Early Trigger For Type-1 Diabetes Found In Mice, Stanford Scientists Report

�Scientists at the Stanford University School of Medicine are shedding light on how type-1 diabetes begins.


Doctors own known the disease is caused by an autoimmune attack on the pancreas, but the exact trigger of the attack has been undecipherable. Now, a new written report in mice implicates the immune signal interferon-alpha as an early culprit in a range of mountains of events that upend sugar metamorphosis and take in patients pendant on lifelong insulin injections.


"We never considered that interferon-alpha could be a major role player in early type-1 diabetes," said Qing Li, MD, PhD, a postdoctoral assimilator in microbiology and immunology who was the elementary author of a newspaper describing the new event. The study is promulgated in today's issue of Proceedings of the National Academy of Sciences. "This was a pretty surprising finding."


Interferon-alpha normally helps the torso fight viruses. Synthetic interferon-alpha is injected as a drug for treating hepatitis C and some forms of cancer, Li illustrious.


"Everybody's been wondering what process initiates type-1 diabetes," said Hugh McDevitt, MD, professor of microbiology and immunology and the study's senior writer.


Type-1 diabetes is caused by complete deficiency of insulin, a hormone that helps the body store and burn sugar. About 1 meg Americans hold the disease, also known as juvenile diabetes because it tends to be diagnosed in children and young adults, for which there is no effective prevention or cure. Diabetes is a leading causal agent of spunk disease, cecity, limb amputations and kidney failure.


The early pathology of type-1 diabetes is hard to study in humans, McDevitt said, because it's about impossible to predict wHO will let the disease and when it will develop. Scientists have relied on fauna models, such as diabetic mice, because they predictably develop high blood refined sugar and former features of the human disease.


To pinpoint interferon-alpha, Li and McDevitt worked backwards from what they knew about how type-1 diabetes starts. Prior studies in diabetic mice showed a infective role for immune cells called CD4+ T cells. These cells are an early player in the immune onslaught on the body's insulin factories, pancreatic beta cells. The scientists used silicon gene-chip applied science to bill which genes are revved up in the CD4+ T cells just in front they rape the pancreas. The measurements fell into a shape: many of the upregulated genes were known to be controlled by interferon-alpha.


To substantiate the signal's nefarious use, the researchers gave mice an antibody that blocks interferon-alpha activity several weeks before the animals were expected to develop diabetes. Thwarting interferon-alpha delayed the start of the disease by an average of four weeks, and, in 60 per centum of treated mice, it prevented diabetes entirely.


The finding confirmed the importance of interferon-alpha and helped the scientists connect the dots betwixt normal mouse physiology and early diabetes. Mice are born with more pancreatic beta cells than they need, Li noted. The extras presently undergo programmed cell death, leaving plentifulness of working beta cells to pump out insulin. However, in mice that develop diabetes, debris left behind by the dying cells triggers an inappropriate immune answer, with scads of interferon-alpha. The interferon-alpha cues immune destruction of more and more genus Beta cells, causation insulin inadequacy and diabetes.


The mechanism may be more complex in human beings, the scientists cautioned, explaining that patch their new finding goes a long way toward explaining the beginnings of diabetes in the mice, additional familial and environmental factors influence the human disease. But the introductory principle of disease is likely the same in diabetic mice and humankind, they aforesaid.


"A normal process - programmed jail cell death - causes a normal response," McDevitt aforesaid. "But it does this in such a style that, in a small subset of the population, it starts them on the road to type-1 diabetes."


Li and McDevitt collaborated with Stanford colleagues Baohui Xu, PhD, fourth-year research scientist in pathology; Sara Michie, MD, professor of pathology; and Kathleen Rubins, PhD, a early postdoctoral learner at Stanford who is now a research colleague at the Massachusetts Institute of Technology; and with Robert Schreiber, a prof at the Washington University School of Medicine in St. Louis.


The research was funded by grants from the Juvenile Diabetes Research Foundation, the American Diabetes Association Mentor-Based Postdoctoral Fellowship and the National Institutes of Health.

Stanford University Medical Center integrates research, medical education and patient fear at its three institutions - Stanford University School of Medicine, Stanford Hospital & Clinics and Lucile Packard Children's Hospital at Stanford. For more information, please visit the Web site of the medical center's Office of Communication & Public Affairs at http://mednews.stanford.edu.

Stanford University Medical Center


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Lostprophets compare crowd to Kenny G fans at V Festival

Lostprophets played a mid-afternoom set on the V Stage at the Chelmsford leg of the V Festival today (August 16), during which frontman Ian Watkins compared the crowd to a Kenny G audience.


The vocaliser, whose banding took the stage at 3.30pm (BST), light-emitting diode the crowd through a series if cheers after playing opener 'Can't Catch Tomorrow (Good Shoes Won't Save You This Time)', but was unhappy with the lukewarm response.


"You're like a Kenny G crowd!" he aforementioned. "You're at 70 per cent. Time to take it up to C per cent."


During the side by side song, 'A Town Called Hypocrisy', Watkins voiced his displeasure over again. "Lukewarm, medium at topper," he said in response to the crowd singsong. "Let's sustain serious!"


Then Watkins joked approximately the lie of the line-up at the festival.


"We're not quite Alanis Morissette, but we try," he said, perking up as the

Kenny Rogers

   
Artist: Kenny Rogers

   Genre(s): 
Country
   Other
   Pop
   Vocal
   

---

Discography:


   
 Water and Bridges

   Year: 2006   
Tracks: 11


   
 Por Gavi's Music CD5

   Year: 2006   
Tracks: 20


   
 Por Gavi's Music CD4

   Year: 2006   
Tracks: 20


   
 Por Gavi's Music CD3

   Year: 2006   
Tracks: 20


   
 Por Gavi's Music CD2

   Year: 2006   
Tracks: 20


   
 Eyes That See in the Dark

   Year: 2006   
Tracks: 10


   
 21 Number Ones

   Year: 2006   
Tracks: 22


   
 The Hit Collection

   Year: 2004   
Tracks: 17


   
 If Only My Heart Had a Voice

   Year: 2003   
Tracks: 10


   
 The gambler

   Year: 2001   
Tracks: 11


   
 42 Ultimate Hits (CD 2)

   Year: 2001   
Tracks: 21


   
 42 Ultimate Hits (CD 1)

   Year: 2001   
Tracks: 21


   
 Original Gold - CD2

   Year: 1998   
Tracks: 15


   
 Original Gold - CD1

   Year: 1998   
Tracks: 15


   
 The Very Best Of

   Year: 1990   
Tracks: 1


   
 Lo mejor del country

   Year:    
Tracks: 12


   
 Greatest Hits (cd2)

   Year:    
Tracks: 14


   
 Greatest Hits (cd1)

   Year:    
Tracks: 14


   
 20 Greatest Hits 'Entire Album'

   Year:    
Tracks: 1

---

It took several tries before Kenny Rogers became a whizz. As a penis of the First Edition (and the New Christy Minstrels ahead that), he divided up in some million-sellers, among them "Reuben James" and "Crimson, Don't Take Your Love to Town," an fantabulous Mel Tillis song about a handicapped ex-serviceman. But superstardom lay ahead for this Texan, and it arrived in the late '70s. His have with the two previous pop groups had prepared him well: he knew the soft listening consultation was knocked out on that point, and he supplied them with well through middle-of-the-road songs with a country flavour. Having asleep solo, in 1976 Rogers charted with "Making love Lifted Me." But it was with an salient sung dynasty by writers Roger Bowling and Hal Bynum, "Lucille," that his whizz shot upward.


The rest (as they state) is history: award-winning duets with Dottie West and Dolly Parton, 12 TV specials, some other birdcall of the year with "The Gambler," "Daytime Friends," "Coward of the County," "We've Got Tonight," "Softheaded," "Lady" (his number one pop number unmatchable), etc., etc., etc. And that's simply the musical side of Rogers. In 1980, the made-for-TV film The Gambler deuced the contest, followed quickly by Noel Coward of the County, and then enough sequels to The Gambler to acquire him to Roman number IV. Throughout the '80s, Rogers remained a famous person, even when his gross revenue were declining. Even during the '90s, when he seldom charted, his appoint, face, and music were recognizable in a series of concerts, video specials, films, and fifty-fifty fast food restaurants.


Like many country superstars, Rogers came from low roots. Born in Houston, TX, Rogers and his heptad siblings were raised in one of the poorest sections of ithiel Town. Nevertheless, he progressed through high gear schooling, all the piece scholarship how to play guitar and fiddle. When he was a senior, he played in a rockabilly band called the Scholars, wHO released trey singles, including "Kangewah," which was written by Louella Parsons. Following his graduation, he released deuce singles, "We'll Always Fall in Love Again" and "For You Alone," on the local autonomous label Carlton. The B-side of the number one single, "That Crazy Feeling," was popular enough to garner him a expansion slot on American English Bandstand. In 1959, he briefly attended the University of Texas, simply he soon dropped kayoed to spiel basso in the jazz jazz group the Bobby Doyle Three. While he was with the grouping, Rogers continued to explore other melodic venues and played bass on Mickey Gilley's 1960 single "Is It Wrong." The Bobby Doyle Three released one album, In a Most Unusual Way, before Rogers left wing the group to play with the Kirby Stone Four. He didn't stay retentive with Stone and before long landed a solo record contract with Mercury.


Will Rogers released a handful of singles on Mercury, all of which failed. Once Mercury dropped the vocaliser, he coupled the New Christy Minstrels in 1966. He stayed with the folks group for a year, going with respective other bandmembers -- Mike Settle, Terry Williams, and Thelma Lou Camacho -- in 1967 to var. the First Edition. Adding drummer Mickey Jones, the First Edition sign with Reprise and recorded the pop-psychedelic single "Just Dropped In (To See What Condition My Condition Was In)." The single became a strike early in 1968, mounting to number five. Within a year, the group was billed as Kenny Rogers & the First Edition, and in the summer of 1969, they had their second base and last Top Ten hit, "Deep red, Don't Take Your Love to Town." The rural area overtones of the single hinted at the focal point Rogers was taking, as did the minor hit follow-up, "Ruben James." For the next iI years, the First Edition bounced 'tween country, pop, and modest psychedelia, scoring their final self-aggrandising gain with Mac Davis' "Something's Burning" in early 1970. By the closing of 1972, the group had its own syndicated television show, only gross sales were drying up. They leftfield Reprise the following year, signing to Rogers' new judge, Jolly Rogers. None of their singles became major hits, though a version of Merle Haggard's "Today I Started Loving You Again" reached the depress regions of the country charts belated in 1973. Rogers leftfield the group in 1974, and the band skint up the next year.


At the time the band stony-broke up, Rogers was severely in debt and Jolly Rogers was out of byplay. In order to jump his life history, he gestural to United Artists in 1975, and with the help of producer Larry Butler, he devised an accessible, radio-ready, and immaculately crafted carry on country-pop that leaned toward adult modern-day pop, non country. "Love Lifted Me," his debut single for the label, was a small hit early in 1976, only it took a total year for Rogers to stimulate a literal breakthrough hit with "Lucille." Climbing to identification number one early in 1977, "Lucille" not solely was a major country hit, earning the Country Music Association's Single of the Year honour, merely it likewise was a huge crossover succeeder, peaking at number five on the pop charts. For the next sixer years, Rogers had a steady string of Top Ten hits on both the country and pop charts.


His crossover success is important -- his succulent, easy hearing productions and smooth croons showed that rural area stars could suppress the pop audience, if produced and marketed right. During the late '70s and other '80s, much of area radio was henpecked either by urban rodeo rider or country-pop in the vein of Rogers' have singles. Between 1978 and 1980, he had five straight number one rural area singles -- "Honey or Something Like It," "The Gambler," "She Believes in Me," "You Decorated My Life," "Noel Coward of the County" -- most of which besides reached the pop Top Ten. In addition to his solo hits, he had a series of Top Ten duets with Dottie West, including the identification number one hits "Every Time Two Fools Collide" (1978), "All I Ever Need Is You" (1979), and "What Are We Doin' in Love" (1981). Not only did his singles sell well, just so did his albums, with every record he released betwixt 1976's Kenny Rogers and 1984's At one time Upon a Christmas going gold or atomic number 78.


By the rootage of the '80s, Rogers' hearing was as practically pop as it was rural area, and singles like his cover of Lionel Richie's "Peeress" confirmed that fact, outlay six weeks at the height of the pop charts. Rogers also began playing duets with pop singers like Kim Carnes ("Don't Fall in Love with a Dreamer," number terzetto country, phone number four pop, 1980) and Sheena Easton ("We've Got Tonight," number one country, phone number six pop, 1983). Rogers also began devising inroads into goggle box and film, appearance in a number of TV specials and made-for-TV movies, including 1982's Sise Pack and iI movies based on his songs "The Gambler" and "Coward of the County." Late in 1983, he left United Artists/Liberty for RCA Records, cathartic a duet with Dolly Parton called "Islands in the Stream" as his first single for the judge. Written by the Bee Gees and produced by Barry Gibb, the record became one of his biggest hits, disbursement two weeks on the top of the inning of both the land and pop charts.


Virginia McMath stayed at RCA for five-spot years, during which time he alternated 'tween MOR, adult modern-day pop, and slick country-pop. The hits didn't fall as often as they used to, and they were oft competing with releases from Liberty's vaults, just he managed to log five phone number unitary singles for the mark, in addition to "Islands in the Stream": "Unbalanced" (1984), "Tangible Love" (1985), "Morning Desire" (1985), "Grave of the Unknown Love" (1986), and the Ronnie Milsap pair "Make No Mistake, She's Mine" (1987). Despite his land successes, he no longer had pop crossing hits. Nevertheless, Rogers' concerts continued to be popular, as did his made-for-TV movies. Still, the want of blockbuster records meant that RCA failed to regenerate his contract when it expired in 1988. Rogers returned to his first label, Reprise, where he had one major strike -- 1989's Top Ten "The Vows Go Unbroken (E'er True to You)," interpreted from the gold record album Something Inside So Strong -- earlier his singles started charting in the lour half of the Top 40.


Throughout the recent '80s and '90s, Rogers unbroken busy with charity work, concerts, his fast food chain Kenny Rogers' Roasters, idiot box specials, movies, and picture taking, publishing no less than two books, Kenny Rogers' America and Kenny Rogers: Your Friends and Mine, of his photos. Rogers continued to record, releasing albums closely every year, merely they failed to break beyond his large, devoted fan basis and exclusively made a svelte impact on the charts. With 1998's Christmastime from the Heart, he established his own record label, Dreamcatcher; She Rides Wild Horses followed a year afterward, and Thither You Go Again was issued in mid-2000. A&E Live by Request appeared in 2001, followed by Indorse to the Well in 2003, Me & Bobby McGee in 2004, and Water & Bridges in 2006.

David Holmes

   
Artist: David Holmes

   Genre(s): 
Dance
   Rock
   Rock: Electronic
   Soundtrack
   

---

Discography:


   
 David Holmes Presents The Free Association

   Year: 2002   
Tracks: 10


   
 Come Get It I Got It

   Year: 2002   
Tracks: 26


   
 Bow Down to the Exit Sign

   Year: 2000   
Tracks: 15


   
 This Film's Crap Let's Slash The Seats

   Year: 1999   
Tracks: 9

---

David Holmes is the among the charles Herbert Best in a growing cadre of invisible-soundtrack producers divine by the sound verité of classical flick composers -- Lalo Schifrin, John Barry, Ennio Morricone -- as good as the common stable of dancefloor innovators and a big cast of jazz/soul pioneers to boot. Similar to the work out of Howie B, Barry Adamson, and Portishead's Geoff Barrow, Holmes' productions ar appropriately spacious and theatrical, though normally focussed on future social club intake as well. His number one record album, hotly tipped in England, rosebush the wager significantly for his second. Let's Get Killed scarcely foiled, gaining critical and esthetic success given the constraints of instrumental dance music. The increased exposure even helped him engage in on Hollywood's roll to provide the score for the 1998 feature plastic film Out of Sight.


Natural in Belfast the youngest of ten-spot children, Holmes listened to punk rocker rock music as a child and began DJing at the long time of 15 -- his sets at pubs and clubs around the city during the adjacent few old age embraced a range of grooves including soul-jazz, mod john Rock, Northern soul, and disco music. Holmes also worked as an resistance concert showman and wrote a fanzine as easily, though he was still precisely a stripling when the firm and techno boom hit Britain in the former '80s. Soon he was integration the new dance music into his mixture, and his golf club night Sugar Sweet became the first locus for serious dance music in Northern Ireland. Back-and-forth contact betwixt England and Northern Ireland brought Holmes into contact with leading DJs Andrew Weatherall, Darren Emerson, and Ashley Beedle. After familiarizing himself with the studio, he began recording with Beedle (by and by of Black Science Orchestra) to produce the single "DeNiro" (as Disco Evangelists), a sizeable dancefloor hit in 1992. The following year, his Scubadevils project (a coaction with Dub Federation) appeared on the first volume of the germinal compilation series Enchantment Europe Express.


That first gustation of winner brought David Holmes much remixing work during 1993-1994, for Weatherall's Sabres of Paradise, St. Etienne, Therapy?, Fortran 5, Sandals, and Justin Warfield, among others. He by and by signed to Go! Discs and in 1995 released his debut record album, This Film's Crap, Let's Slash the Seats. Besides the cinema-terrorist persona evoked in the title, the album featured other ties to the movie house: the single "No Mans Land" had been written in response to the controversial Guildford 4 film In the Name of the Father. Television film director Lynda La Plante complete up victimization many of the tracks from the album for her series Provide & Demand, and matchless rail was used in the Sean Penn/Michael Douglas film The Game. Holmes' first proper soundtrack, the Marc Evans film Resurrection of Christ Game, appeared in 1997. The feel inspired Holmes to travel to New York and gather a riches of urban-jungle environs recordings, compiled and interracial into his secondment proper album, Let's Get Killed.


He followed with the remix assembling Stop Arresting Artists, and in 1998 scored Steven Soderbergh's A-list Hollywood feature Out of Sight with a prescient set of groove-funk. (The attention likewise earned him a topographic point in Entertainment Weekly's list of the Top C Creative People in Entertainment.) His single "My Mate Paul" even featured as the paper music to the Sony Playstation game Psybadek. Indispensable Mix 98/01 followed later that year, and in 1999 This Film's Crap, Let's Slash the Seats was reissued with a fillip phonograph record of rarities and unreleased tracks. Holmes issued his third studio exploit, Bow Down to the Exit Sign, in September 2000. One year subsequently, Soderbergh tapped him to acquire some other feature film soundtrack, Ocean's Eleven, and it pushed a undivided -- Elvis Presley's "A Little Less Conversation," as remixed by Junkie XL -- into the charts (as well as the top spot in many countries).


Holmes' adjacent send off was a studio band, the Free Association, introduced on the 2002 ruffle album Come Get It, I Got It. On the criminal record, Holmes interracial and matched old tracks with new productions from him and his lab-mate, Stephen Hilton. Late that same year, a full album of new tracks (Jacques Louis David Holmes Presents the Free Association, which was reissued with a new caterpillar tread order in 2006) followed it onto the racks, and in 2004 Cherrystones: Hidden Charms came out.

Jimmy Fallon - Late Night Update Fallon To Replace Obrien

Officially introduced Monday as the successor to Conan O'Brien on NBC's Late Night
when O'Brien moves over to the Tonight show next year, Jimmy Fallon joked
that his elementary school principal, Mr. Nostradamus, had listed him in his kindergart
en yearbook as "most likely to take over for David Letterman." As many people are
aware, Mr. Nostradamus has been a bit off with other predictions over the years,
but TV writers had been predicting for weeks that Fallon would be named Late Night
's host (and, of course, Letterman did indeed once host the show himself, jumping
to CBS after the powers-that-be at NBC passed him over for Jay Leno to succeed Johnny
Carson.) Still up in the air is the question of what will happen to Leno when the
game of musical chairs plays out next year (precisely when that will be has not yet
been disclosed). At Monday's news conference, NBC Entertainment co-chairman Ben Silverman
said that he was looking to find an inducement to keep Leno at NBC, but he acknowledged that
he might not be able to do so. "I think it's a reach," he said.

13/05/2008

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ORCHESTRA BAOBAB

Made in Dakar” (Nonesuch): A-

The spirit of survival resonates after 40 tumultuous years for these Senegalese pioneers of world music. Disregarded 20 years ago as stale when they briefly disbanded, the Afro-Cuban stylists’ renaissance is now unmistakable. Their fifth studio album since re-forming in 1992, this is an updated version of their guitar- and horn-driven pop, clearly fueled by the energy of returning to regular club shows in their hometown of Dakar for the first time since the folding of the club that spawned the band’s name. Barthelemy Attisso’s electric guitar playing is at its height as he juices his band’s redefined vision, which even includes delicious dashes of calypso and ska. Download: “Colette.” (Appearing Saturday at the Somerville Theatre.)

Sigur R�s , Me� Su� � Eyrum Vi� Spilum Endalaust

Whether or not Sigur Ros' fifth album will be the commercial breakthrough some are hoping for is, in many ways, a moot point. It's a thing of beauty and that's all we really need to know. But what else to make of an album that has already been variously deemed an uncharacteristic blast of Icelandic sun and music to die in a blizzard by? Perhaps the clue lies in the title of the first track, Gobbledigook. For those unfamiliar with Icelandic, the lyrics sound, as ever, utterly mysterious, and like the best glossolalia, this music is open to a variety of interpretations.

What you hear in these eleven tracks conjures eclectic feelings; a salmon spawning upstream; a grandmother climbing a mountain; a schoolchild in a dream classroom; sleepy, awake, like a grail knight, weightless, ascending, bursting, relieved, dead, happy. And it will no doubt be different for each listener, perhaps even each listen. The last song is actually sung in English, but by this point that sounds as strange as anything else.

More a development than a departure, the album blends a lighter, more dynamic approach with out-there creative impulses. Produced by Flood and assisted by a string quartet and brass section (as well as, on Ara Batur, the London Sinfionietta and the London Oratory Boys Choir), the album was recorded in its entirety this year: impressive speed, reflected in the joyous, unfettered arrangements and the sheer plasticity of the music.

Possibly, if Sigur Ros had intended to take over the world, they might have translated their album title into its English version: “With a buzz in our ears we play endlessly”. Possibly not. No matter; this music to live - and die - by; as good on the bus or the school run as it would be watching the Northern Lights. Sigur Ros remain in a wonderful universe of their own.


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