Seth Meyers makes Donald Trump an offer
The Seth Meyers-Donald Trump feud rages on. After Meyers banned Trump from Late Night in response to the Republican candidate’s own banning of The Washington Post from his rallies, the two went back and forth a little. On Thursday night, in response to swirling rumors that Trump is doing so badly he might actually be trying to lose, Meyers decided to try for peace, and made Trump an offer.
“Donald, today’s your lucky day. If you drop out of the presidential race anytime between now and the beginning of the GOP Convention on July 18, NBC will award you a 13-episode scripted series where you would play the President of the United States of America,” Meyers said. “Now I want to be clear, I have not run this by anyone at the network, but they put our show on every night, so I can’t imagine they’re going to say no to yours. They’re not picky.”
Per Meyers’ thinking, the show would kick off in January (right after the actual inauguration) but the format would be Trump’s choice. He could do it as a The West Wing-style drama or a Veep-like comedy. However, since it’s NBC, it would have to be set in Chicago and called Chicago President. But that might be evened out by the potential benefits for Trump.
“A lot of what you want to do is impossible in the real world, but on TV, we just need to build a tiny part of the wall, and we can just CGI the rest,” Meyers said.
Watch the clip below.


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David Schoenfield, over at ESPN’s SweetSpot, agrees with us about the newest Red, Ryan Madson; it’s a great pickup for the Redlegs:
Cincinnati Reds general manager Walt Jocketty may be too old to do a backflip, but he may be attempting one right now. This is how you build a good team in a small market with a limited budget: Sign one of the better closers in the game for a one-year, $8.5 million contract, as Jerry Crasnick is reporting.
Over the past five seasons, only eight relievers with at least 300 innings pitched have a lower ERA than Madson’s 2.89 mark. Over the past two seasons, he has a 2.45 ERA, a 126-15 strikeouts-unintentional walks ratio and has allowed just 96 hits in 113.2 innings. In his first season as a closer, he converted 32 of 34 save opportunities. Importantly for the Reds, considering the cozy dimensions of Great American Ballpark, Madson keeps the ball in the park, allowing just two home runs in 2011 and six over the past two seasons.
Go read the entire thing. It’s worth your time.
The more I think about this signing, the more I like it. Kudos, Walt Jocketty.

domain: sports


The BBC has announced today that Lucie Jones is one of the six artists chosen to perform the songs competing for the UK’s entry into the Eurovision Song Contest. Lucie will perform the song on Eurovision: You Decide, a show to be held at the Eventim Hammersmith Apollo on 27 January 2017 and broadcast live on BBC Two, presented by Mel Giedroyc. The winner, who will be revealed on the night after a combined expert jury and live public vote, will then represent the UK at Eurovision, with the Grand Final on Saturday 13 May in Kyiv, Ukraine.
The ballad that Lucie is singing, Never Give Up On You, is the work of composers and lyricists The Treatment, Emmelie de Forest and Lawrie Martin, and can be heard now at the following link: http://www.bbc.co.uk/blogs/eurovision/entries/9ced8ad0-73ed-4765-b5e4-d26a82f25670
Lucie is currently starring as Maureen Johnson in the new 20th Anniversary production of Jonathan Larson’s ground-breaking Pulitzer Prize- and Tony Award-winning musical RENT. The show is currently playing a sold-out season at St. James Theatre, London until 28 January and will then embark on a major UK tour until 27 May 2017. RENT has been nominated for Best Regional Production at the 17th Annual What’s on Stage Awards, taking place in London next month.
Lucie said “I’m absolutely thrilled to be invited to take part in Eurovision: You Decide. Never Give Up On You is an incredibly powerful song, especially when sung live! I can’t wait to perform it live on BBC Two on Friday night.”
Producer Robert Mackintosh said “On behalf of the producers of RENT, we are delighted that Lucie Jones has been selected to sing one of the six songs in the running to compete for UK’s entry in the Eurovision Song Contest. Lucie is one of the UK’s brightest young talents and a valued company member. We wish her every success for Eurovision: You Decide this Friday.”
Lucie was a finalist on The X Factor in 2009 and has most recently starred as Elle Woods in Legally Blonde (Curve, Leicester). Her other theatre credits include Molly Jenson on tour in Ghost the Musical, Victoria in American Psycho at The Almeida, Meatloaf in the International Tour of We Will Rock You and Cosette in Les Miserables at Queens Theatre, London’s West End and O2 Arena. Lucie also toured the UK in The X Factor Arena Tour.
The cast of RENT also includes Billy Cullum as Mark Cohen, Ross Hunter as Roger Davis, Ryan O’Gorman as Tom Collins, Javar La’trial Parker as Benjamin Coffin III, Layton Williams as Angel Schunard, Philippa Stefani as Mimi Marquez and Shanay Holmes as Joanne Jefferson, with Jenny O’Leary, Katie Bradley, Joshua Dever, Kevin Yates, Bobbie Little, Christina Modestou, Jordan Laviniere, Harrison Clark and Oliver Bingham.
Jonathan Larson’s musical, inspired by Puccini’s opera La Bohème, won four Tony Awards, six Drama Desk Awards and the Pulitzer Prize for Drama in 1996. Ben Brantley’s New York Times review was a love letter to the show, calling RENT an “exhilarating, landmark rock opera”. RENT ran on Broadway for 12 years, from 1996 to 2008. The show premiered in London’s West End in 1998 at the Shaftesbury Theatre, where it ran for 18 months. It was adapted into a film in 2005.
Larson’s world is inhabited by a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York’s East Village. Facing their problems head on, they make personal self-discoveries and find what really matters most in life. The poignancy of the story was heightened when Jonathan Larson died of an aortic dissection on 25 January 1996, the night before the show’s first off-Broadway performance at New York Theatre Workshop.
The much-loved score features songs such as Seasons of Love, Take Me or Leave Me, What You Own, One Song Glory, La Vie Bohème, Without You, I’ll Cover You, Out Tonight and I Should Tell You.
The new production of RENT has Choreography by Lee Proud, Musical Direction by Phil Cornwell, Set Design by Olivier Award-winner Anna Fleischle, Costume Design by Loren Elstein, Lighting Design by Olivier and Tony Award-winner Rick Fisher, Sound Design by Olivier Award-winner Mike Walker, Video Design by Andrzej Goulding and Casting by Will Burton Casting.
RENT has Book, Music and Lyrics by Jonathan Larson, Musical Arrangements by Steve Skinner, Original Concept and Additional Lyrics by Billy Aronson, Music Supervision and Additional Arrangements by Tim Weil, and Dramaturg is Lynn Thomson. RENT was originally produced in New York by New York Theatre Workshop and on Broadway by Jeffrey Seller, Kevin McCollum, Alan S. Gordon and New York Theatre Workshop.
RENT is presented by arrangement with Music Theatre International (Europe) Ltd. For more information, visit www.RENTonstage.co.uk
8 December 2016 to 28 January 2017
St. James Theatre
12 Palace Street
London SW1E 5JA
Box Office: 0844 264 2140 Website: www.stjamestheatre.co.uk
31 January to 4 February 2017
Devonshire Park Theatre
Eastbourne BN21 4BW
Box Office: 01323 412 000 Website: www.eastbournetheatres.co.uk/venue/devonshire-park-theatre
6-11 February 2017
Kent BR1 1HA
Box Office: 020 3285 6000 Website: www.churchilltheatre.co.uk
14-18 February 2017
13 / 29 Nicolson Street
Edinburgh, EH8 9FT
Box Office: 0131 529 6000 Website: www.edtheatres.com
28 February – 4 March
Liverpool Empire Theatre
Liverpool L1 1JE
Box Office: 0844 871 3017
New Victoria Theatre
Surrey GU21 6GQ
Box Office: 0844 871 7645
28 March to 1 April 2017
Leicester LE1 1SB
Box Office: 0116 242 3595 Website: www.curveonline.co.uk
3-8 April 2017
Wales Millennium Centre
Cardiff CF10 5AL
Box Office: 029 2063 6464 Website: www.wmc.org.uk
11-15 April 2017
Cheltenham Everyman Theatre
Cheltenham GL50 1HQ
Box Office: 01242 572573 Website: www.everymantheatre.org.uk
18-22 April 2017
York Theatre Royal
St. Leonard’s Place
York YO1 7HD
Box Office: 01483 440000 Website: www.yorktheatreroyal.co.uk
1-6 May 2017
Poole’s Centre For The Arts
21 Kingland Road
Dorset BH15 1UG
Box Office: 01202 280000 Website: www.lighthousepoole.co.uk
9-13 May 2017
Coventry CV1 1GS
Box Office: 024 7655 3055 Website: www.belgrade.co.uk
16-20 May 2017
Nottingham, NG1 5AF
Box Office: 0115 941 9419 Website: www.nottinghamplayhouse.co.uk
23-27 May 2017
Assembly Hall Theatre
Kent TN1 2LU
Box Office: 01892 530613 Website: www.assemblyhalltheatre.co.uk


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We’re back with another amazing twitter takeover – this time it’s with the gorgeous and talented Swedish singer songwriter Andreas Moe. He will be taking over Pop Scoop!’s Twitter on Thursday 3rd July at 4pm so he can answer all your questions.
If you’ve got any questions, then tweet them over and Andreas will try to answer you all.
To get involved head over to twitter.com/Pop_Scoop at 4pm TODAY and use #MoeTakesPopScoop
Andreas Moe’s first big break came in 2011 when he featured on worldwide hit single ‘Fade into Darkness’ with superstar DJ Avicii.
The musician very quickly became a sought after writer, session guitarist, producer and singer and found himself signing his first publishing deal to respected UK based Indie publisher Phrased Differently in January 2011.
Andreas continued to collaborate and write with well-known DJ’s around the world including Scandinavian’s finest, John de Sohn on his Double Platinum selling singles “Long Time”, “Under The Sun” and “Dance Our Tears Away”, which was picked up by LA Reid in the US on Epic Records. His affinity with dance music continues in 2014 with a feature confirmed with Tiesto in June and Tiesto and Hardwell in October.
After developing his writing style and vocals within the dance music scene, Andreas stepped inside the recording studio with his guitar, to pursue his own singer songwriter career. ‘Collecting Sunlight’ was released in 2012 to rave reviews reaching Top 10 in the Swedish iTunes charts followed by ‘This Year’ in early 2013 which also broke into the iTunes Top 10.
In between supporting songstress Gabrielle Aplin, on her UK live tours in March and October playing in front of 40,000 fans, Andreas enjoyed continued success writing three Platinum award songs including the Boyzone single ‘Who We Are’ taken from BZ20, released in November 2013.
Back in the studio in Devon, Andreas has been putting the finishing touches to his debut album Ocean, which is due for release in Scandinavia through Sony Music in October 2014 and which will be broken down into 3 EPs for the UK starting in July, continuing in October and ending in January 2015. The album showcases Andreas’ raw talent and vocal range, against a back drop of acoustic melodies and kick back drum beats. Relationships feature heavily in every single song and form the emotional thread behind his album.
Andreas is set to release his first single Ocean on 14 July.

domain: celebrity


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Products and ServicesItems
Lifestyle Blocks, Land, Houses, FarmsMarkets Served
Residential, Commercial, IndustrialServices
Consulting, Evaluations, Insurance Inspection, Market Valuations
About Mount Valuation Ltd
Mount Valuation Ltd operates in New Zealand. They were established in 1992, service Bay Of Plenty, and are in the Valuers category. Call them today!

domain: economics


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Medical Staff Manager- St. Anthony North and Longmont United
ST ANTHONY NORTH HEALTH CAMPUS-Westminster, CO-Est. salary: $91,000 - $130,000 a year
The Future of Health and Wellness St. Anthony North Health Campus, a $177 million, 350,000-foot facility, provides a whole new way of delivering care. Built
Rapid Temps, Inc-Estes Park, CO-Est. salary: $67,000 - $89,000 a year
Lead, direct and consistently plan to enhance the customer’s/patient’s/families’ clinic experience. Is seeking an experienced Clinic Manager for a 27 week...
Scientific Services Vet
Mars, Incorporated-Denver, CO-Est. salary: $51,000 - $73,000 a year
Provide nutritional case consultations for veterinary clinics. Scientific Services Veterinarian....
Supervisor Nurse Home Visitor Program - Full Time Days - St Anthony's Hospital
ST ANTHONY MEDICAL CAMPUS-Denver, CO-Est. salary: $55,000 - $73,000 a year
St. Anthony Hospital is located in the western Denver suburb of Lakewood and is a Level I Trauma Center with four dedicated trauma rooms including the T-10
Sales and Marketing Manager
Med-Fit Medical Weight Loss-Denver, CO-Est. salary: $31,000 - $44,000 a year
We help both males and females, and females predominantly make-up 70% of our clinic. You need to decide whether you want to work in this unique environment of a...
Sports Chiropractic Office-Denver, CO-Est. salary: $22,000 - $30,000 a year
A Denver based chiropractic and sports injury clinic, is seeking a highly energetic and motivated person, ready to take on a growing practice....
Nursing Manager DON
Option Care-Englewood, CO-Est. salary: $61,000 - $80,000 a year
BSN or bachelor’s degree in a health related field with three (3) years of experience within the last five years in a home health agency, primary care clinic or...
Experience Pet Groomer Manager
Smoky Hill Veterinary Clinic-Aurora, CO-Est. salary: $38,000 - $51,000 a year
Smoky Hill Veterinary Clinic, in Aurora, Co. Is seeking a pet groomer for their busy grooming department....
Office Manager, Personal Assistant, Jack of All Trades
Acupuncture Clinic of Boulder, Inc.-Boulder, CO-Est. salary: $11 - $15 an hour
Tracking clinic statistics, client payments, and clinic expenditures using Excel and QuickBooks. At the Acupuncture Clinic of Boulder, our mission is to...
Manager Clinical Nursing - Digestive Health Center - FT - Da
UCHealth-Aurora, CO-Est. salary: $31,000 - $44,000 a year
Manages clinic staff relations including performance management, staff satisfaction, and conflict management. Summary – Nurse Manager Clinic – Digestive Health...
Regional Manager - Tax Credit & Section 8 Affordable Housing
Local Property Management Company-Denver, CO-Est. salary: $43,000 - $59,000 a year
Coordinating Skills – ability to coordinate all activities and services such as wellness clinics, podiatry clinics, audiology clinics, diabetic clinics,...
Manager Infection Prevention
UCHealth-Aurora, CO-Est. salary: $48,000 - $70,000 a year
700+ bed academic hospital, 90+ ambulatory clinics and will be supervising a team of nine. Manager Infection Prevention - University of Colorado Hospital - Full...
Registered Nurse (RN) Manager-O.P. Cardiac & Vascular Center
UCHealth-Aurora, CO-Est. salary: $30,000 - $42,000 a year
Manages clinic staff relations including performance management, staff satisfaction, and conflict management. Bachelors degree nursing is required....
Davita-Denver, CO-Est. salary: $120,000 - $150,000 a year
Clinics, DaVita Rx is the largest renal pharmacy in the U.S. Here is what you can....
Mgr Facilities Management
UCHealth-Aurora, CO-Est. salary: $74,000 - $100,000 a year
Our manager will oversee all general facilities responsibilities including personnel, maintenance, repair, and installation of equipment for our health care...
Medical Director For Opiod Assisted Treatment Program
Comprehensive Behavioral Health Center, Inc-Denver, CO-Est. salary: $92,000 - $130,000 a year
Shall ensure that our clinic complies with all state and federal regulations regarding medical treatment for opiod treatment....
Customer Service Associate- 30 hours per week
Salud Family Health Centers-Estes Park, CO-Est. salary: $22,000 - $33,000 a year
Maintains current knowledge and skills of all computer programs being used in the clinic site. Serves as a liaison between patient and medical/dental areas to...
AllHealth Network-Littleton, CO-Est. salary: $49,000 - $63,000 a year
Implements policies & procedures to attain the goals and objectives of the clinics; Implements and monitors AllHealth Network policy and procedures to ensure...
RN Registered Nurse - Developmental Disabilities (Adults and Children)
Laradon-Denver, CO-Est. salary: $43,000 - $55,000 a year
Operate Laradon’s clinic on a daily basis (assess participants and staff and facilitate treatment). Indeed Hire has partnered with *Laradon*....
Performance Consultant- Trainer
ClearChoice Dental Implant Centers-Greenwood Village, CO-Est. salary: $67,000 - $85,000 a year
Successfully facilitate Rainmaker Clinics. The Performance Consultant is responsible for supporting the RBDs and RDMs in improving center performance as well as...

domain: health


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Does the use of judicial review by unelected judges harm public support for their decisions? Scholars have often answered this question in the affirmative. We examine the extent to which the use of judicial review reduces the ability of judges to achieve acceptance of their decisions, arguing that decisions made by elected judges may be more palatable to the public. Our experimental evidence demonstrates that the public is less prone to accept both decisions made by appointed judges and judicial decisions that strike down laws. However, the public is no more likely to accept the use of judicial review by an appointed court than an elected court. The results have implications both for institutional design in the American states and the microfoundations of judicial independence.
All Science Journal Classification (ASJC) codes
- Arts and Humanities (miscellaneous)
- Political Science and International Relations

domain: sociology


A Pennsylvania mother and her boyfriend were arrested Tuesday night, accused of beating their 4-year-old son to death because he spilled his cereal, authorities said.
Lisa Smith, 19, and her boyfriend Keiff King, 26, of Willow Grove, face charges of attempted murder, aggravated assault and other crimes in connection with the death of their son, Tahjir, FOX 29 reported.
After the child admitted spilling his breakfast, Smith and King disciplined Tahjir by punching him in the back of the head, before stripping him naked from the waist down and taking turns smacking his buttocks with a sandal, Philly.com reported, citing Smith’s statement to police.
After Tahjir urinated on himself and became unresponsive from the beatings, King placed him in the shower and blasted him with cold and hot water, Smith told police.
The little boy was "severely punished and beaten and then burned in a shower," Montgomery County District Attorney Kevin Steele said, according to the station.
Smith put clothes on her son and the couple took the child outside where they called 911 and fabricated a story about why the boy wasn’t responsive, the station reported.
Police said the home was filthy, and crawling with roaches, according to the station.
According to the coroner, the child had previous injuries including broken ribs, the station reported.
"Unfortunately, it looks like the child didn't go through this the first time last night," Steele said. "It's gonna be our time to stand up for a child who can't speak for himself anymore.”
The couple could face a murder charge depending what the final autopsy results reveal, the DA said. King and Smith were being held on a $500,000 bail each, and have a preliminary hearing scheduled for Jan. 31, according to the station.
Smith is also currently eight months pregnant, the station reported.


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Vietnam has an enormous number of rivers that are at least partly navigable, but the most important by far is the Mekong and its tributaries. Scenic day trips by boat are possible on rivers in Hoi An, Nha Trang, Danang, Hue, Tam Coc and even HCMC.
Boat trips are also possible on the sea. Cruising the islands of Halong Bay is a must for all visitors to northern Vietnam. In central Vietnam the lovely Cham Islands (accessed from Hoi An) are a good excursion, while in the south, trips to the islands off Nha Trang and around Phu Quoc are recommended. It's now possible to reach the Con Dao islands from the Mekong Delta on a fast boat connection, too.
Note many boat trips are seasonal and subject to weather conditions.

domain: travel


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domain: artistic


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We’ve almost come through the depths of Winter…the end of February is in sight and today’s wedding will definitely make you feel like Spring is just around the corner. The combination of yellow flowers and gorgeous cornflower blue Bridesmaids dresses evokes daffodils and blue skies. I promise within a few weeks we’ll all be packing away the coats and jumpers and pulling out the dresses and floaty blouses. Well, let’s keep our fingers crossed anyway…
Bride Charlotte looks amazingly chic in an unusual Jesus Peiro gown, which has pockets. I know – so useful. And that giant ballerina bun looks fabulous – Charlotte has some serious cheekbones!!
I think my favourite thing about Charlotte and Nick’s wedding is actually the font they’ve chosen for their paper goods. It’s so simple, but so very effective. The table plan, place names, jam jar labels – everything is beautifully coordinated.
The couple’s lovely day was captured by the inimitable Chris Barber Photography.


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Now showing items 1-1 of 1
ICLARM and South-south technology transfer: Philippine aquaculture technology and Indonesia Part I
Type: Journal Article
A historical account is given of the discovery of Tilapia mossambica and its culture in Indonesia and the resulting success in Java of this species in rural development programs. Consequent introduction of this species to ...

domain: library


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Jessica Simpson was left red-faced at a concert in California on Saturday (14Mar09) when she messed up the opening lyrics to two of her songs.
The singer played her final gig as the support act on Rascal Flatts' Bob Your Head Tour in Irvine at the weekend, but her last show was dogged by mishaps as she forgot the lines to Remember That and Still Don't Stop Me.
After getting the lyrics mixed up for Remember That, a track about being in an abusive relationship, she told the crowd, "Oops! I said whiskey too early! I messed up!
"I'm so embarrassed! But I'm starting over again because I really want you guys to hear the lyrics the right way."
And she nervously giggled when she got the lines wrong during Still Don't Stop Me, before saying: "I messed up again! I do this all the time!"

domain: entertainment


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The morale of the medics is already low as they have been watching and listening to the news about the deaths of medical staffs in Italy and Spain. - A member of the Association of Private Health Institution of Nepal (APHIN)
KATHMANDU, March 28: Though private hospitals in Kathmandu have set up fever clinics to test suspected COVID-19 cases as directed by the government, medics are collecting swab samples and keeping the suspected cases in isolation without wearing personal protection equipment (PPE).
Organizing a press meet, the private hospitals in Kathmandu on Thursday claimed they have established fever clinics, and isolation wards and ICU beds for the suspected cases as per the directive of the government.
But, one of the members of the Association of Private Health Institution of Nepal (APHIN) said that medics who are handling suspected COVID-19 cases do not have required protection at some hospitals.
“The hospitals have set up fever clinics as per the directive of the government. But, the hospitals barely thought about the safety of health workers,” the member said, adding that at some private hospitals medics are not provided with the PPE.
“The morale of the medics is already low as they have been watching and listening to the news about the deaths of medical staffs in Italy and Spain. Though the government has ensured to provide PPE tools within a few days, the medics are still collecting swab samples by wearing only masks and gloves,” the member said, adding that there is a shortage of even masks and gloves, and the ministry has not cooperated properly for a smooth supply of the protective gear.
In the meantime, the government has provided Rs 1 million each to nine private hospitals in the Kathmandu Valley to make necessary preparations to treat COVID-19 cases.
“As there has been an acute shortage of medical supplies, we have started producing PPE on our own,” Dr Shail Rupakheti, managing director at Star Hospital, told Republica.
Though private hospitals have set up isolation wards, they are not allowed to admit a person who has tested positive for the coronavirus. As per the directives from the government, the swab samples should be sent to the Teku-based National Public Health laboratory for coronavirus tests. And if the cases test positive, the patients should be referred to government-recommended four hospitals – Teku, Patan Hospital, APF Hospital and Kanti Children's Hospital.
Likewise, Hemraj Dahal, general secretary of APHIN, said that private hospitals are ready to tackle the situation. “The institute has already requested its member health institutions to provide proper health services to the suspected cases of coronavirus,” Dahal said, adding that the rumors that private hospitals are not checking COVID-19 suspects are not true.
A few days ago, the government had directed hospitals with 50 beds or more to suspend non-urgent health checkups until April 12 to get prepared for testing suspected cases of coronavirus.

domain: news


Headed Off-Road? Don’t Be Afraid To Go Diesel!
As diesel-powered pickup trucks became more and more refined, the public’s demand for them prompted The Big Three to offer compression ignition in more configurations. Fast-forward 20 years later and ¾-ton and 1-ton diesel trucks are everywhere—and can be had in countless versions of each manufacturer’s trucks. Over the course of the last decade in particular, off-road packages have spread to these heavy-duty platforms, which have been hot sellers for Detroit truck makers. And it’s no surprise that many buyers frequently opt for the torque-monster diesel option when ordering them.
By combining the low-rpm torque turned out by a diesel with an electronic locking rear differential and the right amount of gear reduction, you can crawl up just about any obstacle in your path. It's no wonder why options like Ford’s Super Duty Tremor package, GM’s HD AT4 (GMC) and ZR2 (Chevrolet) packages and Ram’s 2500 Rebel carry such high appeal for would-be off-roaders. After all, once they hop back on the pavement they can put those gargantuan towing and payload capacities back to work—all while achieving respectable fuel economy.
This time, we’re spotlighting the latest diesel-propelled, backcountry-prepped heavy-duties on the market.
Ford’s Tremor Off-Road Package: Go Anywhere, Tow Anything
Many believe Ford’s Tremor off-road package for the Super Duty was designed to best Ram’s Power Wagon, a vehicle that’s not available with diesel propulsion. It comes with 35-inch all-terrain tires (LT285/75R18) mounted on 18-inch, low-gloss aluminum wheels, boasts 2-inches of lift up front, 10.8-inches of ground clearance, an electronic locking rear differential, a limited slip front diff and a 3.55:1 axle ratio. An off-road-intended front and rear suspension consists of a 1.7-inch twin-tube damper present at each corner and skid plates to help protect the transfer case and fuel tank. The Tremor package is available in conjunction with Ford’s high output 500 hp, 1,200 lb-ft 6.7L Power Stroke diesel V8. F-250 versions can tow 22,000 pounds and F-350 spec’d models are rated for 27,000 pounds (gooseneck).
The Budget-Friendly, XL Trim Off-Road Package
Surprisingly, Ford’s bare bones Super Duty trim, the XL, can be had with its own off-road package—and it provides relatively high bang for the buck. The XL Off-road package entails 33-inch (LT285/70R17) all-terrains affixed to 17-inch painted steel wheels, fuel tank and transfer case skid plates similar to what is employed in the Tremor package and also includes the electronic locking rear differential. Also like the Tremor option, there are water fording vent tubes in place should you encounter water on your off-road excursions. For a $12,495 upcharge (which may seem hard to stomach for a budget-oriented XL buyer) the highly sought after, high output 6.7L Power Stroke can be had under the hood.
Building On the AT4—The GMC Sierra 2500 HD ATX4
To match Ford’s Tremor package, GM created a beastly, comparable package of its own: the GMC Sierra HD AT4 and now the AT4X. Packing a 1.5-inch, factory-installed lift, boasting 11.6-inches of ground clearance and rocking a rear electronic locking differential, AT4X builds on the AT4 package. Thirty-five-inch diameter mud terrains, sitting on your choice 18-inch aluminum wheels with high-gloss black accents or 18-inch gloss-black aluminum wheels with laser etching, are along for the ride. For both exceptional off-road performance as well as on-road comfort, a Multimatic DSSV spool-valve damper exists at each corner. Equipped with the latest generation 6.6L Duramax—the V8 diesel that turns out 470 hp and 975 lb-ft of torque—max towing checks in at a stout 18,500 pounds.
Building On The AT4X—The GMC Sierra 2500 HD AT4X AEV Edition
AEV stands for American Expedition Vehicles—a world-renowned OEM supplier of aftermarket products for vehicles designed for recreational driving and overlanding adventures. In partnering with GMC, the ‘24 Sierra HD AT4X AEV Edition delivers 11.8-inches of ground clearance, better approach and departure angles than AT4, stamped steel skid plates throughout the underbody and powder coated bumpers (with integrated, cast-in recovery points and provisions to add a winch). The AEV Edition also includes exclusive, racing-inspired, 18-inch Salta wheels. Max towing for the rugged GMC Sierra HD AT4X AEV Edition checks in at 18,400 pounds.
Chevrolet Silverado 1500 ZR2: Off-Road Agility & 30-MPG
A fuel-sipping half-ton that can hold its own off the beaten path? Count us in! For 2024, GM added the 3.0L Duramax inline-six diesel engine as an option on the Chevrolet Silverado 1500 ZR2. In other trims with the 3.0L Duramax, seeing 30-mpg on the highway is not unheard of. The ZR2 package boasts front and rear electronic locking differentials, a 2-speed transfer case with “Terrain” mode, 33-inch mud terrain tires mounted on 18-inch aluminum wheels and a Multimatic DSSV spool-valve damper at each corner. Sizeable aluminum skid plates protect the truck’s underbody and an exclusive, cut steel front bumper provides for an impressive, 33.5-degree approach angle.
Ram 2500 Rebel—Not A Power Wagon
Although it may share some of the limelight with the Power Wagon, the Ram 2500 Rebel is anything but. For starters, it’s available with the 6.7L Cummins (the Power Wagon is not), the 370 hp, 850 lb-ft of torque diesel being the option you get (not the 1,075 lb-ft H.O. version offered in 3500’s). Unlike the Power Wagon, the Rebel package gives you stiffer coil springs for towing, but also no front sway bar disconnect or front locker (it does use the electronic rear lock, however). Simply put, it’s built more for work than the Power Wagon. Still, the Rebel 2500 package boasts a competitive 11.1-inches of ground clearance, 33-inch all terrain tires on 20-inch black diamond cut aluminum wheels (with 18-inch wheels also available) and gas-charged, monotube Bilstein shocks with a 5-link rear coil suspension for a smooth ride whether you’re navigating trails or are out on the open road.
Rugged, Off-Road-Friendly Parts, Right From The Factory
With nearly all of these options, you’re given the kind of burly, large ring gear axles that would be the envy of most off-roaders right from the factory (think of GM and Ram’s 11.5-inch AAM axles and Ford’s Dana M275). Of course, all of today’s ¾-ton and bigger trucks are based on fully boxed frames made from high-strength steel as well, which means frame flex is a non-issue off-road and certainly not a problem when the truck is put to work on the pavement. And then there are the heavy-duty, diesel-specific transmissions each truck is gifted with, namely the 10R140 TorqShift in Ford’s Super Duty and the Allison 10L1000 in GM’s HD’s.
Work Trucks, With A Twist
At the end of the day, these trucks aren’t full-blown trail rigs, they’re pickup trucks. This is why they retain their heavy-duty DNA (frames, suspension and powertrain). But they do exhibit a valid attempt by The Big Three to give you the best of both worlds: a vehicle that can venture off-road without getting in over its head, but that can also hook on to a 15,000-pound trailer and pull it from here to Alabama. And speaking of towing, the latest driver-assist technology available from Ford and GM is top-tier. Ford’s Pro Trailer Backup Assist, Trailer Navigation assist and Smart Hitch system help make its trucks the kings of the segment. And GM’s Surround Vision and Bed View, Transparent Trailer and Trailer Side Blind Zone Alert features represent some of the finest towing-aid technologies we’ve ever seen.
More From Driving Line
- Need further proof that diesel will weather the EV storm? You can take a sneak-peek at what the future of diesel looks like right here.


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The Ohio University Police Department released a crime alert Monday for sexual battery that reportedly occurred Saturday morning, between 2 a.m. and 3 a.m., at Mackinnon Hall, located on South Green.
According to the alert, the female survivor reported that a sexual battery occurred after the male suspect walked her home from Uptown. The suspect walked the student to her room, where she reported sexual intercourse without her consent occurred.
The suspect is a white male with brown hair and is approximately 5’8” to 5’10” tall, according to the alert. He is of average to muscular build and was wearing a black Nike hat, a navy blue Calvin Klein t-shirt and black shorts.
OUPD asks those with pertinent information to report the information to the department at 740-593-1911.

domain: law


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Annie Reuter is a music journalist based in Nashville. After years of covering the country scene in New York City, the New Jersey native moved to Music City where she enjoys attending writers rounds and learning the stories behind her favorite songs.
Remember Sara Evans’ First No. 1 Hit?
It wasn't until her second album that the Missouri native scored her first chart-topper.
Blake Shelton Puts on Surprise Pop-Up Show at Ole Red Nashville
The singer played for more than two hours!
Brantley Gilbert’s Son Is Just Like Him, So He’s in Trouble
"He’s a baby doll, but he’s got a little bit of a temper, and he’s definitely opinionated already," the singer says.
Shania Twain Admits to Being Frequently Starstruck: ‘I Was Awkward With Madonna’
Although she's a huge star herself, Twain gets all nervous around big names...like Madonna!
Maren Morris, Little Big Town Added to 2019 Grammy Performers
The next wave of 2019 Grammy Awards performers have been revealed.
Alan Jackson Wants Fans to Pick His 2019 Tour Openers
Fans can vote for 21 acts who could potentially share the stage with him.
Kane Brown Brings Song About His Wife, ‘Good as You,’ to ‘GMA’ [Watch]
The love ballad showcases Brown's sensitive side.
Dustin Lynch’s ‘Good Girl’ Marks His First No. 1 as a Songwriter
It's a big victory for him as a songwriter.
Brad Paisley Asked Fans to Film Their Breakups for ‘Bucked Off’ Video, and the Result Is H…
We can always count on him for a great new video.
Luke Combs Is in the Studio, Recording All Your Favorite Unreleased Songs
Luke Combs is kicking off 2019 in the studio, and his fans couldn't be more excited.


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Posts for tag: gum disease
Periodontal (gum) disease can weaken gum attachment and cause bone deterioration that eventually leads to tooth loss. But its detrimental effects can also extend beyond the mouth and worsen other health problems like heart disease or diabetes.
While the relationship between gum disease and other health conditions isn't fully understood, there does seem to be a common denominator: chronic inflammation. Inflammation is a natural defense mechanism the body uses to isolate damaged or diseased tissues from healthier ones. But if the infection and inflammation become locked in constant battle, often the case with gum disease, then the now chronic inflammation can actually damage tissue.
Inflammation is also a key factor in conditions like heart disease and diabetes, as well as rheumatoid arthritis or osteoporosis. Inflammation contributes to plaque buildup in blood vessels that impedes circulation and endangers the heart. Diabetes-related inflammation can contribute to slower wound healing and blindness.
Advanced gum disease can stimulate the body's overall inflammatory response. Furthermore, the breakdown of gum tissues makes it easier for bacteria and other toxins from the mouth to enter the bloodstream and spread throughout the body to trigger further inflammation. These reactions could make it more difficult to control any inflammatory condition like diabetes or heart disease, or increase your risk for developing one.
To minimize this outcome, you should see a dentist as soon as possible if you notice reddened, swollen or bleeding gums. The sooner you begin treatment, the less impact it may have on your overall health. And because gum disease can be hard to notice in its early stages, be sure you visit the dentist regularly for cleanings and checkups.
The most important thing you can do, though, is to try to prevent gum disease from occurring in the first place. You can do this by brushing twice and flossing once every day to keep dental plaque, the main trigger for gum disease, from accumulating on tooth surfaces.
Guarding against gum disease will certainly help you maintain healthy teeth and gums. But it could also help protect you from—or lessen the severity of—other serious health conditions.
If you would like more information on preventing and treating gum disease, please contact us or schedule an appointment for a consultation. You can also learn more about this topic by reading the Dear Doctor magazine article “Good Oral Health Leads to Better Health Overall.”
If you're over 30 your chances for developing periodontal (gum) disease are better than half. And it's not a minor matter—untreated gum disease can lead not only to tooth loss, but to an increased risk of cardiovascular disease and other inflammatory conditions.
Fortunately, we have effective ways to treat gum disease, even in advanced stages. But the best approach by far in avoiding a devastating outcome for your teeth is to prevent gum disease from developing in the first place.
It helps first to know how gum disease begins. The most common cause is dental plaque, a thin biofilm of food particles on tooth surfaces that harbors the bacteria that triggers the disease. If you keep your teeth clean of built-up plaque and tartar (calcified plaque) with daily brushing and flossing and regular dental cleanings, you'll minimize the growth of disease-causing bacteria.
If you don't practice effective oral hygiene, however, within a few days you could develop an initial infection called gingivitis. This form affects the outermost layers of the gums and triggers a defensive response from the body known as inflammation. Ordinarily, inflammation helps protect surrounding tissues from infection spread, but it can damage your gums if it becomes chronic. Your weakened gums may begin to detach from the teeth, forming voids filled with inflammation known as periodontal pockets. Eventually, the infection can spread to the supporting bone and lead to tooth loss.
In addition to a dedicated oral hygiene and dental care program, you should also be on the lookout for early signs of gingivitis. Infected gums can become red, swollen and tender to the touch. You may notice they bleed easily while brushing and flossing, or a foul taste or breath that won't go away even after brushing. And if some of your teeth feel loose or don't seem to bite together as they used to, this is a sign of advanced gum disease that deserves your dentist's immediate attention.
Practicing preventive hygiene is the best way to stop gum disease before it starts. But if gum disease does happen, catching it early can be a game-changer, both for your teeth and your smile.
If you would like more information on preventing and treating gum disease, please contact us or schedule an appointment for a consultation. You can also learn more about this topic by reading the Dear Doctor magazine article “How Gum Disease Gets Started.”
At this time of year, hearts are everywhere you look, so it's fitting that February is American Heart Month, a time to focus on cardiovascular health. Cardiovascular disease, which includes heart disease and stroke, is the number one cause of death around the world. But did you know that there's a link between the health of your heart and the health of your mouth?
People with advanced gum disease have a higher risk of having a heart attack, stroke or other cardiovascular event, but what is the connection? For one, oral bacteria found in gum disease can enter the bloodstream, where it has been found in artery-clogging plaque. In addition, untreated gum disease has been determined to worsen high blood pressure, a major contributor to heart attack, stroke and heart failure. One study reported that when gum disease was treated, high blood pressure fell by up to 13 points. But perhaps the most significant common denominator between gum disease and heart disease is inflammation, according to many researchers.
Gum disease is the most common inflammatory disease, affecting nearly 50% of US adults over 30, and 70% of those aged 65 and older, according to the U.S. Centers for Disease Control. The body's inflammation response is a key weapon in fighting infection. However, when there is chronic low-level inflammation such as occurs with untreated periodontal (gum) disease, many adverse health effects can result. In one Harvard University study, chronic inflammation was found to triple the risk of heart attack and double the risk of stroke.
The relationship between gum disease and heart disease is still not completely understood, but there's no denying that a connection exists between the two, so it's worth doing what you can to take care of both your gums and your cardiovascular health. Here are some tips:
- Eat a heart-healthy—and gum-healthy—diet. A diet low in refined carbohydrates, high in fiber, vitamins C and D, antioxidants and Omega-3s has been shown to lower inflammation, benefitting your gums and your heart.
- Quit smoking. Using tobacco in any form is a risk factor for developing both gum disease and heart disease.
- Take care of your oral health. Gum disease can often be prevented—and reversed if caught early—simply with good oral hygiene, so be diligent about brushing your teeth twice a day and flossing once a day.
- Come in for regular cleanings and checkups. Regular cleanings can help keep your gums healthy, and an examination can determine if you have gum disease. Be sure to tell us about any medical conditions or medications.
As you think about what you can do to take care of your heart health and overall health, don't forget your gums. If you have questions about how to improve your oral health, call us or schedule a consultation. You can learn more in the Dear Doctor magazine articles “Good Oral Health Leads to Better Health Overall” and “Carbohydrates Linked to Gum Disease.”
Periodontal (gum) disease causes more than simple gum swelling—this bacterial infection can harm and destroy your teeth’s supporting structures, including the bone. Its aggressiveness sometimes requires equally aggressive treatment.
Gum disease usually begins with dental plaque, a thin film of bacteria and food particles on tooth and gum surfaces. Without proper oral hygiene plaque builds up with large populations of bacteria that can trigger an infection.
The growth of this disease is often “silent,” meaning it may initially show no symptoms. If it does, it will normally be reddened, swollen and/or bleeding gums, and sometimes pain. A loose tooth is often a late sign the disease has severely damaged the gum ligaments and supporting bone, making tooth loss a distinct possibility.
If you’re diagnosed with gum disease, there is one primary treatment strategy—remove all detected plaque and calculus (tartar) from tooth and gum surfaces. This can take several sessions because as the gums begin responding to treatment and are less inflamed, more plaque and calculus may be discovered.
Plaque removal can involve various techniques depending on the depth of the infection within the gums. For surfaces above or just below the gum line, we often use a technique called scaling: manually removing plaque and calculus with specialized instruments called scalers. If the infection has progressed well below the gum line we may also use root planing, a technique for “shaving” plaque from root surfaces.
Once infection reaches these deeper levels it’s often difficult to access. Getting to it may require a surgical procedure known as flap surgery. We make incisions in the gums to form what looks like the flap of an envelope. By retracting this “flap” we can then access the root area of the tooth. After thoroughly cleansing the area of infection, we can do regenerative procedures to regain lost attachment. Then we suture the flap of gum tissue back into place.
Whatever its stage of development, it’s important to begin treatment of gum disease as soon as it’s detected. The earlier we can arrest its spread, the less likely we’ll need to employ these more invasive procedures. If you see any signs of gum disease as mentioned before, contact us as soon as possible for a full examination.
If you would like more information on preventing and treating gum disease, please contact us or schedule an appointment for a consultation. You can also learn more about this topic by reading the Dear Doctor magazine article “Treating Difficult Areas of Periodontal Disease.”
It’s been a long road back to oral health for you after periodontal (gum) disease. But after several plaque removal sessions and perhaps even surgical procedures to address deep infection, your gums have regained their healthy pink appearance.
But now you must face a hard reality: because you’ve had gum disease you’ll need to be extra vigilant with your oral hygiene to avoid another round with this destructive disease. But don’t worry—you won’t have to fight your prevention battle alone. We’ll continue to provide you care that reduces your risk of re-infection. We call that care periodontal maintenance (PM).
The heart of PM care involves regular dental visits for monitoring, cleanings and treatment when necessary. While most patients may visit their dentist at least twice a year, as a previous gum disease patient we may advise more frequent visits, especially if you’ve just finished periodontal treatment. Depending on the extent of your disease, we may begin with a visit every other week or once every two to three months. If your mouth continues to be disease-free we may suggest increasing the time between visits.
During your visit we’ll carefully examine your mouth, as well as screen you for any signs of potential oral cancer. We’re looking for both signs of re-infection or new issues with your teeth and gums. We’ll also assess the effectiveness of your oral hygiene efforts and advise you on ways you can improve.
If we find any signs of disease, we’ll then formulate a treatment plan to effectively deal with it. With frequent visits we have a better chance of discovering re-infection early—and the earlier the better to minimize any further damage. We may also need to take steps to make future PM care easier. This could include gum surgery to alter the tissues around certain teeth for easier access for examination and cleaning.
Our main focus with PM care is to look ahead: what can we do now to prevent a future bout of gum disease or at least lessen its effect? With continued monitoring and care we can drastically reduce your risk for further damage from this destructive disease.
If you would like more information on post-gum disease maintenance, please contact us or schedule an appointment for a consultation. You can also learn more about this topic by reading the Dear Doctor magazine article “Periodontal Cleanings.”

domain: medical


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Charles W. Cushman Photograph Collection
Indiana University Archives / Digital Library Program
Seeing the Color of America: Digitizing the Charles Cushman Collection
The Indiana University Digital Library Program proposes digitizing and offering on the World Wide Web nearly 18,000 Kodachrome slides that comprise the majority of the lifework of Charles Weever Cushman (1896-1972), a remarkable amateur photographer. The project will accomplish two goals: first, it will preserve and digitize an astonishing collection of vernacular color photography from a time when most images were black and white; and second, the project will provide a model for building a database from which to create a finding aid. Smaller museums, historical societies, and public libraries that may own similar collections of unsorted, uncataloged materials-and have no expertise in creating electronic systems to organize them-will be able to refer to the Cushman Project model for assistance in creating a database that can be used to generate Encoded Archival Description (EAD) finding aids.
For more than fifty years, from 1917 through 1969, Mr. Cushman photographed an amazing cross section of American life. From Indiana farmlands to New York City street scenes, from the mansions of the best-known Chicago figures to the storefronts of modest shopkeepers, Mr. Cushman observed American life with a keen eye and captured it with startling immediacy in Kodachrome. His work is skillfully composed and socially revealing. Indeed, much of Cushman's subject matter parallels that documented by the Farm Security Administration (FSA), which is now famous for its images of Depression-era farm families. Mr. Cushman's interest in poverty, industry, urban life and other facets of the American social and economic landscape is evidenced throughout his work: his photographs demonstrate a sustained interest in themes traditionally associated with the FSA and other social documentary photography. And, because Mr. Cushman was a pioneer in the use of Kodachrome (beginning to use the film only two years after it was introduced to the market in 1936), Indiana University's Cushman Collection is probably the most extensive color record of civilian life during the years of World War II.
Mr. Cushman bequeathed his vast collection to Indiana University in 1972. The slides, neatly packed and labeled, remained in the suitcases in which they were delivered until a university archivist discovered them in late 1999. Although Mr. Cushman's earliest work is black and white, the Indiana University digital project will focus on the color slides. Digitizing them and presenting them on the World Wide Web will make these valuable images available to a national audience of social historians, documentarians, historic preservationists, and the general public.
To provide access to the collection, Indiana University Digital Library team will create a relational database that will be used to generate an (EAD) finding aid, permitting users to search the collection by location, date, and keywords within the captions that Mr. Cushman wrote for each photograph. The finding aid for the Cushman collection will be enhanced with the addition of subject terms from the Library of Congress's Thesaurus for Graphic Materials. Our goal is to streamline the workflow for creating the EAD finding aid by using a database for entry of the various sources of data which will eventually go into the finding aid. We will make this database model available to other institutions to adapt to their own EAD applications.
Indiana University has substantial experience in digitization, having received a National Leadership Grant in 1998 to digitize the university's multimedia materials pertaining to master songwriter Hoagy Carmichael. The collection of Cushman photographs, however, provides a groundbreaking opportunity to research and pilot-test methods of color restoration and to build a database from scratch. Additionally, the sheer size, age, and quality of the collection offers an experienced digital library team the opportunity to advance the knowledge of preserving Kodachrome slides and to offer recommendations and standards for their digitization.
Think of the photographic images you've seen of American life in the 1940s. Black and white photos of farmhands and gritty industrial sites. Intimate character studies of crinkly-eyed veterans. Children splashing in water on a hot summer day.
Now imagine these images infused with color: rich, vibrant, and concentrated. Purple chairs and dusty red tractors. Steel blue work shirts and green shadows. Our collective memory of the middle of the twentieth century is formed primarily by black and white images. To view color images of this period is both startling and thrilling.
Indiana University recently discovered a collection of such images, all carefully documented but hidden in the Indiana University Archives for the past 23 years. Few people even knew of the collection's existence until late-fall 1999, when a university archivist opened the suitcases in which the photographs were stored. Revealing far more than America in the 1940s, the 18,000 Kodachrome photographs document the keen observations of a single photographer from1938 to 1969. Photographed by Indiana University alumnus Charles Cushman, the images provide IU an exceptional opportunity to preserve what is probably the most extensive color record of civilian life during the years of World War II in existence. "This is the kind of thing historians dream about," writes a senior fellow at the Stanford Humanities Center and professor of fine arts at Indiana University. Ten representative images are attached to this document, and an additional selection is digitized on the World Wide Web.
The Charles Cushman collection mirrors the tradition of significant amateur or modest commercial photographers who contribute to the canon of serious photography. Jacob Riis's record of tenement life in New York's slums became the very foundation of social documentary photography. Other examples of important contributions of vernacular photography include Charles Van Schaick's glass plate negatives of the town of Black River Falls, Wisconsin, from 1890 to 1910 (the photos used in Michael Lesy's Wisconsin Death Trip, 1973) and Arnold Genthe's pictorialist efforts in San Francisco's Chinatown that remain the principal visual record of that community before the 1906 earthquake (Genthe, 1984).
The collection provides a tremendous contribution to the resources available for a variety of academic and popular interests. Scholars' use of photographs by Lewis Hine, the Farm Security Administration, and other documenters have shown the invaluable contribution the intentional or accidental visual record has made to the study of disciplines including social, economic, and architectural history.
Charles W. Cushman, who graduated from Indiana University in 1917, bequeathed to the university some of his photographic equipment, his notebooks, and his entire collection of photographs, shot between 1917 and 1969. Upon Mr. Cushman's death in 1972, most of his photographs were sent to the University Archives and placed in storage. Mr. Cushman's widow, Elizabeth, donated to the University in 1989 additional photographic equipment and some photographs shot in the late 1960s. The Indiana University Foundation gave them to the School of Journalism, where they remained until fall 1999, when they were reunited with the rest of the collection at the University Archives.
The earliest photographs in the collection consist of approximately 1,400 black-and-white photographs that Mr. Cushman stored in albums. However, the most startling and significant aspect of his work relates to the photographs he began shooting in 1938, two years after the introduction of Kodachrome (Wilhelm, 1993, 20). Between 1938 and 1969 Mr. Cushman shot nearly 18,000 Kodachrome slides, documenting his travels throughout the United States and Mexico and, to some extent, countries in the Middle East and Europe. His legacy is a remarkable photographic document of American social history in the twentieth century. Where other works of this nature and caliber each focus on one community during a narrow period, Charles Cushman's slides cover thirty years, in color, including a time when most photographers were working in black and white. Although the black and white photographs are of high quality, the most significant portion of the collection is the color slides, due to the size of the collection, the rarity of early color, and the urgency to preserve these images. Most have suffered no damage. However, the earliest slides, shot in 1938 and 1939, have color-shifted to magenta. We will explore ways to color-correct these slides during digitization.
The combined virtues of this collection-subject, scope, format, documentation, preservation, and quality-make it a truly unique collection worthy of attention and presentation to scholarly and general audiences.
Subject: The collection represents the broad issues of social and economic history, including urban life, recreation, labor, transportation, and counter culture, as well as materials that will be of interest to architectural historians. Additionally, there are a number of specific subjects, individuals, and themes that will be useful to researchers of various disciplines, including a large number of botanical photographs and the Ringling Brothers Circus.
While he had clear areas of interest, Mr. Cushman's photography seems to have been driven primarily by his curiosity. Across a thirty-year period, his subjects are extensive and diverse. For instance, he photographed buildings he found interesting-sometimes with residents, other times without-and included in his caption information exact addresses and often descriptions of the buildings as well as the ethnicity of its occupants. He lived in Chicago for many years, and his photographs of buildings range from the mansions of the best known Chicago figures to the slums of Maxwell Street. He did the same in New Orleans, the Lower East Side of Manhattan, San Francisco, Los Angeles, Mobile, Atlanta, Nashville, St. Louis, other cities, river towns, and rural areas. Some of the situations are historically valuable because of their insight to everyday life. Others record notable specific events, such as the aftermath of a 1950 collision of a street car with a gasoline tanker that resulted in policy changes, construction of emergency exits, and other reforms.
Scope: Although there have been many important contributions of vernacular photography to the visual record, virtually all have focused on individual communities during a relatively narrow period of time. The Cushman Collection is significant in that it is an epic sweep of the continental United States (as well as parts of Mexico, Europe, and the Middle East) over a thirty-year period.
Format: Mr. Cushman began using Kodachrome film in 1938 and he continued to photograph with it until 1969. Thus, the collection is notable for Mr. Cushman's early adoption of Kodachrome, which he never abandoned for lesser-quality color slide film. According to Wilhelm (1993), "Kodachrome film is still the only transparency film that remains totally free of yellowish stain formation during long-term storage" (21). Mr. Cushman photographed in color at a time when most professionals and amateurs were shooting in black and white. It is probable that many of his photographs are the only known record of certain subjects.
Documentation: Mr. Cushman made extremely meticulous notes as to location, caption, exposure, frame sequence, and other data. His notebooks are included with his slides. He also recorded captions in the notebooks and on the cardboard slide mounts. His captions range from identification of the city or a person's name to more elaborate descriptions such as, "Two Negro women read the mail near Mansanto chemical plant at Anniston, Ala" or "Monday wash in a dust storm in Mexican section at South El Paso, Texas. Dec. 31, 1951." There is a number, date, and location for each slide.
Preservation: Mr. Cushman always used the highest quality materials: a Contax camera with Zeiss lenses and Kodachrome film, the most archival (in dark storage) color transparency film that has ever existed. These images have been kept in dark storage for nearly their entire life.
Quality: We do not know what sort of photographic education Mr. Cushman received. However, there is an artfulness to his photographic eye that innocently references a number of cultivated photographers and photographic traditions. Mr. Cushman's wife described him as a "shrewd individual and a sharp evaluator of people." This shrewdness shows in his pictures, both in his selection of subject and in his compositional inclusion of context. He maintained and developed his own unique visual sensibilities, but his images bear different degrees of formal resemblance to those by such noted photographers as Robert Frank, Wright Morris, William Albert Allard, Minor White, Paul Strand, Helen Levitt, David Plowden, Walter Rosenblum, Walker Evans, and the photographers of the Farm Security Administration.
Perhaps the strongest comparison to be made, though, is to the French photographer, Eugene Atget. Like Atget, Cushman worked in obscurity, discovered by the larger world only after his death. Despite their moods of objective anonymity, both men's images deeply convey lyrical and formal senses of time and place. Through different stylistic leanings they were drawn to the same sense of the ordinary in their subject matter: street scenes, for example, or buildings marked for demolition, or public meeting places. Cushman's combination of artistry and imagery reflects that of Atget at the very root of its character. A selection of Atget's images can be seen at the George Eastman House Archive: http://www.geh.org/fm/atget/htmlsrc/
It is difficult to anticipate the demand for the Cushman slides in digital form, as they have been in storage and unviewed for 30 years. However, virtually every scholar and photographer to whom we have shown a selection of Mr. Cushman's slides has been enthusiastic about their relevance to teaching and scholarship in any number of disciplines, including, but not restricted to, the history of photography, the cultural history of the United States, the history of vernacular architecture, and the history of industrial architecture. Mr. Cushman's photographs have further interest because they document in color people, places, and events that have heretofore been seen only or primarily in black and white.
There are collections available on the Web that are similar to the Cushman collection in certain components. However, none has all of the features of this unique collection. The three most closely related public collections are all part of the Library of Congress' American Memory site:
These three online collections share similarities with the Cushman Collection, but they are also different. The Detroit Publishing Company collection offers the same epic scope of subject matter. However, the Detroit Publishing Company photographs are commercial and thus they depict an Americana that is idealized and often staged. This collection also represents the work-for-hire of a staff of photographers, including the well-known landscape photographer, William Henry Jackson.
We do not know the origins of it, but Charles Cushman had the eye of a concerned social documentary photographer, in the tradition of the Photo League and the Farm Security Administration (FSA). Much of Cushman's subject matter parallels that of the FSA. His interest in poverty, industry, the urban environment, and other facets of the American social and economic landscape are recurrent throughout his work. His photographs show an interest in and concern for poverty, social organization, manual and mechanized labor, substandard housing, and other themes traditionally associated with the FSA and other social documentary photography.
Again, there are several important differences. Although they were created for governmental rather than commercial purposes, the FSA photos were still taken by professional photographers working on assignments with certain editorial goals. Most of the color photographs in the FSA-OWI collection are from the Office of War Information portion of the collection and concern the war and the war effort, as do virtually all color photographs from this time. While war-effort photographs are a part of the Cushman collection, of greater significance is his extensive color record of civilian life during World War II, which may be the largest in existence.
Among significant vernacular documentary photographers, perhaps the most similar online collection is that of Theodor Horydczak, an Eastern European immigrant whose life and work paralleled Cushman's in many respects. They were approximately the same age (Horydczak c.1890-1971, Cushman 1896-1972); both amateur photographers who worked alone and out of a personal interest. They shot similar subject matter and left behind roughly the same number of photographs. However, where Horydczak worked primarily in a pictorial style, Cushman had a more natural documentary approach, stylistically more related to Robert Frank, Paul Strand, or William Albert Allard. While both photographers seem to have been concerned with the subject matter of their photographs, Cushman also took meticulous notes, recording routinely place, date, exposure, ethnicity of subjects, and often names, times, and relevant personal histories.
The project will provide a model for owners of other visual resource collections to assist them in the creation of electronic finding aids. The Cushman collection is unusual in its level of documentation, with information recorded in notebooks and on the slide mounts themselves. However, no true finding aid exists. For the project we will be creating an electronic finding aid in Encoded Archival Description (EAD) format. The EAD standard has not been widely adopted by the visual resources community, and in the process of applying the standard in this project, we will encode dates, geographic and personal names, and subject headings, that will allow for very sophisticated searching of this large collection. This project will demonstrate how EAD can be applied to an archival slide collection and answer questions about its suitability for this purpose.
Relatively speaking, the photographic and historical fields are still in the early stages of recognizing the importance of amateur and vernacular photography. While such projects as Michael Lesy's Wisconsin Death Trip (New York, Pantheon Books, 1973) and Genthe's Photographs of San Francisco's Old Chinatown (New York : Dover Publications, 1984) have opened doors and laid foundation, this is an area of study still in its infancy. Putting this collection on-line will help the role of amateur photography develop and mature in crucial ways and make a fresh and extremely important contribution to the canon of photography.
The Cushman Collection may comprise the largest collection of Kodachrome slides spanning 1938-1969 in the world. Certainly, it will be the largest non-commercial Kodachrome collection on the Web covering these years. In a listserv posting, Stephen Miller of Duke University stated that the recently-launched William Gedney Web site "represents possibly the largest catalog of an individual photographer's life and work available on the Internet today" (January 24, 2000, firstname.lastname@example.org"). The Gedney site (http://scriptorium.lib.duke.edu/gedney/) includes 9,400 photographs, while the Cushman site will include nearly 18,000 photographs. In addition to the size of the collection, it is notable for the breadth of its subject matter and the quality of the photographer's work.
The project will allow Indiana University to explore issues related to the digital preservation of Kodachrome slides. While Kodachrome is the most stable format for color slides when stored properly, it deteriorates when projected (Wilhelm, 1993, 3). Our goal is to digitize the slides, then place them in cold storage. We have found no other project that provides archival treatment of Kodachrome. The collection is also notable for the percentage of slides that remain in their original cardboard binders. Less than 1,200 of the nearly 18,000 slides are in glass mounts; the rest remain in their cardboard binders and most of them are in excellent condition.
This project's presence on the Web will likely introduce to a new audience the importance of vernacular photography and serve as a prototype for other institutions, particularly local historical societies and other smaller institutions to investigate, evaluate, articulate, and present amateur photographic collections relevant to their missions and holdings.
The project team will design and implement a database for recording metadata of the Cushman collection. This same database model will be used to document the entire photograph collection of the Indiana University Archives which consists of over 250,000 photographs. As with the database for the Cushman project, the resulting database will be converted to EAD format and made searchable over the Web. Use of a relational database to improve the ease of entry and editing of EAD metadata is relatively unique, and information on the database model, as well as the scripts used for generation of EAD from the database, will be made available via the project Web site. Potential users will be notified when this information is available via listservs and appropriate newsletters. The project will also contribute knowledge about the application of EAD to visual resources. There are questions in the museum community about the ability of EAD to offer users the desired level of specificity they require when searching collections of visual resources. Our usability testing will specifically address these issues. We will disseminate the results of this work through conference presentations and publications.
The Cushman Project will accomplish two goals. First, it will preserve and digitize nearly 18,000 Kodachrome slides, shot between 1938 and 1969. The slides shot in 1938 and early 1939 have experienced color deterioration, due to the processing that Kodak used at the time. The processing was later changed to prevent this occurrence. We will pilot test methods of color restoration here at IU in preparation for outsourcing the digitization of the slides. Second, the project will streamline the workflow for creating the EAD finding aid by using a database for entry of the various sources of data which will eventually go into the finding aid: Cushman's notebooks, Cushman's notations on the slide mounts, and subject terms assigned by catalogers. This database model will be made available to other institutions to adapt to their own EAD applications.
The Cushman Project is a collaboration of two units within Indiana University, with overall direction provided by the Digital Library Program, and contributions from the IU School of Fine Arts. The project will be jointly managed by staff from the Digital Library Program and the University Archives. Kristine Brancolini, Acting Director, Digital Library Program, will serve as project director. Jon Dunn, Manager of Operations and Software Development, Digital Library Program, and Philip Bantin, University Archivist, will serve as co-project managers. Eileen Fry, Slide Librarian, School of Fine Arts, will provide preservation assistance on the project. Additional individuals responsible for specific activities are identified throughout this proposal. For a complete list of personnel, both permanent staff and temporary staff, please see budget attachments.
The slides and accompanying notebooks have been stored in boxes for the past 30 years. Most of the slide mounts are in good condition. However, some of the slides are mounted between glass and the tape holding the glass together has become detached. Prior to digitizing the slides, the glass mounted slides will be transferred to archival plastic mounts. Following digitization, all slides will be transferred to acid-free boxes. Indiana University has received funding to build an off-site library facility, which will include cold storage for film and slides. The Cushman Collection will reside in this facility when it opens (scheduled for 2002). The plans for preservation treatment of the collection will be informed by the chapter on color slide collections in Henry Wilhelm's book, The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures (1993) and Kodak's recommendations, based upon their research. The earliest slides, those dating from 1938 and 1939 have a magenta cast because of the controlled-diffusion bleach that Kodak used in its processing at that time. This is common to slides of the first several years of Kodachrome. These materials are documents of this developing process, crucial to the history of Kodachrome. However, the content of the images is also important and digitization will provide a means of some color restoration without affecting the originals.
Once the notebooks have been transcribed for creation of the finding aid and digitized as page images, they will be housed in acid-free folders with the slides.
Staff: Eileen Fry, Slide Librarian, IU School of Fine Arts, will plan the preservation treatment of the slides and the notebooks, and Brad Cook, Photograph Curator, University Archives, will supervise the work. Ms. Fry created the DIDO Image Data Bank http://www.dlib.indiana.edu/collections/dido/ and has participated in the development of the VRA Core metadata standard.
Ownership and Copyright Issues: The Cushman Collection is the property of Indiana University. The University Archives has a deed of gift signed by Elizabeth Cushman, dated November 21, 1999, transferring “whatever rights he/she may own in the content of the materials” to the Trustees of Indiana University (See attachments).
Production Process: The digital conversion of the Cushman collection slides will be performed by an outside vendor. The slides will be digitized using a slide scanner or high resolution digital camera (depending on vendor selected) and written to CD-R by the vendor for delivery to Indiana University. We have investigated suitable vendors for this work and have received cost estimates from several reputable parties. Final vendor selection will occur through an RFP process according to standard university purchasing procedures.
Formats: The vendor selected for the project will be instructed to create high resolution (3000 pixels/side) 24-bit color uncompressed TIFF files from each slide (based on NARA Guidelines for Digitizing Archival Materials for Electronic Access). Please see attachments for a table of image file formats and resolutions.
In-House Production: All quality control will be performed in-house. As digital files arrive from the vendor, Digital Library Program staff will examine at least 10% of the images from each batch for basic quality parameters specified in the RFP. If problems are found, the vendor will be requested to redo the scan, or the entire batch if rejected images amount to more than 1% of the batch. JPEG thumbnail, reference, and full-screen derivative images will be created as the images are received.
In addition, in-house staff will transcribe Mr. Cushman's notebooks and the captions written on the slide mounts into a database for use in the generation of the EAD-encoded finding aid for the collection. This work will be performed by staff of the Library Electronic Text Resource Service (LETRS), a unit of the Digital Library Program.
Once the database and finding aid have been created, Digital Media and Image Center staff will digitize the pages in Mr. Cushman's notebooks, using a digital camera to retain the color of the text. Mr. Cushman used color pencils in many of the entries. The page images will be presented on the Web site, providing context and complementary information for users.
Structure of Intellectual Access: Intellectual access to the collection will be provided through a collection-level MARC record and an online finding aid. The item-level finding aid will be created in Encoded Archival Description (EAD) format, using version 1.0 of the EAD document type definition (DTD), maintained by the Library of Congress and the Society of American Archivists.
Mr. Cushman kept notebooks describing each slide in the collection, and also noted information on the slide binders themselves. Student hourly staff in the Digital Library Program will copy the information from these notebooks into a database, recording at least three data points recorded for each image: identification number, date, and caption. Then, student hourly staff in the University Archives will compare each slide with the database, first noting its existence, and then adding to the database any additional information Cushman may have written on the slide binder.
The EAD Finding Aid for the Cushman Collection will be enhanced with the addition of subject terms from the Library of Congress's Thesaurus for Graphic Materials (TGM) for topical, genre, and physical characteristics. In addition, access to geographical information will provided to the highest specificity known (country, state, region, county, city, neighborhood, street, address, etc.). Access to information on time will also be provided as specifically as possible (year, month, day, time of day, season, holiday, event, etc.).
The database will also be used during the digitization process to record structural and administrative metadata about the digital images as they are received from the imaging vendor. The EAD finding aid will also be generated from the database.
Users will be able to browse the finding aid, or search it using keywords, or by geographic or personal names, dates and subject headings. The search will retrieve entries from the finding aid, which will be linked to the digital objects.
Links from Access Aids to Digital Reproductions: Each photograph will be accessible by a Persistent Uniform Resource Locator (PURL). The PURL will point to a Web page containing the screen version of the image along with any accompanying metadata. PURLs will also be created that point directly to the thumbnail images so that these images may be incorporated into the results screen from a search of the finding aid.
The EAD-encoded finding aid will provide a link to the digital version of each item. Objects will be given SGML entity names and referenced using EAD's <dao> digital archival object element. An entity file will associate these names with the unique PURLs that point to the actual objects.
Staff: Perry Willett, Director of the Library Electronic Text Resource Services (LETRS) and Philip Bantin, University Archivist, will be responsible for the creation of the EAD-encoded finding aid, based upon transcriptions of Mr. Cushman's notebooks and captions written on slide mounts (when the notebooks are incomplete).
Jackie Byrd, Cataloger and Metadata Specialist, created the descriptive metadata plans for all Digital Library Program projects to date. She is using the Library of Congress's Thesaurus for Graphic Materials (TGM) to enhance the existing finding aid to provide improved subject access to Indiana University's Hohenberger collection. Digitizing the historic Hoehenberger photographs is an ongoing project of the IU Digital Library Program.
Nergiz Cagiltay, Digital Library Programmer, will provide database assistance and programming for the project.
Ongoing World Wide Web access for the digitized collection will be provided by Indiana University. All images and structural/administrative metadata will be stored in the Digital Library Program's IBM Digital Library system, running on an existing IBM RS/6000 server. This server was granted to IU by IBM in 1997 via IBM's Shared University Research (SUR) program. Loading of images and delivery of Web access to images will be provided via Java-based software tools already developed by Indiana University with the support of a previous IMLS National Leadership Grant for the Hoagy Carmichael Collection. The EAD item-level finding aid for the collection will be stored and made available using OpenText version 5 software, also presently installed at IU.
As described earlier, each item will be assigned a PURL in order to provide a persistent name for that item, masking the actual URLs used to address the items on the IBM DL server. These PURLs will be supported by a local PURL resolver at Indiana University.
A collection-level MARC record for the entire collection will be provided, containing a PURL in the 856 field which resolves to the address of the top-level HTML page for the collection. This record will be contributed to OCLC.
Indiana University has experience in mounting large digital collections on the WWW and providing sustained support for network access to these collections. For Internet access to those collections, please visit the Collections home page for the IU Digital Library Program http://www.dlib.indiana.edu/collections/. The most similar project undertaken by the IU Digital Library Program is The Frank M. Hohenberger Photograph Collection http://www.dlib.indiana.edu/collections/lilly/hohenberger/index.html. This Web site includes the complete finding aid for approximately 8,500 photographs housed in Indiana University's Lilly Library and a selection of 500 digital images. The Hohenberger collection successfully uses a technical plan very similar to that proposed for the Cushman project, with images stored in IBM Digital Library accompanied by an EAD finding aid. We will be adding to the collection of digital images and enhancing the Hohenberger Web site throughout the coming year. The goal is to digitize all 8,500 photographs. Another related project is The Hoagy Carmichael Collection http://www.dlib.indiana.edu/collections/hoagy/index.html, which presents the university's multimedia collections related to the life and work of songwriter Hoagy Carmichael. This IMLS-funded project includes the digitization of approximately 1,000 photographs, color and black and white. To browse these photographs, select the "Browse" option on the home page, then click on "Photographs." A third related IU digital initiative is the DIDO Image Bank http://www.dlib.indiana.edu/collections/dido/, dedicated to the storage of low resolution (72 dpi) images from the Fine Arts Slide Library collection of over 320,000 images. Encompassing the full breadth of art historical periods and media, the Image Bank contains some 11,000 images from the collection.
Most of the staff who worked on the Hohenberger project and the technical aspects of the Carmichael project will be responsible for the Cushman Collection. Perry Willett is General Editor of the Victorian Women Writers Project, a collection of SGML-encoded texts created and mounted on the WWW at Indiana University (http://www.indiana.edu/~letrs/vwwp/) He created the EAD-encoded finding aids for the Hohenberger and the Carmichael projects. John Walsh, Electronic Text Specialist, will supervise creation of the database that will be used to generate the EAD-encoded finding aid. He will also do the PERL programming for the finding aid. Jon Dunn is responsible for the development and operation of Variations, a collection of CD-quality digital audio recordings accessible on the network in the Indiana University School of Music Library http://www.music.indiana.edu/variations/. He is managing the technical aspects of the Hohenberger and Carmichael projects and will perform the same function for the Cushman Project. Rich Remsberg, Visual Resources Specialist, will oversee the quality control of the digitized images. He will establish evaluative criteria for each image, train student staff to do the work, and supervise their work. Mr. Remsberg is a documentary photographer and author, with an interest in vernacular photography.
IU recently implemented an integrated massive data storage system http://www.indiana.edu/~dssg/ based on the HPSS (High Performance Storage System) software developed by IBM and several US government laboratories http://www5.clearlake.ibm.com/ and IBM and StorageTek tape and robotic tape silo technologies. This centrally managed system is intended to provide a data storage infrastructure for the entire university that supports the storage requirements of both administrative and academic systems and users, including digital libraries. Plans are underway to provide mirroring capability between tape silos at Bloomington and Indianapolis sites for purposes of disaster recovery. We intend to use the HPSS system to store copies of archival digital image files in the Cushman collection, in addition to retaining the CD-R discs provided by the imaging vendor. Access versions of files will be stored on disk on IU Digital Library Program (DLP) servers, under management of IBM Digital Library server software presently installed at IU, and will be routinely backed up onto tape.
Our most reliable means of digital preservation has been a combination of routine content copying (to preserve against media decay), and periodic content conversion, as part of the equipment or application upgrade cycle (to preserve against hardware or software obsolescence). These practices will be routinely employed for digital content in the Cushman collection.
The Digital Library Program (DLP) at Indiana University is supported with lifecycle equipment replacement funds of $250,000/year dedicated to DL servers, storage systems and related software. These funds are provided to the DLP as part of IU's Information Technology Strategic Plan and will be used to maintain and upgrade the storage systems used for this project.
Creation of the Charles W. Cushman Web site will be coordinated by the Digital Media and Image Center (DMIC) staff, working with IU's Usability Lab. The DMIC staff has experience working with the University's usability consulting services staff on the Hoagy Carmichael Project. The university consultant will advise the Web design team throughout the process, selecting appropriate user-centered activities to help guide design and evaluation. The consultant will guide the Web developer in planning, conducting and interpreting the results of user-centered activities. This work will involve four phases: pre-design; conceptual design and prototyping; implementation; and evaluation. The evaluation will involve work with all user groups, including post-secondary students from a variety of disciplines, scholars from a variety of disciplines, and members of the general public.
Staff: Aaron Reichert, Digital Media Specialist, will develop the Web site and coordinate the evaluation of the site. He will be working with IU's Usability Consulting Services staff. Mr. Reichert led the design effort for the Hoagy Carmichael Project and has created other Web sites for the Digital Library Program, including the Frank M. Hohenberger Photograph Collection site http://www.dlib.indiana.edu/collections/lilly/hohenberger/
In addition to the photographs, the Web site will include a biographical essay about Charles Cushman and two essays about his work. The biographical essay about Mr. Cushman will be written by the Philip Bantin, University Archivist, based upon documentation that accompanies the photographs and an interview with Elizabeth Cushman, who resides in Colorado Springs, Colorado. The other two essays will be commissioned from scholars, one of photographic history and one of American cultural history.
The Cushman Project will contribute to knowledge about visual resources-their organization, retrieval, preservation, and digitization. Cushman's meticulous documentation provides the framework for creating a database management system and a detailed finding aid as well as offering an exceptional early Kodachrome slide collection on the World Wide Web. Libraries, museums, and archives will have access to a model for creating similar resources to provide access to their own image collections.
Lesy, Michael. Wisconsin Death Trip. New York: Pantheon Books, 1973.
Genthe, Arnold. Genthe's Photographs of San Francisco's Old Chinatown. New York : Dover Publications, 1984.
Wilhelm, Henry. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Grinnell, IA.: Preservation Publishing Company, 1993.
Last updated: Tuesday, June 19, 2007 04:30:18


Prosecutors have dropped marijuana distribution charges against 76-year-old Nellie Beatrice Widener and four other people, while obtaining convictions of several others who were arrested last September as part of a drug ring in northern Baltimore County.
Mrs. Widener's grandson, Steven Widener, 27, of Freeland, agreed to proceed without trial on the prosecutor's statement of facts. Baltimore County Circuit Judge John F. Fader II found him guilty of marijuana possession and imposed a one-year suspended sentence.
Kathryn Widener, 30, received probation before judgment on a single drug possession charge.
The only defendant in the case who did not draw probation was Robert Wayne Six, 34, of the 19700 block of Graystone Road in White Hall. He was sentenced to five years in prison for conspiracy to distribute marijuana and possession of drugs for distribution.
His wife, Gail Six, 33, was given a five-year suspended sentence for possession with intent to distribute drugs and lost her job as a county school bus driver. Her route served Dulaney High School, Pot Spring Elementary School and a day-care center at Cockeysville Middle School.
The dismissal of charges against Nellie Widener had been expected after a ruling last October by Judge Fader, who said county police lacked probable cause for a wiretap at her home on York Road in Sparks.
The judge found wiretaps on two other defendants inadmissible as evidence because the man and woman discussed fishing and sex at length before there was any mention of drugs. He ruled that the police should have stopped listening long before that.
Several other defendants received suspended sentences and fines after guilty pleas on drug possession and distribution charges.
They included Gary Murray Jr., 22, of White Hall; Neil A. Weinberger, 25, of Sparks; Jerry L. Weeks, 33, of Cedar Tree Court, Cockeysville, and Dale A. Sheppard, 37, of White Hall.
Laura Fletcher, 25, with no current address, received probation before judgment on a possession of marijuana charge.
Charges were dropped against Joseph P. Walker, 40, who was staying with the Sixes when arrested; Lelona McGinnity, 25, of Stephens City, Va.; Robert Stegman, 34, of Sparks, and Anthony Coyce, 56, who had no fixed address.