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Rabu, 30 Juli 2008

Specialist Product

Paola Guerrero
Specialist Product & train the trainer at Johnson & Johnson
Mexico City Area, Mexico
• Contact Directly
• Get introduced through a connection
Current
• Specialist Product & train the trainer at Johnson & Johnson Medical Mexico
Past
• Senior Sales Rep at Johnson & Johnson Medical Mexico
• Junior Sales Rep at Johnson & Johnson Medical Mexico
Education
• Instituto Tecnológico y de Estudios Superiores de Monterrey
Connections
10 connections
Industry
Medical Devices
________________________________________
Paola Guerrero’s Summary
2003-2006 Johnson & Johnson Medical MexicoSpecialist Product and Trainer� Increased sales of 13% PY�
Best sales rep of Latin America of Strategic Products (2003 , 2004 & 2005)� Being part of a team traveling around Latin America implementing and promoting new products�
Certificate of International Train the Trainer Program (Somerville, New Jersey)� Certification of 30 reps. (2004), 6 (2005)
________________________________________
Paola Guerrero’s Experience

Specialist Product & train the trainer
Johnson & Johnson Medical Mexico
(Public Company; 201-500 employees; Medical Devices industry)
2003 — Present (5 years)
Trainer for new people in the Franchise.
Specialist Product
Increased sales of 13% PY�
Best sales rep of Latin America of Strategic Products (2003 , 2004 & 2005)�Being part of a team traveling around Latin America implementing and promoting new products�
Certificate of International Train the Trainer Program (Somerville, New Jersey)�Certification of 30 reps. (2004), 6 (2005)

Senior Sales Rep
Johnson & Johnson Medical Mexico
(Public Company; 201-500 employees; Hospital & Health Care industry)
2001 — 2003 (2 years)
The best percentage of gross profit in Mexico�
Increased sales of my accounts 15% vs PY�
Best sales rep of Latin America of an strategic Product�
Being part of a team traveling around Latin America implementing and promoting new products�
Being part of a team of excellence process implementing a manual of forecast for Latin America�
Recertification of Primary Sales School (2 weeks)

Junior Sales Rep
Johnson & Johnson Medical Mexico
(Public Company; 201-500 employees; Hospital & Health Care industry)
1999 — 2001 (2 years)
Increased sales of a corporate account, Winning the best account of Mexico�
Upgrades that represented an Increased of 10%�
Primary sales School (2 months)�
Integrity Selling course
________________________________________
Paola Guerrero’s Education
• Instituto Tecnológico y de Estudios Superiores de Monterrey
________________________________________
Paola Guerrero’s Contact Settings
Interested In:
• career opportunities
• consulting offers
• new ventures
• job inquiries
• expertise requests
• business deals
• reference requests
• getting back in touch


http://www.linkedin.com/pub/1/146/830

Minggu, 27 Juli 2008

Rockefeller's company

John Davidson Rockefeller was born in Richford, New York in 1839. He attended the Cleveland Central High School and at 16 he became a clerk in a commission house. Determined to work for himself, Rockefeller saved all the money he could and in 1850 went into business with a young Englishman, Maurice Clark. The company, Clark & Rockefeller Produce and Commission, sold farm implements, fertilizers and household goods.

Rockefeller's company was fairly successful but did not bring him the wealth he desired. In 1862 Rockefeller heard that Samuel Andrews had developed a better and cheaper way of refining crude petroleum. Rockefeller sold his original business and invested it in a new company he set up with Andrews called Standard Oil.

One of the business problems that Rockefeller encountered was the high cost of transporting his oil to his Cleveland refineries (40 cents a barrel) and the refined oil to New York ($2 a barrel). Rockefeller negotiated an exclusive deal with the railway company where he guaranteed sixty car-loads a day. In return the transport prices were reduced to 35 cents and $1.30. The cost of his oil was reduced and his sales increased dramatically.

Within a year four of his thirty competitors were out of business. Eventually Standard Oil monopolized oil refining in Cleveland. Rockefeller now bought out Samuel Andrews for a million dollars and turned his attentions to controlling the oil industry throughout the United States. His competitors were given the choice of being swallowed up by Standard Oil or being crushed. By 1890 Rockefeller's had swollen into an immense monopoly which could fix its own prices and terms of business because it had no competitors. In 1896 Rockefeller was worth about $200 million.

In November 1902, Ira Tarbell, one of the leading muckraking journalists in the United States, began a series of articles in McClure's Magazine on how Rockefeller had achieved a monopoly in refining, transporting and marketing oil. This material was eventually published as a book, History of the Standard Oil Company (1904). Rockefeller responded to these attacks by describing Tarbell as "Miss Tarbarrel".

President Theodore Roosevelt, who had been elected on a program that included reducing the power of large corporations, attempted to use the Sherman Anti-Trust Act to deal with Rockefeller's monopoly of the oil industry. This was largely ineffective and it was not until 1911 that the Supreme Court dissolved the Standard Oil monopoly.

The various press campaigns against Rockefeller had turned him into one of America's most hated men. A devout Baptist, Rockefeller began giving his money away. He set up the Rockefeller Foundation to "promote the well-being of mankind". Over the next few years Rockefeller gave over $500 million in aid of medical research, universities and Baptist churches. He was also a major supplier of funds to organizations such as the Anti-Saloon League that was involved in the campaign for prohibition. By the time that he died died on 23rd My, 1937, John Davidson Rockefeller had become a popular national figure.

(1) John D. Rockefeller was interviewed by the United States Industrial Commission in 1899. He was asked about the advantages of industrial combinations to companies such as Standard Oil.

It is too late to argue about the advantages of industrial combinations. They are a necessity. And if Americans are to have the privilege of extending their business in all the states of the Union, and into foreign countries as well, they are a necessity on a large scale and require the agency of more than one corporation. Their chief advantages are: (1) command of necessary capital; (2) extension of limits of business; (3) increase of number of persons interested in the business; (4) economy of the business; (5) improvements and economies which are derived from knowledge of many interested persons of wide experience; (6) power to give the public improved products at less prices and still make a profit for stockholders; (7) permanent work and good wages for labourers.



(2) John D. Rockefeller, Atlantic Monthly (January 1916)

Labor and Capital are rather abstract words with which to describe those vital forces which working together become productively useful to mankind. Reduced to their simplest terms, Labor and Capital are men with muscle and men with money - human beings, imbued with the same weaknesses and virtues, the same cravings and aspirations.

It follows, therefore, that the relations of men engaged in industry are human relations. Men do not live merely to toil; they
also live to play, to mingle with their fellows, to love, to worship. The test of the success of our social organization is the extent to which every man is free to realize his highest and best self; and in considering any economic or political problem, that fundamental fact should be recognized.

If in the conduct of industry, therefore, the manager ever keeps in mind that in dealing with employees he is dealing with
human beings, with flesh and blood, with hearts and souls; and if, likewise, the workmen realize that managers and investors are themselves also human beings, how much bitterness will be avoided!

Are the interests of these human beings with labor to sell and with capital to employ necessarily antagonistic or necessarily mutual? Must the advance of one retard the progress of the other? Should their attitude toward each other be that of enemies or of partners? The answer one makes to these fundamental questions must constitute the basis for any consideration of the relationship of Labor and Capital.

Our difficulty in dealings with the industrial problem is due too often to a failure to understand the true interests of Labor and Capital. And I suspect this lack of understanding is just as prevalent among representatives of Capital as among representatives of Labor. In any event the conception one has of the fundamental nature of these interests will naturally determine one's attitude toward every phase of their relationship.

Much of the reasoning on this subject proceeds upon the theory that the wealth of the world is absolutely limited, and that if one man gets more, another necessarily gets less. Hence there are those who hold that if Labor's wages are increased or its working conditions improved. Capital suffers because it must deprive itself of the money needed to pay the bill. Some employers go so far as to justify themselves in appropriating from the product of industry all that remains after Labor has received the smallest amount which it can be induced or forced to accept; while, on the other hand, there
are men who hold that Labor is the producer of all wealth, hence is entitled to the entire product, and that whatever is taken by Capital is stolen from Labor.

If this theory is sound, it might be maintained that the relation between Labor and Capital is fundamentally one of antagonism, and that each should consolidate and arm its forces, dividing the products of industry between them in proportion as their selfishness is enforced by their power.

But all such counsel loses sight of the fact that the riches available to man are practically without limit, that the world's wealth is constantly being developed and undergoing mutation, and that to promote this process both Labor and Capital are indispensable. If these great forces cooperate, the products of industry are steadily increased; whereas, if they fight, the production of wealth is certain to be either retarded or stopped altogether and the wellsprings of material progress choked.

http://www.spartacus.schoolnet.co.uk/USArockefeller.htm

Sabtu, 26 Juli 2008

Mission Statement in Pixiehollow

Mission Statement
Pixie Hollow Holistic Institute was established to promote quality education and services in natural health therapies for students, and for our community health care professionals and their clients. We support the union between the uses of both natural health methods and modern medicine to promote wellness. The courses are offered for health care professionals--massage therapists and bodyworkers, nurses, nurse practitioners, and midwives as well as personal enrichment and growth of individuals who feel drawn toward Alternative Medicine.
The Goal of quality education will be provided and personal tutorism is always available.

Professional Accreditation & Certification
***********************************

The American Council of Holistic Healers
May 30, 2006

The American Council of Holistic Healers Certification & Accreditation Board has awarded PH Institute full board professional accreditation and certification.

Your programs of study and service fully meet our accreditation board's standards and we believe that your studends and clients will receive professional caliber results.

Graduates of your courses will be elegible to apply to be board certified holistic health practitioners throught the ACHH.

We give Keri Wharton PH Institute full permission to use this letter and your logo in any advertisement or school literature.

Sincerely,
Karl Raymond
Excutive Director


The World Metaphysical Association Certification & Accreditation Board has granted Pixie Hollow Holistic Institute board professional accreditation and certification.

The American Association of Drugless Practitioners Certification & Accreditation Board has granted Pixie Hollow full board professional accreditation and certification.

We also give Professional Certification in each course that we offer at no additional cost to our students.

http://www.pixiehollow.zor.org/

The Georgia National Fairgrounds & Agricenter

The Georgia National Fairgrounds & Agricenter is a state-owned, multipurpose 1,100+ acre rental complex which is open year-round. It is specially designed for meetings, conferences, livestock and horse shows, concerts, rodeos, RV rallies, trade shows, and sporting events.

Since its opening in 1990, the Georgia National Fairgrounds & Agricenter has attracted exhibitors, visitors, and vendors to public and private livestock and commercial events. This beautifully landscaped site, with fountains and lakes, hosts multiple events every week; many of which are free and open to the public.

The state sponsors three events every year at the Fairgrounds.

For 11 days in October, the award-winning Georgia National Fair, held the fifth Thursday after Labor Day, features livestock and horse shows, youth exhibits, home and fine arts competitions, family entertainment, midway rides and games, fair food, and major concerts.

The Georgia National Junior Livestock Show in February highlights Georgia’s 4-H and FFA students competing for statewide championships.
The Georgia National Rodeo, also in February, is sanctioned by the PRCA.

http://www.gnfa.com/

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The Three Kinds of Poodle

Thousands of people have been 'fleeced' into buying neatly coiffured lambs they thought were poodles.

Entire flocks of lambs were shipped over from the UK and Australia to Japan by an internet company and marketed as the latest 'must have' accessory.

But the scam was only spotted after a leading Japanese actress said her 'poodle' didn't bark and refused to eat dog food.

Like hundreds of Metro.co.uk readers, we also think this has a whiff of the 'urban myth' about it - but hey, it's a good story.
Maiko Kawakami, who starred in the Japanese thriller Violent Cop, showed photographs of her pet on a television talk show only to be told it wasn't a dog - but was in fact a lamb.

The discovery prompted hundreds of women to contact the police with similar problems and the authorities believe as many as 2,000 people have been conned.

'We launched an investigation after we were made aware that a company was selling sheep as poodles,' a police spokesman told The Sun.

'Sadly, we think there is more than one company operating in this way.

'The sheep are believed to have been imported from overseas - Britain and Australia.'

Poodles are famously used by the rich and glamourous on the continent but are extremely rare in Japan, with many people having little idea what they look like.

The company, which translates as Poodles as Pets, sold the 'poodles' for £630, about half the cost of a normal poodle but is now understood to have been shut down.

For centuries, the poodle has been one of the most popular breeds in the world and a symbol of elegance and opulent luxury. The poodle is associated with France, but many countries have laid claim to the breed. Available in three different sizes and many different colors, there is a poodle for every taste.

In 2002, two of the three kinds of poodle have claimed the coveted title "Best in Show" for the two most prestigious dog shows in the world. On March 10, a standard poodle named Topscore Contradiction won Best in Show at Crufts Dog Show, in the United Kingdom of Great Britain. This particular poodle has made history at Crufts by being the first international pooch to win BIS.

http://www.petplace.com/dogs/choosing-a-poodle/page1.aspx

Rabu, 23 Juli 2008

The Steve Bartman seat.

It's a steamy, hot Chicago afternoon, and deep inside my own personal heaven I am searching for hell.

The Steve Bartman seat.

I'm on a quest to find sports' most infamous fan. My goal is to peel back the layers of the mystery behind Bartman, who hasn't provided any insight into the most painful night in Chicago Cubs history -- October 14, 2003 -- other than a 185-word statement the morning after. I desperately want to understand more, and I'm starting at the scene of the crime: Wrigley Field's left-field corner just beyond the foul line.

Aisle 4, row 8, seat 113.

A nearby usher sends me in the right direction, motioning to the last seat in the eighth row, the one with the Cubs stickers plastered across it. The forest-green color stands out on this sunny day, and I instantly wonder why it isn't black, a memorial-like armband forever symbolizing the death of a World Series dream.

The team still sells this seat for every game, the usher tells me, but on this day, whoever bought the front-row seat with the unobstructed view of left field has yet to show up.

So I sit.

My toes are close enough to push against the back of Wrigley's famous brick wall. My eyes close enough to pinpoint which blades of grass were stepped on during batting practice. But Wrigley Field -- the happiest place on earth for any Cubs fan -- has in my mind quickly turned dark. I can't help but lean forward, look to the ground and picture Moises Alou on that chilly autumn evening. I can't help but look toward home plate, then to the clear blue skies above and picture a lazy fly ball heading in my direction.

It's impossible not to imagine all of it -- Alou, the ball and the dreams of every Cubs fan across the world five outs away from the World Series -- coming together right above my head. And it's frightening to realize this: I likely would have done the same thing.

I would have been Steve Bartman.

A pair of jersey-wearing Cubs fans behind me, guys in their 20s who bought their tickets on eBay and are ditching work for the day, ask what I'm up to. I tell them it's the Bartman seat. And they react like third graders who have just been given extra recess: complete giddiness.

"You're kidding me!" Jim Laubinger says, nearly spilling his full beer as he leans in to get closer to the seat. "Can I sit there for an inning?"

Seconds after I give him permission, his buddy Jason Eardley chirps up, "I get it next inning!"

Ten minutes later, the Red Sox fans behind us chime in. They want to know what we're buzzing about. "Are you kidding?" Eardley says. "This is the Bartman seat." Now they want to sit in it. Before we know it, it seems like half the section is rotating in and out of the seat before innings, after innings, during innings. It's like a line waiting to sit on Santa's lap. Only this lap is the most horrific plot of real estate for any Cubs fan.

A college-aged woman announces to the section that she's going to get a beer. But she'll be right back. "Bring us one," Eardley says. "I mean, we showed you the Bartman seat."

She smiles and flirts, but returns empty-handed. The message, however, is clear: Two years later, people still care about Bartman. The pain is still there. This simple spot is a piece of molded plastic that will forever belong to everyone who has loved the Cubs. Me. My wife. My dad. My grandfather. My best friend. Everyone.

They're the reason I'm here. They're the reason I must get answers. Whatever happened to Bartman? What became of the man whose bare hands got in the way of the most notorious foul ball in baseball history? Some said he'd moved to London or Florida. Others murmured that he'd undergone plastic surgery, hair replacement, name changes. Was any of it true?

Bartman, 27, has never said a word beyond the statement. He has vanished from the public eye, like a perfectly executed trip into the witness-protection program. Is he still a Cubs fan? Is he married? How has he dealt with having his name associated with the biggest failure in his favorite team's dubious baseball history?

I wanted to know. Deep down, every Cubs fan wants to know. This is why I'm in Chicago.

The research begins
I start by throwing Bartman's name into Google, which is putting a cramp into the business of private investigators everywhere. The results are sickening. "Death to Steve Bartman" message boards. Blogs that encourage Cubs fans to, "not let him do this to us" and to "seek revenge."

Then there are the doctored photos. Bartman hiding in Saddam Hussein's bunker. Bartman pushing the button that set off the World Trade Center bombings. Bartman holding a match to the Hindenburg explosion. And a mug shot with Bartman as the lead suspect in the Washington, D.C., sniper shootings.

There are T-shirts: "Sit Down Steve." "The Curse Lives -- Thanks Steve." And, "Cub fan Rule No. 1: Keep both hands on your Old Style."

And then this shirt, mocking the MasterCard "priceless" commercials:

* Tickets to Cubs game: $200
* Chicago Cubs hat: $20
* 1987 Walkman: $10
* F-----g up your team's chances of winning the World Series: Priceless

No wonder Bartman has gone into hiding, using his press release as his only public words. No wonder his family and friends protect him like an innocent family member who has been accused of a crime he didn't commit.

Armed with stacks of information, I move to the telephone. I start calling people who know people who know Bartman. Names from old stories, people who commented on television in the days after the infamous night, people who know people. The old friend of a friend of a friend trick seems to get the job done in my line of work, but each time I reach someone close to Bartman, I get nowhere. Now I know why.

"I'd really like to tell you Steve's a great guy," a college friend of his from Notre Dame tells me. "But I'd rather Steve not know I talked to a reporter."

And if I don't use a name?

"He still could figure it out," he tells me. "And it's not worth it. He has been through enough."

His co-workers at an international consulting firm, including my mother's former co-worker's current co-worker's son (hey, the Six Degrees of Steve Bartman was worth a shot), won't return my calls.

Most of the people in his neighborhood refuse to talk. Only his next-door neighbor Ron Cohen, through his explanation of why I should "leave Bartman alone" and not "bring back uncomfortable wounds of the past," says much of anything. Cohen has spoken about his neighbor in the past, on morning talk shows and in television interviews, and clearly doesn't want to continue being one of the few glimpses into Bartman's life. But he does, but only because I refuse to hang up, talking about the Cubs, the weather, anything I can to keep him on the phone.

"Look," Cohen says. "He's doing well now. He's fine. He leads a normal life, as far as I know. Every so often, I see him head into the house, I wave, ask how he's doing and he always smiles back."

What about the rumors that he was transferred to London? Or that he had plastic surgery? Or shaved his head? Any of it true?

Cohen laughs.

"What a farce," he says. "Every rumor I hear I don't run next door and check to see if it's true because none of them are true."

"Now go on with your life," he tells me, his tone sounding like a father encouraging his son to put dreams of being a private detective behind him. "There's more important things in the world than the Cubs."

This time I laugh. Although it's beginning to seem that it would be easier to get into George W. Bush's inner circle than make contact with Bartman, I'm too far into the search to quit now.

Does anybody care?
Close your eyes and picture life as Steve Bartman.

Imagine the Cubs being the core of your existence and having your name and photo right alongside the billy goats and black cats of past Cubs failures. Imagine the realization you likely will never visit Wrigley Field again. Your eyes will never gaze upon the dark green ivy, bright green scoreboard or muted brown bricks. Imagine turning on a random St. Louis Cardinals game, watching Albert Pujols chase a foul ball into the front row at Busch Stadium and listening as it sparks a 10-minute conversation about you. It's enough to prompt a swoon into a lifetime of unspeakable depression.

To better understand the pain, I call the psychology departments at Northwestern and the University of Chicago. They don't seem interested in local problems, so I enlist the help of Dr. Richard Lustberg, a New York-based sports psychologist who has worked with everyone from Little Leaguers to major leaguers in his 30 years practicing and studying sports psychology.

Lustberg has never met with Bartman, never spoken with him. But he insists he can help me. His ego is immense. He tells me that if ESPN flies him to Chicago, he can convince Bartman to join us on a trip to Wrigley Field. I tell him he's nuts.

"It's what I do for a living," Lustberg explains. "I get people to talk. Just give me a shot."

I politely decline, but press him for insight into Bartman's head. The way Lustberg talks, with his authoritative, non-stop psychobabble, he sounds like he has the entire situation figured out.

"He simply loved the Cubs too much," Lustberg takes 15 minutes of premium couch time to explain. "That's why it hurts."

I argue that it's impossible. That if Bartman loves the Cubs too much, then I love the Cubs too much.

"That's why you think this is such a big deal," Lustberg said. "But in the grand scheme of things, it isn't. Nobody cares. And that's what I would try to tell Steve."

Preposterous. Clearly, the lifelong New Yorker doesn't get Chicago sports. Bartman's blunder is one of the biggest sports stories in the Windy City's modern sports history. Jordan's six championships, Super Bowl XX, Sosa's Summer of '98 and Bartman. But Lustberg doesn't budge. He challenges me to ask 100 random Chicagoans -- white, black, young, old -- if the name Steve Bartman means anything to them. He contends less than half of the city will recognize the name.

I laugh again, hang up the phone and head to Blues Fest, a melting pot of Chicago's multicultural diversity in Grant Park. On this humid, overcast Sunday, the park is filled with more than 100,000 people. I talk to everyone from homeless men begging for change to the economically elite sipping on wine and nibbling on cheese. I talk to police officers, preachers, garbage men, yuppies, even four Indian women sitting on a park bench bobbing their heads to the blues.

I ask every single one of them, 100 people total: "Does the name Steve Bartman mean anything to you?"

Twenty-seven say yes. Seventy-three say no. One "no" is a guy wailing on a harmonica in a tattered Cubs hat. When I clue him in that Bartman has something to do with the Cubs, he still can't guess.

"I just wear the hat," he says.

Cracking the code of silence
Lustberg had helped me, but in the wrong way. His argument was that nobody cared. I argue Cubs fans care. Plus, I care immensely, and that burden must be eased.

I soldier on and put in a call to Jeff Lashey, an executive vice president and crisis management expert at Edelman, one of the world's top public relations firms. PR agencies usually are the enemy in stories such as this, always looking to place things in a positive spin. Good PR is about staying on message, but with Bartman the message is doom.

So I go straight for the jugular, seeking to learn how they would advise Bartman if he hired them.

Lashey is downright energized about my call, a break from the monotony of helping Fortune 500 companies overcome PR disasters. He begins by analyzing Bartman's statement.

According to the expert, the message was flawless.

"It was very personal, with his own real feelings and emotions in it," Lashey said. "And that's an effective way to deliver your message. He did it right."

So right, that Lashey says Bartman has every right to not talk to me. Or anyone else for that matter.

"It depends how much he wants to bleed his heart," Lashey said. "If he feels he needs to further convey what this has all been like for him, then maybe I would say do a select interview. If he's still struggling with how he's going to live his life and this is just going to re-ignite the pain, then maybe you don't go that route."

But in this day and age, everybody talks. From victims of child abuse to mistresses of convicted murderers, everyone ends up telling their stories to "Dateline," or "20/20" or "Entertainment Tonight."

With offers from media outlets across the nation, why would Bartman be any different? We're approaching the two-year mark. Surely, it's time for his story to be told.

Lashey, a former television reporter, can't keep the instincts from his previous job from kicking in. In one sentence he blows up the argument from the shrink and further fuels the fire that people still care.

"If I were a sportswriter, I'd do what I could to get him to talk to me," Lashey said. "Because whether he wants to admit it or not, that one play may have changed the course of baseball history.

"I was sick when I watched that happen. Absolutely sick to my stomach. But I still want to know what happened to him."

The Stakeout
I need to find Bartman. See him. Know if he's doing as well as his neighbor suggests. So, I head to his parents' home in Chicago's comfortable north suburbs. Although many offspring leave the nest as they close in on their 30s, I have pieced together the fact Bartman currently lives at home.

The address is easy to find -- it's still plastered all over the Internet. So armed with the facts and just the facts, I head out a little before 7 a.m. on a quiet Friday. I head from city to suburbs, finally making my way down a quiet, peaceful street Norman Rockwell would have painted.

The sun is shining, the birds are chirping and the world seems still. But my heart is racing. As I drive farther and farther down Bartman's parents' block, looking for his address, I begin wondering whether anybody is suspicious of my car. My heart beats faster and faster, thinking some suspicious neighbor is going to phone 911 and a patrol car is going to pull up screeching and blow my cover.

Finally, as the street comes to an end, I see the Bartman home. Tucked back into a wooded lot with mature trees and curious squirrels, the white bi-level home looks warm and inviting.

Four vehicles sit in a circular driveway, two of which -- a shiny black Acura and a generic black pickup truck -- look like they could belong to a man in his late 20s. Inside, the house appears quiet. The drapes are drawn. The doors and windows are closed. I park across the street and wait. A neighbor eventually walks outside, picks up his morning paper and stares at me, likely wondering why this rental car with Kentucky plates has been sitting in front of his house for more than an hour. That's the moment when I flash back to something Cohen told me earlier in the week.

"I'm not going to say people don't drive by, but I don't pay attention," he said. "It's a quiet street -- everybody looks out for everybody else."

I feel like a stalker. More dirt-digging private investigator than entrepreneurial journalist. More People Magazine than ESPN. Hoping to quell the neighbor's suspicions and avoid a loitering ticket, I drive off and find another spot at the end of the street to wait.

Boredom settles in. I wait for something, anything to happen, listening to WGN Radio's hype of the Cubs-Red Sox series to keep me awake. Then, at a quarter of nine, the Acura pulls out of the Bartman driveway. I don't know who's driving, so I switch the radio off, throw the newspaper on the floor, shift the car into drive, and slam on the gas, doing everything I can to catch up to the car.

At the first intersection, the car is nowhere to be found. I can turn left. I can turn right. I choose right. My heart is pounding. My mind is racing. Could it be him? What am I going to say? What am I going to do? What if he knows I'm following him? And the worst thought of all: What if I lose him?

Lucky for me, I guessed right. The Acura is progressing at the pace of a snail, puttering along in the right lane. I proceed ahead, secretly disappointed I'm not in a high-speed chase on a cable-news channel. At the next stoplight, I slowly pull forward in the left lane. The car stops. I look to my right.

It's Bartman.
His glasses look more modern, his hair thinner, but his facial features are the same. Same nose. Same lips. Same chin. It's definitely him.

My heart eclipses first-time-on-an-upside-down-roller-coaster speed. The guilt of stalking him outside his house has been replaced by adrenaline. But now what? Do I drive to his office and corner him in the parking lot? Do I let him go, like a fresh catch you feel sorry for and throw back?

With so much swimming inside my head, I fall back on the road, so Bartman doesn't realize I'm tailing him. You pick up a lot watching late-night detective shows. But then, disaster hits. He turns right. The cars stacked up behind him prevent me from getting over and turning. A forest preserve on both sides of the highway forces me to drive almost two miles before I can turn around.

I lose him.

Deflated, I pull out a map and make my way to Bartman's workplace. Once there, I start weaving my way through the endless maze of parking decks, lots and garages, hoping to find his car. After 40 minutes, I spot it.

Now that I've seen Bartman in the flesh, I'm determined to speak with him. I decide to come back at the end of the workday, hopefully meeting Bartman when he heads home for the weekend.

"Steve, you got a second?"
Seven hours later, I'm back in the same parking lot. I drive back up the ramps, back to the southwest corner where I last saw Bartman's car. It's still there.

At 4:45 p.m. on a Friday, I figure it's only a matter of minutes before the third-floor parking garage door will swing open and Bartman will walk out. My stomach is doing backflips. My palms, my forehead, my forearms, they're all sweating.

The answers to that horrible night, the answers to whatever became of Bartman, are so close. I'm anxious. Nervous. Bored. Uneasy. It's like sitting in the waiting room of a dentist's office, wondering when the receptionist will call your name. Every 10 minutes, the waiting room door swings open, the receptionist looks you straight in the eye and you clench your teeth, only to hear the name of someone else.

By 7 p.m., it's a roller-coaster ride that I've hopped on and off about 50 times. There's no sign of Bartman. No sign of my answers. His car and mine are the only two left on the roof of the garage. I worry that he saw me hovering and left with a friend. I wonder if he went out for beers with a coworker. Maybe his car died and he caught a ride home. Or is he really staying this late on the final day of the work week?

I decide to wait one more hour. I've come this far, why quit now? Fifteen minutes later, the door again swings open.

This time, it's Bartman.

I jump out of my car, walk over with my hand extended and introduce myself.

"Steve? You got a second?"

"Yeah, sure," he says, in a voice so friendly, so accommodating, he could pass for Mr. Rogers himself. "How can I help you?"

I tell him.

"I'm sorry to do this here, like this. I feel pretty uncomfortable, but I want to introduce myself. My name is Wayne Drehs. I'm a die-hard, lifelong Cub fan and a feature writer for ESPN.com.

"My editors have assigned me a story about you, and I've wrestled all week with how to write it. I came to the conclusion that the best thing to do is to just talk to you, ask you, have you tell your story.

"I'm here to ask you for an interview."

He doesn't scream. He doesn't yell. He doesn't take a swing at me. He's completely unflappable. He looks at my business card, looks back at me and smiles. His reaction doesn't seem real. Like it's happened so many times he knows what to do. Or like he has been trained for this. Or maybe, just maybe, he really is the phenomenal guy his friends, family and neighbors are protecting.

For whatever answer he has, I have a grocery list of rebuttals ready.

I can't right now. How about later?

Leave it in the past. But you're a part of history.

I have nothing to say. The story deserves your voice.

But then he comes back with this: "I'll go over this with my legal team, and we'll get back to you." He even opens the door for my response. "Does that sound good?"

I'm shocked by his poise. His composure. His eye contact. The fact he has a legal team. And the words "Steve Bartman" staring back at me from his hip-bound name tag. I stutter in response to his bulletproof answer.

"Uhh, yeah, sure," I mutter.

It isn't over. Bartman then goes on the offensive, continuing to look at me as he explains -- still in his soft, friendly, levelheaded tone -- that he isn't exactly pleased with me jumping out of a car to interview him.

"Just for the record," he begins, "I wouldn't recommend that you do this again, especially on [company] property, because it's just not a good impression if you want me to do something with you."

I tell Bartman that I understand, but that I just wasn't sure of the best way to get in touch with him. I explain that we're the same age, that we're both lifelong Cubs fans, that my family went to Arizona for spring training every year just like his. And that the only way I truly felt I could convey that was to see him in person. To look him in the eyes, to have him look me in the eyes and see what I was trying to do.

Bartman tells me not to worry about it and then peels back a thin layer of his armor-protected personal wall.

"Hell of a game today, huh?" he says, referring to the Cubs' 14-6 drubbing of Boston. "They were hitting the ball all over the place."

"Sure was," I tell him, pointing to my face. "That's where this lobster-colored sunburn came from. They looked great."

For those 10 seconds, we share a moment. Cubs fan to Cubs fan. One troubled soul to another. Bartman nods, smiles and begins to get in his car. But I refuse to let him.

With clouds rolling in and thunder starting to crackle in the distance, I stand at a crossroads. To the left, the desire to tell Bartman I'm sorry. That all Cubs fans are sorry. For the T-shirts, the death threats, the phone calls -- all of it. Any one of us could just as easily have been in that seat. But to the right, the desire to ask just one question, to get just one answer. I'm a reporter. Steve Bartman is standing before me. I have to ask him something. I have to ask how he's doing.

But my brain -- and my heart -- veer to the left.

"Steve," I tell him, "I've got one thing before I leave. Regardless of what I do for a living, regardless of the way this all might seem to you, I want to apologize. I want to genuinely apologize, on behalf of all Cub fans, for all the crap you've had to deal with.

"I think it could have been any one of us. And I truly wish you the best. I truly hope you're able to move on and live a happy and prosperous life."

Bartman climbs out from behind his car door and extends his hand. We shake.

"Thanks," he says. "I really appreciate those kind words."

From there, he gets in his car and closes the door. I walk away, shaking at the thought of what had just happened. Some might say I blew it, refusing to ask even one question. But there were still plenty of answers. Steve Bartman appears to be doing just fine. He still loves the Cubs, he still follows them as religiously as he ever did and, at least on the surface, his life appears peaceful.

Sure, there's the occasional reporter who jumps out of a parked car or the SportsCenter anchor who references the infamous fan, but he's moved on.

It's his only choice.

Wayne Drehs is a staff writer for ESPN.com. He can be reached at wayne.drehs@espn3.com.

http://sports.espn.go.com/espn/eticket/story?page=bartman

Eva Amurri : Born to Movie Royalty

Barrymores and Bernhardts reportedly brought their offspring onstage while still in diapers. Eva Amurri, 17, being the child of actress Susan Sarandon and riter-director Franco Amurri, also grew up in a theatrical world. This month, mother and daughter play mother and daughter in Bob Dolman's The Banger Sisters, where the fledgling actress scores plenty of laughs as an awesomely overprivileged teen.

Amurri spent much of her childhood on film sets where "the actors and crew took turns babysitting each other's kids," she recalls. "Sometimes directors"--one was Amurri's stepfather, Tim Robbins--"said, 'Let's give her something to ...

John Stockwell will direct Susan Sarandon and daughter Eva Amurri in "Middle of Nowhere," a bitter sweet romantic comedy about a clashing mother and daughter. Michelle Morgan wrote the script.

Pic is being produced and financed by Bold Films ("Bobby"). Michel Litvak and David Lancaster produce with Stockwell and Nicole Rocklin. The film will begin production in September.

Most recently seen in "Saved" and "Education of Charlie Banks," Amurri plays Grace, a young woman whose irresponsible mother (Sarandon) blows her college fund on her younger sister's beauty

The Empire-waist silhouette has been a quiet trend for the past two seasons (think Prada's ruched satin tops from last fall and this season's Proenza Schouler metallic tanks) and clearly women love the figure-flattering line that it creates. Winning runway-to-reality looks: Peggy Lipton's long Donna Karan gown and Eva Amurri's babydoll dress by Jill Stuart.

Peggy Lipton in Donna Karan New York

[ILLUSTRATION OMITTED]

Elisabeth Kieselstein-Cord at the Love ...

The setting for Disney's premiere of M. Night Shyamalan's "The Village" Monday night was the bucolic Prospect Park in Brooklyn, decorated like a Renaissance fair meets the Pilgrims' first Thanksgiving. But that didn't stop star Bryce Dallas Howard, making her film debut, from going glam in a Zac Posen gown with a train.

"Everyone is freaking out over this dress," squealed Howard, who added that she'd actually bought a Posen for an opening-night party a year or so before. This time she got to borrow.

A handler said, "I told Bryce today, `You'll never have to choose what you wear again."'

Co-stars Adrien Brody, Joaquin Phoenix, Judy Greer, Sigourney Weaver (in an ...

http://www.highbeam.com/Search.aspx?q=article+about+eva+amurri

Selasa, 22 Juli 2008

Legally Blonde the Musical Contest

Flossing between songs is recommended for anyone who attends “Legally Blonde,” the nonstop sugar rush of a show that opened last night at the Palace Theater, joining the ranks of such nearby temples to candy worship as the M&M and Hershey’s theme stores.

This high-energy, empty-calories and expensive-looking hymn to the glories of girlishness, based on the 2001 film of the same title, approximates the experience of eating a jumbo box of Gummi Bears in one sitting. This may be common fare for the show’s apparent target audience — female ’tweens and teenagers who still believe in Barbie. But unless you’re used to such a diet, you wind up feeling jittery, glazed and determined to swear off sweets for at least a month.
I say this as one who fell, though not hard, for the confectionary charms of the movie version of this story about Elle Woods, a frivolous California dream girl who finds the true gold beneath her goldenness by going to Harvard Law School. But the movie had one overwhelming advantage in its leading lady, Reese Witherspoon — or more specifically, Ms. Witherspoon’s square chin and everything it signifies: grit, smarts, a will to dominate and that soupçon of freakishness that separates a star-in-the-making from the professional beauties.

“Legally Blonde,” the musical, has Laura Bell Bundy, the kind of young woman who summons instant parental pride in the middle-aged. In addition to her prom-queen prettiness, she sings and dances flawlessly, and she delivers silly lines as if she meant them.

But she lacks the quirkiness and irresistible watch-me egotism that a big, heroine-worshiping musical needs at its center. Imagine “Hello, Dolly!” with Shirley Jones instead of Carol Channing, and you’ll get the idea.

This means that the weight of the show, directed with hyperkinetic effusiveness by Jerry Mitchell, shifts to its feel-good formula. And don’t underestimate the potency of that formula, which insists that a girl can be a powder puff and a power broker at the same time.

With its pink-dominated color scheme (in deluxe sets by David Rockwell and costumes by Gregg Barnes) and matching cherry-soda score of ballads of self-empowerment (by Lawrence O’Keefe and Nell Benjamin), “Legally Blonde” is infused on every level with the message that it’s O.K. to be a princess. This is a show aimed at the girls who flocked to the fairy-tale blockbuster “Wicked,” but left feeling secretly disappointed that it was the dour, green-skinned Elphaba who got the guy, not the glittery, popular Glinda.

Among the brand-name musicals inspired by Hollywood hits on Broadway in recent years, “Legally Blonde” is better than most at replicating the essence of its model. (The theater division of MGM, which produced the film, is one of the producers here as well.) True, Heather Hatch’s book scales up, sometimes to the point of vulgarity, the cartoonishness of a work that was hardly subtle to begin with. And it further simplifies characters who were already caricatures.

But unlike such deadweight musicals as “Footloose,” “Saturday Night Fever” and “Lestat,” “Legally Blonde” never threatens to put you to sleep. On the contrary, its cast members emanate a wired, attention-fixing tirelessness that suggests they have all been subsisting on Red Bull (Elle’s favorite drink, given a jokey product-placement moment in the show).

This may be necessary, given the paces that Mr. Mitchell puts them through. Hitherto known as an exceptionally lively choreographer (“The Full Monty,” “La Cage aux Folles,” “Hairspray”), he makes his debut as a director here. It makes sense, then, that “Legally Blonde” should be a dance-driven show.

Mr. Mitchell borrows heavily (and appropriately) from music and exercise videos. Fleeting touches of choreographic wit — salty amid the prevailing sweetness — show up in quick, funny riffs on hip-hop dancing as interpreted by Malibu rich kids. Less amusing is the Riverdancing motif woven throughout the show. (Don’t ask.)

The production makes entertaining use of a Greek chorus of sorority sisters, who comment Supremes-style on Elle’s plight. (The actress playing one of them, Leslie Kritzer, has an original satiric vibrancy that Ms. Bundy could use more of.)

But Mr. Mitchell is also a passionate fan of vintage Broadway musicals. So every so often “Legally Blonde” rolls out another big number that pays tribute to its female star, à la “Hello, Dolly!” and “Mame.” Elle is allowed to be the center of not one, but two high-stepping parade numbers. Ms. Bundy responds to all this attention with a glossy graciousness, though what you’re hungering for is baby-diva fireworks.

The likable supporting cast includes Richard H. Blake as Elle’s narcissistic ex-boyfriend, the poised Kate Shindle as her chief rival, the charmingly nerdy Christian Borle as the man who sees her true worth and Orfeh, whose powerhouse voice seems a bit at odds with her hang-dog character, the love-bruised manicurist who becomes Elle’s best friend.

Chico and Chloe, who play (and are) real dogs, have undeniable stage presence.

The reliable Michael Rupert is very good as a smarmy, stuffed-silk-shirt professor who sings of the law in Gilbert-and-Sullivan-esque numbers that begin promisingly but peter out. And Andy Karl is a hilarious walking sight gag as a hunky delivery man in tight shorts, on hand to demonstrate that women, too, have the right to be wolf whistlers.

You see, “Legally Blonde” lets a gal have it all. She can play the bimbo while admiring bimbos of the opposite sex. She can wear pink as if it were navy blue. And while she knows that appearance isn’t everything, she also knows that it counts for an awful lot. Hence a makeover sequence in which Mr. Borle is transformed from academic geek to corporate Greek god.

But what about those who don’t appreciate the value of a manicure or a leg wax? Among Elle’s Harvard classmates is a dowdy lesbian (played by Natalie Joy Johnson), who is routinely the object of the show’s most unsavory jokes. Which makes you wonder uneasily if the message of “Legally Blonde” isn’t just that it’s O.K. to be pretty, but that it’s not O.K. not to be.

LEGALLY BLONDE

Music and lyrics by Laurence O’Keefe and Nell Benjamin; book by Heather Hach, based on the novel by Amanda Brown and the MGM motion picture; directed and choreographed by Jerry Mitchell; music director and conductor, James Sampliner; orchestrations by Christopher Jahnke; arrangements by Mr. O’Keefe and Mr. Sampliner; sets by David Rockwell; costumes by Gregg Barnes; lighting by Ken Posner and Paul Miller; sound by Acme Sound Partners; associate director, Marc Bruni; associate choreographer, Denis Jones; technical supervisor, Smitty/Theatersmith, Inc.; animal trainer, William Berloni; production stage manager, Bonnie L. Becker; general manager, NLA/Maggie Brohn; associate producers, PMC Productions, Yasuhiro Kawana and Andrew Asnes/Adam Zotovich. Presented by Hal Luftig, Fox Theatricals, Dori Berinstein, James L. Nederlander, Independent Presenters Network, Roy Furman, Amanda Lipitz, Broadway Asia, Barbara Whitman, FWPM Group, Hendel/Wiesenfeld, Goldberg/Binder, Stern/Meyer, Lane/Comley, Bartner-Jenkins/Nocciolino and Warren Trepp, in association with MGM on Stage, Darice Denkert and Dean Stolber. Produced for Fox Theatricals by Kristin Caskey and Mike Isaacson. At the Palace Theater, 1564 Broadway; (212) 307-4100. Running time: 2 hours, 25 minutes.

WITH: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Orfeh (Paulette), Richard H. Blake (Warner Huntington III), Kate Shindle (Vivienne Kensington), Nikki Snelson (Shandi/Brooke Wyndham) and Michael Rupert (Professor Callahan).

http://theater2.nytimes.com/2007/04/30/theater/reviews/30blon.html?pagewanted=2

Minggu, 20 Juli 2008

The Kanzius

Kanzius Machine

What if we told you that a guy with no background in science or medicine - not even a college degree - has come up with what may be one of the most promising breakthroughs in cancer research in years?

Well it's true, and if you think it sounds improbable, consider this: he did it with his wife's pie pans and hot dogs.

His name is John Kanzius, and as correspondent Lesley Stahl first reported last April, he's a former businessman and radio technician who built a radio wave machine that has cancer researchers so enthusiastic about its potential they're pouring money and effort into testing it out.

Here's the important part: if clinical trials pan out - and there's still a long way to go - the Kanzius machine will zap cancer cells all through your body without the need for drugs or surgery and without side effects. None at all. At least that's the idea.

The last thing John Kanzius thought he'd ever do was try to cure cancer. A former radio and television executive from Pennsylvania, he came to Florida to enjoy his retirement.

"I have no business being in the cancer business. It’s not something that a layman like me should be in, it should be left to doctors and research people," he told Stahl "But sometimes it takes an outsider," Stahl remarked.

"Sometimes it just - maybe you get lucky," Kanzius replied.

It was the worst kind of luck that gave Kanzius the idea to use radio waves to kill cancer cells: six years ago, he was diagnosed with terminal leukemia and since then has undergone 36 rounds of toxic chemotherapy. But it wasn't his own condition that motivated him, it was looking into the hollow eyes of sick children on the cancer ward at M.D. Anderson Cancer Center in Houston.

"I saw the smiles of youth and saw their spirits were broken. And you could see that they were sort of asking, 'Why can't they do something for me?'" Kanzius told Stahl.

"So they started to haunt you. The children," Stahl asked.
"Their faces. I still remember them holding on their Teddy bears and so forth," he replied. "And shortly after that I started my own chemotherapy, my third round of chemotherapy."

Kanzius told Stahl the chemotherapy made him very sick and that he couldn't sleep at night. "And I said, 'There’s gotta be a better way to treat cancer.'"

It was during one of those sleepless nights that the light bulb went off. When he was young, Kanzius was one of those kids who built radios from scratch, so he knew the hidden power of radio waves. Sick from chemo, he got out of bed, went to the kitchen, and started to build a radio wave machine.

"Started looking in the cupboard and I saw pie pans and I said, 'These are perfect. I can modify these,'" he recalled.

His wife Marianne woke up that night to a lot of banging and clamoring. "I was concerned truthfully that he had lost it," she told Stahl.

"She felt sorry for me," Kanzius added.
"I did," Marianne Kanzius acknowledged. "And I had mentioned to him, 'Honey, the doctors can't-you know, find an answer to cancer. How can you think that you can?'"

That's what 60 Minutes wanted to know, so Stahl went to his garage laboratory to find out.

Here's how it works: one box sends radio waves over to the other, creating enough energy to activate gas in a fluorescent light. Kanzius put his hand in the field to demonstrate that radio waves are harmless to humans.

"So right from the beginning you're trying to show that radio waves could activate gas and not harm the human-anything else," Stahl remarked. "'Cause you're looking for some kind of a treatment with no side effects, that's what's in your head."

"No side effects," Kanzius replied.
"That was the next $64,000 question," Kanzius said.

The answer would cost much more than that. Kanzius spent about $200,000 just to have a more advanced version of his machine built. He knew that metal heats up when it's exposed to high-powered radio waves. So what if a tumor was injected with some kind of metal, and zapped with a focused beam of radio waves? Would the metal heat up and kill the cancer cells, but leave the area around them unharmed?

He did his first test with hot dogs.

"I'm going to inject it with some copper sulfate," Kanzius explained, demonstrating the machine. "And I’m going to take the probe right at the injection site."

Kanzius placed the hot dog in his radio wave machine, and Stahl watched to see if the temperature would rise in that one area where the metal solution was and nowhere else.

"And when I saw it start to go up I said, 'Eureka, I've done it,'" Kanzius remembered. "And I said, 'God, I gotta shut this off and see whether it's still cold down below.' So I shut it off, took my probe, went down here where it wasn’t injected. And the temperature dropped back down. And I said, 'God, maybe I got something here.'"
Kanzius thought he had found a way attack cancer cells without the collateral damage caused by chemotherapy and radiation. Today, his invention is in the laboratories of two major research centers - the University of Pittsburgh and M.D. Anderson, where Dr. Steven Curley, a liver cancer surgeon, is testing it.

"This technology may allow us to treat just about any kind of cancer you can imagine," Dr. Curley told Stahl. "I've gotta tell you, in 20 years of research this is the most exciting thing that I’ve encountered."

That's because Kanzius impressed Curley with another remarkable idea: to combine the radio waves from his device with something cutting edge - space age nanoparticles made of metal or carbon. They are so small that thousands of them can fit in a single cancer cell. Because they’re metallic, Kanzius was hoping his radio waves would heat them up and kill the cancer.

"If these nanoparticles work then we truly have something huge here," Kanzius told Stahl.

Enter Rick Smalley, another cancer patient at M.D. Anderson and the man who won the Nobel Prize for discovering nanoparticles made from carbon. As luck would have it, Dr. Curley was called in one day to examine Smalley. Before leaving, he asked him for some of his nanoparticles.

"I proceeded to tell him what I wanted to do and that I thought they would heat. He looked at me with sort of a studied long look and didn’t say anything. And then he looked at me and said, 'It won’t work,'" Curley remembered. "And just laughed and said, 'Well, look, I'll give you some. But don't be too disappointed.'"

So Dr. Curley brought a vial of those precious nanoparticles to John Kanzius.
"So we take the nanoparticles, we put 'em in the radio field. And in about 15 seconds, they’re boiling and heating and Steve Curley couldn't contain himself. He called Rick Smalley and he said, 'Rick, you’re not going to believe this. He just blew the smithereens out of your nanoparticles,'" Kanzius recalled.

Smalley's response? "The only thing that I got out of him after this pause was, “Holy s…,'" Curley recalled.

Not long after that day, Smalley died of lymphoma. Once a skeptic, he had become one of Kanzius' biggest supporters.

"He didn’t expect it, but he embraced it to his death bed when he told Dr. Curley this will change medicine forever. Don't stop, no matter what you do," Kanzius told Stahl.

And they haven't stopped. They’ve already shown that the Kanzius machine can heat nanoparticles and cook cancer to death in animals. Dr. Curley with rabbits, and in Pittsburgh, Dr. David Geller demonstrated to 60 Minutes how he used nanoparticles, made from gold, to kill liver cancer cells grown in rats.

"Now what we’re going to do is inject the nanoparticles," Dr. Geller explained. "Directly into the tumor."
In the study the rats, anesthetized to keep them still, were exposed to the Kanzius radio waves. Dr. Geller later examined their tumors under a microscope.

"What you can see is that cells are starting to fall apart. You see white spaces in between them. The body of the cell is shrinking, the cells are starting to die," Geller pointed out.

"And can you tell from this whether the area surrounding the tumor had any destruction?" Stahl asked.

"Grossly inspecting the animal, we did not see not see any damage to the surrounding tissue," Geller said.

So far, the Kanzius method has only been applied to solid, localized tumors in animals. The ultimate goal is to treat cancer that has metastasized or spread to other parts of the body. Those undetectable rogue cells are what most often kill people with cancer and the trick is finding them.

"If we can't target the microscopic cells this is not going to be a cure," Curley said.
(CBS) That’s why Curley is trying to use special molecules that are programmed to target cancer cells and attach nanoparticles to them.

He showed Stahl an animation of how he hopes the targeting will work in people one day, with a simple injection of gold nanoparticles into the bloodstream.

"What we’re seeing here is an example of a gold nanoparticle in this case with an antibody on it, so the antibody would be the targeting molecule," Curley explained. "You can see it is tiny compared to a normal red blood cell just imagine all of these billions of these gold nanoparticles circulating through the body and then once they get into the blood vessels going to the tumor, these nanoparticles would go through and bind on the surface of the cell."

"The cancer cell. It wouldn't bind on a normal cell," Stahl observed.

"That's right, they would bind only to the cancer cell. Now here’s the nanoparticles in the cell, here comes John's radio frequency treatment. The cells get hot and they’re destroyed," Curley said.

"Gosh, it does look like one of those science fiction movies," Stahl remarked.

"Right now it is a little science fiction," Curley agreed. "We’re not quite to the real time yet, but it’s got a lot of promise."

Even if all goes well in the lab, it'll be at least another four years before human trials can start. But John Kanzius says he's afraid he doesn't have that much time. So to help speed up the research, he's been raising millions of dollars and getting press coverage about his invention.
"Now I can't count the number of times the journalistic community, has done stories on a cancer cure," Stahl said. "I did one in 1973. …How many times have we seen these things work in the Petri dish, work with animals. And then you get them into humans and they don’t work."

"Dozens," Curley replied.

But if this one does work, it most likely won't be developed in time to help the man who invented it. John Kanzius may have the option of a bone marrow transplant that could buy him more time, but after six years of chemo it would be another grueling ordeal.

"Did you ever say, 'I’m not going to do this anymore. I’m not going to put myself through it,'?" Stahl asked.

"Yes. I said that-only about a year and a half ago," Kanzius replied. "I changed my mind because I think with all the research that’s going on with the institutions, that maybe, I'd like to be around for the first patient to get treated and just have a smile."

"Oh my God," Stahl said.

"And then I don't care anymore," Kanzius replied.


http://www.cbsnews.com/stories/2008/04/10/60minutes/main4006951_page4.shtml

Sabtu, 19 Juli 2008

Lifetime's 'Dawn Anna': Tears of Endearment

By Tom Shales
Washington Post Staff Writer
Monday, January 10, 2005; Page C01

Cynics might dismiss "Dawn Anna" as a tearjerker, but what if it is? Life is a tearjerker, after all. And "Dawn Anna," the Lifetime Channel movie premiering tonight at 9, doesn't so much jerk tears as coax them. It is good to have a visceral reaction to a movie, and tears are tangible proof that the talents involved have reached your heart, or at least your vulnerabilities.

So much TV is merely numbing, even trance-inducing, but that's a charge that could never be made about this film.

Debra Winger as Anna with Quinn Singer as her daughter in the Lifetime Channel movie. (Lifetime)



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"Dawn Anna" is yet another saga of a Lifetime superwoman, but Debra Winger in the title role helps make her entirely and encouragingly believable, as does the sensitive direction by Less R. Howard, probably a pseudonym for Arliss Howard, Winger's husband. You may be lucky enough to know someone like Anna or, if not, will wish you did long before the end of the film.

Just before the end -- maybe 15 or 20 minutes before -- the story takes a sudden dramatic turn that, unless someone has spoiled it for you, will give you an abrupt and dizzying shock. There's already been plenty of drama in the life of this single mother of four kids, most of them teenagers, but here comes one more incredibly traumatic crisis for her to deal with, and it's one that not even all the others could have prepared her for.

Maybe the movie should have been longer so as to give more time to this event in Anna and her family's life -- it's two hours now, 1:28 without commercials -- or maybe the proportions are somewhat out of whack and the crisis should have occurred earlier than it does. But quibbles are essentially pointless; the movie works wonderfully in its own way, and the assembled talents needed time to convince you that a family like Anna's isn't too good to be true.

They come across as both good and true, and one likes to assume America is filled with families where people behave as honorably and selflessly, with a few human stumbles, as this one. Not everything Anna and her four children do is praiseworthy and righteous, but there's an absence of petty bickering and no trace of maliciousness. Sitcoms and reality shows regularly celebrate the worst in people; "Dawn Anna," among other things, makes a case for simple honest values that one hates to think are "old-fashioned."

The story takes place between the springs of 1993 and 1999 in a Denver suburb where the family's house sits on a cheerfully normal-looking street, not dramatically different from the other homes in appearance but not cookie-cutterly cute, either. We're not told how long the family has been absent one spouse or exactly how he made his exit, but Anna, who doesn't like to be called "Dawn," is managing things very well.

She works as a substitute teacher but mounting bills force her to seek full-time employment, which she eventually gets, teaching high-schoolers and, for extra income, coaching the girls' volleyball team. About 20 minutes into the film, Anna begins to have blinding headaches and dizziness and we go "aw-oh" to ourselves. Here's the illness we suspected was coming. Anna had been too happy.

Winger -- who looks much differently than she did six years ago, when she began a kind of hiatus from most movie and TV work -- has done magnificent suffering on the screen before, of course, most notably in "Terms of Endearment," the only arguably great movie James L. Brooks ever made. But in "Dawn Anna," Winger doesn't just reprise anguish from a previous role. This character is unlike the free-spirited scamp she played in that other film.

Medical science fails Anna as it has failed so many others. Even diagnosing her malady is a challenge to the so-called professionals, though eventually it's iscovered that she has a kind of brain tumor -- "blockage," it is called -- with some long and hard-to-pronounce technical name. One avenue of treatment is tried, and it fails, and Anna agrees to undergo brain surgery. At one point, when she casually turns away from the camera, we see the hideous snake-like scar running down the back of Anna's head, a graphic indication of how drastic the surgery was.

In fact, when her eyes first flutter open, with difficulty, upon waking from the anesthesia, Anna can't even speak. Walking must be relearned. Winger has a memorable little wordless scene in which we see her legs all but turn to rubber as she navigates a hallway at school; she is too disoriented to stand.

And yet, she is still determined to teach and coach, her spirits bolstered by the giant "Welcome Home, Mom" signs posted on the house by the kids and by her new boyfriend, a mild-mannered guy who looks a little like Ned Flanders, Homer Simpson's goody-goody neighbor.

All hell will break loose before the movie is over, and Anna's resolve and ability to cope will be tested more rigorously than ever. Some of the images are achingly poignant: teenage daughter Lauren waiting and waiting for a chicken to hatch as part of a class experiment, then gloriously elated when it does; fellow teachers forming a long line at school with donations to help Anna with her humongous medical bills; one of her sons, having kept up a brave front for his mother's sake, sitting alone on a back staircase at the hospital and weeping; and the black-and-white memories in Anna's brain while surgeons are drilling into her skull.

A beautiful little movie, a stalwart little movie, "Dawn Anna" benefits tremendously from Winger's honesty and from unaffected performances all around. The only really objectionable thing is common to much of Lifetime's programming: Why does it have to be billed as entertainment "for women"? Don't the dopes at Lifetime know that men like a good cry, too?


http://www.washingtonpost.com/wp-dyn/articles/A61993-2005Jan9.html

Rosie Perez connects acting

The actress tells a crowd to listen to their hearts and do something about the injustices in the world.
By Erin Negley
Reading Eagle

Kutztown, PA - Rosie Perez was studying biochemistry with no aspirations of acting when her inner activist denounced a degrading contest for women that director Spike Lee was holding in a nightclub.

Speaking up changed her life by starting her acting career, Perez said to a crowd of more than 450 people at Kutztown University on Tuesday night.

Listen to your hearts and do something about the injustices in the world, Perez told them.

Recalling the details of what happened at the nightclub she had gone to with friends, Perez said a man she thought looked like a cricket was leading a contest for women with big behinds. The man was Lee, who had just made the movie “She’s Got to Have It.”

It was too much for Perez to stand. She jumped on the stage and told the women they shouldn’t let Lee degrade them.

Other women in the club said the contest was wrong, but Perez did something about it.

“My life would not have changed if I didn’t have that activist spirit,” Perez said. “If I didn’t have something inside me that I didn’t understand at that time, at 19 years old, that said, ‘This is wrong. I’m going to stand up and make this stop by any means necessary.’ ”

Later, Lee introduced himself and said their meeting was fate. He wanted her in his movie, “Do the Right Thing.”

Embarrassed about the commotion, Perez initially turned him down on the spot. She later changed her mind and the movie launched her career in entertainment.

Perez has since channeled her activism into AIDS awareness, arts for youth and ending the U.S. Navy’s practice bombing of Vieques, Puerto Rico.

According to Perez, her activism is rooted in her childhood when she realized it wasn’t right that her family was hungry and didn’t have heat or hot water.

“I just couldn’t be happy being an A-list actress being on the couch of David Letterman, watching the world go by,” she said. “It just did not make sense to me.”

Perez also recalled a night when she took part in a New York City protest of cuts to an AIDS group’s funding.
She was terrified to speak on the steps of City Hall, but she realized that was part of being an activist.

“The apprehension that I feel, the fear that I feel is OK,” Perez said. “Because the worst thing I can feel is apathy.”

Imagine what was going through the minds of activists like suffrage pioneer Susan B. Anthony or Lolita Lebron, who was one of four Puerto Rican nationalists who fired guns in the U.S. Capitol in 1954, she said.

Perez didn’t condone Lebron’s use of violence.
After her talk, several people also asked about her acting career.

Perez couldn’t pick which of her characters was the most meaningful, but her role in “Fearless” was the most rewarding because others didn’t think she could do it.

A student asked about Puerto Rican independence and Perez, who was born in Brooklyn, said the people who live in Puerto Rico need to make that decision for themselves.

“My dream is for them to be independent because I believe that they can,” she said.

Another student asked Perez if she had advice to help students of color make it through college.

The alternative is unacceptable, Perez said.

“You shortcome yourself and you shortcome the world,” she said. “You have to keep moving forward.”

http://www.readingeagle.com/article.aspx?id=85709

Rabu, 16 Juli 2008

The Gary Dourdan Experience Biography

Biography


Gary Robert Durdin (he changed his surname when he started acting) was born on 11 December 1966, the second youngest of five children by Robert and Sandy Durdin. Tragedy hit Gary at the tender age of 6 when his beloved older brother Darryl (age 23) while researching the French lineage of his father, was pushed to his death off a motel balcony on a high cliff in Haiti. The Haitian authorities had no motive or suspects in the case and thirty years on the case still remains unsolved.

"I was really connected to my brother. So everything I do now, be it my acting
or my music, is always in honor of him."

Darryl with his Father in 1972

Gary who was always interested in acting, graduated from a local performing arts high school the renowned Freedom Theatre in Philadelphia, Pa. but instead of going to college or making the rounds of casting directors, he entered what he calls a "reckless period” abusing alcohol and drugs, drifting from Philadelphia to Miami and back, playing in a few bands in New Jersey then moving to a rat-infested basement apartment in Manhattan. He knew his life was out of control when he began getting fired from restaurant jobs for showing up late. On one especially bleak night in Miami, he was held up at gunpoint by a guy on drugs so Gary gave him what he wanted $30 and some jewellery.

"After the fact, all I could think about was
what me being killed would have done to my parents."


Gary with his parents at the

37th NAACP Image Awards 2006

Gary cleaned up his and act and started focusing on his career doing regional theatre off Broadway and also working several jobs in between DJ, doorman, cook to make ends meet. He also ventured into modelling appearing in several magazine and books. In 1991, while on holiday in Paris with his then girlfriend Roshumba, he bumped into Debbie Allen, the actress and director of the Cosby spin-off "A Different World". He started sending her tapes of his work in theatre and eventually she offered him the role of "Shazza Zulu", a con artist in the series.


Gary as "Shazza" in
A Different World

Gary then featured in many TV appearances and films which included:The Good Fight (TV), Laurel Avenue (TV), Soul Food (TV), Muhammad Ali, King of the World (TV Movie), Scar City, Alien Resurrection, Imposter , and the infamous Trois. He was one of the first African-American to have "locks" on TV, but felt thwarted by the business’ limited view on ethnicity which seem to only typecast him as pimps and drug dealers, not entirely the vision he had for his career.


"I was probably the first guy with dreadlocks to be on a national TV show and I didn't realize that my image had taken on such a life of its own. Sometimes, I would play the consciousness of the plotline and other times I'd be the drug dealer, but eventually, the roles became caricatures"

So during a trip to Egypt he made a momentous decision to cut them off and renew spiritually. This decision left him short of work for awhile but he used that time to return to his passion of writing and producing music. Eventually the work started coming in and he starred in the Muhammad Ali biopic "King of the World" playing the role of "Malcolm X", a part he considers a career highlight. Since 2000, the handsome 6-foot-2 green eyed actor can be seen every week on the US No.1 show "CSI: Crime Scene Investigation" as "Warrick Brown".



Gary in his role as "Malcolm X"

Gary as "Warrick Brown" in CSI

In 2003 Gary received a NAACP Image Award for Outstanding Supporting Actor in a Drama Series for his role as Warrick Brown in CSI and in 2005 he received a SAG (Screen Actors Guild) Award with the rest of the CSI cast for the Outstanding Performance by an Ensemble in a Drama Series. This year Gary won his second NAACP Image Award for Outstanding Supporting Actor in a Drama Series for his role as Warrick Brown in CSI.


Gary accepting his
NAACP Image Award

Gary with his SAG Award

Gary with his 2nd
NAACP Image Award

Gary is also an accomplished musician, producer, songwriter and has his own production company, Temple of Thoughts and recently completed a project called the "Mother Tongue" which captured various art forms in music, fashion, spoken word etc. He plays several instruments including the guitar, piano, flute, bass and has formed and worked with several bands which include: Smoky Mirrors, Rent Money, Gary Dourdan and the New Congregation, Bell Cafe Band and Bare Eccentrics.

Gary recently recorded new music material under his pseudonmyn "Kolade". Purchase of this material via iTunes can be found by clicking here Gary Dourdan's Official Website. In 2005 Gary not only had the pleasure of recording a track called "Machine Gun" with DMC (formerly of legendary hip-hop band Run DMC) but performing with him and other fellow musicians at the momentus Live8 Concert at Barrie, Ontario which was part of a global musical extravanza to focus on the world's biggest problem, poverty.

In his spare time he mentors aspiring artists and musicians in his recording studio in Venice Beach Ca. where he resides. He has two children, a daughter Nyla aged 8 and son Lyric aged 4.


"I want to mix mediums so that it's not about making a choice between music, film or TV.
I don't want to have to make an either/or decision."


Gallery Index

Award Shows

The 37th Annual NAACP Image Awards 2006
The 48th Annual GRAMMY Awards 2006
The 32nd Annual People's Choice Awards 2006
National Television Award (London) 2005
Movieline Hollywood Life's Style Awards 2005
The 57th Annual Emmy Awards 2005

CSI: Crime Scene Investigation

Series 1 - 6
Promotional Events for CSI

Events

Various 2007
Various 2006
Various 2005
Various 2004
Various 2003
Various 2002
Various 2001
Various 2000

Music

The Knitting Factory, Los Angeles 2005
Live8 Concert with DMC in Barrie, Ontario 2005
Machine Gun Music Video with DMC 2005
Sunset Room, LA with Dorian Cheah 2004
Lyric Cafe, BET Jazz 2003
Film Clip of Gary's Performance with the Bell Cafe Band 1996
(NB This clip takes a while to load and its an amateur footage)

I Want To Be...Gary Dourdan (short) Interview (FHM Insider March 2006)
An Everyman For Our Age...Gary Dourdan Interviewed by Janet Tappin Coelho (The Voice, Jan 30 - Feb 5, 2006)
Underappreciated Actor Turns Sexy Star on 'CSI' by David Hiltbrand (The Philadelphia Enquirer, January 26, 2006)
10 minutes with Gary Dourdan interview by Chrissa Amuah (Pride Magazine December 2005)
Gary Dourdan interviewed by Simon Mayo ( BBC Five Live, 25 October 2005) (Transcript)
Meet Warrick's New Bride by Craig Tomashoff (TV Guide Magazine 17 Oct to 23 Oct 2005)
CSI: Back on the Scene by Craig Tomashoff (TV Guide Magazine 25 Sept to 1 Oct 2005)
How I Stole George Clooney's Woman by Sara Faillaci (Vanity Fair (Italian) 4 August 2005)
Tavis Smiley Interview/PBS Tuesday 1/20/2004 - Transcript
The Africana QA: Gary Dourdan - October 16, 2003
Gary Dourdan - Crime Scene Investigator by Regina R. Robertson (Venice Magazine October 2003)
Back to Mine...Interview with Gary Dourdan (FHM Collections Autumn/Winter 2003)

CSI's Dourdan on Fresh Fame by Julie Chen (CBS Video October 15, 2003)
CBS News/The Early Show/C.S.I. Breakthrough - October 15, 2003 (Transcript)
Box Office Chocolates...Small Interview with Gary Dourdan (Essence Magazine Collector's Edition April 2003)

Behind The Music of CSI - Interview with Gary Dourdan and Jorga Fox by Julie Chen (CBS Video January 9, 2003)
CBS News/The Early Show - C.S.I. Tunes - January 9, 2003 (Transcript)
Introducing Gary