarrassing. If the scene is a little bit bad, you can polish it or even take it out. You can hide your mistakes."
"When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice."
"When you have a fresh point of view that comes from the right side of the heart, it's just so valuable. You can take it or not take it, but just that perspective can give you a lot of strength or make you reflect on a lot of things."
"When you have something that is bothering you, and then you articulate, take the time to really express it and see it clearly, to recognize. To acknowledge that is already a liberating energy."
"When you live in a city, as I do, where violence is really in the streets, and people die every day, there's nothing funny about it."
"When you see things upside down, the ego can be extraordinarily funny; it's absurd. But it's tragic at the same time."
"When you shoot in a room, that's a symmetrical thing that contains you. When there's no contention, the sensation is overwhelming you. That's a challenge, to do that."
"Yes, I am a Mexican, and I have a past and a culture. But what matters is the film itself, not where it was financed or cast."
"You can better embrace life, you can enjoy it more, when you are conscious that it will end. You bite life."
"You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression."

subset: commoncrawl


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Welcome Dr. Steven Marra, Heart Surgeon
Lexington Medical Center is pleased to welcome Steven W. Marra, MD, FACS, to the hospital's network of care. Dr. Marra has joined Jeffrey A. Travis, MD, at Lexington Cardiovascular Surgery, a Lexington Medical Center physician practice.
Lexington Cardiovascular Surgery provides cardiac surgical consultations, follow-up care and vascular labs as well as offers a variety of cardiovascular services, including aortic and mitral valve replacement, coronary artery bypass grafting (CABG), and treatment of ascending, thoracic and abdominal aneurysms, peripheral vascular disease, lung masses and carotid artery disease.
Dr. Marra is the latest addition to the hospital's comprehensive cardiovascular care team.
"I like Lexington Medical Center's commitment to patient care and excellence. They do an outstanding job taking care of the cardiac needs of the community. I look forward to adding support for the excellent program that has been established here," said Dr. Marra.
Dr. Marra graduated with a bachelor's degree from the University of Dayton in Ohio and earned his medical degree from the Medical College of Ohio in Toledo. He then completed his General Surgery internship and residency at MetroHealth Saint Luke's Medical Center in Cleveland, Ohio, where he also served as chief resident. He followed this training with a Cardiothoracic Surgery fellowship at the University of Medicine and Dentistry of New Jersey in Newark, also serving as chief resident there.
For the past five years, Dr. Marra has been the medical director of Cardiothoracic Surgery and the only operating cardiothoracic surgeon at Rockingham Memorial Hospital in Harrisonburg, VA. During his tenure, he pioneered the development of the hospital's program, emphasizing clinical excellence, quality measures and organization education.
With expertise in all aspects of open heart surgery, including valve repair and replacement, CABG, modified Maze procedure and transmyocardial laser revascularization, Dr. Marra also has extensive experience with minimally invasive videoscopic thoracic surgery. He's performed more than 500 cardiac procedures and 400 thoracic cases since 2008. Prior to his work at Rockingham Memorial Hospital, Dr. Marra was an associate professor of Surgery for 10 years at Cooper University Hospital in Camden, NJ and its interim chief of Cardiothoracic Surgery for one year.


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At the January 13, 2010, US EPA public hearing in Bryan, Ohio, for the MICHINDOH Sole Source Aquifer (SSA) which I attended, there were a number of farm families, elected officials and farm bureau representatives who expressed grave concerns that SSA designation would impact USDA cost-share funding to agricultural practices.
I have contacted Soil & Water Conservation Districts, NRCS District Conservationists and a Farm Services Agency in Miami, Montgomery, and Preble counties in southwest Ohio where they have had the Great Miami-Mad River Buried Valley Aquifer SSA designation for 23 years.
I am pleased to report that there is no impact or hold-up for distributing USDA cost-share funds for any farm whether in or out of the SSA boundary. This is also true for the Western Allen County (OH) SSA (1992) in northwest Ohio. I called the NRCS Ohio State Office and was told that not only would there be no hold-up for funds, but that there would be extra consideration for farms in the SSA boundaries. This agrees with information from Ohio EPA and US EPA as well.
Furthermore, rules and laws of Ohio would not be imposed on Michigan or Indiana. In addition, only under the SSA designation do private wells in rural areas get protection under the federal Safe Drinking Water Act.
This is the program that is implemented by state EPAs and DEQs which many at the hearing thought already protected them. Without designation, there is NO federal protection for private wells.
Also, the petition process creates a cost for replacement value for the aquifer that is certified by the federal government. This is a valuable and free insurance policy to everyone in the SSA boundaries. In case their ground water supply is contaminated, there is already a value established for the cost of replacement.
With this good news, I am sure that all of the farmers, local elected officials and farm bureau representatives will want to change their objections to one of full support. This is a great gift to all of the people of the MICHINDOH SSA.
– Julie Weatherington-Rice, PhD
Certified Professional Geologist
Certified Professional Soil Scientist


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ATLANTA – University of Dayton junior guard Andrea Hoover was named to the 2013-14 Naismith Trophy early-season, 50-player watch list for women's basketball today.
Hoover is the only representative from the Atlantic 10 to be named to the Naismith Trophy early-season watch list.
Hoover was named to the 2013-14 Atlantic 10 Preseason First Team which is comprised of five players. This season she is tied for the team lead in scoring, averaging 15.8 ppg and second in rebounding with 6.4 rpg. The co-captain was named to the all-tournament team of the Hawkeye Challenge hosted by Iowa this year.
Following the 2012-13 season, Hoover was selected to the A-10 First Team and All-Academic Teams, the only sophomore on either team. She led the Flyers in scoring (12.9 ppg.) which ranked 10th overall in the league. The Bellbrook, Ohio, native was also named the 2012 A-10 Rookie of the Year.
The Atlanta Tipoff Club, an Atlanta Sports Council property, is committed to promoting the game of basketball and recognizing the outstanding accomplishments of those who make the game so exciting. The Atlanta Tipoff Club, founded during the 1956-57 season, has presented the Naismith Trophy every year since UCLA's Lew Alcindor first won the award in 1969. Old Dominion's Anne Donovan won the inaugural Women's Naismith Trophy in 1983.
The Naismith Trophy has become the most prestigious award in all of college basketball, recognizing the Men's and Women's College Basketball Player of the Year, Men's and Women's College Basketball Coach of the Year, as well as awards for outstanding achievement in high school basketball, officiating, and contribution to the game.


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A portfolio is a job search tool that students can use to digitally compile information about themselves in one location.
Portfolios document skills, achievements, and academic learning. Portfolios can include artifacts, work, and experiences in a variety of media (Word documents, photos or other graphics, links to web pages, etc.) to demonstrate competencies that you have learned through classes, work experiences, or other areas.
Potential employers, graduate/professional school admissions officials, and others may wish to view your portfolio. You can easily provide them with a link to your portfolio in CometCareers by inviting them to access your information.
Portfolios within CometCareers
You can set up a portfolio by accessing the Folio21 program through CometCareers. Before getting started, spend time identifying and gathering what you plan to include in your portfolio.
- Get your 'files' together
Take a look at your work, and gather together the items you want to showcase. Be sure to think about coursework completed, projects, presentations created, photographs, graphics work, video, etc. Get any of the non-electronic items scanned into an electronic format.
- Upload your files into Folio21
You've gathered all your important work and now it is time to upload your files. In CometCareers, click on "My Account" and scroll to "My Folio21". (If this is your first visit to Folio21, you will have to complete a short registration that is pre-populated with some details from your CometCareers account.) Then upload into the "files" section within Folio21.
- Create your portfolio
Use the template, or create your own. It is easy to customize.
- Send invitations
Once your portfolio is created, you can invite people to view it. You may also choose to share your portfolio website with others, such as professors, potential employers, mentors, etc.
- Determine your audience(s)
Create multiple portfolios utilizing the files you've uploaded, to target specific audiences.
- Know who is viewing you
Review the activity to see who has been viewing your information.
- Update your records as needed
Remember to keep your information up-to-date and add new content as you create it.


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How can I sort videos into folders/categories using iTunes ?
I've tried adding info to the sorting field tab when I click on 'Get Info' after right clicking on the video itself. But the videos always appear in a list on my iPhone. I just want to nest some videos into folders. How can I do this ?


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Archives for March, 2016:
Jeffrey Hyslip Provides Warning
to Consumers
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LONGWOOD, Fla. – At a Middle Eastern food mart in Longwood, everyone seems to have an opinion on the Syrian conflict and proposed U.S. intervention, but few have a solution.
"Do something, but I don't know at what level," said Ali Syed.
Central Florida Middle Easterners are torn. Many told Local 10 they are sickened by U.S. Secretary of State John Kerry's announcement that evidence seems to show the Syrian President used chemical weapons, the neurotoxin Sarin gas, on more than 1,400 Syrian citizens.
"Yeah, I think on humanitarian, we should get involved at least," said Syed. "I don't know about the military action. That's the biggest question. What level should we be involved in?"
President Obama is seeking congressional approval for a military strike against Syria.
"I don't think we should get involved," said Vanessa Singh. "I think we got our own issues we need to be working on, really."


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Mars – Mordern and Fashion Multi Usage Responsive Email Template is awesome and mordern template with dark and light themes,boxed and full, 12 layout structure-pages each, total 48 prebuild structure files, And with template builder V3 in the main file.
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Change Log
Version1.0.3: In this Package you will find: - Update date: Aug 29,2014 - Fix a small bug of campaignmonitor version page - Optimized the header banner animation Version1.0.2: In this Package you will find: - Update date: Aug 19,2014 - Fix a small bug of color setting function of builder Version1.0.1: In this Package you will find: - Update date: Aug 15,2014 - Optimized the response display effect for full width layout Version1.0: In this Package you will find: - <strong>48 structure </strong>HTML email template pages - dark and light, full and boxed - layered and sliced elements PSD files - Documentation - Template Builder - Current Release
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Download A Defence of Poetry Study Guide
(Critical Survey of Literature for Students)
Readers familiar with other great "defenses" of poetry may find Percy Bysshe Shelley's A Defence of Poetry unusual, even confusing. There is little practical analysis of the elements of good literary work. There is no methodical history of poetry, as one reads in Sir Philip Sidney's Defence of Poesie (1595). There are no pronouncements about rules of composition. Instead, Shelley offers a philosophical analysis of the role of the poet as a special kind of person, one who can see the essential harmonies of the world beneath the discordant images people find in their everyday lives. Whereas Aristotle, Sidney, or John Dryden see the poet as a superb craftsman capable of delighting readers through the masterful blending of form and content, Shelley assigns the poet a higher calling: the revelation of truth about life and the promotion of universal betterment.
These high claims are justified by Shelley's insistence that the production of poetry is not simply a craft. Rather, the true poet is a visionary who is inspired to create art as a means of revealing something about the nature of the world. The poem itself is merely an attempt to reproduce that vision. Such claims have been misinterpreted, and Shelley has been accused of promoting automatic writing or of devaluing the importance of craftsmanship. On the contrary: Shelley sees the imagination as a shaping power that gives form to the poet's vision, and only those who master form can hope to convey their vision to readers. Similarly, claims that Shelley is a promoter of emotional poetry are wrongheaded; he is insistent that the practice of poetry involves the intellect as well as the heart. He believes that great poets have a special gift that allows them to use the materials of their own time (the forms and subjects that might appeal to their contemporary readers), but transcend the limits of time and place to speak to people of all ages.
In this essay Shelley is defending poetry—"my mistress, Urania"—against the attack by Thomas Love Peacock in "The Four Ages of Poetry," published in the first and only issue of the Literary Miscellany in 1820. The polemical exchange came to nothing, for A Defence of Poetry remained unpublished until 1840. In his essay, Peacock had elaborated the familiar figure of the Golden and Silver Ages of classical poetry into four (Iron, Gold, Silver, and Brass), skipped over "the dark ages," and repeated the succession in English poetry. Peacock's point was that poetry never amounts to much in civilized society; Shelley's defense is that poetry is essential. Their views were antithetical and neither made contact with the other: Peacock's attack is a boisterous satire, Shelley's defense is an elevated prose poem.
Nevertheless, Peacock's article is still a necessary preface to Shelley's arguments, not because one prompted the other or because Shelley adopted Peacock's historical method in the middle section of his essay, but because, as a pair, they show the opposing preferences of the older public for eighteenth century wit and of the younger for enthusiasm. Peacock's "The Four Ages of Poetry" has also the merit of being amusing; Shelley is never amusing. Peacock's argument is that poetry belongs properly to primitive societies, that as they become civilized they become rational and nonpoetical; hence it was not until the late seventeenth century that England equaled, in the work of William Shakespeare and John Milton, the Golden Age of Homeric Greece. Early nineteenth century England seemed, to him, to have reached the Age of Brass in poetry but a kind of Golden Age in science; therefore, poetry should be left to the primitive societies where it belongs. Peacock is most amusing in his picture of the first Age of Iron, in which the bard of the tribal chief "is always ready to celebrate the strength of his arm, being first duly inspired by that of his liquor." Apart from Homer, Peacock respects no poet, not even...
(The entire section is 1,870 words.)


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Want to know how an American charity is spending your donated dollars overseas?
Tough luck.
That's the effect of an Internal Revenue Service rule change that is making it increasingly difficult for donors and watchdogs to track American not-for-profit dollars after they leave the United States.
Former IRS officials have criticized the little-noticed 2008 change, which lifted the requirement that charities in the United States report to the IRS and the public the identities of overseas charities to which they have sent money.
Charities still have to tell the IRS and the public the names and amounts they donate to other American charities. When American charities send money out of the country, however, they need to say only the region of the world where they sent it and the amount they gave.
That means that an American charity such as One Israel Fund, which in 2003 reported sending tens of thousands of dollars to settlements in the West Bank, now needs only to acknowledge that it sent grants to the "Middle East" for "Security," among other purposes, as One Israel Fund did in its 2010 disclosure.
Though the rule change isn't new, it's been little-noted outside of not-for-profit compliance circles. Some tax law experts contacted this March by the Forward were still unaware of the change.
"That's just the opposite of what we were moving towards, which was more accounting responsibility," said Sheldon Cohen, who led the IRS during the 1960s.
Marcus Owens, who led the IRS's charities section, known as the Exempt Organizations Division, from 1990 to 2000, said that the rule change does not just leave donors in the dark. "It reduces the amount of information available to the IRS," he said.
The loosened requirements mean less oversight of foreign grants, which are sometimes exploited by fraudsters and, in Israel, by politicians whom American donors support while taking a tax deduction at the same time.
"I've seen lots of organizations that… would give grants to entities that don't appear to exist outside the country — schemes," Owens said. "There were places in this world that sort of specialized in taking money from charities and putting it in people's pockets."
The change came amid a broad redesign of the Form 990, a public annual filing that is filled out by most U.S. not-for-profit organizations and gives the IRS, donors, the news media and watchdogs a means of monitoring charity activities. The redesign of the Form 990 included other tweaks that required greater transparency of not-for-profits. Not so the change to the section on foreign grantees.
"I think it's kind of amazing," said William Josephson, former head of the Charities Bureau in the Office of the New York State Attorney General. "Who are foreign recipients is just as important as who are domestic recipients, perhaps even more important."
The IRS declined to comment for this story. In justifying its rule change at the time, the agency cited concerns from some not-for-profits that identifying overseas recipients of U.S. dollars in publicly available documents could pose a security risk for those groups.
The IRS's justifications fail to explain why those security concerns apply to overseas grantees of public charities but not to overseas grantees of private foundations, another category of U.S. not-for-profits that still must report the names of their grantees.
Owens, the former IRS charity official, said that the security concern was valid in certain countries, but not across the entire world. "Once you get beyond a short list, there really aren't a lot of issues with respect to listing grantees in Israel, for example, or France or Great Britain," he said, listing places where many American donors direct funds. "I think it has turned into a way for charities to appear to be more transparent, but in fact be less transparent."
But the IRS, having made the change in its 990 forms to accommodate security concerns on grants to some countries, says tax statutes require the same treatment for all countries. In 2007 the IRS said that it would change the new Form 990 to require the names of foreign grantees if at some point in the future the IRS would be able to selectively redact the form before it was publicly released. That has not yet happened.
Meanwhile, Form 990 filings have grown more opaque. In 2007, American Friends of Hebrew University reported sending $45 million to The Hebrew University of Jerusalem. In 2010, that same group reported that it had sent $34 million to the "Middle East/North Africa" for "general purposes, scholarships, research, capital projects."
Donors are unlikely to be confused by that group. Elsewhere in their 2010 Form 990, the organization writes that its "primary exempt purpose is to support Hebrew University and other educational institutions."
In cases of other, more controversial charities, however, journalists and other watchdogs will now find it far more difficult to track their activities.
One Israel Fund is a Long Island-based charity that provides security and social services to Jewish settlements in the West Bank. In its 2003 Form 990, One Israel Fund listed grantees like Adei Ad, a tiny West Bank outpost that the Israel Defense Forces has repeatedly attempted to dismantle. Other grantees that year included Kiryat Arba, a larger settlement near Hebron, and the settlements of Otniel and Hashmonaim.
Under the new regulatory regime, One Israel Fund's disclosures provide far less information about which settlements it supports. In its latest available Form 990, filed in 2010, One Israel Fund reported that it sent roughly two dozen grants to the "Middle East." Ranging from $5,000 to $130,000, the organization characterized the grants variously as supporting "humanitarian needs" and "security," among other purposes.
One Israel Fund did not respond to a request for comment from the Forward.
It's clear that many not-for-profits were flouting the disclosure requirement before the rules changed. Friends of the Israel Defense Forces, a New York City-based charity, stopped revealing the names of its foreign grantees as early as 2000. Today, the organization declines to make the names of those grantees public.
"Our executive committee has made that determination, and we feel that it's the appropriate thing," said Jonathan Bernstein, the group's chief financial officer. "It's a privacy protection reason. You know, it's a combination of reasons. Security's a part of it also."
Friends of the IDF raised $27 million at a March fundraiser.
"It's quite amazing how we pretend to have accountability and disclosure when in so many places, what you really would want to know — the main points — are hidden," said Daniel Borochoff of CharityWatch, a charity monitoring group.
Other charity watchdogs were less alarmed. "They can disclose if they wish to, but are not required to," said Bennett Weiner, chief operating officer of the BBB Wise Giving Alliance, a national charity monitor. Weiner said he backed more transparency, but that the new rules had not directly hindered his organization's monitoring work.
"I think more disclosure is better than less," Weiner said. "In terms of what impact it's had, I haven't seen that much."
Charity Navigator, which, like the BBB Wise Giving Alliance, rates charities, said that the change had not affected its rating process. Charity Navigator's rating system does not measure a charity's impact, but rather its organizational efficiency. A spokeswoman, however, said that the group disagreed with the rule change in principle.
"In general we would prefer more transparency, and most donors would want to know who the grantees are," said Sandra Miniutti, Charity Navigator's vice president of marketing and CFO. "That's an important thing to know if you're supporting a charity that does work internationally."
Contact Josh Nathan-Kazis at firstname.lastname@example.com or on Twitter, @joshnathankazis
IRS Rules Permit Charities To Say Little About Money Sent Overseas
Josh Nathan-Kazis
Josh Nathan-Kazis is a staff writer for the Forward. He covers charities and politics, and writes investigations and longform.


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- Transmission: Xtronic CVT (Continuously Variable)
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Tech Specs
- Array
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I have always been a collector. It started in childhood and has continued through my adult life. In fact, this blog more or less serves to post pictures of things I've collected, both past and present.
A prime example, the Jeff Grosso Toybox skateboard deck by Santa Cruz pictured to the left. I came across it second hand, as a kid, and my mother was both kind and patient enough to restore it to the condition shown. You should have seen it before she got to it- Mom did a great job.
I sold it as part of an eBay purge to raise money for something else that I've since sold. But, flash forward to a few weeks ago and the board on the right arrived in a big brown box. A Matt Groening interpretation for Bart Simpson. The deck is also produced by Santa Cruz as part of an on-going collaboration with The Simpsons.
Now, I just need to find a spot on the wall to display it. The colors and graphics are great, keeping in line with the original. Of course, I'd prefer to have the original back, but this version will serve as a place holder for now.


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Miss Bush, 19, was among six under-age drinkers found by plainclothes officers in Cheers, a bar popular with students. She was drinking beer while her Secret Service protection agents waited outside.
The police citation on Miss Bush read: "Glass of beer - drank from it." The disclosure, on the eve of Mr Bush's celebration of his first 100 days in office, is an embarrassment to her father, who gave up alcohol on his 40th birthday after years in which he admits to having drunk too much.
It was also a setback to Mr Bush's effort to keep his daughters out of the public eye while he is in office. Before deciding to run for the White House he repeatedly expressed concern about the impact on his family.
White House officials refused to discuss her citation, made in the early hours of Friday morning. Noelia Rodriguez, a spokesman for Laura Bush, the First Lady, said: "We respect the privacy of this young woman and we're not going to comment on her personal life."


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Stopping prison rape: Rape is a crime. Corrections officers, of all people, need to know that.
Even by the standards of the Texas justice system, the number of rapes committed in our prisons is astounding. And it's even more appalling that most of the rapists are corrections officers — the very people charged with enforcing our laws.
The Bureau of Justice Statistics reports that of the 10 U.S. prisons with the highest rates of sexual abuse, five are in Texas. The Estelle Unit, in Huntsville, is No. 1 on that wretched list.
Nationwide, 4.5 percent of prisoners report that they've been sexually victimized in the last 12 months. At the Estelle Unit, it's 15.7 percent. Assuming that Estelle is running near its capacity, that means roughly 470 people are raped there each year; many of those victims are raped more than once.
The other four Texas prisons on the list — the Clements Unit in Amarillo; the Allred Unit near Wichita Falls; the Mountain View Unit near Gatesville; and the Coffield Unit near Tennessee Colony — had rates between 9.3 percent and 13.9 percent.
Most often, according to the Bureau of Justice Statistics surveys, the rapists are corrections staff. The prisoners most at risk tend to be the weakest: women, gay men, juvenile offenders, the mentally disabled, the physically small and those new to life behind bars.
In every state, it's a crime for corrections officers to have sex with prisoners, whether it's consensual or not. But that crime is rarely prosecuted.
That needs to change. And lately, we have reason to hope that it will.
In 2003, George W. Bush signed the Prison Rape Elimination Act, which prompted the studies we're quoting. Attorney General Eric Holder hopes that soon he'll be able to implement the actions those studies suggested. Some of those common-sense standards seem easy to put into effect: Have a written policy of zero tolerance toward all forms of sexual abuse, whether by prisoners or corrections personnel; make it mandatory that staff report any suspicions; assess inmates' risk of abuse; protect those most in danger. (Meaning: Don't put a scrawny, new-to-prison 18-year-old in the same cell as a big, violent known rapist.)
Harder to change, though, will be the code of silence that protects staff at many prisons. As Linda McFarlane, deputy director of Just Detention, recently told the Chronicle, each prison "is sort of an entity unto itself." For that reason, one of the recommendations under consideration is particularly important: requiring regular independent audits of every prison or jail and making that data public.
How much do we need those independent audits? Consider the West Texas State School, a juvenile prison repeatedly praised by the Texas Youth Commission's internal quality assurance monitors — even as the school's staff was complaining to their higher-ups, and even to officials in Austin, that two high-ranking officials had been sexually abusing teenage inmates for more than a year. A volunteer alerted the Texas Rangers, and an investigation uncovered significant evidence that the officials used a combination of bribes and threats to ensure both cooperation and silence. After refusing advances, one boy was locked in solitary confinement for more than 13 hours.
Even after that investigation, neither the area's district attorney nor the Department of Justice pressed charges against the two men, who found jobs elsewhere (one at a school). Only after the Texas Observer broke the story, and the scandal became public knowledge, did anyone act to clean up the school.
Secrecy is sexual abuse's best ally. And in prison, it's all too easy to keep secrets.


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Study: HIV linked to heart attacks
A study shows people with HIV are 50 percent more likely to suffer from a heart attack.
NEW YORK - People with HIV are almost 50 percent more likely to have a heart attack than those who aren't infected with the virus - even after taking into account their other health risks, according to a new study.
Researchers aren't sure what explains the higher heart attack rate in HIV-positive people, but they speculate it's a combination of the effects of HIV itself and the antiretroviral drugs used to treat it.
"It's a complicated picture," said Dr. Matthew Freiberg, who led the new study at the University of Pittsburgh School of Medicine in Pennsylvania. "We're still trying to understand the mechanisms."
Just over 1.1 million people in the U.S. have HIV, according to the Centers for Disease Control and Prevention. Another 50,000 are infected each year.
Because treatment now allows HIV-infected people to live longer, researchers have started turning their attention to the other health problems those people face later in life, such as heart disease.
The new study included more than 82,000 U.S. veterans, almost all men. About one-third of them were infected with the human immunodeficiency virus.
During an average of almost six years, 871 of the study participants had a heart attack, of which 176 were fatal.
The researchers found that veterans with HIV were consistently more likely to suffer a heart attack than HIV-negative veterans in their 40s, 50s and 60s.
After Freiberg and his colleagues took into account participants' other heart risks - including high blood pressure, diabetes and drug and alcohol use - those with HIV were still 48 percent more likely to have a heart attack during the study period.
The findings suggest antiretroviral drugs accounted for at least part of the extra risk among people with HIV. But past studies have shown the virus itself also contributes to heart problems, according to Freiberg.
"It may be that HIV as it's in your body, like other infections, may be promoting an inflammatory response that is leading to these increased risks of heart attack," he told Reuters Health - but so far, that's just a theory.
Having hepatitis C or kidney disease was also tied to a higher chance of heart attack among veterans, the research team reported Monday in JAMA Internal Medicine.
Dr. Patrick Mallon, from the University College Dublin School of Medicine and Medical Science in Ireland, said past research showed a link between HIV and cardiovascular disease.
But it's been unclear whether other differences between groups of people with and without HIV - such as smoking rates and cholesterol levels, for example - could be driving the extra risk.
The new report helps clear that up by comparing two very similar groups of people where HIV status is one of the only differences, he noted.
"There have been a lot of signals for a very long time in HIV, and we're now starting to see people constructing studies properly that really give us some very clear answers," Mallon, who wrote a commentary accompanying the new study, told Reuters Health.
HIV has also been linked to disturbances in fat use and storage in the body.
Mallon and Freiberg agreed that people with HIV should make sure they have their blood pressure and cholesterol checked regularly and do whatever else they can to prevent heart disease - such as quitting smoking.
"There is a lot that the individual can do to mitigate their risk along the lines of lifestyle interventions," Mallon said. "At a personal level, that would be step number one."


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This event is history, please check out the NEXT SESSION
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|FREE BOOK with your seminar participation:
This programme is spread over 3 days, from 10h00 (but the workshop leader will already be present from 9h30 to answer your questions) till 18h00, with a dinner around 13h00:
Project Blastoff
This builds a foundation for the requirements project by establishing its Scope-Stakeholder-Goals. This gives you the precise scope of the business area to be studied; a testable goal for the project; and using stakeholder maps, you can identify all the sources of requirements. Additionally, the blastoff ensures the project is viable and worthwhile.
Trawling for Requirements
At the core of any requirements process is the ability to get people to tell you what they really need, rather than their perceived solution, or what they think you might be able to deliver. We show you how to use apprenticing, use case workshops, interviewing, brainstorming, mind maps and other techniques to discover exactly what the customers need - and want.
This section introduces the brown cow model that gives the business analyst different ways of thinking about the problem, and allows the real problem to emerge. We also look at innovation - fresh thinking about the problem - and how it is a necessary component of any requirements process.
Functional Requirements
Functional requirements are those things the product must do. You discover them by understanding the work the user does, and determining what part of that work the automated product can best do. The resulting interaction between user and product is usually modeled with scenarios, and from these, you can readily derive the functional requirements.
Non-functional Requirements
Non-functional requirements are properties the product must have, such as the desired look and feel, usability, performance, cultural aspects and so on. This section discusses the types of non-functional requirements, and shows you how to use the template, and other methods, to find the all-important qualitative requirements for your product.
Managing Your Requirements
Requirements are the lynchpin of any development effort, and so have to be written correctly and managed effectively. This section demonstrates the use of a template to help you write requirements. It looks at requirements management issues like traceability, prioritization and conflicting requirements. We also look at tools to help manage requirements specifications.
This is a very brief overview of the programme of this unique workshop (spread over 2 days):
Questions about this ? Interested but you can't attend ? Send us an email !


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Orders are optimized in DispatchBot and seamlessly delivered to TomTom PRO navigation devices. Drivers accept the job, navigate to their stops and update order statuses; which automatically update on the board; providing dispatcher's with real-time visibility of every job. WEBFLEET provides real-time visibility into the entire mobile workforce, including estimated time of arrival of each order. Access powerful reports based on real-time data from WEBFLEET, such as the number of trips each vehicle performed over a given period of time. No need to wait until the end of the day or week. See projected metrics along-side actual metrics, such as the number of estimated miles performed versus the number of actual miles driven.
Streamline your dispatch operations with DispatchBot and keep your dispatchers and drivers connected. Show up at the right time, the right place, every time! DispatchBot offers scheduling, dispatching, a reporting solutions for non-emergency medical transportation (NEMT) providers. Manage scheduling and dispatching manually, keeping the workflow simple and obvious. DispatchBot accepts trips from your trip brokers, private pays, and subscriptions.


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Nicki Minaj loves the kids, but she's not ready to completely clean up her image for her young fans.
"I've always been kind of racy," Minaj says, laughing. "Don't expect that to change, but I love children and I respect children so much. ...I'm big on them remaining, you know, kids. I don't want them to go around cursing and acting crazy."
Many kids — and others — are going out to buy Minaj's sophomore album, "Pink Friday: Roman Reloaded," which sold 253,000 units in its first week, according to Nielsen SoundScan, giving Minaj her second No. 1 album.
U.S. & World
In just three years, the rapper has transformed her image by singing on her songs, and toning down her oversexed appearance. Her fan base now includes young girls, which she says surprised her.
"I didn't expect the kids to gravitate to me like that," the 29-year-old said in an interview last week before performing in New York's Times Square at a Nokia event. "I'm finding my own niche with them."
One of the reasons children have connected with Minaj is thanks to pop hits like "Super Bass," ''Turn Me On" with David Guetta and "Starships." Minaj is also featured twice on Madonna's latest album, "MDNA."
"Roman Reloaded" showcases Grammy-nominated Minaj as her male alter ego, Roman. The album has multiple sounds to match her multiple personalities: In addition to dance-pop anthems that mirror Rihanna and Katy Perry, there is hardcore hip-hop, contemporary R&B and reggae flavors.
"Once I did it I was like, 'Why aren't all albums like this? Why does every artist have to give you one thing?'" Minaj asked. "I like going to restaurants because I can order a little bit of salad, a little bit of bread, a little bit of chicken, some sushi. I like variety. I get very, very bored if I have to keep things the same."
The new album follows her 2010 debut, "Pink Friday," which is approaching double platinum status and launched seven singles that were hits on the pop, R&B or rap charts. "Roman Reloaded," which boasts 19 tracks, features Chris Brown, Lil Wayne, Drake and Nas, and producers like RedOne, Dr. Luke, Alex da Kid and J.R. Rotem.
"The album alone, just the sequence and the order and the genre, that alone is a conversation piece," she said. "People keep talking about it. I didn't know it was going to be such a big deal."
Minaj, who was discovered by Lil Wayne and signed to his Cash Money/Young Money imprint in 2009, says she's interested in putting out her own female rap talent.
"It wouldn't be on Young Money, it would be on my own label if I do decide to do my own label. Yeah, sure, of course," she said.
"People do come up to me a lot about their female rappers, and I always tell them, 'It's for the strongest, (the) mentally strongest people in the world. You know, you've got a lot of things going against you, but if you really, really want it, you push yourself, write your own lyrics and you have an opportunity. You can do it.'"


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A Glimpse Beneath the Mask
Paul Douard, product and graphic designer from France, joined forces with Victor Vergara, art director from Colombia, to collaborate on Elemental Masks. The two illustrators share a similar passion for vector art and Adobe Illustrator — and the results are wonderful!
Find out more about the project in this post on the Creative Cloud blog, and be sure to check out more of their their work on Behance!


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Carlos Santana and his new bride are ready to make some sweet music together.
The legendary guitar player married jazz and rock drummer Cindy Blackman in a December ceremony in Hawaii, reports People.
Though the couple faced rain on their wedding day, they decided to embrace the conditions.
U.S. & World
News from around the country and around the globe
"The weather was kind of iffy, so we said, 'Let's just do it inside,'" Santana, 63, told People. "Because no matter where we did it, the sun was shining."
"Rain represents mercy," added Blackman, 51. "It couldn't have been more beautiful."
The nuptials were a star-studded affair, as talk show host George Lopez and jazz luminaries Herbie Hancock and Wayne Shorter - who both performed at the reception - were on hand.
Santana is best known for the Latin fusion his eponymous band pioneered in the 1960s and 70s. They made their breakthrough at Woodstock in 1969 and recorded several top 10 hits, such as "Evil Ways" and "Black Magic Woman."
Blackman was a long-time member of Lenny Kravitz's band, but has also jammed with jazz giants Pharoah Sanders, Ron Carter and Joe Henderson. She is currently the touring drummer for Santana's band and he proposed to her on stage at a concert in Illinois last July.
This is Santana's second marriage. He split with his wife of 34 years in 2007. It is the first marriage for Blackman.
Suggested Reading: Los Angeles Times, People, Daily Mail


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EDMONTON - Danica Soucy and Ryan Wong had one sweet wedding.
When the bride has a sweet tooth, what better way to start and end the big day than with dessert.
Ryan's proposal to Danica was no less sweet. In June 2012, he tricked her into taking an after-hours trip to the Duchess Bake Shop to test some new desserts that his friend, Jake Pelletier, who is also a part owner and executive chef, was thinking of adding to the menu. Shortly after Jake brought out a two-tiered tray of cookies, Ryan took out a ring box hidden at the back of the tray.
"He said some nice things to me and then he turned around and I saw the ring box and started bawling," Danica remembers. "He proposed and that was that."
The couple, who met while working a night shift at the Royal Alexandra Hospital where Danica, 30, is a nurse and Ryan, 26, was a respiratory therapist before becoming a building supplies sales rep, originally planned to have a large wedding.
"We booked the Enjoy Centre (in St. Albert) because we were thinking we were going to have 350 people, but by Christmas 2012, we didn't want to do that anymore," Danica says. "We thought it would be nicer to have an intimate affair with just people we both know very well."
With the wedding set for Aug. 17, 2013, and many venues already booked way in advance, Danica's mom Andrea scrambled to find a new location and found the Union Bank Inn.
Danica's original plans for a wedding dress also changed.
"I was trying a lot of sleek lace dresses that weren't very poofy, just plain, and then I came across this mermaid-style Pronovias Duende dress and cathedral veil at the Bridal House & Tuxedo House, that I never really wanted because at five feet two inches I knew I was too short for it.
"I really wanted a lace dress and it had French lace on the bodice as well as feathers around the sweetheart neckline, and I liked the feathers. I tried it on as a joke at first, but then I kept trying it on over and over and over again and it sort of grew on me."
She even proofed out the dress more with crinolines.
Danica overcame the height issue with a pair of strappy, rainbow-hued Enzo Angiolini shoes with six-inch heels that she found on the Nine West website.
Her bouquet from Endless Possibilities in Beaumont featured hydrangeas, roses, mauve stock, freesia, Queen Anne's lace as well as feathers to match her dress, and pearls.
The bridesmaids wore a knee-length or shorter black dress of their choice, paired with matching taupey-pink, lace-covered shoes from Call It Spring.
Ryan chose a black pinstriped Alfred Sung suit and mauve tie from Moore's Clothing For Men. He took a similar casual approach with his groomsmen as Danica had with her attendants, by telling them to wear a black suit of their choice and black shoes, then pulling them together with matching mauve ties.
The wedding ceremony, held on the second floor of the Union Bank Inn, was followed by a cake cutting "because I knew at dinnertime we were going to have dessert and I didn't want to overload dessert at suppertime," Danica says.
The couple cut two cakes from the Duchess Bake Shop: the classic Duke, a chocolate cake with salted caramel and a chocolate ganache icing, Ryan's favourite; and the Duchess, a white cake with raspberry and lemon filling, topped with vanilla whipped cream and marzipan, Danica's favourite.
Ryan used a 12-inch machete — a "zombie-killing knife" provided by Danica's mom — to cut the confections because he and Danica love anything to do with zombies, Danica explained.
The lunch also featured a Chinese tea ceremony where the bride and groom poured and served tea, with a bow, to their older, married guests, who responded by giving them gifts of jewelry or red envelopes with money.
Plans for bridal party photos to be taken in an urban setting downtown as they walked to the Sabor Divino restaurant, a few blocks away, for the wedding reception, were disrupted by rain and a hailstorm. So the group ducked into Commerce Place and the Lux Steakhouse & Bar to take some pictures before the weather cleared.
Ryan's memory of that day is how beautiful Danica looked as she walked down the aisle.
"It was like I was in a trance and everything else was a blur except her," he says.
What Danica remembers, "other than the obvious, marrying the man I was meant to be with forever," is the food.
"It was amazing! I'm a foodie and it was very important for me that everyone was fed and enjoyed the meal — from the cakes from Duchess to the mini cheesecake and crème brûlée at Sabor Divino.
"My mom magically put some more Duchess cake in our room after the wedding reception so it was desserts from start to finish."
Wedding date: Aug. 17, 2013
Wedding and reception venue: Union Bank Inn for the ceremony and a light lunch; Sabor Divino restaurant for the reception
Guests: 78
Budget: $12,000
Colour theme: Black, ivory, and a little mauve
First dance song: Northern Wind by City and Colour
Honeymoon: A week at Jasper Park Lodge
Five tips for wedding success
Wedding season is here. Have you gone to a reception and wondered why no one is dancing? If you are planning an event, here are five tips from a DJ that will help you make it successful.
1. Always have two MCs.
Many times I have seen the stress on a couple's face when they realize that their MC is missing, or will be late due to missing flights, even getting lost on arrival; or my favourite, simply getting too drunk to continue. It helps to have a second MC so you don't have to worry. It also works better from a production standpoint. One MC can bring the fun, but if he rambles on too long then the second MC can watch the time and make sure everything runs smoothly. If your MC is nervous, then having someone else stand up there with him/her helps.
2. Position the bar and photo booth close to the dance floor.
You can bring a lot more togetherness at an event by grouping all the entertainment together. It makes it easier for your guests to mingle with each other and not have to go far distances to move from the dance floor to the bar and back. They are more likely to dance as a result.
3. Bring sandals for the ladies.
Women get tired feet wearing high heels all day, so they take their shoes off later when they're out on the dance floor. You do not want your guests to step on glass that shattered the week before at another party. Maybe the cleanup was done, but glass isn't easy to see in dim lighting. Sandals will be appreciated.
4. Music requests
A DJ's job is to entertain your guests. Music is only one tool in his arsenal. Song requests come when people are not being entertained. In fact, good DJs don't get a lot of requests because people are too busy having fun dancing. Provide a list of songs for your DJ but let him entertain first and play music second. A good question to ask yourself: "If I request a song and if everyone leaves the dance floor, should the DJ continue with the song or change it to fill the dance floor again?" Music should be important to you but not more than your guests.
5. Don't go outside.
It may not seem obvious, but your guests are watching you throughout the night. If you go outside for a smoke break or to change clothes your guests will slowly follow. Once they leave the room it's hard to get them back in. Stay inside and keep the mingling inside. Once they are outside it's very easy for them to leave.
At the end of the day your guests will judge how successful your party is by how much fun they had. They will forget what you did and what you said, but they'll never forget how they felt. Leave them wanting more.
Tips compiled by Sam Maisuria of Divinity Productions Find out more at divinityproductions.ca.


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Anesthesiology Experts Serving Georgia
Change State | Show all Georgia experts
Find an Anesthesiology Expert
Experts specializing in local and general anesthetic, pain management, and pharmacology. Malpractice issues such as anesthetic equipment, safety warnings, and human error. Topics may include Cardiothoracic, Ob, Positioning and Retrobulbar Blocks. Anesthesiology experts serve as expert witnesses and forensic consultants in Georgia legal matters, and provide expert reports and testimony for judges, attorneys, lawyers, law firms, insurance companies and government agencies in Federal and state court trials and arbitrations in Georgia.
The listings below are of Anesthesiology experts serving Georgia.
Featured ListingsMitchel B. Sosis, MS, MD, PhD
Lafayette Hill, PA
Dr. Sosis is a Board-certified Physician/Anesthesiologist who was Ivy-league trained and is well-published. He has over 33 years academic, teaching and clinical experience. He offers prompt turn-around. Dr. Sosis been a pioneer regarding the prevention of operating room fires and also has expertise and training in pharmacology.
Ajay Mathur M.D.
Expert Witness
Scottsdale, AZ
Ajay Mathur M.D. has been a practicing anesthesiologist for over 15 years. Dr. Mathur is available as an expert witness for medical review for Plaintiff and Defense. Contact Dr. Mathur for a same-day response email@example.com. Up to 30 minutes phone call free initial consultation. Reports, Depo, Trial testimony and IME's.
Expert ListingsSimon Lee, MD
Simon Lee, MD
Atlanta, GA
Dr Lee is a Board Certified Anesthesiologist practicing in a world renown academic institution. He has practiced in a wide array of clinical settings ranging from outpatient surgical centers and small rural hospitals to a major trauma center. He is actively involved in research, quality initiatives, education and serves as the Medical Director of the Recovery room (PACU) and Off-Site Anesthesia Services.
Pablo Moujan, M.D.
Pablo Moujan, M.D.
El Paso, TX
I am a 60 years old physician US residency trained board certified and recertified in anesthesiology with over 35 years experience. I have practiced in the military private practice and academic fields reaching the position of Chair of Anesthesiology at Texas Tech University Health Sciences at El Paso.
Medical Advisors, Inc./Tech. Network Cons. Svcs.
Rhonda Grallnick, RN, BSN
Blue Bell, PA
Fully credentialed Scientific, Technical, Medical & Engineering experts in a full range of specialized fields. A support team of highly trained paralegals, strategists, nurses, and others are dedicated to your case. Experts nationwide. Free consultation.
Eric Harris, MD
Weston, FL
I am a board certified anesthesiologist also board certified in pediatric anesthesiology. I have been in clinical practice over 17 years at a large urban academic institution. I perform anesthesia for most types of surgeries with an emphasis in obstetric and pediatric anesthesiology and airway management. No chronic pain management expertise.
Nurse Anesthetist Expert
Neil Buettner
Cordova, TN
Actively practicing nurse anesthetist (CRNA) with 30 yrs of surgical and obstetrical anesthesia experience. Will provide medical record review and deposition/witness services for plaintiff/defense based on merit.
Elite Medical Experts, LLC
Tucson, AZ
Elite Medical Experts specializes in medical litigation. From Stanford to Yale, and from all places in between, Elite secures top-tier anesthesiology experts from the nation's leading universities. Each is Professor of anesthesiology with a busy clinical practice. Please call today for a case analysis by an in-house physician or nurse. Elite Medical Experts works directly with legal teams and does not accept inquiries from private parties.
Jeffrey J. Cocozzo, MD
Anesthesiology/Pain Management Expert
Ft. Lauderdale, FL
Over 26 years of clinical and academic
experience. Board-certified, practicing
Anesthesiologist. Plaintiff and Defense.
Chart reviews/ depo and trial testimony.
Working with counsel nationwide. Cell
number 954.895.7141, email email@example.com
Bernard R. Wilcosky, Jr., M.D., DABA, DABPM
Dr. Bernard Wilcosky
Napa, CA
Dr. Wilcosky is board certified in Anesthesiology and Pain Medicine. He has over 35 years' experience in the management of chronic pain. He has special expertise in the management of opioid therapy including issues of over and under medication. He is also a pioneer in the use of ketamine for chronic pain and depression. He has extensive experience in case review and expert testimony.
Adam Carinci, MD, MBA
Adam Carinci, MD, MBA
Rochester, NY
Dr. Adam J Carinci M.D. is a nationally recognized and sought after clinician speaker and expert witness with over a decade of pain medicine experience. He is double-board certified in both Anesthesiology and in Pain Medicine and maintains an active full time medical practice. Dr. Carinci is Chief of the Pain Management Division and Director of of the Pain Treatment Center at the University of Rochester Medical Center and an Associate Professor at the University of Rochester School of Medicine. Prior to his current position, Dr. Carinci was the Director of the Pain Medicine Center at Massachusetts General Hospital and an Instructor at Harvard Medical School. Dr. Carinci trained at Johns Hopkins University School of Medicine, Johns Hopkins Hospital, Massachusetts General Hospital and Harvard Medical School.


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The ad on the website said, "1969 Chevrolet Z28 Camaro, numbers matching." My client bought it and paid more than $25,000 for it. The seller was a dealer specializing in muscle and collector cars from the 1960s and 1970s.
When he got it home, the buyer contacted his insurance agent about getting proper insurance on the car and was told an inspector would come out to do an appraisal. Obviously, someone could buy a ratty old junkyard Camaro, insure it for a ton of money and have it disappear – to file a fraudulent insurance claim. And no one wants that.
The inspector came out, walked around the car and commented on how nice it looked. Especially since it was not a Z28. The leaf springs were wrong and the motor was date-coded wrong. The inspector said someone had taken a run-of-the-mill Camaro and dressed it up as a Z28. As such, it was worth nowhere near what the buyer had paid for it and the insurance company would not insure it for that amount either.
The buyer called the seller who refused to help. He said the car had been sold "as-is" and that was that.
As noted elsewhere , "as-is" merely means that the seller is disclaiming the warranty of merchantability. It does not – indeed, it cannot – disclaim express warranties made by the seller at the time of sale. Here, the seller had made two such express warranties. That the car was a "Z28" and that it was "numbers matching." After getting nowhere with the seller, the buyer contacted me and we filed suit.
Amazingly, the attorney for the seller tried to argue with me that "numbers matching" has no specific meaning in the automobile world and any buyer was foolish to think otherwise. He could not explain away the "Z28" argument, other than to say he did not think it was a warranty. It was.
It also amounted to fraud, according to some guy cited in an article about fake classic cars in the New York Times.
After haggling back and forth for a while and getting nowhere, I retained an expert on Z28s. A day or two later the expert called me and told me that the seller's attorney had also contacted him and offered to retain him. The expert told the other attorney they were in a world of hurt because "numbers matching" is a term of art which has specific meaning and this car was not a Z28.
Shortly after, the seller agreed to buy the car back, unwind the deal, and pay my client's fees and costs. Meanwhile, I suspect that the car is out there somewhere, having been sold as a "Z28" to some other poor sap.
Z28 experts can weigh in below on what telltale signs there are for authenticity – like which side of the steering column the speedo cable comes through the firewall – but most of them are not common knowledge among non-Z28 experts (and I do not claim to be one. That is why I would hire one).
And yes, we all know that my client could have avoided this by having the vehicle inspected by an expert before he bought it. But, few people ever actually have their cars professionally inspected before purchase. If nothing else, that is the lesson here.
EDIT/NOTE: My client paid "more than $25,000" for the vehicle. In MI, our pleading only requires us to specify a figure above or below that. In this case, it was ABOVE that. I often use facts from the pleadings for my stories, since they are public documents. Sorry for any confusion. (But the price was not $25,000.)
Photo by: Michael Miloserdof (Photo is not the car from the actual case.)
Follow me on twitter: @stevelehto
Steve Lehto has been practicing consumer protection and lemon law for 23 years in Michigan. He taught Consumer Protection at the University of Detroit Mercy School of Law for ten years and wrote The Lemon Law Bible. He also wrote Chrysler's Turbine Car: The Rise and Fall of Detroit's Coolest Creation and The Great American Jet Pack: The Quest for the Ultimate Individual Lift Device.