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A cynic might just ask who's being cast in the Al Pacino part for a Godfather remake rather than speculate about the reasons for remaking "The Manchurian Candidate."
Of course, remake does not mean necessarily mean sellout.
"People ask me that all the time, how could I allow this movie to be redone? That's the easiest question in the world," says Tina Sinatra, one of the film's producers. "I own the rights."
Her father, Frank Sinatra, starred in the 1962 film as a U.S. soldier who is captured during the Korean War, secretly brainwashed by communist agents, then sent home, along with other brainwashed POWs, as part of a plot to install a lethal pawn in the White House.
A year after the film's release, John F. Kennedy was shot dead, and "The Manchurian Candidate's" portrayal of a presidential assassin resonated throughout America, especially among conspiracy theorists.
Sinatra, a friend of Kennedy's, took the film out of circulation for 25 years, even though it was an instant classic, earning an Oscar nomination for Angela Lansbury.
"The country was too raw at the time," says Tina Sinatra.
"The Manchurian Candidate" finally was released on video in 1987, and was celebrated once again as a Cold War classic. In the years before his death, Frank Sinatra talked about updating the script, originally based on Richard Condon's best seller.
Now, in the new version, there's a new villain, and this one doesn't have a foreign accent. "I thought from the very beginning, it had to be us, not a foreign enemy," says Tina Sinatra, "That's what's truly creepy."
Indeed, in this version, Gulf War veterans are brainwashed by a multinational company called Manchurian Global. They return to the United States, where commanding officer Denzel Washington recommends one of his men, played by Liev Schreiber, for the Congressional Medal of Honor -- a steppingstone for his political career that will put big business in complete control of the country.
Washington didn't think twice about taking on the Sinatra role. "It's not like I had to sing," he says. "I hadn't even seen the [first] film when I accepted the part.
"I kind of wanted to work with the screenplay," Washington says. "Any good piece of work should be subject to interpretation and reinterpretation. I played Othello and I didn't sit around thinking of Laurence Olivier. I chose not to look at the original movie so that my ideas would be completely my own."
Of course, it'd be hard to find two celebrities more diametrically opposite than Washington and the Chairman of the Board.
"I guess that makes me look like a genius" for casting Washington, says director Jonathan Demme. "But he was already on the short list when I accepted the project."
Demme, best known for his Oscar-winning "The Silence of the Lambs," bombed with his last stab at remaking a classic, "The Truth About Charlie," an update of 1963's "Charade." "I think of this more as a rewrite than a remake," Demme says.
The success of Michael Moore's "Fahrenheit 9/11" is just one sign that it was time to revisit the granddaddy of modern conspiracy theory movie thrillers, he says.
"With the nation's eye focused on a presidential election this year," Demme says, "I couldn't think of a better time to address darker themes about the political process and the forces that try to undermine it."
Bush haters are sure to think of this film as The Halliburton Candidate, but Demme laughs at the notion.


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Every now and then I'd like to open the Clu-blog up for a guest blogger to post their pontifications up. After all, you'd get bored if it was just me all the time. Below is a blog post by my colleague Carole Theriault, senior security analyst here at Sophos. Over to you Carole...
There are few techie terms that have hard-hiding mainstream appeal, but the words hacker, identity theft and data leak are certainly les mots du jour. When creeping out of the industry and into the mainstream press, there are bound to be anoraks determined to define the terminology, and those who use the term inappropriately either to "sex up" their headline (yep, I see the irony with my title...) or because they simply don't understand what they are saying.
Recently, I was contacted by a UK publication to comment on a case of identity theft. The details were this: Oxford crown court was hearing the case of Palwinder Johal, a man accused of sitting driving theory tests for third parties for 300 quid (almost $600) a pop.
"Where is the identity theft?" I wondered. He was pretending to be other people, the journalist responded. Well, yes, that is true. I am obviously not condoning his behaviour - not least because the test is a walk in the park, and I would be very concerned if anyone got behind a wheel without being able to pass it - but, and this is a big BUT, people willingly handed over their identities, paperwork, and cash to this guy to sit their tests! Identity theft is about someone stealing one or several identities, without the person's knowledge.
I grant that it is possible that the journalist in this particular case just didn't know enough about identity theft to understand the difference, but this in itself is a concern. Identity theft, today, is still, in my view pretty clear cut.
The term hacker, however, is a little more difficult - perhaps because the term has been adopted by both good and bad sides. A *good* hacker, for instance, might be someone who helps companies and individuals test their systems in order to better secure them. Most call tweak the name hacker to penetration tester or ethical hacker.
On the flip side, you have those bad hackers that break into system where they have no right or business in order to steal information, plant malware, use resources for nefarious purposes so on.
Now - and this might be controversial - there is a band of grey here. What about those hackers that sniff where they don't have necessarily have any rights, but find out something very interesting to the public at large?
Case in point - earlier this month, self-proclaimed hacker Mike Walker, aka Stryde, did some digging around on the web and uncovered some serious controversy regarding the age of some the Chinese gold medalists at this year's Olympics. Walker found these, despite the information being removed from the General Administration's website.
What are your thoughts? Are you glad that these hackers are out there? Personally, the moral here is simple as far as I am concerned: just don't post anything on line that you don't want cropping up in the future - it is much better to view the web as a place where everything is written in indelible ink than face the consequence of serious embarrassment tomorrow.

subset: commoncrawl


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Sukhoi to Offer Superjet 100 to Serbia's JAT Fleet, Blic Reports
Feb. 6 (Bloomberg) -- Sukhoi Co. is offering its SuperJet 100 to JAT Airways, Serbia's state-owned flag carrier which the government wants to overhaul after a failed sale, Blic newspaper reported, citing an unidentified person.
Two to four such aircraft might be added to JAT's fleet after half of it is retired following work to turn the unprofitable airline into a smaller, regional carrier, according to the report. The jet plane, developed with Italian Finmeccanica SpA's Alenia Aeronautica, will be presented to Serbian officials in Belgrade "soon," Blic said.
To contact the reporter on this story: Misha Savic in Belgrade at email@example.com
To contact the editor responsible for this story: James M. Gomez at email@example.com


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Mumford in Retrospect
Lewis Mumford is probably best known as a critic of architecture and city planning, but he has regretted being identified with these subjects alone on the grounds that "if I have any field of specialization at all, it is the all-inclusive one of the social philosopher." Beginning with his first book, The Story of Utopias, in 1922, Mum-ford has written as one who takes it upon himself periodically to deliver an assessment—generally adverse—on the condition of the planet. A recently issued selection from his works, Interpretations and Forecasts, 1922-19721 affords an opportunity to survey his career and assess its strengths and weaknesses.
During the 1920's Mumford largely concerned himself with the subject of American culture. He moved from editing and writing for the Dial in 1919 to the magazines of the time most concerned with social and cultural issues: the New Republic, Mencken's American Mercury, Harper's, and the Freeman, which under Van Wyck Brooks's literary editorship set itself against the Dial's international aestheticism.
In 1930, Mumford began work on a series of books which came to be known collectively as "The Renewal of Life." Loose surveys of the history of culture, they provided vehicles for his simultaneous denunciation and encouragement of Western civilization. His aim appears to have been to answer Oswald Spengler. Accepting Spengler's notion of decline, Mumford argued nonetheless, "matching metaphor for metaphor, . . . that in deepest winter, the buds of spring have already emerged and await only the first warm sun. Life must go on. . . ." There is some confusion about exactly which titles constitute "The Renewal of Life." Originally Mumford planned a single book, Technics and Civilization (1934). Then he conceived two more volumes, The Culture of Cities (1938) and The Condition of Man (1944), and finally a tetralogy which ended with The Conduct of Life (1951), a title borrowed from Emerson. But in 1970, without indicating which volume it was supposed to replace, he called his new The Pentagon of Power the last of the four.
The "Renewal of Life" series launched Mumford as a spokesman. He proceeded to comment on the rise of fascism, to urge America's entry into World War II, and then to warn of the moral dangers which accompanied this necessary decision. He did not abandon architecture, as his awards testify. Beginning in 1932, in his New Yorker magazine "Skyline" column, he discussed regional planning, preservation of the landscape, and the design of new buildings. After the war he participated in symposia on the dangers of the atom, the post-war consumer society, and other problems of the day. With these activities came honors and attacks. Mumford accepted numerous professorships and visiting professorships, served on the New York City Board of Education, and was president of the American Academy of Arts and Letters. Among other honors, he received the National Book Award in 1962 for The City in History. The notable attacks came from Meyer Schapiro in 1938 and James T. Farrell in 1940 and 1945. Both criticized Mumford's imprecise style and vague hopefulness.
Throughout his career, Mumford's expanding concern with world conditions has remained a product of the intellectual climate which emerged in the United States before and after World War I. In contrast to the expatriates who spent the 20's advertising their abandonment of social conscience, those intellectuals who remained at home accepted what they conceived to be their social responsibilities. Mumford's muckraking and debunking predecessors in the years between 1910 and 1920 had left his generation the task of supplying an alternative conception of the American past and a more respectable optimism about the present and future. George Santayana and Van Wyck Brooks had exposed the thinness of "genteel," "highbrow" American culture, Thorstein Veblen the pretensions of the upper classes and the universities; H. L. Mencken demolished both stodginess and philistinism. The spirit that was to replace all these derived from a new, more serious view of the American tradition which was to result in Van Wyck Brooks's reinterpretation of the careers of Mark Twain and Henry James, the rediscovery of Emily Dickinson, Herman Melville, and Henry Adams, and Lewis Mumford's own The Golden Day: A Study in American Experience and Culture (1926).
The "Golden Day" of the title was the period from 1830 to 1860 in America during which, Mumford believed, a few choice spirits expressed the pure ideals of the culture just prior to its decline. "Emerson, Thoreau, Whitman, Melville, yes, and Hawthorne [i.e., Hawthorne to a lesser extent] had answered the challenge of American experience." These writers had thrown off the dead hand of the past and rejected the crassness of their own time. In their age, the equivalent of the vulgar business culture of the 1920's had been the "detestable" pioneer spirit. From Mumford's perspective the classic American writers had been rebels much like the leaders of his own intellectual moment. Emerson had rejected the past and replaced it with "a creative barbarism." Even Hawthorne expressed this spirit; despite his own interest in architectural history, Mumford endorsed the prescription of Hawthorne's character in The House of Seven Gables who suggests that houses be torn down and rebuilt in each generation.
Ostensibly a literary study, The Golden Day displayed Mumford's predilection for exhortation at the expense of analysis. After brief sketches, or, more properly, celebrations of the writers he had selected to discuss, Mumford turned to an attack on the shallow, "fragmentary culture" which they had been unable to change. This pointed to the present, a catalogue of the regressive and hopeful tendencies which took up a third of the book. At the end came an exhortation to hope, moral health, and regenerative uplift which was to be repeated in most of Mumford's two-dozen-odd volumes.
In both his literary and architectural writing of the 20's Mumford traced the failures of American culture to the inhumane influence of the machine. In Sticks and Stones (1924) his animus was directed at the destructive tendency of modern capitalism which in the form of Civil War militarism had destroyed the Golden Day. By 1931, however, in The Brown Decades, a chronicle of American culture from 1865 to 1900, Mumford found in post-Civil War America a kind of Golden Day paralleling the cultural movement which had arisen in his own time of post-World War I boom and bust. The new intellectual climate of the 30's had changed his outlook, and like other aesthetes of the 1920's, Mumford was returning, if not from physical exile like Fitzgerald and Dos Passos, then from a spiritual denigration of contemporary American culture. The products of that culture now appeared most grand when least individualized, and the iron constructions of the post-Civil War period which he had ignored in Sticks and Stones had come to embody the "collective achievement" of the skyscraper, which before he had detested. The other arts appeared to be succumbing as well to the "social impulse," notably in what he held to be the most vigorous and hopeful development of the day: mural painting.
With Technics and Civilization, the first volume of "The Renewal of Life," the theme of the machine moved to the center of Mumford's work. To summarize this book is to set forth very nearly all that may be learned from Mumford, though later works continued to develop new opinions. In a survey of technological developments since the 14th century, Technics and Civilization purports to describe "the conquest of Western Civilization by the machine." Employing the broad phases of social development typical of Comte and Spengler, though derived more immediately from Mumford's declared master, the regional planner Patrick Geddes, the work posits three stages of technology: primitive, intermediary, and modern. In the primitive, "eotechnic" Middle Ages the machine benefited man by releasing him from backbreaking labor, while the feudal organization of society prevented the later excesses of rapacious capitalism and preserved the life-giving tradition of handicrafts. During the 18th century, in the "paleotechnic" phase, capitalism ran wild. It destroyed medieval humanism by bringing a "vulgarization" and "quantification of life." Shrewd, calculating "Economic Man" appeared, along with a "landless, traditionless proletariat." Then, late in the 19th century, a "neotechnic" phase began, which brought the promises of "a life-centered economy," a "fresh integration," a new "synthesis," and an "Organic Ideology."
The terms recall The Golden Day, which also described the breakdown of what Mumford regarded as a medieval synthesis—early 19th-century American culture—by the machine, and which ended with an equally vague exordium to forge a new culture. Indeed, the pattern is typical of most of Mumford's books (and many of his essays), from his first, The Story of Utopias—which tells how the admirable Utopias written up until the 17th century in response to "the breakdown of the town economy of the Middle Ages" were succeeded by "industrial Utopias no longer concerned with values but with means" and then by signs of renewal pointing to a new future—to his latest, Interpretations and Forecasts, the section titles of which describe the same arc: from "New World Horizons," to "Miscarriages of 'Civilization,' " to a closing chapter on "The Flowering of Plants and Men."
In a review of The Culture of Cities (1938), the second volume of "The Renewal of Life," Meyer Schapiro, though he did not draw attention to this pattern, dissected with unremitting thoroughness the logical absurdities which arise from such thinking. In this particular book the "Golden Age" was the medieval town, the period of barbarism that of "baroque man" between the 15th and 19th centuries, and the time of renewal the present, which according to Mumford was witnessing the emergence of "organic man." One after another Schapiro exposed Mumford's solecisms: he "psychologize[d] causes and . . . moralize[d] effects," employed an "uncontrolled intuitiveness and merely verbal correlations," adopted Spenglerian "analogical thinking," and a "mysterious animism" in the place of analysis. These tendencies had emerged in Technics and Civilization, and would run throughout Mumford's "Renewal of Life" series, providing enough illustrations for a handbook of rhetorical errors.
In the late 1930's Mumford made an attempt, only partially successful, to resolve a contradiction between his militant opposition to fascism and his implicit aesthetic partiality to a Nazi-like cult of order and heroic sacrifice. In Technics and Civilization Mumford had called for the artist's sacrifice of his individualism for the collectivity, and in The Story of Utopias he had defended Plato's warrior class, now so suggestive of Hitler's squadrons of putative Nietzschean supermen. As late as 1932, James T. Farrell pointed out, after a trip to Germany Mumford had reported finding a healthy, anti-technological "cult of the sun" which suggested that "at the bottom, in Germany, there is sanity and strength."
Rather than confront these cases directly, however, Mumford undertook to revise just enough to meet the new situation. Accordingly, he effected a kind of Greening of the Crystal Palace. This giant steel and glass hall built for the 1850 British Centennial exposition and imitated three years later in New York "had scarcely anything to contribute to architecture," Mumford had written in 1924. Fourteen years later in The Culture of Cities he made it the embodiment of organic values, pointing out that its design had been inspired by the greenhouse. What Mumford really meant was that the tired old capitalist civilization had values worth preserving. Shocked by the rise of Nazism, Mumford did what he could to escape from his own affinities to its aesthetic. Triumphantly, Meyer Schapiro showed that Mumford was not really opposing capitalism when he called for his revolution of the spirit. If capitalism "includes both power states and service states," wrote Schapiro, "it becomes right to support one's service state against the enemy's power state." One year later it did become right, for this was 1938. As it developed, with his virtues of goodness, "rampant healthiness," celebration of life, and the rest, Mumford did answer the demands of the great challenge of his time.
And Mumford did face the moral if not the intellectual issues. In 1939 he advocated readiness to fight in Men Must Act, and he further defended democracy in Faith for Living (1940). In 1940, also, he resigned from the New Republic after years of frustration over its unwillingness to support a war against Germany. Though he consistently represented the military in his works as having undermined the medieval synthesis, he supported full mobilization in a letter to the New York Herald Tribune in 1944. In 1947 he resigned from the American Academy of Arts and Sciences and from the Institute of Arts and Letters in protest against an award to Charles Beard, who had been an isolationist during the war.
During the 1950's Mumford campaigned against the development of atomic energy. He called for a "post-nuclear ideology" which would consist of a cult of healthy love opposed to the dehumanizing forces of this, the latest stage of the machine. He urged scientists to go on strike, praising a microbiologist who had "forsworn her career as a scientist" when she decided that her research into "altering the genes in lower organisms" was "potentially inimical to the human race." The Pentagon of Power (1970), a denunciation of Western civilization, completed Mumford's postwar transformation of his god of the machine into a devil.
Throughout his two dozen or so books, Mumford has devoted himself not so much to performing an analysis of culture as to expressing an attitude toward it, and this attitude has led him to a fundamental error about technology; a force to which he assigns a far greater moral weight than the facts warrant. In Technics and Civilization he insisted on regarding the products and consequences of machinery as expressions of man's spirit. At the same time, however, his language expressed a historical determinism guided by an unidentified, mysterious purposiveness. "The machine came into our civilization," lie wrote, "not to save man from the servitude to ignoble forms of work, but to make more widely possible the servitude to ignoble standards of consumption that had grown up among the military aristocracies" [italics added]. Or, in another typical expression of mysterious historical causality, "the paleotechnic regime was preparing for a series of more lethal wars" [italics added]. Paradoxically, as it develops, in Mumford's animistic conception of reality the machine possesses "cultural values."
On the one hand, the values for which the machine is supposedly responsible were simply Mumford's expression of the aspirations of the 30's. "What remains as the permanent contribution of the machine . . . is the technique of cooperative thought and action," he wrote in Technics and Civilization, where by the same logic he was led also to praise the "magnificent" Russian methods of technology. At the same time, he took over from Spengler not only the dramatization of the machine itself, the idea of "Faustian technics," and the conception of a declining civilization, but also anti-rationalist thought. His myth of a golden time under an "organic," uncapitalist, medieval church he shared with the imaginative reactionaries of his day: Henry Adams, T.S. Eliot, Ezra Pound, to name some of the Americans. And his solutions—salvation by the artist heroically sacrificing himself to the commonalty, a cleanly society devoted to work for the general good—proved more adaptable to totalitarian than democratic states. The mystical spirit in which he had approached technology, society, and the future found its ironic echo in Nazi Germany.
As with his unwanted affinity to totalitarian methods, Mumford's pursuit of the good life in his many essays on architecture and city planning eventually took on a conservative coloring. He championed good design and a slowing of the technological tempo: aims which served the interests of the privileged. That these have also been the causes most recently to have captured the attention and allegiance of large numbers of activists on the Left, who universally regard Mumford with veneration, is perhaps not Mumford's fault—he eschewed the cultural barbarism of the 60's—but it does suggest a shared affinity with reactionary mysticism.
Mumford, though he has depended on a few ideas (which is not to say that he has lacked a growing erudition) and a single tone of warning, is a man who has mostly adapted to the changing times, and particularly to the shifts and eddies of "concerned" liberal thought over the past fifty years. He began in 20's-style iconoclasm and hopefulness, and with new concepts like "organism" in place of older "abstractions [such] as . . . the struggle for existence." The heroic artist embodied this outlook, preserving it in good periods and bad by consulting his own conscience exclusively. In the 30's the liberal mind shifted to an ethic of cooperation leading toward a united front against fascism. "Socialize creation," Mumford now wrote. His artist figure's heroism became a matter of sacrificing originality to social utility. In the 40's the call was for mobilization, after which, with victory in the war, "conformity" became the danger. Though Mumford in the 50's did not return to the individualism of the 20's, he did resurrect its ideal of self-expression through healthy release of the libido. In the 60's the social problem appeared to emanate from government; always a regionalist, Mumford returned to de-centralism as a rallying point. By the 70's the pendulum of popular liberal thought had once again swung away from the individual, as the paramount issue became "the delicate ecological balance on which all life depends."
In the final analysis, Mumford's evolving rhetoric, instead of signaling the imminent apocalypse or the forging of a new spirit, has led in the direction of an acceptance of the world as it is. His diatribes against the machine have had the effect for the reader of domesticating this mysterious force, making it familiar and well-known. Emerson had met a similar fate. His original championing of the individual did not so much point to the overthrow of all tradition and authority as provide an ideal ethic for the period of untrammeled development that was the Gilded Age. In 1968 Mumford revised his elevation in The Golden Day of Emerson's "creative barbarism." Instead of a 20's-style iconoclast, Emerson now appeared as a preserver of tradition, Mumford having failed to notice that, like himself, his subject had changed in the course of his career. What remained the same with each was his approach to ideas. Professor John Holloway has characterized figures like Carlyle, Newman, Disraeli, Arnold, and Emerson as "Sages." "Through Carlyle's prose," he writes in The Victorian Sage, "the nerve of proof—in the readily understood and familiar sense of straightforward argument—simply cannot be traced." Instead, "exposition . . . becomes proof."
Mumford's books of exhortation perpetuate a tradition which leads back through Emerson to the Puritan sermons of the 17th century—prophecies of doom which invariably ended on a note of reaffirmation of the American destiny. The Golden Age has been lost, the Puritan preacher warned, but it also beckons on the horizon. "Since The Condition of Man appeared in 1944," Mumford writes in a new preface this year, "the condition of man has worsened." In true prophetic fashion his book asks: "Has the destruction yet gone far enough to promote a genuine renewal?" In the face of such expression it is perhaps inappropriate to ask just which destruction and which renewal are meant.
1 Harcourt Brace Jovanovich, 544 pp., 112.95.


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Sun, 2004-09-05 08:52 — The Mosquito
For the first time in its story, CBJJ organized the National Jiu Jitsu tournament before the Mundial.
Sun, 2004-09-05 08:50 — Scotty
The Mundials of Brazilian Jiu Jitsu might be the most prestigious event to win in the Jiu Jitsu world but it is not the toughest. The Brazilian National Championships or Brasileiros as they are often referred to, are by far the most difficult to win.
Sun, 2004-09-05 08:47 — Gumby
San Shou is a hybird of kickboxing with wrestling throws. Combatants wear boxing floves and attempt to either score a knockout or throw the opponent, barring that their is a point system.
Sun, 2004-09-05 08:28 — Scotty
I think I speak for everyone when I say that we are fed up with it.
Sun, 2004-09-05 08:22 — Scotty
The Amazon! When Master Alves invited me to go I jumped at the chance I had always wanted to go there. Like most ignorant gringos the first time I can to Brazil I thought I would make it up there, no problem.
Sun, 2004-09-05 08:16 — Scotty
Well if you have been paying any attention to this event, you noticed something is different than the last two events. The promoter dropped the name - Luta-Livre - from the promotions. The promoter Mario Miglioli said: - "I wanted to make an event where all fighters from Grappling / Submission would show up to fight. If I left the name Luta-Livre, Jiu Jitsu would not show up to the event. The plan worked. This time we got 68% Jiu Jitsu fighters and 32% of Luta-Livre fighters".
Sat, 2004-09-04 22:15 — Scotty
3rd Interestadual de Submission Minas Gerais, Brazil
Sat, 2004-09-04 08:52 — Mr. Bean
The third Desafio Black Belt (Black Belt Challenge) was to bring out the top gi fighters in Brazil. Our favorites, Frédson Paixão, Marcelo Garcia, Fernando Tererê, and Ronaldo Jacaré would be among those dueling. The third Desafio Black Belt (Black Belt Challenge) was to bring out the top gi fighters in Brazil. Our favorites, Frédson Paixão, Marcelo Garcia, Fernando Tererê, and Ronaldo Jacaré would be among those dueling.
Thu, 2004-09-02 23:43 — Anonymous
Marc Laimon checks in from the 2nd Arizona Grappling Challenge. Visit Marc's website at www.MarcLaimon.com
Website by
Ninjitsu Web Development.


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Boston, MA (SportsNetwork.com) - Brandon Workman will be called up from Triple-A Pawtucket to make Wednesday's start for the Boston Red Sox in place of Jon Lester in the finale of a three-game series against the Toronto Blue Jays.
Red Sox manager John Farrell cited the possibility of Lester being traded as the reason for the change. Farrell made the announcement in the postgame press conference following Boston's 4-2 loss to Toronto on Tuesday night.
Lester, however, will start Friday if he isn't dealt by Thursday's non-waiver trade deadline.
Workman is 1-3 with a 4.13 ERA over 11 games (eight starts) for Boston this season. He is 6-1 with a 4.45 ERA in 10 starts for Pawtucket.
Lester, who is in the final year of his contract with the Red Sox, is 10-7 with a 2.52 ERA in 21 games this season.


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of 1,181 Drugs
< what's the formula?
Phenobarbital is a long-acting barbiturate and the most widely used anticonvulsant worldwide, and the oldest still commonly used. It also has sedative and hypnotic properties, but as with other barbiturates, it has been superseded by the benzodiazepines for these indications. The World Health Organization recommends its use as first-line for partial and generalized tonic–clonic seizures in developing countries. It is a core medicine in the WHO Model List of Essentia...... more on Wikipedia


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Choir to perform at ValentineWritten by Vicki L. Kroll | | firstname.lastname@example.com
The Harlem Gospel Choir never goes anywhere without bringing some encouragement with them.
"Our goal is to basically give people hope and inspiration through music. There's no preaching. It's all through music," said Anna Bailey, manager of the choir. "It doesn't matter if you have faith or if you're religious or not. Everyone needs hope in their lives."
Nine members from the Harlem Gospel Choir will sing at the Valentine Theatre at 8 p.m. Feb. 3. Tickets for the show are $43, $37 and $26. A keyboard player and a drummer will accompany the singers.
"People can expect to hear a mix of traditional gospel, contemporary gospel and some popular music with jazz influences," she said from New York. "There's lots of movement and choreography — it's a very joyous show."
And the positive nature of services in African-American churches is inviting, she said.
"The message you hear in the black church is all about praise. The churches are very alive, and I think — from my point of view and I didn't grow up in a black church — I find that very welcoming."
Bailey said there are 60 members in the choir ranging in age from 21 to 44. She is married to Allen Bailey, who founded the choir in 1986.
During the past 20 years, the Harlem Gospel Choir has performed with U2, The Dixie Hummingbirds, Diana Ross, Harry Belafonte, Fantasia and Whoopi Goldberg. They've sang for Pope John Paul II, Nelson Mandela and Paul McCartney. The group is known for raising funds for children's charities.
"Sometimes we're raising money just to cover our costs; sometimes we're raising money for children's charities," Bailey said. "We plan to make a donation to Feed the Children in January or mid-February."


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Professor Linda Eads has been named this year's recipient of the Lola Wright Foundation Award from the Texas Bar Foundation. This is a very special honor, given in recognition for outstanding public service in advancing and enhancing legal ethics in Texas. Award recipients are attorneys "to whom professional ethics are paramount." Past recipients include Berry Crowley, James Holmes III, Lloyd P. Lochridge, Jim Sales, Louise Raggio, Guy Harrison, Richard C. Hile, Justice Douglas S. Lan, and Scott J. Atlas. As a result of receiving the award, to be presented to her on June 25, Professor Eads will be given $5000 to donate to the charity of her choice.
For more information on the award, visit the Texas Bar website.
For more information about Professor Eads', click here.


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MORGAN CITY, Ala. (WHNT)– Earlier this year the city of Arab decided it was time to get out of the ambulance service. It was too expensive and the liability too high. So those services are now being handled by Morgan City based Samaritan EMS.
"We had always worked together providing mutual aid to them and them to us as needed,"said James Wessel, Samaritan's founder. "But recently there was a change and we became the primary service for the citizens of Arab as well."
While Samaritan is based in Morgan City, north of Arab, it does have personnel in Arab 24 hours a day.
Wessel says Samaritan was started back in 2007 because the Morgan City, Union Hill and Union Grove areas didn't have an ambulance service of its own.
"I ran so many calls in this community as a volunteer emt with critical patients that I had to wait 15 minutes, 25 minutes for an ambulance." Wessel said. "And every single call that I go on now that I see a Samaritan Ambulance pull up 3 or 4 minutes of me getting there or maybe even before I've gotten there, everyone of those stands out to me because it's so important to the patients and so important to the community."
Wessel says they started with one truck and many believed that was one too many.
"And not only did it work, but it's grown from that first ambulance to now 13 serving this community and several other communities as well."
Wessel says not only does he want the company to provide critical care, but also compassion.


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Christine Cash sits in a tie for 32nd place, individually.
Oct. 6, 2013
DAYTONA BEACH, Fla. - Senior Ariel McNair (Aurora, Ohio/Walsh Jesuit) shot an even-par 72 as the Xavier women's golf team registered a team score of 306 to sit tied for fourth place after 36 holes of the 2013 LPGA Xavier Invite at the LPGA International Golf Course.
Lacey Fears of Mercer carded a 2-under 70 and sits atop the individual leaderboard. Morehead State turned in a 294 team score and leads the field with a two day total of 596 (302-294). Daytona State (300-301) and Mercer (305-296) are five strokes back at 601.
Playing on the par-72, 6,146-yard Legends Course, sophomore Shane Crutchfield (St. Petersburg, Fla./St. Petersburg) turned in a 7-over 79 and is currently tied for 29th place. Senior Christine Cash (Paducah, Ky./Heath High School) bounced back from her first round 81 and recorded a 3-over 75 to move up the individual leaderboard into a tie for 32nd place.
Junior Abby Smith (Frankfort, Ky./Franklin County High School) and freshman Grace Howie (Calgary, Alberta, Canada/The Edge School) carded identical scores for the second consecutive round. Smith and Howie finished the round with 80s and are tied for 37th place.
Freshman Rachel Johnson (Nashville, Tenn./Franklin Road Academy) and senior Kristin Tan (Seattle, Wash./Holy Names Academy), competing as individuals, registered scores of 78 (t-29th) and 87 (t-83rd), respectively, on day two of the tournament.
The third and final round of the LPGA Xavier Invitational begins Monday morning.