A man who stabbed his mother in Illinois to death back in 2008 would have recognized that the murder stems from a fight that followed his mother refused to give him bonuses Avril Lavigne concert tickets, according to the Huffington Post.
The prosecution in the case against Robert Lyons of Carol Stream, Illinois (a suburb of Chicago) is now claiming that Lyon has killed his mother, Linda Bolek, 14 March 2008 not because he suffers from bipolar disorder, but because he grew enraged after Bolek refused to make a phone call to get tickets to a skybox next show Avril Lavigne. Prosecutors claim that provoked a fight Lyon, who has resided with Bolek, to strike his mother in the head with a champagne bottle and stabbed nine times in the back.
Lyon, 39, was arrested shortly after a restaurant Hooter in Schaumburg, Illinois Police found the body of Bolek, after neighbors called authorities to report a possible domestic dispute. Before he fled the crime scene, Lyon dumping of household cleaning products on the body of Bolek.
Lyon was charged with first degree murder. His trial began in Illinois last Wednesday.
The defense claims that in the case of Avril Lavigne tickets are not to blame for the death, citing problems of Lyon "bipolar as the root of his rage. According to the Huffington Post, "Assistant Public Defender Valerie Pacis argued in court that the actions of Lyon were reactive and unplanned." The defense is claiming that Lyon and his mother are often beaten, citing an incident in which once threatened his Bolek son with a kitchen knife during a quarrel.
2011年9月16日星期五
Katy Perry release "The One That Got Away 'as a single
Could be the sixth time the historic charm of decisions Katy Perry Billboard reports that the singer and her label Capitol Records releasing sixth single of "Teenage Dream ', in the form of" The One That Got Away. " The single will hit radio next month. Perry is staring a place in the history books by releasing sixth single. If the song goes No. 1 as the five predecessors, the album did, it will be the first artist to notch six No. 1 singles from one album. It's not easy to make, and Perry is only the second artist in history to achieve this feat.
Right now, Perry is tied with Michael Jackson with five singles at No. 1. Jackson had five No. 1s with 'Bad' on the Billboard Hot 100.
The previous charts Teenage Dream 'are as follows: "California Gurls" Teenage Dream "," "fireworks", "ET" and "Last Friday Night (TGIF)" With this kind of track record, it is entirely possible and feasible that Perry will get that coveted No. 1 Sixth with 'The One That Got Away. " Hope this record will not be one that moves away from Perry. Hope the song does not stall on the cards.
Good luck Katy! The old adage is that behaved women rarely make history. Katy is a rebellious, edgy pop star and we know that it has in it to make history.
Right now, Perry is tied with Michael Jackson with five singles at No. 1. Jackson had five No. 1s with 'Bad' on the Billboard Hot 100.
The previous charts Teenage Dream 'are as follows: "California Gurls" Teenage Dream "," "fireworks", "ET" and "Last Friday Night (TGIF)" With this kind of track record, it is entirely possible and feasible that Perry will get that coveted No. 1 Sixth with 'The One That Got Away. " Hope this record will not be one that moves away from Perry. Hope the song does not stall on the cards.
Good luck Katy! The old adage is that behaved women rarely make history. Katy is a rebellious, edgy pop star and we know that it has in it to make history.
2011年9月13日星期二
“The Girl Who Waited”
first off, if you're wondering, no, Keith has not regenerated. I'm just filling in for a week while he's off fighting crime, or perhaps committing crime, or whatever he's up to. If you're following the Doctor Who Classic writeups where I normally hang out, we're pushing coverage of "The Aztecs" back a week to Sept. 18 to accommodate this shift. It's 47 years old; it'll wait for "The Girl Who Waited."
The best thing about traveling with the Doctor is that he's pretty much making it all up as he goes along. He always has been, in all his incarnations, ever since he stole the TARDIS in the first place. He bounces around time and space essentially at random, usually with no more solid plan in mind than seeing what fantastic new horizon appears each time he lands. Those guys on Star Trek are always talking about diplomatic missions and border patrols to explain why they're traveling around, but on Doctor Who, you don't need a reason, you just go. It's the pure spirit of adventure, pure curiosity, that motivates him, and what's more fun than that? That's shown to great effect here by the opening scene of "The Girl Who Waited," in which a typically ebullient Eleventh Doctor talks up the wonders of (but sadly for me, not the spelling of) Apulapuchia, or perhaps Appleapplechia, or perhaps Apoo-lapoo-chia, the second-greatest vacation planet in the known universe.
The worst thing about traveling with the Doctor is that he's pretty much making it all up as he goes along. And pretty often, things go wrong. In fact, as much as he might talk about vacation planets, something terrible happens every single time we've ever seen him land somewhere. That's shown to great effect here by the rest of "The Girl Who Waited," in which it turns out that Apeuailabbajia, or whatever the hell it is, is not the vacation paradise described on the brochures, but a planet-sized plague hospital under strict and harshly enforced quarantine—a detail which the Doctor overlooked because he apparently never bothered to do any simple research before landing. Toward the middle of this episode, the usually passive Rory loses his cool and becomes one of the few characters in the history of the series to really call the Doctor out on the consequences of his happy-go-lucky approach to traveling. And he's earned the rebuke; at one point, my wife turned to me and asked "When do you think Rory's going to punch the Doctor out?"
That's always been an undercurrent on Doctor Who, but the Steven Moffat era has taken pains to highlight just how disruptive the madman with a box can be on the lives of the people around him, even those he calls friends. River Song is disruptive too, but that's nothing compared to the Doctor, who has left a trail of massively changed lives behind him for hundreds of years—not always for the better, nor with the greatest of intentions or foresight motivating him. Amy pays the price for this in "The Girl Who Waited," but of course that's not a new thing for her—the episode title is a callback to her first appearance back in "The Eleventh Hour," and her first unintentional betrayal by the Doctor when he showed up 12 years late to meet her. And Amy's deep-set abandonment issues come up again here when she's trapped for 36 years in the hospital, slowly turning bitter and angry at both of the men who, from her perspective anyway, have left her behind.
But I'm getting ahead of myself. Easy enough to do that with this show. First, there's the episode's memorable early scene setting up Amy's accidental abandonment, a sequence peppered by zingy dialogue like "Your mobile telephone? I bring you to a paradise planet two billion miles from Earth, and you want to update Twitter?" Instead of the soaring silver colonnades the Doctor promised, there's just a door. The Doctor and Rory push a green button on the door to enter a room, followed moments later by Amy, who pushes a red button at the same door, enters the same room, but not the same room the others are in. They soon realize that they can see each other's alternate realities though a large round magnifying-glass that I think might have been nicked from the set of Fringe. It's an enticing puzzle of the kind that Moffat's series has been particularly keen on throwing at us, but I found myself enjoying the cleverness of the explanation without really buying into it. Maybe because I'm pretty sure it's not really clever, just glib. The way this time-shift works, I think, is that the victims of the one-day plague come here to die in rooms where time has been sped way up so that their relatives can watch them live all the decades that they were supposed to if they hadn't caught the plague that's supposed to kill you in one day. But if time is sped up for the sick people, wouldn't the people watching see them seem to die in mere seconds? How do they get to live for decades? And how did a week go by for Amy trapped in that room, but she survived without food or water? We do get an answer, but it's some mumbled bafflegab about time compression, which zooms by so quickly that Matt Smith might as well have explained it by saying "well, it works like this—wow, look behind you, there's a neon giraffe!—and that's how it works. Oh, look, another shiny thing..."
The best thing about traveling with the Doctor is that he's pretty much making it all up as he goes along. He always has been, in all his incarnations, ever since he stole the TARDIS in the first place. He bounces around time and space essentially at random, usually with no more solid plan in mind than seeing what fantastic new horizon appears each time he lands. Those guys on Star Trek are always talking about diplomatic missions and border patrols to explain why they're traveling around, but on Doctor Who, you don't need a reason, you just go. It's the pure spirit of adventure, pure curiosity, that motivates him, and what's more fun than that? That's shown to great effect here by the opening scene of "The Girl Who Waited," in which a typically ebullient Eleventh Doctor talks up the wonders of (but sadly for me, not the spelling of) Apulapuchia, or perhaps Appleapplechia, or perhaps Apoo-lapoo-chia, the second-greatest vacation planet in the known universe.
The worst thing about traveling with the Doctor is that he's pretty much making it all up as he goes along. And pretty often, things go wrong. In fact, as much as he might talk about vacation planets, something terrible happens every single time we've ever seen him land somewhere. That's shown to great effect here by the rest of "The Girl Who Waited," in which it turns out that Apeuailabbajia, or whatever the hell it is, is not the vacation paradise described on the brochures, but a planet-sized plague hospital under strict and harshly enforced quarantine—a detail which the Doctor overlooked because he apparently never bothered to do any simple research before landing. Toward the middle of this episode, the usually passive Rory loses his cool and becomes one of the few characters in the history of the series to really call the Doctor out on the consequences of his happy-go-lucky approach to traveling. And he's earned the rebuke; at one point, my wife turned to me and asked "When do you think Rory's going to punch the Doctor out?"
That's always been an undercurrent on Doctor Who, but the Steven Moffat era has taken pains to highlight just how disruptive the madman with a box can be on the lives of the people around him, even those he calls friends. River Song is disruptive too, but that's nothing compared to the Doctor, who has left a trail of massively changed lives behind him for hundreds of years—not always for the better, nor with the greatest of intentions or foresight motivating him. Amy pays the price for this in "The Girl Who Waited," but of course that's not a new thing for her—the episode title is a callback to her first appearance back in "The Eleventh Hour," and her first unintentional betrayal by the Doctor when he showed up 12 years late to meet her. And Amy's deep-set abandonment issues come up again here when she's trapped for 36 years in the hospital, slowly turning bitter and angry at both of the men who, from her perspective anyway, have left her behind.
But I'm getting ahead of myself. Easy enough to do that with this show. First, there's the episode's memorable early scene setting up Amy's accidental abandonment, a sequence peppered by zingy dialogue like "Your mobile telephone? I bring you to a paradise planet two billion miles from Earth, and you want to update Twitter?" Instead of the soaring silver colonnades the Doctor promised, there's just a door. The Doctor and Rory push a green button on the door to enter a room, followed moments later by Amy, who pushes a red button at the same door, enters the same room, but not the same room the others are in. They soon realize that they can see each other's alternate realities though a large round magnifying-glass that I think might have been nicked from the set of Fringe. It's an enticing puzzle of the kind that Moffat's series has been particularly keen on throwing at us, but I found myself enjoying the cleverness of the explanation without really buying into it. Maybe because I'm pretty sure it's not really clever, just glib. The way this time-shift works, I think, is that the victims of the one-day plague come here to die in rooms where time has been sped way up so that their relatives can watch them live all the decades that they were supposed to if they hadn't caught the plague that's supposed to kill you in one day. But if time is sped up for the sick people, wouldn't the people watching see them seem to die in mere seconds? How do they get to live for decades? And how did a week go by for Amy trapped in that room, but she survived without food or water? We do get an answer, but it's some mumbled bafflegab about time compression, which zooms by so quickly that Matt Smith might as well have explained it by saying "well, it works like this—wow, look behind you, there's a neon giraffe!—and that's how it works. Oh, look, another shiny thing..."
Vivid, colourful stories on cloth
The rays from the sun are streaming in from the window behind him and lighting up his work area as he skillfully makes fine lines on cloth. The outlines take shape and gradually unfold as goddess Lakshmi’s figure and a lotus on which she is seated.
He looks up finally and acknowledges our presence. “Now that I have finished this part of my work, I can talk,” he says with a smile. There are indeed several parts to his work, we soon find out. The world-famous Kalamkari work of Srikalahasti involves several painstaking stages of production and requires a high degree of skill and experience.
Kalam means pen in Telugu and kari translates to work, hence this name for the exquisite 3,000-year-old art of painting with pen on cloth. These paintings find expression in scrolls, wall hangings, bedspreads, tablecloths, kurtas, dupattas, kurtis and sarees, all in silk and cotton.
They are also used on bags, desktop objects, stationery items and hordes of décor objects. Besides, strips or large stretches of Kalamkari are picked up by established designers and boutique-owners across India.
Subramaniam explains the various stages of art to us, taking us around his modest home in Srikalahasti near the famous Srikalahasti Temple, which draws lakhs of pilgrims to this small town in southern Andhra Pradesh. There are no retail showrooms or formal schools for the art here. Kalamkari is taught, practised and sold from homes of about 350 artistes like Subramaniam.
Kalamkari, as practised in this town, is an elaborate, laborious and slow process involving several stages — resist-dyeing, sketching and hand painting. Much of this time is taken up by the treatment required on the fabric before and after the painting is completed. The staple colours are red, black, blue and shades of brown including ochre, yellow and mustard. Only thick-woven cloth is used as only this can withstand repeated washing, often in boiling water, that the making entails.
Pochampally and Mangalgiri, the famous weaves of Andhra Pradesh, and raw silk are the popular base materials. Nowadays, Mysore crepe silk, Kanchipuram, Peddapuram and Dharmavaram silks are also used, explains senior artist S Narasimhulu.
These products find their way to big showrooms and boutiques in metros. Individual customers also bring in their fabrics for customised creations. No chemicals are used, which makes this art all the more valuable but a little difficult to maintain. Kalamkari uses vegetable dyes sourced from tree bark, flower and root. Mango bark, myrobalan (karakkai), pomegranate seed or Indian madder root, jaggery and rusted scrap-iron are some of the raw materials. Kalamkari expert, teacher and one of the few Indian craftsmen to have won a Padma Shri (besides several other honours) Jonnalagadda Gurappa Chetty says: “It is no doubt a very painstaking process but the beautiful end result is our reward.”
Kalamkari has another school where art by the same name is made, but using a different process — block printing. It is used in Machilipatnam (aka Bandar) in western Andhra Pradesh. These products are comparatively cheaper.
Kalamkari products were originally created for temples as narrative murals. They narrated stories from epics — the wedding of Rama-Sita and Shiva-Parvati, and Krishna’s exploits were (and still are) popular themes. Being a port, Machilipatnam’s work was heavily influenced and this art acquired more general and nature-inspired motifs under Dutch and later, British rule. Another difference, which is blurring now, at Machilipatnam are the motifs used in the art such as trees, creepers, flowers and animals as well as birds like peacocks and parrots.
Srikalahasti products reveal a greater religious influence considering the town has the eponymous Shiva temple and is close to one of the world’s most-visited temples, Tirupati. To add to it, a plethora of smaller temples in the area. This also explains why many bedspreads and table-cloths were traditionally made in Machilipatnam since they sported ‘non-religious designs’, while the religious motifs of Srikalahasti were considered inappropriate for such purposes, so here, one found more of scrolls and wall hangings.
These non-Hindu elements were used in the art form in the early 20th century when Christian missionaries commissioned artists to do murals based on the life of Christ. Soon, even Persian themes like the famous Tree of Life besides exotic birds and fanciful fish motifs got included. Today, you will see even Egyptian princesses and Chinese-style lanterns and figures on the Kalamkari products of both schools.
Like many traditional Indian crafts, Kalamkari is a family occupation passed on from one generation to another. Therefore, often, you find entire families involved in the business. Despite the products’ high price tags in glitzy showrooms and the increasing interest among fashion designers, artisans here have a modest lifestyle as they lack basic education. They are even exploited by middlemen.
Also, till a few decades ago, Kalamkari was a dying art. This was due to the artisans’ lack of marketing skills and the apathy of the government. The very nature of the art itself — use of vegetable dyes and an intricate, complex process of dyeing which resists mechanisation — also made it difficult to sustain.
Fortunately, a few social workers like Anitha Reddy of Dwaraka are helping these artists improve their living conditions. They have realised that Kalamkari artists are immensely talented and all they require is marketing and financial know-how to help sell their products better.
He looks up finally and acknowledges our presence. “Now that I have finished this part of my work, I can talk,” he says with a smile. There are indeed several parts to his work, we soon find out. The world-famous Kalamkari work of Srikalahasti involves several painstaking stages of production and requires a high degree of skill and experience.
Kalam means pen in Telugu and kari translates to work, hence this name for the exquisite 3,000-year-old art of painting with pen on cloth. These paintings find expression in scrolls, wall hangings, bedspreads, tablecloths, kurtas, dupattas, kurtis and sarees, all in silk and cotton.
They are also used on bags, desktop objects, stationery items and hordes of décor objects. Besides, strips or large stretches of Kalamkari are picked up by established designers and boutique-owners across India.
Subramaniam explains the various stages of art to us, taking us around his modest home in Srikalahasti near the famous Srikalahasti Temple, which draws lakhs of pilgrims to this small town in southern Andhra Pradesh. There are no retail showrooms or formal schools for the art here. Kalamkari is taught, practised and sold from homes of about 350 artistes like Subramaniam.
Kalamkari, as practised in this town, is an elaborate, laborious and slow process involving several stages — resist-dyeing, sketching and hand painting. Much of this time is taken up by the treatment required on the fabric before and after the painting is completed. The staple colours are red, black, blue and shades of brown including ochre, yellow and mustard. Only thick-woven cloth is used as only this can withstand repeated washing, often in boiling water, that the making entails.
Pochampally and Mangalgiri, the famous weaves of Andhra Pradesh, and raw silk are the popular base materials. Nowadays, Mysore crepe silk, Kanchipuram, Peddapuram and Dharmavaram silks are also used, explains senior artist S Narasimhulu.
These products find their way to big showrooms and boutiques in metros. Individual customers also bring in their fabrics for customised creations. No chemicals are used, which makes this art all the more valuable but a little difficult to maintain. Kalamkari uses vegetable dyes sourced from tree bark, flower and root. Mango bark, myrobalan (karakkai), pomegranate seed or Indian madder root, jaggery and rusted scrap-iron are some of the raw materials. Kalamkari expert, teacher and one of the few Indian craftsmen to have won a Padma Shri (besides several other honours) Jonnalagadda Gurappa Chetty says: “It is no doubt a very painstaking process but the beautiful end result is our reward.”
Kalamkari has another school where art by the same name is made, but using a different process — block printing. It is used in Machilipatnam (aka Bandar) in western Andhra Pradesh. These products are comparatively cheaper.
Kalamkari products were originally created for temples as narrative murals. They narrated stories from epics — the wedding of Rama-Sita and Shiva-Parvati, and Krishna’s exploits were (and still are) popular themes. Being a port, Machilipatnam’s work was heavily influenced and this art acquired more general and nature-inspired motifs under Dutch and later, British rule. Another difference, which is blurring now, at Machilipatnam are the motifs used in the art such as trees, creepers, flowers and animals as well as birds like peacocks and parrots.
Srikalahasti products reveal a greater religious influence considering the town has the eponymous Shiva temple and is close to one of the world’s most-visited temples, Tirupati. To add to it, a plethora of smaller temples in the area. This also explains why many bedspreads and table-cloths were traditionally made in Machilipatnam since they sported ‘non-religious designs’, while the religious motifs of Srikalahasti were considered inappropriate for such purposes, so here, one found more of scrolls and wall hangings.
These non-Hindu elements were used in the art form in the early 20th century when Christian missionaries commissioned artists to do murals based on the life of Christ. Soon, even Persian themes like the famous Tree of Life besides exotic birds and fanciful fish motifs got included. Today, you will see even Egyptian princesses and Chinese-style lanterns and figures on the Kalamkari products of both schools.
Like many traditional Indian crafts, Kalamkari is a family occupation passed on from one generation to another. Therefore, often, you find entire families involved in the business. Despite the products’ high price tags in glitzy showrooms and the increasing interest among fashion designers, artisans here have a modest lifestyle as they lack basic education. They are even exploited by middlemen.
Also, till a few decades ago, Kalamkari was a dying art. This was due to the artisans’ lack of marketing skills and the apathy of the government. The very nature of the art itself — use of vegetable dyes and an intricate, complex process of dyeing which resists mechanisation — also made it difficult to sustain.
Fortunately, a few social workers like Anitha Reddy of Dwaraka are helping these artists improve their living conditions. They have realised that Kalamkari artists are immensely talented and all they require is marketing and financial know-how to help sell their products better.
2011年9月12日星期一
Fields Full Of Pop Stars Straw
Published Monday, September 5, 2011 10:00 p.m.
Elvis is back in the building - or at least a straw stuffed version of him.
The king was the only one of a series of music legends that appear in the fields of the annual festival is Norland Scarecrow.
Community groups, schools and townspeople all had to do creative filled with straw figures of their favorite acts.
Lady Gaga, Freddie Mercury, Elton John, the Spice Girls and Jim Morrison were all on show.
The designs also include Adam Ant, Kermit the Frog and Miss Piggy, Cliff Richard and Jedward yet.
According to organizers, there were 68 entries this year, this year's theme pop stars, but it could be some more often arise without formal entrance. This year the scarecrow as a bear with straw giant.
Standing 20 feet high, is the largest entry ever festival.
Entertainment was provided during the weekend bands Hebden Bridge and friendly.
Now in its 11th year, the festival raises money for the society, including church and school.
The Taxi Driver Is Going To Help Millions More Riders
June Bian is sitting in his taxi, which is equipped with several useful articles and equipment to help customers.
Local taxi driver offers something for its limited space in the car you do not wait for taxis - a day meals for passengers in need.
Bian Jun, 44, in April became the taxi driver in Shanghai to offer a complimentary breakfast as bread and water to passengers. Now seems to be in expansion mode. Pencils, paper, cards and chewing gum can be seen in a bag hung on the back of the sofa all for free.
Bian said that at least 20 different products that it offers for everyday use in his cabin. He says he uses up to 400 yuan (U.S. $ 62.63) in the gift each month.
"Good service will win more passengers," Bian said simply. "Some people as they like, others will be reduced."
Snacks and water is usually stored in the back of the cab, said Bian, who drives a taxi in the city for seven years. The driver, very worried that the cost would be too high but said it's worth it for approval as it gets.
Bia said many passengers had to call again and ask him to make foreign visitors.
"English Music, Lady Gaga, OK?" Bia, a smile, said in the cab listening to music in English with foreigners on board.
Bian said there add items with seasonal changes. With the fall and winter comes, he will put some mints and the postponement of burning in the taxi.
When a farmer on the outskirts of Shanghai, Bian takes care of the cabin as he used to till the ground.
In addition to daily use, Bian cabin even offer medical products, and in rare cases, care.
When an employee has suffered a slight cut to his hand before the cab, Bian put a few drops of iodine on it and gave passengers the patch.
A passenger left a letter of thanks and said, "It's fantastic that Shanghai has the driver."
2011年9月8日星期四
She And Jay-Z Get Tips Baby Rose: Beyonce Pregnant
Beyonce is pregnant, adorably announced the MTV Video Music Awards news, where her husband Jay-Z looked with admiration. Now the board of children (and many celebrities doting!), Streaming, the last of what may seem like an unusual source: punk pop star Pink.
The singer of 31 years has recently become a new mom with her husband Carey Hart, giving birth to a daughter named Willow Wise about three months. But motherhood has not softened the edges of pink. Apparently, he still loves motorcycles and grunge style trend. Last Wednesday, took lunch in Brentwood, California, with a couple of paint covered jeans and combat boots.
However, although his music and style options can be very different from Beyonce, Pink always had good advice (and lots of praise) for Sasha Fierce. Through Twitter, said, "What a way to announce an adorable baby. Congratulations Beyonce and Jay-Z! Get your sleep now."
Yes, the singer and actress Beyoncé plate mode and the rapper-mogul Jay-Z music are probably two try to take a break from their busy schedules to relax baby. This will certainly be a great transition for the couple perpetually in progress that have developed each quite the entertainment empire.
Speaking of the production for his next film, a remake of A Star is Born, has been suspended. It is also no doubt gradually cutting back on his appearances on stage and in time, but his performance at the VMAs crush showed he can still rock, even with a bun in the oven.
And if you had some concerns Jay-Z, the rap its hard to trade out to be a father final, has been shown to be a father doting Video Music Awards, where he served warning to pregnant women Beyonce. Others who could not stop doting on the night included a mother Tina Knowles, and even Lady Gaga, although probably did not offer any advice on the baby!
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