Friday, May 3, 2013

US suicide rate rose sharply among middle-aged

Chart shows rates of suicide among racial groups in 1999 and

Chart shows rates of suicide among racial groups in 1999 and

FILE - During a moment of silence, Joan Olsen, left, and her daughter Emily Olsen embrace at the start of the Walk for Suicide Awareness in Kaukauna, Wis. on Saturday, Sept. 11, 2010. Joan and Emily are honoring Chris Olsen, who is Joan's husband and Emily's father. The suicide rate among middle-aged Americans climbed a startling 28 percent in the decade between 1999 and 2010, the government reported Thursday, May 2, 2013, but the rates in younger and older people did not change. (AP Photo/Post-Crescent Media, Dan Powers) MANDATORY CREDIT: POST-CRESCENT MEDIA, DAN POWERS

NEW YORK (AP) ? The suicide rate among middle-aged Americans climbed a startling 28 percent in a decade, a period that included the recession and the mortgage crisis, the government reported Thursday.

The trend was most pronounced among white men and women in that age group. Their suicide rate jumped 40 percent between 1999 and 2010.

But the rates in younger and older people held steady. And there was little change among middle-aged blacks, Hispanics and most other racial and ethnic groups, the report from the Centers for Disease Control and Prevention found.

Why did so many middle-aged whites ? that is, those who are 35 to 64 years old ? take their own lives?

One theory suggests the recession caused more emotional trauma in whites, who tend not to have the same kind of church support and extended families that blacks and Hispanics do.

The economy was in recession from the end of 2007 until mid-2009. Even well afterward, polls showed most Americans remained worried about weak hiring, a depressed housing market and other problems.

Pat Smith, violence-prevention program coordinator for the Michigan Department of Community Health, said the recession ? which hit manufacturing-heavy states particularly hard ? may have pushed already-troubled people over the brink. Being unable to find a job or settling for one with lower pay or prestige could add "that final weight to a whole chain of events," she said.

Another theory notes that white baby boomers have always had higher rates of depression and suicide, and that has held true as they've hit middle age. During the 11-year period studied, suicide went from the eighth leading cause of death among middle-aged Americans to the fourth, behind cancer, heart disease and accidents.

"Some of us think we're facing an upsurge as this generation moves into later life," said Dr. Eric Caine, a suicide researcher at the University of Rochester.

One more possible contributor is the growing sale and abuse of prescription painkillers over the past decade. Some people commit suicide by overdose. In other cases, abuse of the drugs helps put people in a frame of mind to attempt suicide by other means, said Thomas Simon, one of the authors of the CDC report, which was based on death certificates.

People ages 35 to 64 account for about 57 percent of suicides in the U.S.

The report contained surprising information about how middle-aged people kill themselves: During the period studied, hangings overtook drug overdoses in that age group, becoming the No. 2 manner of suicide. But guns remained far in the lead and were the instrument of death in nearly half of all suicides among the middle-aged in 2010.

The CDC does not collect gun ownership statistics and did not look at the relationship between suicide rates and the prevalence of firearms.

For the entire U.S. population, there were 38,350 suicides in 2010, making it the nation's 10th leading cause of death, the CDC said. The overall national suicide rate climbed from 12 suicides per 100,000 people in 1999 to 14 per 100,000 in 2010. That was a 15 percent increase.

For the middle-aged, the rate jumped from about 14 per 100,000 to nearly 18 ? a 28 percent increase. Among whites in that age group, it spiked from about 16 to 22.

Suicide prevention efforts have tended to concentrate on teenagers and the elderly, but research over the past several years has begun to focus on the middle-aged. The new CDC report is being called the first to show how the trend is playing out nationally and to look in depth at the racial and geographic breakdown.

Thirty-nine out of 50 states registered a statistically significant increase in suicide rates among the middle-aged. The West and the South had the highest rates. It's not clear why, but one factor may be cultural differences in willingness to seek help during tough times, Simon said.

Also, it may be more difficult to find counseling and mental health services in certain places, he added.

Suicides among middle-aged Native Americans and Alaska Natives climbed 65 percent, to 18.5 per 100,000. However, the overall numbers remain very small ? 171 such deaths in 2010. And changes in small numbers can look unusually dramatic.

The CDC did not break out suicides of current and former military service members, a tragedy that has been getting increased attention. But a recent Department of Veterans Affairs report concluded that suicides among veterans have been relatively stable in the past decade and that veterans have been a shrinking percentage of suicides nationally.

___

Associated Press writer Jeff Karoub in Detroit contributed to this report.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2013-05-02-Suicide%20Increase/id-acca928fa2e94afb8bb8742ffce22a3c

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PepsiCo pulls Mountain Dew ad criticized for racism

(Reuters) - PepsiCo Inc pulled an online ad for Mountain Dew on Wednesday after criticism from bloggers that the spot embraced racial stereotypes and made light of violence toward women.

The ad was developed by African-American hip-hop artist Tyler the Creator and shows a battered white woman on crutches trying to pick out her assailant from a police lineup featuring five African-American men and a goat.

As she scans the lineup, the goat threatens her: "Keep ya mouth shut," "snitches get stitches, fool" and "I'ma get outta here I'ma do you up."

The woman eventually runs out, yelling that she can't "do it" - go through with the identification.

The white police officer then takes a sip of Mountain Dew, saying, "She's just gotta do it."

"Dew It" is the soft drink's slogan.

Dr Boyce Watkins, a social commentator and author, called it "arguably the most racist commercial in history." Another blog, Daily Kos, called it "flagrantly racist" and "misogynistic."

"We apologize for this video and take full responsibility," said a PepsiCo spokeswoman in an emailed statement.

She said PepsiCo removed the ad from its online channels and that Tyler was removing it from his as well. A link could be still be found at press time.

PepsiCo did not pull an earlier commercial that showed the goat, called Felicia, attacking the woman after tasting a Mountain Dew at a restaurant. The woman was the goat's server.

(Reporting by Martinne Geller in New York; editing by Jilian Mincer and Prudence Crowther)

Source: http://news.yahoo.com/pepsico-pulls-mountain-dew-ad-criticized-racism-201334985.html

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Thursday, May 2, 2013

'White graphene' to clean up spills

A next-generation material first earmarked for use in electronics has proven itself a capable clean-up agent for polluted waters.

Boron nitride, or "white graphene", is similar to its namesake: sheets of atoms laid out like a chain-link fence.

A report in Nature Communications shows the material can preferentially soak up organic pollutants such as industrial chemicals or engine oil.

However, it is easier to clean and re-use than other such "nanomaterials".

The family of these materials includes much-touted, carbon-based members such as graphene and nanotubes, and are notable in part for their surface area-to-weight ratio.

That allows them to take up an incredible amount for their size, making them attractive for the clean-up of pollutants.

The new work suggests that a preparation of boron nitride could outperform many nanomaterials and more traditional approaches.

A team from the Institute for Frontier Materials at Deakin University in Australia and the Pierre and Marie Curie University in France started by making porous boron nitride "nanosheets" - wavy, single-atom layers of the material with holes in them.

These porous sheets, which together form a coarse white powder, vastly outperformed sheets that did not have the pores, and commercially available chunks of boron nitride that is not made up of the tiny sheets.

The porous version exhibited high "selective absorption and adsorption" - preferentially picking up organic pollutants and dyes out of water.

The powder soaked up as much as 33 times its own weight in the chemical ethylene glycol and 29 times its own weight of engine oil. Even still, the saturated powder floats on water.

The pollutants could then be driven out of the nooks and crannies of the material by heating it in a commercial furnace, or by simply igniting it - a trick that other, more established materials could only survive a few times before becoming completely clogged up.

"All these features make these porous nanosheets suitable for a wide range of applications in water purification and treatment," the authors wrote.

Francesco Stellacci of EPFL in Switzerland called the work "an excellent paper in a booming field".

"The data reported are indeed excellent and impressive," he told BBC News. "The key question is if this is the material that at the end will be used for remediation."

Prof Stellacci said that a market for such materials does not yet exist, and boron nitride's striking clean-up powers may or may not be enough to establish it as a leading contender, even among nanomaterials.

"I think that at the end it will not be performance that will determine the final material used, but more costs and scalability. I really hope that one of these materials, and maybe this one, will make it," he said.

Source: http://www.bbc.co.uk/news/science-environment-22351056#sa-ns_mchannel=rss&ns_source=PublicRSS20-sa

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PTSD research: Distinct gene activity patterns from childhood abuse

May 1, 2013 ? Abuse during childhood is different.

A study of adult civilians with PTSD (post-traumatic stress disorder) has shown that individuals with a history of childhood abuse have distinct, profound changes in gene activity patterns, compared to adults with PTSD but without a history of child abuse.

A team of researchers from Atlanta and Munich probed blood samples from 169 participants in the Grady Trauma Project, a study of more than 5000 Atlanta residents with high levels of exposure to violence, physical and sexual abuse and with high risk for civilian PTSD.

The results were published Monday, April 29 in Proceedings of the National Academy of Sciences, Early Edition.

"These are some of the most robust findings to date showing that different biological pathways may describe different subtypes of a psychiatric disorder, which appear similar at the level of symptoms but may be very different at the level of underlying biology," says Kerry Ressler, MD, PhD, professor of psychiatry and behavioral sciences at Emory University School of Medicine and Yerkes National Primate Research Center.

"As these pathways become better understood, we expect that distinctly different biological treatments would be implicated for therapy and recovery from PTSD based on the presence or absence of past child abuse."

Ressler, a Howard Hughes Medical Institute Investigator, is co-director of the Grady Trauma Project, along with co-author Bekh Bradley, PhD, assistant professor of psychiatry and behavioral sciences at Emory and director of the Trauma Recovery Program at the Atlanta Veterans Affairs Medical Center.

The first author of the paper is Divya Mehta, PhD, a postdoctoral fellow in Munich. The senior author is Elisabeth Binder, MD, PhD, associate professor of psychiatry and behavioral sciences at Emory and group leader at the Max-Planck Institute of Psychiatry in Munich, Germany.

Mehta and her colleagues examined changes in the patterns of which genes were turned on and off in blood cells from patients. They also looked at patterns of methylation, a DNA modification on top of the four letters of the genetic code that causes genes to be 'silenced' or made inactive.

Study participants were divided into three groups: people who experienced trauma without developing PTSD, people with PTSD who were exposed to child abuse, and people with PTSD who were not exposed to child abuse.

The researchers were surprised to find that although hundreds of genes had significant changes in activity in the PTSD with and without child abuse groups, there was very little overlap in patterns between these groups. The two groups shared similar symptoms of PTSD, which include intrusive thoughts such as nightmares and flashbacks, avoidance of trauma reminders, and symptoms of hyperarousal and hypervigilance.

The PTSD with child abuse group displayed more changes in genes linked with development of the nervous system and regulation of the immune system, while the PTSD minus child abuse group displayed more changes in genes linked with apoptosis (cell death) and growth rate regulation. In addition, changes in methylation were more frequent in the PTSD with child abuse group. The authors believe that these biological pathways may lead to different mechanisms of PTSD symptom formation within the brain.

The Max Planck/Emory scientists were probing gene activity in blood cells, rather than brain tissue. Similar results have been obtained by researchers studying the influence of child abuse on the brains of people who had committed suicide.

"Traumatic events that happen in childhood are embedded in the cells for a long time," Binder says. "Not only the disease itself, but the individual's life experience is important in the biology of PTSD, and this should be to be reflected in the way we treat these disorders."

This work was supported by the Max-Planck Society, the Behrens-Weise Foundation, the U.S. National Institute of Mental Health (MH071537 and MH085806) and the Burroughs Wellcome Fund.

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Story Source:

The above story is reprinted from materials provided by Emory Health Sciences. The original article was written by Quinn Eastman.

Note: Materials may be edited for content and length. For further information, please contact the source cited above.


Journal Reference:

  1. D. Mehta, T. Klengel, K. N. Conneely, A. K. Smith, A. Altmann, T. W. Pace, M. Rex-Haffner, A. Loeschner, M. Gonik, K. B. Mercer, B. Bradley, B. Muller-Myhsok, K. J. Ressler, E. B. Binder. Childhood maltreatment is associated with distinct genomic and epigenetic profiles in posttraumatic stress disorder. Proceedings of the National Academy of Sciences, 2013; DOI: 10.1073/pnas.1217750110

Note: If no author is given, the source is cited instead.

Disclaimer: This article is not intended to provide medical advice, diagnosis or treatment. Views expressed here do not necessarily reflect those of ScienceDaily or its staff.

Source: http://feeds.sciencedaily.com/~r/sciencedaily/health_medicine/genes/~3/XgoiydzUsBs/130501154442.htm

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Wednesday, May 1, 2013

Sergei Bodrov to direct Black List script 'Blood Mountain'

By Jeff Sneider

LOS ANGELES (TheWrap.com) - Russian filmmaker Sergei Bodrov, whose big-budget fantasy film "The Seventh Son" hits theaters in October, is attached to direct the 2011 Black List script "Blood Mountain" for Derby Street Films and Lawrence Bender Productions, TheWrap has learned.

Written on spec by Jonathan W. Stokes, "Blood Mountain" is described as an Afghan-based thriller that follows a young army ranger whose team is ambushed and killed in Pakistan, forcing him to personally escort the world's most wanted terrorist over dangerous terrain in order to bring him to justice. While being hunted by both of their enemies, they must find a way to work together in order to survive.

Lawrence Bender is producing with Shaun Redick and Ray Mansfield of Movie Package Co. and James Gibb of Cutting Edge. Nicola Horlick, who runs London-based Derby Street Films, is exec producing with Rachel Durkin, Brooklyn Weaver of Energy Entertainment and Stokes.

Derby Street acquired the spec back in February 2012, and the company's website lists Bodrov as the director of "Blood Mountain," which TheWrap has confirmed with individuals close to the project.

According to Derby Street, the script is currently being rewritten to take account of the director's notes before casting begins. Production is tentatively scheduled to start this fall in India.

Jeff Bridges and Julianne Moore star in "The Seventh Son," which Warner Bros. and Legendary Pictures will release on October 18. Bodrov previously directed "Mongol," which was Oscar nominated for Best Foreign Language Film in 2008.

Bodrov is represented by UTA and Richard Arlook of The Arlook Group.

Source: http://news.yahoo.com/sergei-bodrov-direct-black-list-script-blood-mountain-200333924.html

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Poverty and Education: Reflections on the AERA Conference Theme ...

I confess some ambivalence about a definition of poverty which encompasses the moral, intellectual, and material domains.?Not because each of these domains is unimportant;?rather, my concern is that defining poverty this broadly runs the risk of obscuring the ways in which they are intertwined.?Impoverished material circumstances may heighten the risk of an impoverished moral or intellectual education, as when a child with the misfortune of being born into poverty is channeled into a school with a truncated conception of learning that privileges learning to excel on standardized tests over a deeper understanding of the world and how we might conduct ourselves in it.?Conversely, an education lacking a strong moral sense of how individuals should behave towards one another in a democracy probably increases the risk of designing and implementing education policies which perpetuate the strikingly unequal distribution of resources and opportunity in American society.

A fundamental issue in thinking about poverty and education is whether to think of poverty in relation to an absolute threshold separating the impoverished from the more advantaged, or in relation to a relative standard that separates the poor from the non-poor, or both. Although we can describe the resources that are necessary to ensure an adequate standard of living which yields an opportunity for a rewarding life?there probably are minimum standards for basic goods such as food, clothing, and shelter?we get into trouble when we translate these into concrete and measurable criteria defining who is in poverty and who is not.

The history of the federal poverty index is instructive on this point.?The development of the poverty threshold was stimulated by statistician Mollie Orshansky?s discomfort in the early 1960?s with the fact that existing indices did not take account of family size: an elderly couple with an annual income of $2,900 would be defined as poor whereas a two-parent family with four children and an annual income of $3,100 would not. Orshansky?s efforts to link the poverty classification to the minimum cost of a nutritionally-adequate food plan, and the federal government?s subsequent tethering of the poverty threshold to the Consumer Price Index, have been useful for administrative purposes;?but the numbers tell us little about what it means to experience poverty, or how poverty might pose challenges to the fulfillment of human potential.

In some respects, the challenges in defining the meaning of poverty resemble the evolution of school finance litigation.?In the early years of efforts to address the fact that state funding for urban school districts with large concentrations of poor children fell far short of the expenditures in wealthier districts, the focus was on equity?efforts to create parity in funding levels for richer and poorer districts.?Parity could be achieved by lowering the spending of wealthier districts, but there was no political appetite for that.?And increasing the spending of poorer districts with large numbers of students was viewed as too expensive for most states to embrace. Equity in school finance, defined as equal per-pupil allocations regardless of district wealth, has never been achieved on a widespread basis.

The logic of the challenge shifted, however, in part because no state defined equity in educational spending as a basic right; but many state constitutions made reference to the existence of schooling systems which were ?ample,? ?basic,? ?general,? ?thorough? or ?efficient.??This led to a reframing of school finance reform away from equity and towards adequacy, defined as the provision of the resources necessary to assure an opportunity for an adequate education for all. Adequacy challenges to school finance inequality have generally held favor in the courts, though they raise difficult questions about what constitutes an adequate education and what resources must be in place to secure it.

Adequacy is an absolute, not relative, criterion. But these notions are embedded in a capitalist economy in which competition reigns, and adequacy in particular obscures the idea that economic, social, and educational inequalities are relational, produced through social interactions in which the unequal control of resources among actors, or groups of actors, perpetuates advantage and disadvantage.?Social and educational research has been quite successful in describing the associations between poverty and education, and even the mechanisms which perpetuate those associations. But the normative project of transforming these mechanisms has largely been unrealized.?I am looking forward to the focused attention of scholars from around the world on this theme in San Francisco.

About the author

Aaron Pallas is Professor of Sociology and Education at Teachers College, Columbia University. He is a Fellow of AERA and an elected member of the Sociological Research Association. His most recent projects are explicitly designed to inform policymakers and other stakeholders about conditions in New York City public schools.

Source: http://21stcenturyscholar.org/2013/04/30/poverty-and-education-reflections-on-the-aera-conference-theme/

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James Bond studio to open 1st US facility in Ga.

In this image provided by Pinewood Shepperton PLC, an artist's rendering of Pinewood Atlanta is shown. Pinewood Shepperton PLC and River?s Rock LLC together announced a joint venture to be named Pinewood Atlanta, a full service film and entertainment studio complex comprised of five sound stages on 288 acres in Fayetteville, Ga., south of Atlanta. (AP Photo/Pinewood Shepperton PLC)

In this image provided by Pinewood Shepperton PLC, an artist's rendering of Pinewood Atlanta is shown. Pinewood Shepperton PLC and River?s Rock LLC together announced a joint venture to be named Pinewood Atlanta, a full service film and entertainment studio complex comprised of five sound stages on 288 acres in Fayetteville, Ga., south of Atlanta. (AP Photo/Pinewood Shepperton PLC)

In this image provided by Pinewood Shepperton PLC, an artist's rendering of Pinewood Atlanta is shown. Pinewood Shepperton PLC and River?s Rock LLC together announced a joint venture to be named Pinewood Atlanta, a full service film and entertainment studio complex comprised of five sound stages on 288 acres in Fayetteville, Ga., south of Atlanta. (AP Photo/Pinewood Shepperton PLC)

(AP) ? The British film studio home to the James Bond franchise announced plans Monday for its first U.S. movie production facility at a site near Atlanta.

The large-scale film complex will be called Pinewood Atlanta and Pinewood will manage the facility under an agreement with a group of private investors. Plans call for the studio to be developed on 288 acres south of Atlanta in Fayette County and include at least five soundstages as well as production offices.

"Today's agreement is another step forward for the Pinewood brand internationally," said Ivan Dunleavy, CEO of Pinewood Shepperton PLC, which has studios in the United Kingdom, Canada, the Dominican Republic, Germany and Malaysia. Recent films shot at Pinewood Studios, based outside of London, include the upcoming Angelina Jolie film, "Maleficent," and "Jack Ryan," directed by Kenneth Branagh.

It's the fifth major studio development or expansion announced in Georgia in recent months. Last week, Atlanta-based developer Jacoby Development said it would build an estimated $1 billion multi-use project north of Atlanta that will include 12 soundstages as well as production offices and an arts and media school aimed at training the next generation of film industry employees.

The Pinewood project is a major coup for Georgia and opens the state to major, big-budget films that need large studio space. While Pinewood Studios has an office in Los Angeles, it chose the Southeast for its first U.S. production facility.

While California has numerous soundstages, not many have been built in recent years as the state has been grappling with the effects of runaway production and the lagging economy. A survey last year found California lost $3 billion in wages from 2004 to 2011 because of film and TV production moving to other states and countries, according to a report in the Los Angeles Times.

Half the wages went to states, including Georgia, that offer tax incentives and rebates to the industry. Other states included New York, Louisiana and North Carolina.

"Pinewood Atlanta's location will contribute significantly to Georgia's growing reputation as a top draw for movie and television productions," Georgia Gov. Nathan Deal said. "We welcome the business this world-renowned company will bring to the state and the jobs it will create for our crew base and supporting companies."

Last year, productions filmed in Georgia generated an estimated $3.1 billion in economic activity, a 29 percent increase from the year before. TV shows such as AMC's "The Walking Dead" film in Georgia, and recently "The Hunger Games" sequel, wrapped up in locations around Atlanta.

While studio developers building soundstages are not eligible for the state's generous tax credit program, the production companies making films are. Georgia currently provides a 20 percent tax credit for companies that spend $500,000 or more on production and post-production in the state, either in a single production or on multiple projects. Georgia also grants an additional 10 percent tax credit if the finished project includes a state promotional logo.

The Pinewood project is a joint venture with River's Rock LLC, which is an independently managed trust of the Cathy family, according to the studio. The Cathy family is known for establishing the Chick-fil-A fast-food restaurant empire based in Atlanta. The chain last year generated both criticism and support when company president Dan Cathy made comments against same-sex marriage. The company later said it would stop funding anti-gay marriage groups.

Pinewood will maintain a 40 percent interest in the venture and will also provide sales and marketing services under the agreement. Plans call for additional construction phases that could add several more soundstages. The project also includes a vocational job skills training program to help build up the state's workforce. Georgia already has an estimated 5,000 union and non-union professionals associated with the film industry along with more than 1,000 production suppliers and support companies.

County officials say 75 companies have been in contact saying they want to locate to the site and provide industry-related services.

"We are tremendously excited to be creating a world-class studio in the state of Georgia and are looking forward to working with Pinewood in the many years to come," said Jim Pace, managing partner of the investment group, River's Rock LLC. "The Pinewood brand is so well recognized in the global film industry and together there is a great opportunity to build an excellent facility that will attract the very best producers."

The project in Georgia has the possibility to be a major economic driver, allowing big-budget films to come to the state.

"It takes the state to a whole new level," said Matt Forshee, president of the Fayette County Development Authority, who has been closely involved in the project. "When you look at the films that have filmed in Georgia, for the most part, they have been smaller budget films, in the range of $20-25 million. This allows us to open up to larger budget productions, which means more expenditures occurring within the state, which becomes a bigger return on the investment on the state level for the tax credits."

___

Follow Christina Almeida Cassidy on Twitter: http://twitter.com/AP_Christina .

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/4e67281c3f754d0696fbfdee0f3f1469/Article_2013-04-29-James%20Bond%20Studio-US/id-1fd0ae249f9e4893a5ae68abd71625e1

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