Submitted by: Mark DeRosa

Lipodrene is an ephedra-based weight loss pill that is made from a unique blend of select ingredients. It is said to promote weight loss in a fast, safe and effective manner.

It is quite common for people to be discontented with what they have. This is especially true in terms of their looks and physical appearance. Those who are white or fair-skinned would like to be tanned; those who are blonde would like to be brunettes. The same is true for people who are on the heavy side in terms of weight. The skinnier or the thinner, the better. However, losing weight is not as easy as changing your skin color or your hair color. It takes hard work, effort, and time. Sometimes, it even involves a certain amount of pain. Other times, it can also involve a hefty sum of money, especially if the individual decides to undergo a surgical procedure, such as liposuction or, in more extreme circumstances, a gastric bypass surgery.

Most people, however, want a quick, easy and effective solution to the problem or dilemma that they encounter. This is why in the field of weight loss, diet supplements and weight loss pills have been leading the pack for quite sometime now. This is because weight loss pills are cheap, easy to use, and effective. A good example of this is the Lipodrene weight loss pill.

[youtube]http://www.youtube.com/watch?v=Ddldysc0VIo[/youtube]

Lipodrene is an ephedra-based weight loss pill manufactured by Hi-Tech Pharmaceuticals. Each tablet of the Lipodrene weight loss pill is made with a proprietary blend of the following ingredients: Ephedra Extract, Acacia Rigidula Extract, MethylSynephrine, Pheylethylamine HCL (an ingredient that can also be found in chocolates and which is known to produce a feeling of happiness and general well-being), Synephrine HCL, Theobromine, Green Tea Extract (a constant ingredient in diet pills and weight loss supplements that is touted for the beneficial effects that it has on a person s health, mind and body), Hoodia Extract, Cassia Nomame Extract, Naringen (a powerful substance that is derived from grapefruit and is known for increasing and extending the effects of caffeine and lowering cholesterol levels), Dihydroxybergamottin, 5-Methoxytryptamine HCL, L-5-Hydroxytryptophan, Yohimbine HCL, as well as Caffeine Anhydrous. The unique combination of these ingredients results in a power-packed weight loss pill that promotes fast and effective weight loss.

Stimerex-ES is a new variety of the earlier version of the Stimerex weight loss pill. This ephedra-based weight loss supplement is said to be the most powerful and most effective one available in the market today.

Stimerex-ES is a weight loss pill that is believed to be the strongest ephedra-based health supplement that can be bought without a doctor s prescription. Nutra Source is the manufacturing company behind Stimerex-ES and it claims that this is the most potent over-the-counter diet pill available in the market today.

Stimerex-ES helps increase a person s energy and helps promote weight loss. There were versions of this same weight loss pill that were previously released to the public and they already proved to be very effective for weight loss. However, according to some sources, this latest version of Stimerex is the most powerful, most effective variant ever. Thus, it would be hard to find any other product that can match its properties.

The Stimerex-ES weight loss pill is made up of the following ingredients: Citrus Aurantium or Bitter Orange, Acacia leaf Extract, Theobroma Cocoa Extract, Green Tea, Naringen, Phenylethlamine, 3-Dimethyl Aminoethanol Bitartrate, Yohimbe, and Caffeine.

Citrus aurantium is sometimes referred to as ephedra s cousin, because it is said to possess properties very similar to ephedra. Acacia leaf extract has properties that are similar to the properties of the neurotransmitter serotonin. Theobroma cocoa extract has properties that have the ability to stimulate the body s central nervous system. Green tea is a common ingredient in weight loss preparations because it has the ability to increase the body s metabolic rate. Naringen prolongs the effects of the other ingredients contained in Stimerex-ES, as well as in other weight loss pills, and enhances the absorption of nutrients in the body. Phenylethlamine is sometimes called a love chemical that can also be found in chocolates. This ingredient releases dopamine in the pleasure centers of the brain, resulting in a general feeling of happiness and well-being. 3-dimethyl aminoethanol bitartrate has effects that are similar to phenylethlamine, as it has a positive effect on mood and well-being. Yohimbe is well-known for being an aphrodisiac, but it was recently discovered to have the ability promote weight loss, as well. Finally, it is common knowledge that the combination of ephedra and the last ingredient, caffeine, work synergistically to promote weight loss faster.

About the Author: Want to know more about

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weight loss pills

? go to Netnutri.com for more information.

Source:

isnare.com

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Gastric bypass surgery performed by remote control

Sunday, August 21, 2005

A robotic system at Stanford Medical Center was used to perform a laparoscopic gastric bypass surgery successfully with a theoretically similar rate of complications to that seen in standard operations. However, as there were only 10 people in the experimental group (and another 10 in the control group), this is not a statistically significant sample.

If this surgical procedure is as successful in large-scale studies, it may lead the way for the use of robotic surgery in even more delicate procedures, such as heart surgery. Note that this is not a fully automated system, as a human doctor controls the operation via remote control. Laparoscopic gastric bypass surgery is a treatment for obesity.

There were concerns that doctors, in the future, might only be trained in the remote control procedure. Ronald G. Latimer, M.D., of Santa Barbara, CA, warned “The fact that surgeons may have to open the patient or might actually need to revert to standard laparoscopic techniques demands that this basic training be a requirement before a robot is purchased. Robots do malfunction, so a backup system is imperative. We should not be seduced to buy this instrument to train surgeons if they are not able to do the primary operations themselves.”

There are precedents for just such a problem occurring. A previous “new technology”, the electrocardiogram (ECG), has lead to a lack of basic education on the older technology, the stethoscope. As a result, many heart conditions now go undiagnosed, especially in children and others who rarely undergo an ECG procedure.

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John Vanderslice plays New York City: Wikinews interview

Thursday, September 27, 2007

John Vanderslice has recently learned to enjoy America again. The singer-songwriter, who National Public Radio called “one of the most imaginative, prolific and consistently rewarding artists making music today,” found it through an unlikely source: his French girlfriend. “For the first time in my life I wouldn’t say I was defending the country but I was in this very strange position…”

Since breaking off from San Francisco local legends, mk Ultra, Vanderslice has produced six critically-acclaimed albums. His most recent, Emerald City, was released July 24th. Titled after the nickname given to the American-occupied Green Zone in Baghdad, it chronicles a world on the verge of imminent collapse under the weight of its own paranoia and loneliness. David Shankbone recently went to the Bowery Ballroom and spoke with Vanderslice about music, photography, touring and what makes a depressed liberal angry.


DS: How is the tour going?

JV: Great! I was just on the Wiki page for Inland Empire, and there is a great synopsis on the film. What’s on there is the best thing I have read about that film. The tour has been great. The thing with touring: say you are on vacation…let’s say you are doing an intense vacation. I went to Thailand alone, and there’s a part of you that just wants to go home. I don’t know what it is. I like to be home, but on tour there is a free floating anxiety that says: Go Home. Go Home.

DS: Anywhere, or just outside of the country?

JV: Anywhere. I want to be home in San Francisco, and I really do love being on tour, but there is almost like a homing beacon inside of me that is beeping and it creates a certain amount of anxiety.

DS: I can relate: You and I have moved around a lot, and we have a lot in common. Pranks, for one. David Bowie is another.

JV: Yeah, I saw that you like David Bowie on your MySpace.

DS: When I was in college I listened to him nonstop. Do you have a favorite album of his?

JV: I loved all the things from early to late seventies. Hunky Dory to Low to “Heroes” to Lodger. Low changed my life. The second I got was Hunky Dory, and the third was Diamond Dogs, which is a very underrated album. Then I got Ziggy Stardust and I was like, wow, this is important…this means something. There was tons of music I discovered in the seventh and eighth grade that I discovered, but I don’t love, respect and relate to it as much as I do Bowie. Especially Low…I was just on a panel with Steve Albini about how it has had a lot of impact.

DS: You said seventh and eighth grade. Were you always listening to people like Bowie or bands like the Velvets, or did you have an Eddie Murphy My Girl Wants to Party All the Time phase?

JV: The thing for me that was the uncool music, I had an older brother who was really into prog music, so it was like Gentle Giant and Yes and King Crimson and Genesis. All the new Genesis that was happening at the time was mind-blowing. Phil Collins‘s solo record…we had every single solo record, like the Mike Rutherford solo record.

DS: Do you shun that music now or is it still a part of you?

JV: Oh no, I appreciate all music. I’m an anti-snob. Last night when I was going to sleep I was watching Ocean’s Thirteen on my computer. It’s not like I always need to watch some super-fragmented, fucked-up art movie like Inland Empire. It’s part of how I relate to the audience. We end every night by going out into the audience and playing acoustically, directly, right in front of the audience, six inches away—that is part of my philosophy.

DS: Do you think New York or San Francisco suffers from artistic elitism more?

JV: I think because of the Internet that there is less and less elitism; everyone is into some little superstar on YouTube and everyone can now appreciate now Justin Timberlake. There is no need for factions. There is too much information, and I think the idea has broken down that some people…I mean, when was the last time you met someone who was into ska, or into punk, and they dressed the part? I don’t meet those people anymore.

DS: Everything is fusion now, like cuisine. It’s hard to find a purely French or purely Vietnamese restaurant.

JV: Exactly! When I was in high school there were factions. I remember the guys who listened to Black Flag. They looked the part! Like they were in theater.

DS: You still find some emos.

JV: Yes, I believe it. But even emo kids, compared to their older brethren, are so open-minded. I opened up for Sunny Day Real Estate and Pedro the Lion, and I did not find their fans to be the cliquish people that I feared, because I was never playing or marketed in the emo genre. I would say it’s because of the Internet.

DS: You could clearly create music that is more mainstream pop and be successful with it, but you choose a lot of very personal and political themes for your music. Are you ever tempted to put out a studio album geared toward the charts just to make some cash?

JV: I would say no. I’m definitely a capitalist, I was an econ major and I have no problem with making money, but I made a pact with myself very early on that I was only going to release music that was true to the voices and harmonic things I heard inside of me—that were honestly inside me—and I have never broken that pact. We just pulled two new songs from Emerald City because I didn’t feel they were exactly what I wanted to have on a record. Maybe I’m too stubborn or not capable of it, but I don’t think…part of the equation for me: this is a low stakes game, making indie music. Relative to the world, with the people I grew up with and where they are now and how much money they make. The money in indie music is a low stakes game from a financial perspective. So the one thing you can have as an indie artist is credibility, and when you burn your credibility, you are done, man. You can not recover from that. These years I have been true to myself, that’s all I have.

DS: Do you think Spoon burned their indie credibility for allowing their music to be used in commercials and by making more studio-oriented albums? They are one of my favorite bands, but they have come a long way from A Series of Sneaks and Girls Can Tell.

JV: They have, but no, I don’t think they’ve lost their credibility at all. I know those guys so well, and Brit and Jim are doing exactly the music they want to do. Brit owns his own studio, and they completely control their means of production, and they are very insulated by being on Merge, and I think their new album—and I bought Telephono when it came out—is as good as anything they have done.

DS: Do you think letting your music be used on commercials does not bring the credibility problem it once did? That used to be the line of demarcation–the whole Sting thing–that if you did commercials you sold out.

JV: Five years ago I would have said that it would have bothered me. It doesn’t bother me anymore. The thing is that bands have shrinking options for revenue streams, and sync deals and licensing, it’s like, man, you better be open to that idea. I remember when Spike Lee said, ‘Yeah, I did these Nike commercials, but it allowed me to do these other films that I wanted to make,’ and in some ways there is an article that Of Montreal and Spoon and other bands that have done sync deals have actually insulated themselves further from the difficulties of being a successful independent band, because they have had some income come in that have allowed them to stay put on labels where they are not being pushed around by anyone.
The ultimate problem—sort of like the only philosophical problem is suicide—the only philosophical problem is whether to be assigned to a major label because you are then going to have so much editorial input that it is probably going to really hurt what you are doing.

DS: Do you believe the only philosophical question is whether to commit suicide?

JV: Absolutely. I think the rest is internal chatter and if I logged and tried to counter the internal chatter I have inside my own brain there is no way I could match that.

DS: When you see artists like Pete Doherty or Amy Winehouse out on suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and their music?

JV: The thing for me is they are profound iconic figures for me, and I don’t even know their music. I don’t know Winehouse or Doherty’s music, I just know that they are acting a very crucial, mythic part in our culture, and they might be doing it unknowingly.

DS: Glorification of drugs? The rock lifestyle?

JV: More like an out-of-control Id, completely unregulated personal relationships to the world in general. It’s not just drugs, it’s everything. It’s arguing and scratching people’s faces and driving on the wrong side of the road. Those are just the infractions that land them in jail. I think it might be unknowing, but in some ways they are beautiful figures for going that far off the deep end.

DS: As tragic figures?

JV: Yeah, as totally tragic figures. I appreciate that. I take no pleasure in saying that, but I also believe they are important. The figures that go outside—let’s say GG Allin or Penderetsky in the world of classical music—people who are so far outside of the normal boundaries of behavior and communication, it in some way enlarges the size of your landscape, and it’s beautiful. I know it sounds weird to say that, but it is.

DS: They are examples, as well. I recently covered for Wikinews the Iranian President speaking at Columbia and a student named Matt Glick told me that he supported the Iranian President speaking so that he could protest him, that if we don’t give a platform and voice for people, how can we say that they are wrong? I think it’s almost the same thing; they are beautiful as examples of how living a certain way can destroy you, and to look at them and say, “Don’t be that.”

JV: Absolutely, and let me tell you where I’m coming from. I don’t do drugs, I drink maybe three or four times a year. I don’t have any problematic relationship to drugs because there has been a history around me, like probably any musician or creative person, of just blinding array of drug abuse and problems. For me, I am a little bit of a control freak and I don’t have those issues. I just shut those doors. But I also understand and I am very sympathetic to someone who does not shut that door, but goes into that room and stays.

DS: Is it a problem for you to work with people who are using drugs?

JV: I would never work with them. It is a very selfish decision to make and usually those people are total energy vampires and they will take everything they can get from you. Again, this is all in theory…I love that stuff in theory. If Amy Winehouse was my girlfriend, I would probably not be very happy.

DS: Your latest CD is Emerald City and that is an allusion to the compound that we created in Baghdad. How has the current political client affected you in terms of your music?

JV: In some ways, both Pixel Revolt and Emerald City were born out of a recharged and re-energized position of my being….I was so beaten down after the 2000 election and after 9/11 and then the invasion of Iraq, Afghanistan; I was so depleted as a person after all that stuff happened, that I had to write my way out of it. I really had to write political songs because for me it is a way of making sense and processing what is going on. The question I’m asked all the time is do I think is a responsibility of people to write politically and I always say, My God, no. if you’re Morrissey, then you write Morrissey stuff. If you are Dan Bejar and Destroyer, then you are Dan Bejar and you are a fucking genius. Write about whatever it is you want to write about. But to get out of that hole I had to write about that.

DS: There are two times I felt deeply connected to New York City, and that was 9/11 and the re-election of George Bush. The depression of the city was palpable during both. I was in law school during the Iraq War, and then when Hurricane Katrina hit, we watched our countrymen debate the logic of rebuilding one of our most culturally significant cities, as we were funding almost without question the destruction of another country to then rebuild it, which seems less and less likely. Do you find it is difficult to enjoy living in America when you see all of these sorts of things going on, and the sort of arguments we have amongst ourselves as a people?

JV: I would say yes, absolutely, but one thing changed that was very strange: I fell in love with a French girl and the genesis of Emerald City was going through this visa process to get her into the country, which was through the State Department. In the middle of process we had her visa reviewed and everything shifted over to Homeland Security. All of my complicated feelings about this country became even more dour and complicated, because here was Homeland Security mailing me letters and all involved in my love life, and they were grilling my girlfriend in Paris and they were grilling me, and we couldn’t travel because she had a pending visa. In some strange ways the thing that changed everything was that we finally got the visa accepted and she came here. Now she is a Parisian girl, and it goes without saying that she despises America, and she would never have considered moving to America. So she moves here and is asking me almost breathlessly, How can you allow this to happen

DS: –you, John Vanderslice, how can you allow this—

JV: –Me! Yes! So for the first time in my life I wouldn’t say I was defending the country but I was in this very strange position of saying, Listen, not that many people vote and the churches run fucking everything here, man. It’s like if you take out the evangelical Christian you have basically a progressive western European country. That’s all there is to it. But these people don’t vote, poor people don’t vote, there’s a complicated equation of extreme corruption and voter fraud here, and I found myself trying to rattle of all the reasons to her why I am personally not responsible, and it put me in a very interesting position. And then Sarkozy got elected in France and I watched her go through the same horrific thing that we’ve gone through here, and Sarkozy is a nut, man. This guy is a nut.

DS: But he doesn’t compare to George Bush or Dick Cheney. He’s almost a liberal by American standards.

JV: No, because their President doesn’t have much power. It’s interesting because he is a WAPO right-wing and he was very close to Le Pen and he was a card-carrying straight-up Nazi. I view Sarkozy as somewhat of a far-right candidate, especially in the context of French politics. He is dismantling everything. It’s all changing. The school system, the remnants of the socialized medical care system. The thing is he doesn’t have the foreign policy power that Bush does. Bush and Cheney have unprecedented amounts of power, and black budgets…I mean, come on, we’re spending half a trillion dollars in Iraq, and that’s just the money accounted for.

DS: What’s the reaction to you and your music when you play off the coasts?

JV: I would say good…

DS: Have you ever been Dixiechicked?

JV: No! I want to be! I would love to be, because then that means I’m really part of some fiery debate, but I would say there’s a lot of depressed in every single town. You can say Salt Lake City, you can look at what we consider to be conservative cities, and when you play those towns, man, the kids that come out are more or less on the same page and politically active because they are fish out of water.

DS: Depression breeds apathy, and your music seems geared toward anger, trying to wake people from their apathy. Your music is not maudlin and sad, but seems to be an attempt to awaken a spirit, with a self-reflective bent.

JV: That’s the trick. I would say that honestly, when Katrina happened, I thought, “okay, this is a trick to make people so crazy and so angry that they can’t even think. If you were in a community and basically were in a more or less quasi-police state surveillance society with no accountability, where we are pouring untold billions into our infrastructure to protect outside threats against via terrorism, or whatever, and then a natural disaster happens and there is no response. There is an empty response. There is all these ships off the shore that were just out there, just waiting, and nobody came. Michael Brown. It is one of the most insane things I have ever seen in my life.

DS: Is there a feeling in San Francisco that if an earthquake struck, you all would be on your own?

JV: Yes, of course. Part of what happened in New Orleans is that it was a Catholic city, it was a city of sin, it was a black city. And San Francisco? Bush wouldn’t even visit California in the beginning because his numbers were so low. Before Schwarzenegger definitely. I’m totally afraid of the earthquake, and I think everyone is out there. America is in the worst of both worlds: a laissez-fare economy and then the Grover Norquist anti-tax, starve the government until it turns into nothing more than a Argentinian-style government where there are these super rich invisible elite who own everything and there’s no distribution of wealth and nothing that resembles the New Deal, twentieth century embracing of human rights and equality, war against poverty, all of these things. They are trying to kill all that stuff. So, in some ways, it is the worst of both worlds because they are pushing us towards that, and on the same side they have put in a Supreme Court that is so right wing and so fanatically opposed to upholding civil rights, whether it be for foreign fighters…I mean, we are going to see movement with abortion, Miranda rights and stuff that is going to come up on the Court. We’ve tortured so many people who have had no intelligence value that you have to start to look at torture as a symbolic and almost ritualized behavior; you have this…

DS: Organ failure. That’s our baseline…

JV: Yeah, and you have to wonder about how we were torturing people to do nothing more than to send the darkest signal to the world to say, Listen, we are so fucking weird that if you cross the line with us, we are going to be at war with your religion, with your government, and we are going to destroy you.

DS: I interviewed Congressman Tom Tancredo, who is running for President, and he feels we should use as a deterrent against Islam the bombing of the Muslim holy cities of Mecca and Medina.

JV: You would radicalize the very few people who have not been radicalized, yet, by our actions and beliefs. We know what we’ve done out there, and we are going to paying for this for a long time. When Hezbollah was bombing Israel in that border excursion last year, the Hezbollah fighters were writing the names of battles they fought with the Jews in the Seventh Century on their helmets. This shit is never forgotten.

DS: You read a lot of the stuff that is written about you on blogs and on the Internet. Do you ever respond?

JV: No, and I would say that I read stuff that tends to be . I’ve done interviews that have been solely about film and photography. For some reason hearing myself talk about music, and maybe because I have been talking about it for so long, it’s snoozeville. Most interviews I do are very regimented and they tend to follow a certain line. I understand. If I was them, it’s a 200 word piece and I may have never played that town, in Des Moines or something. But, in general, it’s like…my band mates ask why don’t I read the weeklies when I’m in town, and Google my name. It would be really like looking yourself in the mirror. When you look at yourself in the mirror you are just error-correcting. There must be some sort of hall of mirrors thing that happens when you are completely involved in the Internet conversation about your music, and in some ways I think that I’m very innocently making music, because I don’t make music in any way that has to do with the response to that music. I don’t believe that the response to the music has anything to do with it. This is something I got from John Cage and Marcel Duchamp, I think the perception of the artwork, in some ways, has nothing to do with the artwork, and I think that is a beautiful, glorious and flattering thing to say to the perceiver, the viewer of that artwork. I’ve spent a lot of time looking at Paul Klee‘s drawings, lithographs, watercolors and paintings and when I read his diaries I’m not sure how much of a correlation there is between what his color schemes are denoting and what he is saying and what I am getting out of it. I’m not sure that it matters. Inland Empire is a great example. Lynch basically says, I don’t want to talk about it because I’m going to close doors for the viewer. It’s up to you. It’s not that it’s a riddle or a puzzle. You know how much of your own experience you are putting into the digestion of your own art. That’s not to say that that guy arranges notes in an interesting way, and sings in an interesting way and arranges words in an interesting way, but often, if someone says they really like my music, what I want to say is, That’s cool you focused your attention on that thing, but it does not make me go home and say, Wow, you’re great. My ego is not involved in it.

DS: Often people assume an artist makes an achievement, say wins a Tony or a Grammy or even a Cable Ace Award and people think the artist must feel this lasting sense of accomplishment, but it doesn’t typically happen that way, does it? Often there is some time of elation and satisfaction, but almost immediately the artist is being asked, “Okay, what’s the next thing? What’s next?” and there is an internal pressure to move beyond that achievement and not focus on it.

JV: Oh yeah, exactly. There’s a moment of relief when a mastered record gets back, and then I swear to you that ten minutes after that point I feel there are bigger fish to fry. I grew up listening to classical music, and there is something inside of me that says, Okay, I’ve made six records. Whoop-dee-doo. I grew up listening to Gustav Mahler, and I will never, ever approach what he did.

DS: Do you try?

JV: I love Mahler, but no, his music is too expansive and intellectual, and it’s realized harmonically and compositionally in a way that is five languages beyond me. And that’s okay. I’m very happy to do what I do. How can anyone be so jazzed about making a record when you are up against, shit, five thousand records a week—

DS: —but a lot of it’s crap—

JV: —a lot of it’s crap, but a lot of it is really, really good and doesn’t get the attention it deserves. A lot of it is very good. I’m shocked at some of the stuff I hear. I listen to a lot of music and I am mailed a lot of CDs, and I’m on the web all the time.

DS: I’ve done a lot of photography for Wikipedia and the genesis of it was an attempt to pin down reality, to try to understand a world that I felt had fallen out of my grasp of understanding, because I felt I had no sense of what this world was about anymore. For that, my work is very encyclopedic, and it fit well with Wikipedia. What was the reason you began investing time and effort into photography?

JV: It came from trying to making sense of touring. Touring is incredibly fast and there is so much compressed imagery that comes to you, whether it is the window in the van, or like now, when we are whisking through the Northeast in seven days. Let me tell you, I see a lot of really close people in those seven days. We move a lot, and there is a lot of input coming in. The shows are tremendous and, it is emotionally so overwhelming that you can not log it. You can not keep a file of it. It’s almost like if I take photos while I am doing this, it slows it down or stops it momentarily and orders it. It has made touring less of a blur; concretizes these times. I go back and develop the film, and when I look at the tour I remember things in a very different way. It coalesces. Let’s say I take on fucking photo in Athens, Georgia. That’s really intense. And I tend to take a photo of someone I like, or photos of people I really admire and like.

DS: What bands are working with your studio, Tiny Telephone?

JV: Death Cab for Cutie is going to come back and track their next record there. Right now there is a band called Hello Central that is in there, and they are really good. They’re from L.A. Maids of State was just in there and w:Deerhoof was just in there. Book of Knotts is coming in soon. That will be cool because I think they are going to have Beck sing on a tune. That will be really cool. There’s this band called Jordan from Paris that is starting this week.

DS: Do they approach you, or do you approach them?

JV I would say they approach me. It’s generally word of mouth. We never advertise and it’s very cheap, below market. It’s analog. There’s this self-fulfilling thing that when you’re booked, you stay booked. More bands come in, and they know about it and they keep the business going that way. But it’s totally word of mouth.
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Hundreds of thousands rally in Australia against IR legislation

Tuesday, November 15, 2005

People rallied in 300 locations across Australia today to protest the Federal Government’s proposed changes to industrial relations laws, WorkChoices. According to police, around 150,000 people congregated in Melbourne, from where speeches were broadcast throughout the country. In Sydney, thirty thousand gathered in Belmore Park and Martin Place to watch the broadcast before marching to Chifley Square.

Sharan Burrow, President of the Australian Council of Trade Unions (ACTU), said that under the changes many working conditions would be under threat, including “penalty rates, public holidays, overtime pay, control over rostered hours, shift penalties, even 4 weeks annual leave.” The government has claimed, despite various expert assesment to the contrary, and opposition from major Australian religious and charity organisations and some concern from its own backbench, that the IR changes will improve the economy and ultimately benefit workers, and dismissed the protests as having “little effect”.

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Massachusetts Driving Influence Breathalyzer Mandatory Calibration Lawyers Attorneys

Massachusetts Driving Influence Breathalyzer Mandatory Calibration Lawyers Attorneys

by

Atchuthan Sriskandarajah

KEVIN A. MORRIS v. COMMONWEALTH

Supreme Judicial Court of Massachusetts, Suffolk

FACTS:

Defendant appealed an order of a Suffolk District Court (Massachusetts), which, under Mass. Gen. Laws ch. 90, 24N (1990), upon the basis of a breathalyzer test, suspended his driver’s license for 90 days for driving while under the influence of

[youtube]http://www.youtube.com/watch?v=XgyMUChgcbU[/youtube]

alcohol and speeding

. Defendant alleged that the Commonwealth had not complied with the requirements of the periodic testing program for breathalyzer machines under Mass. Gen. Laws ch. 90, 24K (1990).

ISSUES:

The issue here is whether delegation of authority to do the testing to the police by the by secretary is proper.

DISCUSSION:

Prior to the admission of a breathalyzer result, the

Commonwealth of Massachusetts

must prove the existence of, and compliance with, the requirements of a periodic testing program, in accordance with Mass. Gen. Laws ch. 90, 24K, and regulations promulgated thereunder. The guidelines for the periodic testing program provide, among other things, that the police shall be responsible for testing breathalyzers, and that each mandatory calibration of a breathalyzer prior to its use shall be deemed to be a test of such device. Mass. Regs. Code tit. 501, 2.41 (amended February 13, 1992). Mass. Regs. Code tit. 501, 2.41 (amended February 13, 1992) provides, in part, that: Every calibration standard analysis of a breath testing device, as conducted under 2.56, shall be deemed to be a test of such device. The officer in charge, as defined in 2.54, will change the simulator solution in accordance. The defendant argues that the Secretary has no authority to delegate responsibility for the periodic testing of breathalyzers to the police. A regulation is invalid if it conflicts with the authorizing statute. In this case, however, 2.41 is not in conflict with, but consistent with the enabling statute and the other applicable regulation. In requiring the police to conduct the periodic testing, the amended 501 Code Mass. Regs. 2.41 reasonably satisfies the legislative goal of ensuring the accuracy of the tests. The regulation recognizes that it is simply not possible for OAT representatives personally to conduct the mandated calibration standard analysis on each occasion on which a breathalyzer reading is taken in Massachusetts.

JUDGMENT:

The court affirmed the trial court’s suspension of the driver’s license.

Disclaimer:

These summaries are provided by the SRIS Law Group. They represent the firm s unofficial views of the Justices opinions. The original opinions should be consulted for their authoritative content

Atchuthan Sriskandarajah is a Virginia lawyer and owner of the SRIS Law Group. The SRIS Law Group has offices in Virginia, Maryland,

Massachusetts

, New York, North Carolina & California. The firm handles criminal/traffic defense, family law, immigration & bankruptcy cases.

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ArticleRich.com

Acting teacher and director Milton Katselas dies at age 75

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Acting teacher and director Milton Katselas dies at age 75
Author: Admin

21 Jan

Tuesday, October 28, 2008

Acting teacher and director Milton Katselas died Friday at age 75, after suffering from heart failure at Cedars-Sinai Medical Center in Los Angeles, California. He began the Beverly Hills Playhouse in 1978 and taught acting classes there to noted actors including George Clooney and Gene Hackman. Katselas is survived by a sister and two brothers.

Katselas directed an off-Broadway production of Edward Albee‘s The Zoo Story, and received a Tony Award nomination for his 1969 direction of Butterflies are Free. Actress Blythe Danner won a Tony Award for her role in Butterflies are Free under Katselas’ direction. He moved to California to direct the film version of that play, and went on to direct films and television movies. Actress Eileen Heckart received an Academy Award for her role in the film version of Butterflies are Free.

Katselas directed the San Francisco and Los Angeles productions of the play P.S. Your Cat Is Dead! by playwright James Kirkwood, Jr. In his author’s notes in the publication of the script, Kirkwood acknowledged Katselas, and wrote that the plays were “directed with incredible energy and enthusiasm by Milton Katselas, to whom I am extremely indebted”.

Katselas directed the television movie Strangers: Story of a Mother and Daughter, and actress Bette Davis received an Emmy Award for her role in the movie. Katselas taught many famous actors including Michelle Pfeiffer, Richard Gere, Robert Duvall, Jack Lemmon, Al Pacino, Goldie Hawn, Christopher Walken, Burt Reynolds, George C. Scott, Elizabeth Taylor, Richard Burton, Alec Baldwin, and Patrick Swayze. Katselas was credited with being able to nurture actors with raw talent so that they could develop strong Hollywood careers. He utilized innovative techniques in his courses – one course called “Terrorist Theatre” had a simple premise: successfully get an acting role within six weeks or leave the course.

He grew up in Pittsburgh, Pennsylvania to parents who had immigrated from Greece, and graduated from Carnegie Mellon. He studied acting with Lee Strasberg in New York at the Actors Studio, and received advice from directors Joshua Logan and Elia Kazan.

Katselas was a prominent Scientologist, and a July 2007 profile on Katselas in The New York Times Magazine observed that some of his students stopped taking courses at the Beverly Hills Playhouse because they felt they had been pressured to join the Church of Scientology. According to the article, Katselas credited Scientology founder L. Ron Hubbard “for much of his success in life”, and one of his students works at Scientology’s Celebrity Centre. The article commented that some in Los Angeles view the Beverly Hills Playhouse as “a recruitment center for Scientology”.

Katselas met L. Ron Hubbard after moving to California, and began studying Scientology in 1965. The New York Times Magazine reported that he had reached the level of “Operating Thetan, Level 5, or O.T. V.” in 2007. According to The New York Times Magazine when Scientologists proceed up the “The Bridge to Total Freedom” they learn the story of Xenu, and that: “75 million years ago the evil alien Xenu solved galactic overpopulation by dumping 13.5 trillion beings in volcanoes on Earth, where they were vaporized, scattering their souls.” A Church of Scientology publication, Source, lists Katselas as reaching O.T. V. in 1989.

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He is brilliant, and knows me so well as a person and an actress that he gets the most out of me.

Though some actors felt pressured to join the Church of Scientology after taking courses at the Beverly Hills Playhouse, at least one individual felt Katselas was not active enough with the organization. Actress Jenna Elfman left the Beverly Hills Playhouse because she felt Katselas was not committed enough to Scientology. Katselas had previously directed Elfman in half of Visions and Lovers: Variations on a Theme, two one-act plays about relationships that he had written himself. In 1999 Katselas had planned to adapt the script of Visions and Lovers to a film version, and Elfman was set to reprise her role from the play. In an article in Variety about the project, Elfman commented on her experience working with Katselas: “He is brilliant, and knows me so well as a person and an actress that he gets the most out of me.”

Other prominent Scientologist actors who have studied under Katselas include Giovanni Ribisi, Jason Lee, and Leah Remini. According to Rolling Stone, Katselas also recruited actress Kelly Preston to Scientology. Actress Nancy Cartwright (the voice of Bart Simpson), told Scientology publication Celebrity that Katselas motivated her to get more active in Scientology, and she stated she took the organization’s “Purification Rundown” and her life “took off completely”.

Life is an endless unspooling of art, of acting, of painting, of architecture. And where did I learn that? From Milton.

Anne Archer was introduced to Scientology while studying at the Beverly Hills Playhouse, as was former Scientologist and now outspoken critic actor Jason Beghe. Beghe told Roger Friedman of FOX News in April 2008 that “He [Katselas] gets kickbacks”, and that he was brought to a Scientology center by fellow Beverly Hills Playhouse classmate Bodhi Elfman, Jenna Elfman’s husband. In a 1998 article for Buzz Magazine, Randye Hoder wrote “In his class, Katselas is careful not to label anything as a tenet of Scientology, but there is no question that the church’s influence seeps into the playhouse.”

Anne Archer’s husband and fellow Scientologist, producer Terry Jastrow, commented to The New York Times Magazine that Katselas changed the way he experiences life on a day-to-day basis: “I go out in the world and look at human behavior now. I see a woman or man interacting with a saleslady, and I see the artistry in it. Life is an endless unspooling of art, of acting, of painting, of architecture. And where did I learn that? From Milton.”

Actor Anthony Head of Buffy the Vampire Slayer spoke highly of Katselas in a 2002 interview with San Francisco Chronicle: “He’s this wonderfully intuitive teacher and his premise is basically: The only real barriers are the ones we put in front of ourselves. If you say, ‘My character wouldn’t do that’ — bollocks! Ultimately it’s you who wouldn’t say that. Who knows what your character might do.” In the acknowledgements of her 2004 autobiography Are You Hungry, Dear?: Life, Laughs, and Lasagna, actress Doris Roberts wrote: “I thank my friend and acting teacher, the incredible Milton Katselas, for his insights, wisdom, and inspiration, which have helped make me the actress that I am.”

I really care about the craft of acting. It’s absolutely necessary to take the time and patience to really develop an actor.

Katselas authored two books: Dreams Into Action: Getting What You Want, first published in 1996 by Dove Books, and Acting Class: Take a Seat, which came out earlier this month. Dreams Into Action, a New York Times Bestseller, sought to modify motivational acting exercises to the field of business.

In an interview in the 2007 book Acting Teachers of America, Katselas commented on his experiences as an acting teacher over the years: “I have very special teachers here at the Beverly Hills Playhouse—some have been with me for over twenty-five years. I believe that to make a difference over the long haul, we need to train teachers. I really care about the craft of acting. It’s absolutely necessary to take the time and patience to really develop an actor.”

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Canada’s Beaches—East York (Ward 32) city council candidates speak

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Canada’s Beaches—East York (Ward 32) city council candidates speak
Author: Admin

19 Jan

This exclusive interview features first-hand journalism by a Wikinews reporter. See the collaboration page for more details.

Friday, November 3, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Beaches—East York (Ward 32). Four candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Donna Braniff, Alan Burke, Sandra Bussin (incumbent), William Gallos, John Greer, John Lewis, Erica Maier, Luca Mele, and Matt Williams.

For more information on the election, read Toronto municipal election, 2006.

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Wikinews interviews specialists on Russian intervention in Ukraine

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Wikinews interviews specialists on Russian intervention in Ukraine
Author: Admin

17 Jan

  • 1
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Wednesday, March 5, 2014

In the past few days, tension has been increasing due to conflict between Ukraine and the Russian Federation which has led to the United States, the United Kingdom, and France increasing pressure on Russia to remove their troops from Crimea.

Wikinews interviewed specialists in Russian foreign policy and specialists in international law about the legality of Russia’s actions and the consequences of any sanctions imposed by G7 nation economies.

Retrieved from “https://en.wikinews.org/w/index.php?title=Wikinews_interviews_specialists_on_Russian_intervention_in_Ukraine&oldid=4567504”

The Best Facial Epidermis To Achieve Younger Looking Skin Care Program

The Best Facial Epidermis to Achieve Younger Looking Skin Care Program

by

Ted Wood

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[youtube]http://www.youtube.com/watch?v=tK2WqsZPt7w[/youtube]

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Then, there is a class of prescription drugs, such as Botox injections, treatments and retinoids. It should be applied only to licensed physicians because they are dangerous. Botox pictures, such as a toxin that paralyzes muscles and should be used in controlled quantities. Retinoids also cause adverse reactions, and should not be used during child birth.

Natural healthy epidermis care system, as well as with the help of modern technology through better and cleaner production processes can have your own experience of education in today\’s therapy. In fact, they perform better in the sense that they have less or no harmful side effects, performing with the eco-system process and therefore increases what is organic more time to affect the system.

Most of these modern therapies carry epidermis associated with significant symptoms and signs of this issue, but not the main cause, which is usually toxic damage. Toxins can be encountered anywhere, for example, ultraviolet rays from the sun or processed foods in our system. However, toxic damage always occurs, for example, the inner tissue levels.

Natural healthy epidermis care system with powerful antioxidant substances such as vitamin E and coenzyme Q10 for repair epidermal tissue issue is that when they add, only healthy epidermal tissue is created. This significantly reduces the recurrence of this issue already.

Now add that as Cynergy TK substances that stimulate your system to supplement the collagen and elastin, epidermal material, which reduces aging, and Phytessence Wakame system that helps absorb and retain moisture over time to prevent dry epidermis, then you have an effective remedy tool that performs from within out.

There are various ways to the issue. You can try and try again to remove noticeable symptoms or you can settle for a more organic and permanent remedy that will allow you to age wisely and beautifully.

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Newport Beach Botox

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Article Source:

ArticleRich.com

Male Magellanic penguins pine for pairings: Wikinews interviews biologist Natasha Gownaris

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Male Magellanic penguins pine for pairings: Wikinews interviews biologist Natasha Gownaris
Author: Admin

16 Jan

Sunday, January 27, 2019

In findings published earlier this month in Ecological Applications, scientists from the University of Washington and Center for Ecosystem Sentinels examine the reason for the plummeting numbers of female Magellanic penguins, Spheniscus magellanicus, that have been reported at the birds’ breeding sites in South America over the past twenty years and more. Wikinews caught up with postdoctoral researcher and study co-author Natasha Gownaris to learn more.

In a press release, Gownaris said, “Two decades ago, there were about 1.5 adult male Magellanic penguins for every adult female at Punta Tombo[…] Today, it’s approaching three males for every female.” The findings suggested a disparity in the death rate of juvenile and adult penguins, rather than differences in chick survival, account for this difference.

Punta Tombo is one of the annual breeding sites for the species; it is in Argentina. The penguins travel thousands of miles each year to reach these sites.

The work involved building population models out of over thirty years of data collected by tagging individual penguins. Findings also suggested the pronounced sex disparity might make population models used to predict survival among other birds with a more even gender balance inappropriate for use on Megallanic penguins.

According to the data, since 1987, overall population of Magellanic penguins in Punta Tombo at one of their annual breeding sites in Argentina has declined 40%, while the male-to-female ratio has greatly increased.

Since 1983, the research team has been putting stainless steel bands on tens of thousands of chicks hatched at the Punta Tombo breeding site in Argentina, noting which juvenile and adult birds make it back to the site the next year and extrapolating how many lived and died. Among juveniles, there was a 17% survival rate for males and 12% for females. Among adults, it was 89% and 85%. These effects became compounded every year, reaching as high as six males to one female among older penguins.

The researchers noted implications for penguin conservation: Gownaris remarked, “Over the years, this team has helped preserve the land and waters around breeding colonies like Punta Tombo[…] But now we’re starting to understand that, to help Magellanic penguins, you have to protect waters where they feed in winter, which are thousands of miles north from Punta Tombo.”

Gownaris answered a series of questions for our correspondent.

((Wikinews)) What prompted your curiosity about Magellanic penguins?

Natasha Gownaris: I’ve wanted to be a marine scientist since I was a child, when I would collect sand crabs (Emerita talpoida) from local beaches in New York. I studied fish as a graduate student, but I have a pair of adopted parrots and I am generally fascinated by birds. Plus, penguins eat fish! Studying penguins seemed like a great way to merge my love for the ocean and my love for birds. Penguins and other seabirds are also important to study because they tell us something about the health of the ocean ecosystems they feed in, similar to the use of canaries to test air quality in coal mines. Unfortunately, the decline of many seabird species worldwide is yet another warning sign of the negative and widespread impacts humans are having on the ocean.

((WN)) How did you approach putting together such a large-scale study?

NG: This study started in 1982, long before my joining the lab in March of 2016. Dr. Dee Boersma began this study as a response to a Japanese company’s interest in harvesting penguins for their skin, meat, and oil. Although the project has evolved over time, Dr. Boersma had the foresight to start banding chicks in 1983 and to set up a standard protocol that we follow each year. Since then, over 44,000 chicks have been banded at Punta Tombo. We’ve been able to follow some individuals for 30+ years, collecting detailed information on things like how often they breed and how many mates they’ve had.

((WN)) How much time did you end up spending in Argentina? What was it like at the breeding site?

NG: Members of the Boersma lab and volunteers spend approximately six months each year at Punta Tombo. I was fortunate enough to spend nearly four months at the colony between 2015 and 2017. It’s an incredible, otherworldly place. Magellanic penguins nest in burrows or bushes, and some areas of the colony are so dense with burrows that you feel like you’re on a different planet. The colony has declined by over 40% since the study started…so I can’t even imagine what it was like in the 1980s. My favorite time of the day is around 8PM, when (hopefully fat) penguins are returning to the colony en masse after a foraging trip. They are also most vocal in the morning and evening, making their characteristic braying sound— the related African penguin earned the name “jackass penguin” because they sound a bit like donkeys. The colony is also full of other beautiful and interesting creatures, including a llama-like species called the guanaco and an ostrich-like species called the rhea.

I was fortunate enough to spend nearly four months at the colony between 2015 and 2017. It’s an incredible, otherworldly place.

((WN)) Do you have any theories on why more female juveniles die at sea? You mention starvation; what might be the causes of that, and are there other possible explanations you can think of?

NG: We are not yet certain why females are more likely to die, but we think it must be related to their smaller body size. Because the mortality is most uneven in juveniles, higher mortality doesn’t seem to be related to greater costs of breeding for females than for males. Female Magellanic penguins are about 17% lighter than males and have smaller bills. We think that, because of this size difference, females have a lower storage capacity, can’t dive as deep, and can’t take as wide a range of prey as males — all disadvantages when faced with limited and unpredictable food resources. These disadvantages hit juvenile females even harder, as juveniles are still learning how to forage and often travel further than adults do in the non-breeding season. Counts of carcasses in the species’ migration range support starvation as the main cause of female-biased mortality; while oiled carcasses have a sex ratio of 1:1, females outnumber males in carcasses of starved birds. The only other possibility is that females are moving to other colonies at higher rates than are males, but this species is known to almost always return to its natal colony to breed.

((WN)) You suggest conservation efforts should look at protection of feeding grounds. What sort of measures do you think might be beneficial?

NG: Because penguins migrate such long distances over the non-breeding season, a mixture of tools (including no-take marine protected areas and traditional fisheries management tools, like catch limits) is likely to be needed. Although there is currently some spatial protection surrounding the species’ breeding colony, this protection does not extend to their migratory route. And, of course, everyone can contribute to penguin conservation by reducing their plastic waste, making more sustainable food choices, and reducing their carbon footprint.

((WN)) What do you think might be causing pressure on food sources for the penguins?

NG: The two main threats to the food sources of this colony are climate change, which cause shifts in primary productivity and fish stocks, and fisheries. Fisheries compete with penguins for fish species such as hake and anchovy.

((WN)) Have you noticed differences in behavior among the penguins as the ratios become increasingly skewed?

NG: In a separate study currently under review, we have shown that aggression between males of Magellanic penguins is higher when the sex ratio at the colony is more skewed towards males. We also showed that nearly all females at the colony breed but that, over time, fewer and fewer males find mates. Single male penguins sometimes intrude [on] nests of mated pairs and interrupt the incubation of eggs or feeding of chicks, leading to mortality. In some cases, they will even attack and kill chicks.

((WN)) Your release mentioned sexing the penguins was problematic; how did you achieve it with confidence?

NG: We have some methods of sexing penguins that we feel confident about — using genetics or measures of cloaca size around egg laying, for example. However, these methods are time intensive, so we have also developed visual cues for sex penguins (bill size, behavior, forehead shape). We looked at individuals that had been sexed using both a certain method (e.g. genetics) and visual methods to calculate how often we got it right based on visual cues alone and found that we have very high accuracy. We also used statistical tools to help to deal with uncertainty in the sex of some individuals.

((WN)) How well can you extrapolate population trends at Punta Tombo based on the birds you tagged? More broadly, how well do you think this work represents global populations?

everyone can contribute to penguin conservation by reducing their plastic waste, making more sustainable food choices, and reducing their carbon footprint

NG: It is likely that females have higher mortality than males at other colonies of this species and in other penguin species. We unfortunately do not have enough information from other colonies of this species (e.g. sex ratio and population trends) for an accurate global assessment of population trends. We do know that some colonies of the species are growing but that, at the global level, the species is still in decline.

((WN)) In your opinion, for how much longer are penguin populations sustainable without intervention?

NG: This is nearly impossible to answer without more information on other colonies of the species, but the Punta Tombo colony is declining rapidly. We estimate declines of at least 43% since 1987 from our annual surveys at the colony, but it is likely that actual declines are higher because of the increasingly skewed sex ratio.

((WN)) What are your next plans moving forward with your work?

NG: We are currently studying the sex ratio in Magellanic penguin chicks (at hatching and at fledging) to determine how this influences the sex ratio in adults. There are two priorities moving forward — 1) estimating sex ratio at other colonies of this species and determining whether females are more likely to leave Punta Tombo for other colonies than are males and 2) determining the mechanisms underlying lower female survival, e.g. by studying the foraging behavior and diet of males and females and the individual characteristics (like body size) that correlate with survival.

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