EastEnders star doesn't want to leave soap

'EastEnders' actress Emma Barton has revealed that she doesn't want to depart the scoop, saying that she is "really deplorable" about her departure.

The actress, who plays Honey Mitchell in the show, was recently written out of 'EastEnders' because her fictitious character had "come to the end of her storyline".

According to the Daily Star, Barton aforesaid: "Despite what they thought, I honestly felt there was more than mileage for her.

"But beholding as they haven't killed her off, I judge there is still a chance she could wander back unrivaled day.

"I was so perturbation to be leaving. I have had an awing time."

Speaking to The People, Barton aforementioned: "I volition miss everyone and I miss going away to work every day already and being office of the show."

"I'm truly sad. I didn't desire to leave," she said.

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DJ Shadow and Q-Bert

   
Artist: DJ Shadow and Q-Bert

   Genre(s): 
Trip-Hop
   

---

Discography:


   
 Camel Bobsled Race

   Year: 1997   
Tracks: 1

---

 





mp3 melodije download free

Trevor Rabin

   
Artist: Trevor Rabin

   Genre(s): 
Other
   Classical
   Rock
   Soundtrack
   

---

Discography:


   
 The Great Raid

   Year: 2005   
Tracks: 13


   
 National Treasure

   Year: 2004   
Tracks: 12


   
 Live In L.A.

   Year: 2003   
Tracks: 10


   
 American Outlaws

   Year: 2001   
Tracks: 18


   
 Enemy Of The State

   Year: 1998   
Tracks: 17


   
 Wolf

   Year: 1997   
Tracks: 10


   
 Con Air

   Year: 1997   
Tracks: 17


   
 Can't Look Away

   Year: 1989   
Tracks: 11


   
 Deep Blue Sea Expanded

   Year:    
Tracks: 13

---

Trevor Rabin was born in South Africa in 1954. He low began playing guitar at the age of 12 afterwards having had pianissimo lessons since he was a tot. He formed his first





Corey Feldman - Feldman Haim Sued Over Reality Tv Idea

Discovery Of Mechanism For Postpartum Depression In Mice May Lead To Better Treatments

�Researchers hold pinpointed a mechanism in the brains of mice that could explain why some human mothers turn depressed following childbirth. The discovery could lead to improved treatment for postpartum depression. Supported in part by the National Institute of Mental Health, of the National Institutes of Health, the study used genetically engineered mice wanting a protein critical for adapting to the sexual urge hormone fluctuations of gestation and the postpartum period.





"For the commencement time, we may own a highly useful poser of postnatal depression," said NIMH Director Thomas R. Insel, M.D. "The new research likewise points to a specific potential new target in the brain for medications to regale this disorder that affects 15 pct of women after they give birth."





"After giving birth, female mice deficient in the mistrust protein showed depression-like behaviors and unattended their new-sprung pups," explained Istvan Mody, Ph.D., of the University of California at Los Angeles, world Health Organization led the research. "Giving a dose that restored the protein's function improved maternal behavior and reduced pup mortality."





Mody and Jamie Maguire, Ph.D., report on their findings in the July 31, 2008 issuance of Neuron.





Researchers had suspected that postnatal depression cauline from the marked fluctuations in estrogen and lipo-Lutin that go with pregnancy and childbirth. Yet manipulating the hormones experimentally triggers great Depression only in women with a history of the disorder. The roots of their vulnerability remain a mystery.





Evidence suggested that the hormones exert their personal effects on mood through the brain's major inhibitory chemical messenger organisation, called GABA, which dampens neural activity, helping to regulate when a neuron fires.





Mody and Maguire ascertained that a GABA sensory receptor subunit fluctuated conspicuously during pregnancy and postpartum in the brains of female mice, hinting that it might have pivotal behavioral effects. To find knocked out, they used mice deficient the factor for this subunit and studied them in situations that can elicit responses similar to human depression and anxiety.





Much like human mothers suffering from postnatal depression, the genetically altered mouse mothers were more than lethargic and less pleasure-seeking than normal mice. They also shunned their pups and failed to make proper nests for them.





This abnormal maternal behavior was reversed and pup survival increased after the researchers gave the animals a drug called THIP that acts on the sensory receptor in a way that specifically restores its function in spite of the reduced numeral of subunits.





"Improper functioning of the subunit could impair the GABA system's ability to adapt to internal secretion fluctuations during the extremely vulnerable post partum period," explained Maguire. "Targeting this subunit might be a promising strategy in development new treatments for postnatal depression."









Reference:





Maguire J, Mody I. GABAAR plasticity during maternity: relevance to postpartum great Depression. Neuron. 2008 Jul 31;





The National Institute of Mental Health (NIMH) mission is to reduce the burden of mental and behavioral disorders through research on mind, learning ability, and behaviour. More data is available at the NIMH website, http://www.nimh.nih.gov/.





The National Institutes of Health (NIH) - The Nation's Medical Research Agency - includes 27 Institutes and Centers and is a portion of the U.S. Department of Health and Human Services. It is the primary union agency for conducting and supporting basic, clinical and translational medical research, and it investigates the causes, treatments, and cures for both common and rare diseases. For more selective information about NIH and its programs, call in http://www.nih.gov/.





Source: Jules Asher



NIH/National Institute of Mental Health




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Blogs Increasingly Have Power To Influence Health Policy, Improve Discourse On Health Care Issues, HHS Secretary Says

�
Blogging can be a "very brawny engine for public policy setting," HHS Secretary and blogger Mike Leavitt aforementioned on Tuesday, CQ HealthBeat reports. Speaking at a forum sponsored by the Kaiser Family Foundation, Leavitt said that blogging has the powerfulness to promote the debate on health care policy by allowing more interaction between members of the public and policymakers.



Leavitt aforementioned that people have been able to provide him with helpful information on his possess blog -- launched in August 2007 on the HHS Web site -- by commenting on his posts. He added that he writes about a range of topics, from his daily experiences and thoughts to the decision making process on various health care policies and issues such as Medicare, SCHIP and implication safety. "There have been times when someone has made an argument to me that I base compelling that I am sure began to mould and shape my cerebration," he said, adding that blogging "enhances the capacity of public policy figures to communicate well." Leavitt also discussed the "wild success" of a recent HHS web log that focussed on promoting a crest on pandemic flu.



HHS is using new media outlets, such as planned partnership in the fall with YouTube, to broaden its reach to a larger and jr. group of people, Leavitt said (Parnass, CQ HealthBeat, 7/30).



The event also featured a panel discussion, moderated by Vicky Rideout, vice president at the Kaiser Family Foundation and conductor of its Program for the Study of Media and Health, featuring: Jacob Goldstein of the Wall Street Journal; Michael Cannon of the Cato Institute; Ezra Klein of American Prospect magazine; John McDonough from the office of Sen. Edward Kennedy (D-Mass.) and at one time of Health Care for All in Massachusetts; and Tom Rosenstiel of the Center for Excellence in Journalism.




A webcast of the case is uncommitted online at kaisernetwork.org.




Reprinted with kind permission from hTTP://www.kaisernetwork.org. You can view the entire Kaiser Daily Health Policy Report, search the archives, or sign up for email legal transfer at hypertext transfer protocol://www.kaisernetwork.

Anouar Brahem

   
Artist: Anouar Brahem

   Genre(s): 
Ethnic
   Soundtrack
   Other
   

---

Discography:


   
 Le Voyage de Sahar

   Year: 2006   
Tracks: 13


   
 Le Pas Du Chat Noir

   Year: 2002   
Tracks: 12


   
 Conte de L'incroyable amour

   Year: 1992   
Tracks: 12


   
 Thimar

   Year:    
Tracks: 11


   
 Astrakan Cafe

   Year:    
Tracks: 14

---

The role of the Arabic, lute-like, stringed official document, the oud, has been revolutionalized through the playacting of Anouar Brahem. While used in the past to come with vocalists, the oud is secondhand by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, "Tunis-Hebdo", wrote, "If we had to elect the musician of the 80s, we would have, without the least hesitation, elect Anouar Brahem". The British everyday newsprint, "The Guardian", that Brahem was "at the forefront of idle words because he is far beyond it".


Bucked up by his music-loving fatherhood, Brahem began poring over the oud, at the age of tenner, when he enrolled at the National Conservatory of Music. For intimately a decade, he studied with influential oud player Ali Sitri. By the eld of fifteen, he was playacting well enough to perform regularly with local orchestras. Although he initially focussed on Arabic music, Brahem progressively unified elements of jazz. This was enhanced during the six days that he dog-tired in Paris (1981 -- 1987), playacting at festivals and collaborating with choreographer Maurice Bejart on a production, "A Return To Carthage" that received the prestigous "National Award Of Excellence In Music".


Returning to Tunis in 1987, Brahem performed at the Carthage Festival in the multi-artist production, "Ligua 85". Shortly after, Braham agreed to suit film director of the Ensemble Musical De In Ville De Tunis. During the deuce geezerhood that he oversaw the ensemble, Brahem divided the grouping into smaller of versatile sizes. Among the productions that he directed were "Leilatou Tayu" and "El Hizam El Dhahbi".


In 1990, Brahem resigned to focal point on his own career. After touring in the United States and Canada, he met and was signed by Manfred Eicher, manufacturer and founder of German record tag, ECM. His debut album, "Barzakh", released in 1991, was recorded with Turkish musicians, Bechir Selmi and Lassad Hosni. In a inspection of the album, German music cartridge, "Stereo system", wrote, "(Brahem) is an exceptional instrumentalist and improviser". Brahem's second record album, "Conte De L'incroyable Amour", released in 1992, was recorded with clarinet instrumentalist Barbaros Erkose. In 1994, Brahem recorded "Madar", with Norwegian saxist Jan Garbarek and Pakistani tabla player Shaukat Hussain. Brahem's quarter record album, "Khomas", released in 1995, featured makeshift interpretations of his compositions for Tunisian celluloid and theatre of operations productions and was recorded with squeeze box player Richard Galliano and fiddler Bechir Selmi. With his twenty percent endeavor, "Thimar", released in 1998, Brahem collaborated with soprano saxophone and bass clarinet player Jo n Surman and double bass instrumentalist Dave Holland. Astrakan Cafe was issued ternary years later.


Brahem has composed numerous pieces for such films and musical theater productions as "Sabots En Or", "Bezness", "Halfaouine", "Les Silences Du Palais", "Lachou Shakespeare", "Wannas El Kloub", El Amel", "Borj El Hammam" and "Bosten Jamalek". He collaborated with Maurice Bejart on the concert dance, "Thalassa Mare Nostrum" and with Gabriel Yared on the Costa Gravas celluloid, "Hanna K".

Star Trek - Nimoys Ode To Larger Ladies

STAR TREK star-turned snapper LEONARD NIMOY is rallying against the unrealistic portrayal of women in the media - with a new book of photographs of fuller-figured women.

The 77-year-old, who has launched a successful second career as a photographer, hopes The Full Body Project will help larger ladies come to terms with their bodies, and resist the pressure to slim.

He writes in the preface, "The average American woman weighs 25 per cent more than the models wearing the clothes marketed to her.

"There is a huge industry built up around selling women ways to get their bodies closer to a fantasy ideal.

"The women in these pages are proudly wearing their own skins. They accept and respect themselves and I hope that my images convey that feeling to others."

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R. Deckard

   
Artist: R. Deckard

   Genre(s): 
Other
   

---

Discography:


   
 Healing Therapy Music: Reiki

   Year: 2000   
Tracks: 4

---

 

John Wetton and Manzanera

   
Artist: John Wetton and Manzanera

   Genre(s): 
Rock
   

---

Discography:


   
 One World

   Year: 1997   
Tracks: 1

---

 

Usher: 'My Son Shares My Name Because He Looks Like Me'

Usher is tired of the constant accusations citing he is an egomaniac for naming his baby son after himself, and has hit back at critics who have been mocking him.

The dancefloor demon welcomed his first child, Usher Raymond V, in November with his wife Tameka Foster.

And the star is angered his son's name has provoked such a negative reaction.

He says: "He's called Usher because he looks so much like me. He looks so much like me it would have been hard to call him anything else.

"It was the obvious choice. It's really changed me for the better, he's a great kid."

Do you think naming a baby after yourself is self-indulgent? Be sure to leave your comments below.

Transceive

   
Artist: Transceive

   Genre(s): 
Electronic: Progressive
   

---

Discography:


   
 Intrigue

   Year: 2004   
Tracks: 9

---

 





Lloyd Cole

The Faint line up summer tour

The Faint have lined up a string of dates in the US and Canada, kicking off July 27 in Des Moines, IA.

The Omaha, NE natives will hit the road to support their brand-new album �??Fasciination�??, slated to be released August 5.

The album is the sixth from the band and is the follow up to their 2004 �??West From Birth�??.

The dates are:

Des Moines, IA People�??s Court (July 27)
Sioux Falls, SD Ramkota Annex (28)
Denver, CO Ogden Theatre (29)
Salt Lake City, UT In The Venue (30)
Boise, ID Knitting Factory (31)
Vancouver, British Columbia Commodore Ballroom (August 1)
Seattle, WA The Showbox (2)
Portland, OR Crystal Ballroom (3)
San Francisco, CA The Fillmore (4, 5)
Los Angeles, CA Henry Fonda Theatre (7, 8)
San Diego, CA Soma (9)
Austin, TX La Zona Rosa (11)
Dallas, TX Palladium Ballroom (12)
Atlanta, GA Variety Playhouse (14)
Carrboro, NC Cat�??s Cradle (15)
Washington, DC 9:30 Club (16)
Philadelphia, PA Trocadero (17)
New York City, NY Terminal 5 (18)
Worcester, MA The Palladium (20)
Toronto, Ontario Opera House (21)
Chicago, IL Vic Theatre (22)
Omaha, NE Sokol Auditorium (23)

--By our New York staff.
Find out more about NME.

Andrew Hill

   
Artist: Andrew Hill

   Genre(s): 
Jazz
   Pop
   Folk
   Vocal
   Other
   

---

Discography:


   
 Time Lines

   Year: 2006   
Tracks: 8


   
 Smoke Stack

   Year: 2006   
Tracks: 11


   
 Pax

   Year: 2006   
Tracks: 7


   
 Judgment!

   Year: 2005   
Tracks: 7


   
 Andrew!!!

   Year: 2005   
Tracks: 8


   
 Dance With Death

   Year: 2004   
Tracks: 7


   
 Passing Ships

   Year: 2003   
Tracks: 7


   
 Grass Roots

   Year: 2000   
Tracks: 10


   
 Point of Departure

   Year: 1999   
Tracks: 8


   
 Divine Revelation

   Year: 1994   
Tracks: 6


   
 But Not Farewell

   Year: 1990   
Tracks: 7


   
 Complete Blue Note Sessions (1963-66) CD5

   Year: 1963   
Tracks: 9


   
 Complete Blue Note Sessions (1963-66) CD3

   Year: 1963   
Tracks: 8


   
 Complete Blue Note Sessions (1963-66) CD2

   Year: 1963   
Tracks: 10


   
 The Complete Blue Note Andrew Hill Sessions Disc 4

   Year:    
Tracks: 1


   
 Complete Blue Note Sessions CD7

   Year:    
Tracks: 8


   
 Complete Blue Note Sessions CD6

   Year:    
Tracks: 7


   
 Complete Blue Note Sessions CD1

   Year:    
Tracks: 11

---

Andrew Hill was a majuscule and even groundbreaking composer and piano player, yet the comparatively circumscribed scale of his innovations mightiness take in the beginning caused him to get befuddled in the scuffle of the '60s dislodge jazz revolution. While many of his contemporaries were all jettisoning the rhythmic and harmonical techniques of boP and concentrated federal Bureau of Prisons, Hill worked to protract their possibilities; his was a revolution from inside. Much of the most compelling '60s jazz was intimately aleatoric; Hill, on the other hand, exhibited a determined command of his materials, however abstract they might sometimes be. His composed melodies were labyrinthian, and rhythmically and harmonically coordination compound tunes like "Young Monastery" from his Point of Departure record album exhibit a sophism born of subordination, non hazard or contingency. As a piano player, Hill had a flowing melodicism and an elastic sense of time. Like his composing, Hill's playing had an ever-present air of spontaneousness and was nigh totally barren of cliché.


He began playing the pianoforte at about the age of 13. As a nipper in Chicago, Hill was encouraged by pianist Earl Hines. Jazz composer Bill Russo also took an interest, and introduced Hill to the famed classical composer Paul Hindemith, with whom Hill studied from 1950-1952. While in his teens, he gigged with large jazz musicians passing through and through the Midwest, Miles Davis and Charlie Parker among them. In 1955, he recorded So in Love with the Sound of Andrew Hill for the Warwick label. He affected to New York in 1961 to play with singer Dinah Washington. After a brief foray to Los Angeles with Rahsaan Roland Kirk's band in 1962, Hill affected back to New York, where he began his transcription career in businesslike.


He made several records for Blue Note from 1963-1969, both as loss leader and sideman. Hill's Blue Note play featured some of the c. H. Best and brightest post-bop musicians of the clarence Day, including Eric Dolphy, Joe Henderson, Woody Shaw, Tony Williams, and Freddie Hubbard. Like many jazz musicians, Hill eventually sour to academia to make a living. He received his doctor's degree from Colgate University and served as the school's composer in residence from 1970-1972. Hill relocated to the West Coast, education in public schools and prisons in California. He finally landed a teaching place at Portland State University, where he established the school's Summer Jazz Intensive. In summation to his teaching, Hill continued to perform and record in the '70s and '80s, making records for the Arista-Freedom and Black Saint/Soul Note labels. In 1989 and 1990, Hill recorded doubly more for Blue Note, Endless Spirit and Simply Not Farewell.


Hill moved back to the New York area in the '90s; a serial of performances and new recordings helped piazza him endorse in the wind spot. Hill formed a new Point of Departure Sextet for the Knitting Factory's 1998 Texaco Jazz Festival. The band included saxophonists Marty Ehrlich and Greg Tardy, trumpeter Ron Horton, bassist Scott Colley, and drummer Billy Drummond. The band went on to play New York golf club engagements to much herald. In 2000, Palmetto Records released Twilight, which was named the best album of 2001 by Down Beat and Jazz Times magazines. It was followed by A Beautiful Day in 2002, Passage Ships in 2003, and Black Fire in 2004, as well as a solid series of Blue Note reissues of his '60s solve that included bonus tracks and modern liner notes. His 2006 album, Time Lines, reunited him with both herald Charles Tolliver and the Blue Note label. Hill too participated in a 17-piece great dance orchestra, and a January 2002 engagement at New York's Birdland was filmed and recorded by Palmetto for future broadcast. After battling lung cancer for many days, Hill succumbed to the disease on April 20, 2007, going away behind a stunning bequest of work.