Sunday, February 5, 2012

Popular character actor Ben Gazzara dies in NY (AP)

NEW YORK ? Ben Gazzara, whose powerful dramatic performances brought an intensity to a variety of roles and made him a memorable presence in such iconic productions over the decades as the original "Cat on a Hot Tin Roof" on Broadway and the film "The Big Lebowski," has died at age 81.

Longtime family friend Suzanne Mados said Gazzara died Friday in Manhattan. Mados, who owned the Wyndham Hotel, where celebrities such as Peter Falk and Martin Sheen stayed, said he died after being placed in hospice care for cancer. She and her husband helped marry Gazzara and his wife, German-born Elke Krivat, at their hotel.

Gazzara was a proponent of method acting, in which the performer attempts to take on the thoughts and emotions of the character he's playing, and it helped him achieve stardom early in his career with two stirring Broadway performances.

In 1955, he originated the role of Brick Pollitt, the disturbed alcoholic son and failed football star in "Cat on a Hot Tin Roof." He left the show after only seven months to take on an equally challenging role, Johnny Pope, the drug addict in "A Hatful of Rain." It earned him his first of three Tony Award nominations.

In 1965, he moved on to TV stardom in "Run for Your Life," a drama about a workaholic lawyer who, diagnosed with a terminal illness, quits his job and embarks on a globe-trotting attempt to squeeze a lifetime of adventures into the one or two years he has left. He was twice nominated for Emmys during the show's three-year run.

Gazzara made his movie debut in 1957 in "The Strange One," Calder Willingham's bitter drama about brutality at a Southern military school. He had previously played the lead role of the psychopathic cadet, Jocko de Paris, on Broadway in Willingham's stage version of the story, "End of Man."

He followed that film with "Anatomy of a Murder," in which he played a man on trial for murdering a tavern keeper who had been accused of raping his wife.

After "Run for Your Life" ended in 1968, Gazzara spent the rest of his career alternating between movies and the stage, although rarely with the critical acclaim he had enjoyed during his early years.

In the 1970s, he teamed with his friend director John Cassavetes for three films, "The Killing of a Chinese Bookie" and "Opening Night." In another Cassavetes film, he appeared with Falk, and the two became friends (it was Cassavetes who introduced them to the Wyndham Hotel, according to a 1982 article in New York magazine).

Gena Rowlands appeared with Gazzara in "Opening Night," which also starred Cassavetes. Cassavetes and Rowlands were married; he died in 1989. Falk died last year.

"It breaks my heart to have this era come to an end. Ben meant so much to all of us. To our families. To John. To Peter. To have them gone now is devastating to me," she said in a statement.

She said her prayers and thoughts went out to "all his loyal and wonderful fans throughout the world."

Rita Moreno, who played Gazzara's wife in the 2000 film "Blue Moon," said, "He was a wonderful man, and I so enjoyed working with him. I wish I could have had the pleasure more often."

Other Gazzara films included "The Bridge at Remagen," "The Young Doctors," "They All Laughed," "The Thomas Crown Affair," "If It's Tuesday, It Must Be Belgium," "The Spanish Prisoner," "Stag" and "Road House." He also made several films in Italy.

He appeared on Broadway in revivals of "Who's Afraid of Virginia Woolf," "Awake and Sing!" "Strange Interlude" and several other plays.

Gazzara began acting in television in 1952 with roles on the series "Danger" and "Kraft Television Theater." Before landing "Run for Your Life," he played a police detective in the series "Arrest and Trial," which lasted two seasons.

Born Biagio Anthony Gazzara in New York on Aug. 28, 1930, he grew up on the Lower East Side of Manhattan in a cold-water flat with a bathtub in the kitchen. His parents were immigrants from Sicily who met and married in New York, and his first language was Italian. Although he was baptized under his birth name, his parents always called him Ben or Benny.

As a child he became fascinated with movies, and after giving his first performance, in a Boys Club play, he knew he had found his life's work.

"I disliked high school," he once said, "and after two years of it I left without telling anyone at home."

Instead he spent his days in movie theaters.

He entered Erwin Piscator's Dramatic Workshop in 1948. Eighteen months later he auditioned for the Actors Studio run by Lee Strasberg and was accepted.

The school was a beehive of activity in those days, turning out such followers of method acting as Marlon Brando, Montgomery Clift, James Dean, Barbara Bel Geddes, Shelly Winters, Paul Newman, Joanne Woodward, Rod Steiger and Julie Harris.

"There's a lot of voodoo about the Actors Studio," Gazzara told The Associated Press in 1966. "In the best sense it was a place for professionals to stay in touch with their craft, where newcomers and professionals mingled, to grow, to try parts they would never get in the professional theater and to even fall on their face."

Gazzara's first two marriages, to actresses Louise Erikson and Janice Rule, ended in divorce.

While filming "Inchon" in Korea in 1981, he met Krivat. They married the following year, and the union endured.

"Elke saved my life," Gazzara said in 1999. "When I met her, I was drinking too much, fooling around too much, killing myself. She put romance and hope back in my life."

He adopted Krivat's daughter, Danja, as his own. She recalled on Friday that he was a "complex soul" and that his role as a father to her and his own daughter was challenging.

"I adored Ben, and so did his daughter," she said. "But we both had difficulty with him ... I think the difficulty lay in his complexity of being an actor and those layers that you have, that you bring with you."

Besides Danja, Gazzara is survived by his wife, daughter Elizabeth and a brother.

___

Former Associated Press writer Bob Thomas in Los Angeles contributed to this report.

Source: http://us.rd.yahoo.com/dailynews/rss/movies/*http%3A//news.yahoo.com/s/ap/20120204/ap_on_en_mo/us_obit_gazzara

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Saturday, February 4, 2012

4 Great Life Coaching Books

Although I do not only work with other Life Coaches, I do work with a lot. As I do all my marketing online I naturally attract new Life Coaches that want to do the same thing and utilize social media and social networking to attract clients to their Life Coaching practice.

One of the questions I get asked regularly is what are the best books on Life Coaching and self development for new coaches to check out if they want to accelerate their learning. Today I wanted to share 4 with you and explain why they are so important and can help you whether you are a Life Coach yourself or just somebody really keen on self development.

The Life Coaches Handbook by Curly Martin

Curly Martin is one of Europe's leading and well known Life Coaches. Her first book, The Life Coaches Handbook is a highly accessible and easy to understand introduction to Life Coaching, with step by step guides for the basic elements of Life Coaching.

It doesn?t just focus on coaching, but also takes the reader through the process of acquiring new clients and putting basic business processes in place. It?s a great starting point for anybody that is curious about becoming a coach, but hasn?t fully committed just yet.

Coaching With The Brain In Mind by David Rock & Linda Page

This book is definitely for those people that take Life Coaching very seriously and want to be the very best coach they can be. It is not really aimed at people just curious about self development and is written in an academic style. However, it does drill down very deeply, not just into the roll of a coach, but also taking a look at the history of coaching (from way back), how it works and what you need to do to be successful with your clients.

Possibly the most authoritative work on Life Coaching available today.

Co-Active Coaching by Whitworth, Kimsey-House and Sandahl

Probably the authoritative work on co-active coaching and used by many training organizations as a template. Co-active coaching (sometimes called solution coaching) is the process of asking the client the right questions to help shift their thinking so they can come to conclusions on ?their own?. This process is far more powerful than a Life Coach merely telling a client what to do because change that comes from inside is far more likely to stick than that which is imposed.

Your Brain At Work by David Rock

Nothing like as academic or dry as Coaching With The Brain In Mind but as brilliant nonetheless. It is useful knowing what processes will help our clients, but infinitely more useful to know why they work. if you can explain the why to a client they are much more likely to be onboard with implementing the changes needed. Your Brain At Work is also highly accessible to the layperson and a truly inspiring read to anybody that wants to get a better understanding of why their brain does some of the strange things it does, and better still what we can do to change the behavior.
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Source: http://lifestyle.ezinemark.com/4-great-life-coaching-books-7d33b8dda53a.html

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Friday, February 3, 2012

The Art of Design: interviews to game designers #16 ? Uwe ...

Hi gamers, here I?m with another interview after a long long stop. The interview with Uwe took me a lot of time since I needed the great help from my ?colleague? Patrick Korner to translate Uwe answers from German to English. Of course Uwe is a designer that doesn?t need any presentation with 2 games (Agricola and Le Havre) in BGG top 10 and also the top seller Bonhanza. With his games (at least from Agricola) Uwe tells us stories, usually little stories of work and duties. the life of the common man. Also Uwe shows us how the mechanic of his games are been developed from game to game and took a lot of time for developing and testing.
Uwe says ?I try and design games as a thematic whole. Over my entire career, you could say that I am fascinated by hermetically sealed completeness? that really offers a great shot of Uwe designing style.

[Liga] Dear Uwe, with this series of interviews I?m trying to explore the world of game designers with the idea that designing games is a form of art, no more ore less than writing books or casting movies. What we try to do together is, looking through your production, to find your style, your special sign ? common traits in your games.

Of course Agricola is the game brings Uwe Rosenberg and Lookout-Games to the wide attention, being able to win IGA and DSP award and a special mention also from SDJ and climb the BGG rank up to 1st place. Now Agricola is 4rd and Le Havre 6th and you are the only designer to have 2 games in the BGG Top 10.
According to BGG you got published more than 50 games (including expansions) in 20 years of career, starting from 1992 releases. Your most know title before the Agricola/Lookout Era were Bohnanza and Mamma Mia.

Is there any game you are particularly proud of and why?

[Uwe] I am proud when my games accomplish something. When teenagers suggest playing Agricola with their parents on a Sunday afternoon instead of sitting in front of the tv, for example. Or that my game Bohnanza has become THE game for the juggling scene. Those kinds of things make me proud. I?m naturally also happy about successes, since being successful with games means that people are enjoying themselves. I?d like to answer ?Times? to your last question. It is until today one of the few tactical quiz games in existence. A game that lets you cleverly conceal that you don?t now the answer to a question. (And a game that was published in Italian in 1994.)

[Liga] You catch me by surprise! I was unaware of Times (of course now I had to rush to buy it) and also you are one the first designers to give an answer to this question! From outside it seems that the theme has really a lot of relevance in your design: is it true? Which is the weight of theme and mechanics in your designs?

[Uwe] First, an idea for a mechanism comes to be, such as the production wheel with Ora et Labora, for example, which is a refinement of the round by round addition of resources in Agricola. Then I choose a theme. And then ensure that everything else that comes is fitted to the theme. Yes, theme plays a large role for me. And I favour smaller themes ? manual labour instead of heavy industry. Living in poverty instead of swimming in luxury. In this respect, my work is similar to that of a book author. I have certain ?stories? to tell. I am not interested in wars, power and glory. I?m also not interested in the life of a king, I?m interested in the life of the common man.

[Liga] Really interesting perspective: I?ll be back on this later in the interview. Can you please select one or more of your games and show us the design process: where the idea came from? How long does it take to play-test a game?

[Uwe] With respect to the development of a game, I?d like to suggest reading my reports on www.cliquenabend.de: Report on Agricola or Report on Le Havre

Mechanisms don?t just get developed within a project, but also from game to game. They build on each other. Loyang, for example, had the Improvement mechanism for Agricola (I had developed Loyang 6 months before Agricola). For themes, I don?t look too far into the future. I simply look at life in the past. I take a long time to develop games ? I worked on Ora et Labora for three years. Testing a nearly-finished game I find more enjoyable than testing unrefined ideas. That might be the main reason why I allow myself such long development periods and playtesting lists.

[Liga] Great! A lot of designer are really challenged with the first part of games development but feel less gratified by the fine-tuning and play-test process needed to have a really balanced game, usually looking outside for testers groups. You have developed almost all your games alone: what do you think about team-working in designing games?

[Uwe] You asked about games I was proud of. In addition to Times I?d also choose Babel. The emigration mechanism is one of the nicest that I?ve ever come up with. And that came as a direct result of conversations with my friend Hagen Dorgathen. Teamwork is a wonderful thing when both sides provide ideas to the other. I?m certain that Hagen first led me to that idea. Unfortunately, I have a tendency to continuously change ideas during the early development process. That is something that I only reluctantly wish on others (including maybe Hagen).

[Liga] I really liked Babel and I?m still playing it sometimes with my daughter. A really nice 2-players game. Do you think is there a common sign/mark recurrent in your game? Looking your production it seems there is a pre-Agricola Uwe and a post-Agricola Uwe. Do you agree? What Agricola taught you and how is great success affected your design?

[Uwe] Before Agricola, I only thought about mechanisms. After Agricola, I adjust mechanisms to suit farming. This has become a small universe for me, much the way that card games were at the end of the 1990?s. I?m always reading about the theme and try to make the games easier to handle while maintaining the same gaming and narrative depth. I try and tell grand stories. Partly because those are the kinds of games that I find the most fun, but also because I set myself apart from other authors. In the time before Agricola I experimented a lot and tried to invent all the kinds of games that game designers invent. I had a signature style back then too, but a different one. I tried to design card games that played as a single entity instead of having to be replayed over several rounds. Today, I try and design games as a thematic whole. Over my entire career, you could say that I am fascinated by hermetically sealed completeness. What Agatha Christie said about her books I?d like to claim for my games.

[Liga] I really like this self-picture of yourself! Another great cue for going deep in the design style matter later. How much do you think other people in the Lookout team affect?

[Uwe] I tend to improve for the worse shortly before a game is released. Then I need people who keep me from doing it. As a father of (just recently) two children I find it is not longer possible to spend 5 to 7 evenings visiting gamers and showing them my latest effort, as with Le Havre ? although I did enjoy it very much! I am thankful to a very strong gaming group in Duisburg who spent a long time testing my newest game, Ora et Labora, filing away the final issues. Since I am at home with family more and more, there are currently a lot of ideas in my drawer. In the future, I expect I will more and more work out the ideas and then send the games out for extended testing. As a result, I think that my/our team will get larger in the near future and will become ever more important to me.

[Liga] Two times you made a strong parallelism between your work and writers work. First ?I have certain ?stories? to tell. I am not interested in wars, power and glory. I?m also not interested in the life of a king, I?m interested in the life of the common man? and than, using Agatha Christie words ?I try and design games as a thematic whole. Over my entire career, you could say that I am fascinated by hermetically sealed completeness?. Do you think designing games is a form of art, like writing books or casting movies? Designing games do you feel like an artist creating a new work of art or more like an expert and skilled craftsman?

[Uwe] I feel different during the different phases of game development. The first ideas often come to me in the shower. The first attempts get made lying down, eyes closed, almost in darkness. I try and make sure I?m wide awake when I then bring ideas to paper ? partly because I don?t want to miss anything, but mostly because I don?t want to have too many rules in the game. In those cases I feel more like an artist, more composer as interpreter. When playtesting by myself I?m more of a labourer but also mostly a gamer. I don?t like it when a playtest gets corrupted with rules changes, which is why I start a new game with each change. With Agricola, for example, I didn?t get farther than four rounds the entire first week. When writing the rules I?m a lawyer who is trying to make sure that no special case gets forgotten.

[Liga] Artist-labourer-lawyer ? from the stars down to the earth! I think something similar will happens to composers and movie directors ? from the initial creative part of the work down to the details. Reiner Knizia says ?I believe that there are many undiscovered games in the universe that are still waiting for me to design them?, Friedemann Friese ?The design process begins with this special moment of inspiration. These inspirations can be very different from each other? and Ignacy Trzewiczek says ?It takes few months of gathering pictures, ideas and emotions?. All this designers, with different approaches, consider the design process a creative moment. Which is Uwe prospective?

[Uwe] I?d rather improve and add variety to mechanisms rather than come up with brand new ones. In the 1990?s I tested over 100 card games and realised that the mechanisms, while new, were mostly boring. For me, good ideas don?t just fall from the sky, I create room for possibilities (referring to Robert Musil?s book ?The Man Without Qualities?) in which new mechanisms can grow.

[Liga] Wow! You are talking-back me quotes by quotes! Going back to what you are telling me in the beginning I agree with you that games are really a great way to tell stories and nowadays it happens to me more often than before, reading rules and playing games, to have emotions really close to the ones I got reading novels. Now we enter in the second part of this interview with some questions I?m used to ask all the designers.

Almost all the artist are used to have a Master. Who is Uwe Rosenbergs master? The person that taught you most about game design?

[Uwe] I didn?t have a master for inventing, but certainly for marketing. Peter Gehrmann taught me a lot in the 1990?s. He got me interested in trading card game mechanisms, for example, which led to games like ?Bohnanza?. My masters in game design were the games themselves. Some of them were Racko, Civilization, 1830, Freight Train, Lowenherz, Antiquity, Caylus.

[Liga] And, do you think Uwe could be someone else master? Do you think this approach to design is (or could be) followed by other designers?

[Uwe] As a composer working in the darkness certainly nobody will follow me. But as a labourer I could certainly be something that others could call a master. I prefer games that elicit positive emotions and also talk a lot about (mostly my) feelings while playing. Many of my gaming friends now also discuss and critique games in terms of feelings.

[Liga] Great, really the idea of a ?school?. In this final part of the interview some questions I?m used to ask to all designers. Is there a game from other designer you would really liked to design?

[Uwe] Treshams? Civilization and 1830 are for me the best games of all time. I?d have been proud to invent Puerto Rico or Powergrid but also Vegas Showdown and Homesteaders.

[Liga] Some old classics but also something not so ?classic?. If you have to describe Uwe Rosenberg with just 3 Uwe games: which and why?

[Uwe] I probably can?t avoid ?Bohnanza? and ?Agricola?. Those two games make the life I lead today possible. Both are also games that many of my more recent games build upon. To give the ?Researching? part of my career some credit, I?d like to list ?Times? as the third game. I hope that my database can get used again someday. I would be happiest seeing Times reissued in a version for up to 8 players.

[Liga] Why you started designing games and why you are still designing?

[Uwe] I started when I was 12 years old with a soccer game but only imitated what an neighbouring boy had done. Without thinking about it myself. And the game was probably not that great because of it. But it was long. I always had perseverance and liked nothing better than coming up with and final tweaking of games. The part in the middle, the playtesting, I still have issues with. I ask myself how I can avoid the frustration.

[Liga] Is there something you would like to tell to new designers approaching this work?

[Uwe] Play as often as you can, just by yourself. Try everything. Learn to understand why something doesn?t work. This learning is more important than the game. Come up with up to five ideas for a single game. The rule is: Always come up with something new! Only start the endless playtesting once you?ve tried everything and are truly convinced. You won?t learn anything about game design during playtesting

[Liga] Thank you Uwe for this great interview and I?m trilled about ?playing? your next story!

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Source: http://opinionatedgamers.com/2012/02/02/the-art-of-design-interviews-to-game-designers-16-uwe-rosemberg/

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Thursday, February 2, 2012

Understanding the Laws on New Hampshire Auto Insurance

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New Hampshire is a New England state that is located northeast of the United States of America. If it?s your first time to buy an auto insurance policy for you brand new car, it is important for you to understand laws and requirements of New Hampshire auto insurance.

You can get affordable car insurance in New Hampshire if you choose a policy with a minimum liability which is also commonly called the 25/50/25 insurance policy. Below are the minimum requirements for such type of policy:

A $25,000-worth of bodily injury liability for one individual involved in a single accident
Fifty thousand dollars for all damages brought about by the accident
Up to twenty-five thousand dollars for property damage liability; you may also choose to go for seventy-five thousand dollars for single limit insurance policy, since it could also meet the minimum requirements.

The Laws for Obtaining Car Insurance Policy in New Hampshire

As stated in New Hampshire?s auto insurance law, possessing a car insurance is not mandated by the law of the state. However, if you cause the accident and you don?t have a car insurance policy, you need to post a bond which is equivalent to the cost of damage brought on by the accident. To be able to continue driving around the state, you also need to meet the requirements of Financial responsibility in the state of New Hampshire.

Your coverage for uninsured motorists must be equivalent to the Liability coverage limit which you have purchased. You also need to understand that if you are responsible for an accident and you don?t have any insurance policy, you could face charges and defending yourself from such charges could be very costly. This is why you need to have a car insurance to pay for the damages in case of an accident.

It is quite easy to get affordable auto insurance in the state of New Hampshire. There are some factors that need to be considered if you want to avail of such affordable rates. The following factors are:

Higher Deductibles ? the best way to get great deals for auto insurance in New Hampshire is to go for higher deductibles. This means that if you opt for higher deductibles, you won?t have to suffer from costly monthly premiums. When you increase your own expense deductible from two hundred dollars to five hundred dollars, you may get 10% yearly monetary savings.
Driving records- most insurance providers can give discounts to those people who have attended courses on safe driving. They could even offer better rates to drivers who have clean driving history (no driving violations, tickets, etc). It is important that you ask insurance providers regarding this matter, if they really offer discounts if you qualify for clean driving records

Before you make a final choice as to which New Hampshire auto insurance to go for, you have to obtain the quotes online. Get free online auto insurance quotes from various auto insurance companies and compare them with each other until you can decide which policy is best for you.

Source: http://www.epwic.com/investment-weekly-news/understanding-the-laws-on-new-hampshire-auto-insurance/

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Are nuisance jellyfish really taking over the world's oceans?

Are nuisance jellyfish really taking over the world's oceans? [ Back to EurekAlert! ] Public release date: 1-Feb-2012
[ | E-mail | Share Share ]

Contact: Tim Beardsley
tbeardsley@aibs.org
703-674-2500 x326
American Institute of Biological Sciences

A new assessment questions the notion that jellyfish and similar gelatinous creatures will dominate the seas

In recent years, media reports of jellyfish blooms and some scientific publications have fueled the idea that jellyfish and other gelatinous floating creatures are becoming more common and may dominate the seas in coming decades. The growing impacts of humans on the oceans, including overfishing and climate change, have been suggested as possible causes of this apparently alarming trend.

A careful evaluation of the evidence by Robert H. Condon of Dauphin Island Sea Lab and his 16 coauthors, however, finds the idea that jellyfish, comb jellies, salps, and similar organisms are surging globally to be lacking support. Rather, Condon and his colleagues suggest, the perception of an increase is the result of more scientific attention being paid to phenomena such as jellyfish blooms and media fascination with the topic. Also important is the lack of good information on their occurrence in the past, which encourages misleading comparisons. Condon and his coauthors describe their findings in the February issue of BioScience.

Such fossil and documentary evidence as is available indicates that occasional spectacular blooms of jellyfish are a normal part of such organisms' natural history, and may be linked to natural climate cycles. But blooms drew less attention in decades and centuries gone by.

Condon and his coauthors do not urge complacency, and acknowledge a lack of consensus among researchers. They point out that changes in populations of jellyfish and similar sea organisms do have important consequences for local marine ecology and could be affected by human activity. For that reason, they are assembling a comprehensive new database that will enable trends in the numbers of such creatures to be assessed and the links to human activity studied. But for now, Condon and his coauthors believe the case for jellyfish-dominated seas in coming decades is not proven.

###

BioScience, published monthly, is the journal of the American Institute of Biological Sciences (AIBS; www.aibs.org). BioScience is a forum for integrating the life sciences that publishes commentary and peer-reviewed articles. The journal has been published since 1964. AIBS is an umbrella organization for professional scientific societies and organizations that are involved with biology. It represents nearly 160 member societies and organizations. The article by Condon and colleagues is available during the month of February at http://www.aibs.org/bioscience-press-releases/

The complete list of peer-reviewed articles in the February 2012 issue of BioScience is as follows:

Forty Years of Vegetation Change on the Missouri River Floodplain.
W. Carter Johnson, Mark D. Dixon, Michael L. Scott, Lisa Rabbe, Gary Larson, Malia Volke, and Brett Werner

Nationwide Assessment of Nonpoint Source Threats to Water Quality.
Thomas C. Brown and Pamela Froemke

Shifting Climate, Altered Niche, and a Dynamic Conservation Strategy for Yellow-Cedar in the North Pacific Coastal Rainforest.
Paul E. Hennon, David V. D'Amore, Paul G. Schaberg, Dustin T. Wittwer, and Colin S. Shanley

Questioning the Rise of Gelatinous Zooplankton in the World's Oceans.
Robert H. Condon, William M. Graham, Carlos M. Duarte, Kylie A. Pitt, Cathy H. Lucas, Steven H.D. Haddock, Kelly R. Sutherland, Kelly L. Robinson, Michael N. Dawson, Mary Beth Decker, Claudia E. Mills, Jennifer E. Purcell, Alenka Malej, Hermes Mianzan, Shin-ichi Uye, Stefan Gelcich, and Laurence P. Madin

Uncovering, Collecting, and Analyzing Records to Investigate the Ecological Impacts of Climate Change: A Template from Thoreau's Concord.
Richard B. Primack and Abraham J. Miller-Rushing

Developing a Interdisciplinary, Distributed Graduate Course for Twenty-First Century Scientists.
Helene H. Wagner, Melanie A. Murphy, Rolf Holderegger, and Lisette Waits

Dramatic Improvements and Persistent Challenges for Women Ecologists.
Krista L. McGuire, Richard B. Primack, and Elizabeth C. Losos

Will Amphibians Croak under the Endangered Species Act?
Brian Gratwicke, Thomas E. Lovejoy, and David E. Wildt


[ Back to EurekAlert! ] [ | E-mail | Share Share ]

?


AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.


Are nuisance jellyfish really taking over the world's oceans? [ Back to EurekAlert! ] Public release date: 1-Feb-2012
[ | E-mail | Share Share ]

Contact: Tim Beardsley
tbeardsley@aibs.org
703-674-2500 x326
American Institute of Biological Sciences

A new assessment questions the notion that jellyfish and similar gelatinous creatures will dominate the seas

In recent years, media reports of jellyfish blooms and some scientific publications have fueled the idea that jellyfish and other gelatinous floating creatures are becoming more common and may dominate the seas in coming decades. The growing impacts of humans on the oceans, including overfishing and climate change, have been suggested as possible causes of this apparently alarming trend.

A careful evaluation of the evidence by Robert H. Condon of Dauphin Island Sea Lab and his 16 coauthors, however, finds the idea that jellyfish, comb jellies, salps, and similar organisms are surging globally to be lacking support. Rather, Condon and his colleagues suggest, the perception of an increase is the result of more scientific attention being paid to phenomena such as jellyfish blooms and media fascination with the topic. Also important is the lack of good information on their occurrence in the past, which encourages misleading comparisons. Condon and his coauthors describe their findings in the February issue of BioScience.

Such fossil and documentary evidence as is available indicates that occasional spectacular blooms of jellyfish are a normal part of such organisms' natural history, and may be linked to natural climate cycles. But blooms drew less attention in decades and centuries gone by.

Condon and his coauthors do not urge complacency, and acknowledge a lack of consensus among researchers. They point out that changes in populations of jellyfish and similar sea organisms do have important consequences for local marine ecology and could be affected by human activity. For that reason, they are assembling a comprehensive new database that will enable trends in the numbers of such creatures to be assessed and the links to human activity studied. But for now, Condon and his coauthors believe the case for jellyfish-dominated seas in coming decades is not proven.

###

BioScience, published monthly, is the journal of the American Institute of Biological Sciences (AIBS; www.aibs.org). BioScience is a forum for integrating the life sciences that publishes commentary and peer-reviewed articles. The journal has been published since 1964. AIBS is an umbrella organization for professional scientific societies and organizations that are involved with biology. It represents nearly 160 member societies and organizations. The article by Condon and colleagues is available during the month of February at http://www.aibs.org/bioscience-press-releases/

The complete list of peer-reviewed articles in the February 2012 issue of BioScience is as follows:

Forty Years of Vegetation Change on the Missouri River Floodplain.
W. Carter Johnson, Mark D. Dixon, Michael L. Scott, Lisa Rabbe, Gary Larson, Malia Volke, and Brett Werner

Nationwide Assessment of Nonpoint Source Threats to Water Quality.
Thomas C. Brown and Pamela Froemke

Shifting Climate, Altered Niche, and a Dynamic Conservation Strategy for Yellow-Cedar in the North Pacific Coastal Rainforest.
Paul E. Hennon, David V. D'Amore, Paul G. Schaberg, Dustin T. Wittwer, and Colin S. Shanley

Questioning the Rise of Gelatinous Zooplankton in the World's Oceans.
Robert H. Condon, William M. Graham, Carlos M. Duarte, Kylie A. Pitt, Cathy H. Lucas, Steven H.D. Haddock, Kelly R. Sutherland, Kelly L. Robinson, Michael N. Dawson, Mary Beth Decker, Claudia E. Mills, Jennifer E. Purcell, Alenka Malej, Hermes Mianzan, Shin-ichi Uye, Stefan Gelcich, and Laurence P. Madin

Uncovering, Collecting, and Analyzing Records to Investigate the Ecological Impacts of Climate Change: A Template from Thoreau's Concord.
Richard B. Primack and Abraham J. Miller-Rushing

Developing a Interdisciplinary, Distributed Graduate Course for Twenty-First Century Scientists.
Helene H. Wagner, Melanie A. Murphy, Rolf Holderegger, and Lisette Waits

Dramatic Improvements and Persistent Challenges for Women Ecologists.
Krista L. McGuire, Richard B. Primack, and Elizabeth C. Losos

Will Amphibians Croak under the Endangered Species Act?
Brian Gratwicke, Thomas E. Lovejoy, and David E. Wildt


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Source: http://www.eurekalert.org/pub_releases/2012-02/aiob-anj020112.php

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Wednesday, February 1, 2012

Jones, Scherzinger, Abdul shown door in "X Factor" shake-up (omg!)

Paula Abdul kisses the cheek of Simon Cowell as Nicole Scherzinger reacts at the world premiere of the television series "The X Factor" at the Arclight Cinerama Dome in Hollywood, California September 14, 2011. REUTERS/Mario Anzuoni

LOS ANGELES (Reuters) - Simon Cowell gave his talent show "The X Factor" a major shake-up, showing the door to host Steve Jones, judge Nicole Scherzinger, and old friend Paula Abdul after a lackluster first season on U.S. television.

Broadcaster Fox confirmed on Tuesday that British host Jones, and former Pussycat Dolls singer Scherzinger would not be returning for the second season of the show in September.

And sources close to the show said that Abdul -- Cowell's old "American Idol" sparring partner -- had also been voted off in what some industry watchers called a bloodbath.

Jones broke the news on Twitter.

"I won't be hosting next seasons 'X Factor' which is a shame but I can't complain as I've had a great time. Good luck to everyone on the show" he wrote late on Monday.

The shake-up leaves only Cowell, the "X Factor" creator and acerbic judge, and record producer Antonio "L.A." Reid left on the panel of the singing contest, which arrived on U.S. television amid much hype last fall, but disappointing ratings.

The ouster of Jones, seen as wooden and flustered in the live shows, was expected. Scherzinger had also drawn criticism from audiences and TV critics for bland comments.

But the reported exit of Abdul -- whom Cowell had courted assiduously for the show -- was greeted with shock. Fox executives could not immediately confirm on Tuesday that Abdul was also leaving.

There was no word on Tuesday on who would replace the three.

Cowell launched "The X Factor" in the United States boasting that it would beat "American Idol" as the nation's most-watched TV show. But it drew less than 13 million viewers -- about half those who tune into "Idol" -- and many TV critics found it over-produced and too similar to "American Idol".

Cowell admitted in December that he had been "a little too cocky" when he told brought the show over to the United States after years of success in Britain.

But he also told reporters that it would improve in its second season and Fox executives said in January that Cowell was planning "tweaks" for the second season.

(Reporting By Jill Serjeant; editing by Patricia Reaney)

Source: http://us.rd.yahoo.com/dailynews/rss/entertainment/*http%3A//us.rd.yahoo.com/dailynews/external/omg_rss/rss_omg_en/news_jones_scherzinger_abdul_shown_door_x_factor_shake173421762/44366388/*http%3A//omg.yahoo.com/news/jones-scherzinger-abdul-shown-door-x-factor-shake-173421762.html

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The Lying Game Sneak Peek Video From Tonight?s All New Episode

The ABC Family hit show The Lying Game is all new tonight and I have a brand new look at the show, which is appropriately titled Dead Man Talking. I am such a huge fan of The Lying Game that I seriously cannot wait for new episodes, especially for tonight?s show. If you recall it was quite the dramatic ending with Sutton and Emma finding out Annie is not their mother and Rebecca paying Annie a not so nice visit at the hospital. So much good stuff last week. Thankfully the folks at ABC Family are so good at giving me a fix in between shows and have given me a little sneak peek video to share with you our faithful readers. After watching the below clip all I can say is this shiz is devilishly good. In the clip as you will see, Sutton is none too thrilled when she sees Laurel and Justin kissing. Being the evil little biotch that Sutton is, which I love by the way, she treats her little sis like crap. Yep quite the change from Emma and it appears to be leaving Laurel slightly confused and pissed at her sister. This kind of [...]

Source: http://feedproxy.google.com/~r/RightCelebrity/~3/_fTziOByF8Y/

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