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6 Ways to Ruin a Perfectly Good Wedding
Some weddings just don't incorporate enough sex-play. And if you're not going to do something about it, who will? As this clip demonstrates, flashing your ass first, then sticking your head up the bride's dress is a fantastic way to generally creep everyone out. But, the reverse order (oral first, ass-flash second) will work just as well. Also, you should probably have another cosmo just to be on the safe side.
#2. Kung-Fu Kick the Bride in the Stomach
Whether you're participating in a televised wedding such as this one, or attending a normal wedding, there's simply no better way to utterly derail someone's special day than striking the bride with a vicious kung-fu style kick to the gut. It works on two levels. First, the concept of violence toward women is especially disquieting, and second, bystanders will be stunned by how perfectly executed your vicious kung-fu kick was. Also, feel free to throw a couple of follow-up punches to make sure your point got across, and consider also running across the room to kick someone else in the torso as long as the cat's out of the bag.
#1. Roll Up on a Motorcycle and Body Slam the Bride
Now, assaulting a bride on her wedding day is one thing, but preceding it by skidding to a halt atop a rad Kawasaki motorbike is decidedly more badass. If you're about to wail on some bride's ass, you don't want to arrive, say, on a Segway. And after all, you need to show her fianc� that you love him and that you also love the way that he stands idly by as his future wife is physically assaulted in her $5,000 dress. Two pieces of advice if you go with this wedding-ruining technique: Make sure you shave your head beforehand to avoid the savage hair-pulling, and also try to do this at a wedding where the bystanders won't find the physical violence so downright hilarious.


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Video Industry News Video Company News Technology Industry News Technology Company News Novelty Industry News Novelty Company News Gay Industry News Gay Company News Legal Industry News All Company News
Released: Jan 01st, 1997
Running Time: 60
Director: Tammara Wells
Company: Uni Distributing Corp.
Cast: Monique Parent, Kate Rodgers, Lisa Marie Scott, Anna-Marie Goddard, Ashlie Rhey, Kelly Burns, Lisa Boyle, Julie Strain
Critical Rating: Not Yet Rated
Genre: Alternative
Julie "ya gotta take that top off" Strain, who's probably been in every B-movie ever made (or so it seems), headlines this entertaining paean to all those erotic film vixens whose breasts are the bagels of the late-nite cable TV bill of fare.
Fluffy, inconsequential interviews and selected nude scenes comprise the basic video package. But, assuming you've seen all the good stuff before (being a fan of these girls, you probably have), some custom-crafted fantasy sequences are provided for additional viewing enjoyment.
Kelly Burns, a '90s rendition of Inger Stevens, gets our vote as erotic thriller babe-of-the-year. Whoa.

subset: commoncrawl


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Video Industry News Video Company News Technology Industry News Technology Company News Novelty Industry News Novelty Company News Gay Industry News Gay Company News Legal Industry News All Company News
Released: Nov 01st, 1998
Running Time: 106
Company: Annaka Video?CDi
Cast: Fiero, Rick Masters, Teri Starr, Kyle Stone (straight), Serena (I), Kali, Nikki Neals, Others
Critical Rating: AAA
Genre: All-Sex
Anal product is still hot; this one should move simply because of what it is.
While the hottest encounters within might not stand up to a four-A tape, as stand-alone scenes we'd recommend the Kyle Stone/Fiero tryst -- if for no other reason than the fact that we hardly ever see a freckled ass get boned every day. What can we say? Redheads ring our bell.
While the modest locations, mediocre videography and sometimes-grainy duplication are forgettable, the team-up with Rick Masters and Teri Starr elicits enough heat to balance out the scenes that fizzle.


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MONTGOMERY, Ala. (AP) - Alabama's unemployment rate rose in
November to 6.1 percent.
That's an increase from October's figure of 5.5 percent.
State Industrial Relations Director Tom Surtees said the rate
remains below the national average of 6.7 percent.
Alabama's rate is also better than its Southern neighbors with
Tennessee at 6.9 percent, Mississippi's at 7.2, and Georgia at 7.5
percent unemployment.
November's figure represented an additional 10,983 Alabamians
looking for work. Surtees said the manufacturing sector experienced
the largest decrease in jobs.
Alabama counties with the lowest unemployment rates were Shelby
at 3.9 percent, Madison at 4.1 percent, and Tuscaloosa at 4.6
The counties with the highest jobless rates were Chambers at
14.6 percent, Wilcox at 14 percent and Bullock with 12.1 percent.
(Copyright 2008 by The Associated Press. All Rights Reserved.)


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Long Time Since
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- Release Date: Aug 16, 2002
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It's a visually poetic style, and likely to find hardcore devotees, especially among the ranks of Terence Malick and Marc Forster fans. Others will just find it painfully slow.
While the film has the feel of an illustrated radio play, it teems nonetheless with pleasing ambiguities and subtle doubts, and its elusive qualities force the viewer into active and rewarding participation rather than simple passive spectatorship.
Intense but inscrutable tale involving a woman's gradual remembrance of a long-suppressed trauma.


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The Royal Ballet's triple bill Metamorphosis: Titian 2012 will be remembered as the culmination of Monica Mason's popular reign as Director. But it was also the start of a partnership between one of the world's leading choreographers and one of the world's most sought-after composers – Christopher Wheeldon and Mark-Anthony Turnage. Their collaboration on the middle piece of Mason's Titian trio, Trespass, was brief, but it gave them a taste for bigger things, and when the choreographer was asked to make a new one-act ballet for an all-Wheeldon triple bill, he thought immediately of Turnage.
Christopher Wheeldon: 'We worked together a little on Trespass and I had a really good time with him – or rather with his music, because it wasn't as much of a collaboration as this is. It came at a time when I was in the middle of doing something in New York, so the score was developed almost without me and I came in and made the piece [with Alastair Marriott] with the music kind of ready. But this one really is from scratch. When I told Mark I needed a new score for a narrative ballet, he got sparked up by the idea and I'm thrilled that we're getting to do this together.'
Mark-Anthony Turnage: 'I'm not so used to doing a narrative ballet in the way that Chris has done with Joby Talbot [Alice's Adventures in Wonderland and The Winter's Tale]. I came late to ballet – my first was From All Sides for the Chicago Symphony Orchestra and Hubbard Street Dance in 2007, then Undance for Wayne McGregor in 2011, and Trespass, for Wheeldon and Alastair Marriott, in 2012. These were all more abstract ballets. For this one I want to get the atmosphere and musical language exactly right. I've got to decide whether I write pastiche late-19th-century French music, sort of sub-Massenet, or whether I do my own thing. I love French music, particularly Debussy and Ravel, and it would be stupid not to allude to some of that but I'm not just going to do cod French music. I also write quite jazzy things and jazz wasn't around in 1884 so that's something else to think about.'
The new one-act ballet is based on a scandal in 19th-century Paris, when John Singer Sargent exhibited a provocative painting of a young woman, known as Madame X, at the stuffy Paris Salon ('Portrait of Madame X', 1884). Sargent had painted one jewelled strap slipping carelessly off her shoulder, suggesting a freedom quite unbecoming for a well-bred lady. Even though Sargent swiftly repainted the strap on her shoulder, the damage had been done. The outrage that followed ruined both their reputations, but while Sargent's career recovered, his model, the young married woman, Virginie Amélie Gautreau, was ostracized and rejected by Parisian society. Wheeldon explains why he chose this subject for his ballet:
Wheeldon: 'I am drawn to the painting of Madame X whenever I visit the Metropolitan Museum in New York. There's something magnetic about it: unlike Sargent's other paintings, the lines are very clean and clear and the ashen pallor of her skin makes it stand out almost in three dimensions against the dark background. Something about the muscularity of her arms, the elegance of her neckline, the haughtiness of her face and the tilt of her head – it's easy to understand how it must have been shocking. The details of Amélie Gautreau's life are still sketchy, but I read Deborah Davis's semi-fictional account, Strapless, and thought it was stunning. Amélie was the first supermodel, in a way, and I'm fascinated by the idea that she would have worked so hard to build her reputation in Paris as a celebrated beauty, and one painting brought her crashing down.'
'I'm going into a Royal Ballet studio in December 2015 to create the [as-yet unnamed] work, but Jackie Barrett [guest teacher] and I have already broken the story down into rough scenes so Mark can get going on the score. I'm using a bit of artistic licence and we're still thinking about how to present the story — Should we begin with the scandal, or look at events leading up to the unveiling of the painting? There's enough there to make a full-length ballet, but we're not doing that. It's more of a dance suite of about 35 to 40 minutes.'
The main characters in the drama are Amélie Gautreau, Sargent and Dr Samuel-Jean Pozzi, a charismatic gynaecologist to the Parisian haut monde with a Lothario-like reputation. Sargent's portrait of his friend Pozzi from 1881 was one of the highlights of the recent exhibition at London's National Portrait Gallery. Clothed in a crimson gown, delicate surgeon's fingers spread over his hip, handsome face framed by a well-trimmed beard, the attraction of this virile, sensuous figure is plain to see.
Turnage: 'Chris has asked for each character to have a distinctive theme, or leitmotif, and I've already developed one for Amélie. I'd written an intro, to set the mood and build up to her tune. But when I sent over the tape to Chris he said immediately – 'her tune should come in as soon as she enters'. So I've cut the intro and gone straight to the tune. That's what I like, true collaboration, when you change things. I want to get the whole piano score right by the time he goes into the studio to rehearse in December.'
Wheeldon: 'When you're dealing with narrative it's so much more satisfying to work closely with a composer, starting from the ground up and really being able to build your structure. Mark is wonderful – he's capable of rustling up a wonderful opera, a great symphonic work or a little jazz piece.'
Turnage: 'This project is about working with Chris and The Royal Ballet, but I also get to do my favourite thing – working with the Orchestra. It's a joy to work with players who respect you, and whom you respect. Take the principal bassoon, Andrea de Flammineis. He's a fabulous player and I'm making sure one of the characters in the ballet is going to have a bassoon in his theme.'
'There are certain elements that you have to think differently about when writing for dancers – rhythm, for instance. In the second scene, when Pozzi dances with Sargent, it's a waltz – not a typical waltz, but obviously in 3/4. Normally I would distort it a bit, but I'm keeping it more rhythmically straight and in a traditional form. After Stravinsky, we know that dancers can do phenomenal things, but I'd still probably chop around less than I would in a concert piece.'
'But it's mad to think you can write the same music for dance or opera as you can for a concert hall. That's where people come a cropper. You've got to be aware of the theatre and make sure everything is paced right – not too long, not too short. I'm writing a new children's opera for the Linbury [to be directed by Katie Mitchell]. But opera is not an easy option. I find it hard to write for voice. It's a real challenge to set words and I feel naturally closer to instrumental music.'
The two other one-act ballets on the triple bill are new to The Royal Ballet and their musical language is very different from Turnage's vibrant rhythmic sensibility. Within the Golden Hour, for San Francisco Ballet in 2008, has the light, darting string music of Ezio Bosso, while After the Rain, made for New York City Ballet, features Arvo Pärt's timeless, meditative pieces Tabula Rasa and Spiegel im Spiegel.
Wheeldon: 'I chose two works that would balance well with this new narrative ballet and the music is very different, although it's all by living composers. After the Rain was one of the more solid pieces I made for New York City Ballet and it's nice that it's going to be in The Royal Ballet's programme. Marianela Nuñez and Thiago Soares danced a pas de deux from this at a Royal Opera House Gala two seasons ago and they were beautiful.'
Now titled After the Rain / Strapless / Within the Golden Hour runs 12 February-11 March 2016. Tickets go on sale to Friends of Covent Garden from 22 September 2015. General booking opens on 21 October 2015.
This article was originally published in the Royal Opera House Magazine, received quarterly by the Friends of Covent Garden.]]>
Turner Prize-winning artist Chris Ofili is to use Royal Ballet dancers as living canvases for a piece at Deloitte Ignite 2014, painting their bodies for his collaboration with choreographer Aakash Odedra.
Inspired by the myth of Prometheus, the work combines contemporary and classical Indian dance. It will have its premiere as part of Sampling the Myth at the Season-opening festival next month alongside extracts from Mikhail Fokine's The Firebird and The Dying Swan, Matthew Bourne's Swan Lake,George Balanchine's Apollo and Wayne McGregor's Raven Girl; and the world premiere of a new dance piece by Rambert's Miguel Altunaga.
'Collaborating with Chris Ofili is an integral part of the overall aesthetic of the evening,' says Aakash. 'There is an interesting part in Prometheus about the first man made of clay, and so the idea of having a substance on you and why it is relevant is interesting to explore. He has also been giving me ideas to enhance choreographic process.'
Watch Aakash Odedra rehearsing the piece with Royal Ballet dancers
Deloitte Ignite, curated by The Royal Ballet with the National Gallery's Minna Moore Ede, runs from 5–28 September and includes a wide range of free and ticketed events. Tickets are still available.
The newly restored portrait of John Tooley, Royal Opera House General Director from 1970 to 1988, was unveiled last night to mark the former director's 90th birthday.
The portrait, painted by Australian artist Bryan Westwood, was initially commissioned in 1982 as part of the celebrations for the 250th anniversary of the Royal Opera House.
Now, after 34 years of wear and tear, the portrait has been fully restored by paintings conservator Susan Moore of Plowden and Smith Ltd; it has undergone repair work, been re-varnished, re-glazed, and re-hung in the Amphitheatre Bar.
Alex Beard unveiled the portrait before last night's performance of Tosca, which was dedicated to John.
Unveiling of Bryan Westwood's portrait of Sir John Tooley, November 1982 at the Royal Academy © Donald Southern
Plácido Domingo, John Tooley and The Queen Mother after the Gala performance of Manon Lescaut, 3 May 1983 © ROH
John Tooley first joined the Royal Opera House in 1955, becoming General Director in 1970. During his tenure, a range of iconic Royal Opera and Royal Ballet productions had their premieres, including John Copley's much-loved La bohème, Andrei Serban's Turandot, Kenneth MacMillan's Manon and Anthony Dowell's Swan Lake.]]>
The National Portrait Gallery has unveiled their latest commission, a portrait of former Director of The Royal Ballet, Monica Mason.
The larger-than-life-sized portrait by Tehran-born artist Saied Dai sees Dame Monica in a commanding pose, holding a mask and looking sideways at the viewer, reflecting her careers as a graceful ballerina and Company director.
'The paradox of painting is that whilst the image is static and inert, on examination it must reveal movement and life,' says Saied. 'This was especially so in the case of a dancer. I was conscious of not resorting to any cliché about dance. Since Dame Monica Mason has spent her whole working life performing through 'masks', it appeared to be a fruitful metaphor to pursue.
The dancer-turned-Director's career with the Company spanned 54 years, both on stage and behind the scenes. Born in South Africa, Monica joined The Royal Ballet in 1958 as the youngest member of the corps de ballet before rising to the rank of Principal, acclaimed for her interpretations of major roles including Odette/Odile in Swan Lake and Princess Aurora in The Sleeping Beauty. She also famously created the demanding role of the Chosen Maiden in Kenneth MacMillan's The Rite of Spring. On retiring from dancing, she joined the Company's administrative staff, becoming Director of The Royal Ballet in 2002.
The gallery's collections contain a number of ballet-related paintings, sculptures and photographs. Among these are 44 works featuring Margot Fonteyn, eight featuring Rudolf Nureyev, and four featuring Kenneth MacMillan.
The portrait is on display in Room 32 at the National Portrait Gallery. Admission is free.]]>
Impressionist artist Edgar Degas is known primarily for his paintings of dancers. No other artist has such an association with the art form. Critics however, have claimed that Degas was a 'chocolate box' artist – his work is pretty to look at but lacking in depth.
The current exhibition at the Royal Academy of Arts, Degas and the Ballet: Picturing Movement, challenges these assumptions – showing that his portrayal of movement was extremely experimental and radical. The artist successfully used photographic techniques and challenged established ideas of both subject and artistic technique.
Working with the Royal Academy of Arts, Royal Opera House Insights developed an event to bring art to life in the ballet studio and explore how the art form has developed over the past 150 years. The event proved hugely successful, selling out within a matter of hours. We wanted offer all those who missed out on tickets a chance to catch up with an edited version of this entertaining and informative event. You can watch it here.
At the Royal Academy of Arts, prima ballerina Darcey Bussell joined Kevin O'Hare (Administrative Director, The Royal Ballet) to talk about her career in front of the lens. She recalled working with world famous photographers such as Mario Testino and the challenges of capturing the essence of dance in one still image - a conundrum Degas faced throughout his career.
Listen to this interview
You've got until 11 December to catch the exhibition - don't miss it!
There are also a range of related resources on the Royal Academy website]]>


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HOUSTON (AP) - Houston Mayor Lee Brown announced Wednesday an audit of Public Works and Engineering Department projects after a recent television report showed city workers artificially inflated the number of potholes they fixed.
Last week, KTRK discovered city crews counted potholes based on size. If a pothole was three times larger than the average hole, the crew would count it as three holes repaired.
"I want to make sure that what we're reporting to the public is accurate," Brown said. Brown added that other public works aspects will be investigated as well.
Brown and public works director Tom Rolen say they were unaware of the fuzzy math. City leaders are still trying to determine who began the policy, the Houston Chronicle reported Wednesday in its online edition.
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Video Industry News Video Company News Technology Industry News Technology Company News Novelty Industry News Novelty Company News Gay Industry News Gay Company News Legal Industry News All Company News
Released: Oct 01st, 1997
Running Time: 81
Director: Cool Breeze
Company: Heatwave Entertainment
Cast: Tim Hard, Jasmine (I), Byron Long, Lilly Passion, Devlin Weed, Ron Jeremy, Meka Johnson
Critical Rating: AA 1/2
Genre: All-Sex
Wouldn't you know it? Somehow, Ron Jeremy found a way to sneak into an otherwise all-black video! Ron's role is backdoor man to an ebony gal lying ont op of a Jacuzzi, and she takes him in stride as well as inside. The other gals do a decent job on their dusky male counterparts and emphasis can be found on heavy oral and deep anal. Speaking of which, the very attractive boxcover shows off the callipygian treasures of the performers. (Ed: Hey, who says vocab improvement has to be boring?)


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Continued incarceration of the innocent
Published: Friday, October 30, 2009 at 12:19 p.m.
Last Modified: Friday, October 30, 2009 at 12:19 p.m.
After railing against senators and representatives for their cowardly, uninformed and unacceptable attempts to prevent President Obama from bringing any Guantanamo prisoner to the U.S. mainland for any reason even for trials Im delighted to report that, last Tuesday, the Senate finally saw sense, voting 79-19, as part of a $42.8 billion bill for homeland security, to accept that the administration can bring prisoners to the U.S. mainland to face trials.
The vote follows a similar climb-down two week ago by the House of Representatives, which had recently allowed itself to be mesmerized by a paranoid motion proposed by Rep. Hal Rogers, R-Ky., and the bill will now be signed into law by President Obama.
However, Congress is still interfering to an unacceptable degree in the administrations plans, insisting, as AFP described it, that the president provide lawmakers with a detailed assessment of the possible security risk 45 days before prisoners are brought to trial in the United States, including details of the dangers involved, steps to diminish the possible threat, the legal rationale for the transfer, and assurances to the governor of the receiving state that the individual poses little or no security risk.
In addition, the bill as it was finally passed still allows lawmakers to meddle with plans to transfer prisoners to other countries, requiring as AFP put it, that prisoners cannot be transferred to another country unless the president gives Congress the name of the detainee, the destination, a risk assessment, and the terms of a transfer. As Lt. Col. David Frakt, the former military defense attorney for released prisoner Mohamed Jawad, explained to me recently, this is actually an example of Congress reinforcing the powers it granted itself in the summer, when lawmakers insisted on being given two weeks notice before any prisoner even those cleared by the courts after successful habeas corpus petitions can be released.
In Lt. Col. Frakts words, what this meant was that Congress had decided that, for this two-week period, prisoners cleared by U.S. courts can actually be held in the status of Congressional prisoner, a status for which there is no Constitutional authority, and this unconstitutional power grab has not been removed in the final discussions regarding the bill.
Even so, the saddest part of the bill is the lawmakers insistence that no prisoner can be released onto U.S. soil. This has done nothing but alienate European countries, who are being asked to take cleared prisoners who cannot be repatriated because they face the risk of torture in their home countries, and threatens to bring Congress into conflict with the Supreme Court.
Last Tuesday, as the Senate voted to allow prisoners to be brought to the U.S. to face trial, the Supreme Court agreed to review the case of Muslims from Chinas Xinjiang province who remain in Guantanamo even though a District Court judge ordered their release more than a year ago, after the Bush administration conceded that they had no connection with al-Qaida or the Taliban. The judge, Ricardo Urbina, ruled that they be brought to the U.S., because no other country had been found that would accept them.
The Justice Department, under both George W. Bush and Obama, disagreed, as did the Court of Appeals, which ruled that issues involving the immigration of aliens were matters for the executive and not the courts to decide even though the mens lawyers pointed out that this effectively gutted habeas corpus of all meaning.
President Obama, of course, failed to rise to this challenge by bringing these men to the U.S., and, ever since, his administration has scrabbled around, in a generally undignified manner, trying to find new homes for them, sending four to Bermuda in June, and hoping that the rest would be relocated to the remote Pacific island of Palau.
While it is probable that a number of the remaining Chinese Muslims will soon start a new life in Palau, the administration may want to think long and hard about what to do with Arkin Mahmud and Bahtiyar Mahnut and to be grateful that few have noticed the continued imprisonment of an innocent man whose detention has not only been regarded as unconstitutional for more than a year but who also suffers from serious mental health issues because of his detention and lengthy periods of solitary confinement.
Andy Worthington is the author of The Guantánamo Files: The Stories of the 774 Detainees in Americas Illegal Prison published by Pluto Press and serves as policy advisor to the Fairfax, Va.-based Future of Freedom Foundation.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.
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capcod3 -This message board hasn't heard from you in quite a while, since your post on August 9th entitled "Spoke to CFO."I hope that you weren't unduly startled by my responses to what I viewed as a promotional post aimed at supporting the stock price.Although I feel that I thoroughly refuted the validity of the CFO's comments to you, I had hoped that you would offer further commentary and that we could engage in some sort of dialog.However, I would like to point out that, if you are in fact, the CFO or the CEO posting under an Internet alias, you could land in serious hot water with the SEC. If that is the case, please be sure to remember what happened to John Mackey, the CEO of Whole Foods.I await your reply.Stock Hunter
What did happen to John Mackey of Whole Foods. In on a more serious note whatever did happen to Steve Jobs, my, my, how that apple thing just went quietly into the night. It pays to make the right friends in this corrupt society that we live in.Regards
No lines at the small hard to find Albany booth - not a good sign


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you are viewing a single comment's thread.
If koumas has any sence he wont go to wigan ..a club who shouldnt be in the prem anyway ! (15k ave home gates !)..they are a cert to go down are wigan..pies are nice though..i dont think koumas will go he's a bit brighter than that me thinks..still cant get over the kamara move..brill bit of biss by melton @ the chairman..
er..was wrong about kuomas..mind you ..the reported £35k per wk might have something to do with it..over double what he was earning at west brom..prob got a clause in his contract if they get realegated anyway ...but "WIGAN"...jesus !!


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Jane Ella Brooks Travis, 81, of Amarillo died Sunday, April 7, 2013.
Memorial services will be at 1 p.m. Friday in First Central Presbyterian Church in Abilene with Dr. Clifford Stewart and the Rev. Janice Six, both of First Presbyterian Church of Abilene, and the Rev. Jim Wallace of St. Luke Presbyterian Church of Amarillo officiating. Private inurnment will be at 11:30 a.m. in the church's columbarium.
Jane was reared in Navasota and graduated from Navasota High School as valedictorian in 1949. She attended Trinity University and graduated summa cum laude with a Bachelor of Arts degree in English in 1953. Jane was a devoted wife, parent and homemaker. She was a lover of literature, art and music, an accomplished pianist and vocalist, and she loved exercising her mind.
She was poised and gracious in word and deed. She loved the church and served faithfully within it as an elder of the Presbyterian Church USA. She also taught in both the junior high and senior high schools in Tulia, Calallen High School in Corpus Christi, and Madison Junior High School and Cooper High School in Abilene. Her greatest passion in teaching was junior honors English in Calallen and Cooper high schools.
She was preceded in death by her parents, Rupert and Christine Brooks.
Survivors include her husband of nearly 62 years, Rev. Murray Travis of Amarillo; five children, Rev. Douglas Travis and wife Pam of Austin, Jan Evans and husband Tommy of Tulia, Rev. Drew Travis and wife Rhonda of Conway, Ark., Rev. Karl Travis of Fort Worth and Kristi Wells and husband Dan of Starke, Fla.; 20
grandchildren; 11 great-grandchildren; and a sister-in-law, Francine Collins and husband Tom of Brackettville.
In lieu of flowers, the family suggests memorials be to Celebration Scholarship Fund of Palo Duro Presbytery, P.O. Box 16267, Lubbock, TX 79490; or Medical Care Mission, 1857 Pine St., Abilene, TX 79601; or a favorite charity.
Amarillo Globe-News, April 14, 2013


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As a solution to a previous issue I had (Windows 7 computer hangs for a few seconds very frequently; disk I/O light stays on turing freezes), I replaced my presumed failing HDD with a brand new SSD (a mSATA chip inside a 1.8" adapter). During set-up, the computer ran normally, but now it hangs for minutes at a time randomly (I can't find a reliable way to reproduce this, usually happens when I initiate disk I/O, though). The disk I/O light remains solid on while the computer is frozen.
I used Acronis Drive Monitor and found that the new SSD has a "soft read error rate" of over 6 million (and increasing). After some quick searching, I learned that this is characteristic of a drive that is failing.
My computer is a Lenovo Thinkpad T410s, and I'm up to day with Windows Update, as well as with Lenovo's Thinkvantage System Update (drivers). My SSD is an OCZ Nocti series mSATA SSD.
Any thoughts? Many thanks for your time.
UPDATE: The soft read error rate is increasing about every minute.


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I discovered the actress name: kayla marie Some Like Pls
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Urban R&B trio Brownstone were formed in Los Angeles, California, USA, by Nicci (Nicole Gilbert, 8 June 1970, Detroit, Michigan, USA), Maxee (b. Charmayne Maxwell, 11 January 1969, Guyana) and Mimi (b. Monica Doby, New Orleans, Louisiana, USA). Signed after performing a cappella at their audition, the trio became the first act on the Epic-distributed MJJ Music label. The Read more
Tamia - 70% match to Shanice
Xscape - 70% match to Shanice
An initially rather laboured attempt at emulating the swingbeat success of SWV and their ilk, this four-piece was assembled in Atlanta, Georgia, USA, by writer/producer Jermaine Dupri, who was previously the force behind Kriss Kross chart success. However, there was an important difference. While acts such as TLC (another band overseen by Dupri) had been closely identifie Read more
Changing Faces - 66% match to Shanice
This female R&B duo, comprising Charisse Rose (New York, USA) and Cassandra Lucas (b. New York, USA), first established itself in 1994 with the minor US hits Stroke You Up (written and produced by R. Kelly) and Foolin Around. Both singles were included on the New York, USA-based groups self-titled debut of that year. Changing Faces eve Read more
Deborah Cox - 66% match to Shanice
13 July 1974, Toronto, Ontario, Canada. R&B singer Cox was signed by Arista Records famed president Clive Davis, previously responsible for discovering names such as Bruce Springsteen, Whitney Houston, Janis Joplin and TLC. Davis reputation in the industry meant that he was able to unite Cox with some of American R&Bs finest producers. Her debut alb Read more
702 - 62% match to Shanice
A vocal R&B trio named after its Las Vegas, Nevada, USA home area code, 702 made their long-playing debut for Michael Bivins Biv 10 Records label in 1996. Bivins first became acquainted with the group in 1991 after they improvised an audition piece for him at the music industrys Jack The Rapper convention. The original line-up comprised twin sisters Irish Grinst Read more
SWV - 61% match to Shanice
Acronym for Sisters With Voices, these ghetto sisters from Brooklyn and the Bronx, New York, comprised the talents of Coko (Cheryl Gamble), Taj (b. Tamara Johnson) and Lelee (b. Leanne Lyons). Shaped by swingbeat producer Teddy Riley to reflect streetwise dress and attitude, the trios sound was somewhat harder than that which might be expected of new Read more
Tevin Campbell - 57% match to Shanice
12 November 1978, Waxahachie, Texas, USA. Discovered by Quincy Jones (or the flautist Bobbi Humphrey, according to some accounts), the singer Tevin Campbell first appeared in 1988 on the US television show Wally & The Valentines, which was followed by a part in Princes movie Graffiti Bridge. He was still only 14 years old when he appeared on Quincy Jones Back Read more
Vanessa Williams - 56% match to Shanice
Vanessa Lynn Williams, 18 March 1963, Millwood, New Jersey, USA. Williams grew up in a household surrounded by musical influences from Broadway shows, before she attended Syracuse University to major in musical theatre. A mother and actress as well as singer, she has come a long way since becoming embroiled in a minor scandal over her appearance in Penthouse magazine (after Read more
Johnny Gill - 55% match to Shanice
22 May 1966, Washington, DC, USA. Gills expertly delivered soul vocal chords have been working since an early age. At the age of seven, he was singing with his three brothers in the gospel quartet the Wings Of Faith. His debut album was recorded when he was only 16. Following his meeting and subsequent recording with Stacy Lattisaw (Perfect Combination), she proffered Read more
Jody Watley - 50% match to Shanice
30 January 1959, Chicago, Illinois, USA. Formerly one third of Shalamar between 1977 and 1984, a hugely successful group of the disco era, Watleys first professional experience had come as a dancer on the television show Soul Train. After Shalamar disbanded she made the progression to solo artist, working in a contemporary soul/urban R&B vein. Her self-titled debut Read more
Kelly Price - 50% match to Shanice
4 April 1973, Queens, New York City, New York, USA. Price, like many of the legendary soul singers to whom she is often compared, developed her musical talents in the local church, where she was nicknamed Little Mahalia. Her powerful contralto was employed on a more secular plane during the 90s, either writing, singing background vocals or providing vocal arrange Read more
Pebbles - 49% match to Shanice
Perri Alette McKissack, Oakland, California, USA. This female singer, nicknamed Pebbles by her family for her resemblance to the cartoon character Pebbles Flintstone, is based in San Francisco, California, and enjoyed substantial success after teaming up with black pops hottest production team, L.A. Reid And Babyface. Before their meeting she had spent her Read more
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