Temperance Brennan deals mostly with the dead, whether it be a recently murdered victim or a skeleton from an ancient civilization.

Minnesota woman examines bones for a living Stamford Advocate She is the state's bone lady - the one forensic anthropologist in the state who receives mysterious, unidentified bones from area investigators. MINNEAPOLIS STAR TRIBUNE OUT; MAGS OUT, MANDATORY CREDIT Photo: Pioneer Press, Chris Polydoroff / AP In ...

By Rich Hansen, MMA Torch Columnist:

Dan Downes didn't need to fight last night, but he wanted to stay sharp. That decision almost cost him dearly, as little known Tory Bogguess locked in two very tight chokes early in the first round of their main event fight for the NAFC event in Milwaukee. Ultimately Downes was able to escape both submission attempts before submitting Bogguess at the 3:24 mark of round 1.

Downes (8-1) accepted this fight outside of the UFC while still under UFC contract in order to stay sharp. That gamble almost blew up in his face as the undersized Bogguess came out like a ball of fire. Bogguess came out charging from the opening bell, landing a flying superman punch within the first two seconds of the fight. After knocking the larger Downes against the cage, Bogguess was able to get Downes down and sunk in a tight rear naked choke.

After Downes managed to escape that choke, he found himself in an even more dire predicament as Bogguess managed to slap on an even tighter guillotine choke. After several seconds that seemed much longer to the partisan Milwaukee crowd, Downes managed to pop his head out and was able to turn the tables on his smaller opponent.

After controlling Bogguess up against the cage from side control, Bogguess tried escaping by walking the cage. Instead of escaping, Bogguess walked into the waiting legs of Downes and was forced to tap to a triangle choke.

Having fought for a smaller organization while under UFC contract, Downes told MMA Torch after the fight that he wants his next fight to be in the UFC, and that there's a 99 percent chance that his next fight will indeed be for the Zuffa owned company.

In the co-main event of the evening, Duke Roufus' newest up and coming star Joe Cason made quick work of veteran Sean Salmon. Cason needed a mere 74 seconds to dispatch the overwhelmed Salmon. After landing an uppercut early, Cason flattened Salmon with a standing knee. From there, Cason swarmed Salmon who had no way to stop the ground and pound attack of the much larger Cason. Referee Al Weickhardt stopped the fight, giving Cason his first victory since joining Duke Roufus' team last month. Cason, a college wrestling teammate of UFC Light Heavyweight Champion Jon "Bones" Jones, looks to have to skills to make a name for himself in the sport's light heavyweight division.

Complete results from NAFC: Mayhem below.

Dan Downes defeated Tory Bogguess via submission (triangle choke) at 3:24 of Round 1

Joe Cason defeated Sean Salmon via TKO at 1:14 of Round 1

Matt Brown defeated John Hosman via split decision (29-28, 28-29, 29-28)

Matt Masterson defeated Kyle Weickardt via submission (side choke)at 3:33 of Round 2

Jose Pacheco defeated David Rhoads via submission (rear naked choke)at 4:33 of Round 1

Thiago Veiga defeated Donald Ceri via submission (arm bar)at 2:50 of Round 2

Mike Santiago def Zach Underwood via unanimous decision (30-27, 30-27, 30-27)

Jeff Golden def Jim Bleau via submission (rear naked choke) at 4:35 of Round 1

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Washoe County Search and Rescue will spend some time on Peavine Mountain Saturday after a hiker found bones Friday night.

Is his poetry any good? The answer for anyone who can't read Bengali must be: don't know. No translation is up to the job

Rabindranath Tagore was born 150 years ago today. This weekend festivities and seminars are being held in his honour across the world. In London, the BFI is hosting a season of films inspired by his work; last night his fellow Bengali (and fellow Nobel laureate) Amartya Sen gave a talk at the British Museum; a two-day conference at the University of London will, among other things, examine his legacy in the Netherlands, Poland and Germany.

I consulted two dictionaries of quotations, the Oxford and Penguin, to check the most memorable lines of this poet, novelist, essayist, song and short story writer. Not a single entry. They skipped from Tacitus to Hippolyte Taine as if there was nothing in Tagore's collected works (28 thick books, even with his 2,500 songs published separately) that ever had stuck in anyone's mind, or was so pithily expressed that it deserved to; as if what had come out of Tagore's pen was a kind of oriental ectoplasm, floating high above our materialist western heads, and ungraspable. In fact, I could remember one line clearly enough, and vaguely remember a whole stanza. The first is how he described the Taj Mahal: like "a teardrop on the face of eternity". The second is the inscription Wilfred Owen's mother found in her dead son's pocketbook: "When I go from hence, let this be my parting word, that what I have seen is unsurpassable." But I owe this knowledge to (a) a tourist guide in Agra, and (b) to a biography. Reading Tagore himself had nothing to do with it.

True, writers can't be ranked merely by their quotability, but Tagore's neglect is extraordinary. No other language group reveres a writer as 250 million Bengali-speakers do Tagore. Shakespeare and Dickens don't come into the picture; the popularity of Burns in Scotland 100 years ago may be his nearest equivalent in Britain. Every Bengali will know some Tagore, even if they can't read or write and the words come from a popular song or the national anthem (those of both India and Bangladesh use his verse). The visitor to Bengal can easily find some comedy in the mass adoration. Years ago, trying to penetrate a layer of Kolkata bureaucracy, I spent hours listening to bureaucrats on the subject of Tagore – "his translations into English are like embroidery seen from the back," one said – while getting nowhere with the unrelated topic I was meant to be investigating. Then again, love of literature can slide into fetishism, and from there, obscenity. When Tagore died in 1941, the huge crowd around his funeral cortege plucked hairs from his head. At the cremation pyre, mourners burst through the cordon before the body had been completely consumed by fire, searching for bones and keepsakes.

It's hard to think of any other writer anywhere who has aroused this level of fervour, but Tagore might still be seen as a purely local phenomenon, a curiosity and irrelevance to the world beyond Bengal. Except that he wasn't. In 1913 he won the Nobel prize for literature, the first non-European to win a Nobel. The story is well known. In 1912 he sailed from India to England with a collection of English translations – the 100 or so poems that became the anthology Gitanjali, or "song offerings". He lost the manuscript on the London tube. Famously, it was found in a left luggage office. Then – decisively – WB Yeats met Tagore, read his poems and became his passionate advocate (while pencilling in suggestions for improvements).

Events moved at breathtaking speed. Tagore had arrived in London in June, he had his anthology published by Macmillan with an introduction by Yeats in the following March, and on 13 November 1913 he was awarded the Nobel. Before he left Kolkata he knew one person in London, the painter William Rothenstein. Two years later he was a global phenomenon. The notion that literary prizes secure reputations and sell books is modern publishing wisdom, but nothing compares with what the Nobel did for Tagore a century ago. Gitanjali found a vast audience in its many editions. In the tremulous months before the first world war, as well as during the war, its spiritual message and reverence for the natural world struck a chord. It contains the lines Owen wrote in his pocketbook, and soon had translations in many other languages, including French, by André Gide, and Russian, by Boris Pasternak.

The success turned everyone's heads, including Tagore's. He became the most prominent embodiment of how the west wanted to see the east – sagelike, mystical, descending from some less developed but perhaps more innocent civilisation; above all, exotic. He looked the part, with his white robes and flowing beard and hair, and sometimes overplayed it. Of course, the truth was more complicated. The Tagores were among Kolkata's most influential families. They'd prospered in their role as middle men to the East India Company, whose servants named them Tagore because it was more easily pronounced than the Bengali title, Thakur. The west wasn't strange to them. Rabindranath's grandfather, Dwarkanath, owned steam tug companies and coal mines, became a favourite of Queen Victoria's and died in England (his tombstone is in Kensal Green cemetery). As for the poet himself, this was his third visit to London. On his first, he'd heard the music hall songs and folk tunes that he later incorporated into his distinctive musical genre, rabindra sangeet.

More than anything, what Tagore stood for was a synthesis of east and west. He admired the European intellect and felt betrayed when Britain's conduct in India let down the ideal. His western enthusiasts, however, saw what they wanted to see. First, he was an exotic fashion and then he was not. "Damn Tagore," wrote Yeats in 1935, blaming the "sentimental rubbish" of his later books for ruining his reputation. "An Indian has written to ask what I think of Rabindrum [sic] Tagore," wrote Philip Larkin to his friend Robert Conquest in 1956. "Feel like sending him a telegram: 'Fuck all. Larkin.'"

Is his poetry any good? The answer for anyone who can't read Bengali must be: don't know. No translation (according to Bengalis) lives up to the job, and at their worst, they can read like In Memoriam notices: "Faith is the bird that feels the light when the dawn is still dark" is among the better lines. Translator William Radice thinks that Tagore's willingness to tackle the big questions, heart on sleeve, has made him vulnerable to "philistinism or contempt". That may be so – see Larkin – but perhaps the time has come for us to forget Tagore was ever a poet, and think of his more intelligible achievements. These are many. He was a fine essayist; an educationist who founded a university; an opponent of the terrorism that then plagued Bengal; a secularist amid religious divisions; an agricultural improver and ecologist; a critical nationalist. In his fiction, he showed an understanding of women – their discontents and dilemmas in a patriarchal society – that was ahead of its time. On his 150th anniversary, we shouldn't resist two cheers, at least.

DAVID CRARY | THE ASSOCIATED PRESS

The images are striking: Overweight boys and girls staring somberly from billboards and online videos, real-life embodiments of the blunt messages alongside.

"Chubby kids may not outlive their parents," for example. Or: "Big bones didn't make me this way. Big meals did."

The worgen was crouched low to the ground, his front lips raised in a mild snarl. "I don't mean to be rude," he said, "but if you try and put that collar on me, you'll pull back a bloody nub."Throgg sighed as he waved the Collar of...

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Today, my doctor called and asked me when I could have my broken hand x-rayed again. I said the ER staff had told me it was a bad sprain over two weeks ago. I'm now in a full cast, and have to have my partially healed bones re-broken. There goes my summer. FML

In 1832, a war broke out in Illinois between the American settlers and the Sauk under the leadership of Black Hawk. The war lasted 15 weeks and resulted in the deaths of 70 non-Indians. While historians often call this Black Hawk's War, it was not an invading force of Sauk warriors, but rather a migration of men, women, and children.

In many respects, Black Hawk was an unlikely leader. He was not a physically attractive, charismatic leader who could inspire his people with his words. He was in his sixties at the time of the war. He was a traditionalist who honored the old customs and ways, never wearing white people's clothing or tasting alcohol in any form.

Background:

In 1828, the Indian agent told the Sauk that their village of Saukenuk had been sold and that it was time for them to move west of the Mississippi River. Mess-con-de-bay (Red Head) was adamant that the Sauk did not want to leave the bones of their ancestors. Mess-con-de-bay, a chief and a man of considerable standing, was simply dismissed by the agent as a "vile unprincipled fellow" and as a "poor trifling, mean, insignificant old man".  

In Illinois, both the Secretary of War and the state governor called for the removal of all Indians from the state. American squatters then took over a Sauk village while the Sauk were on their winter hunt. The American squatters were told that the Sauk were not going to return to the village.

Later that winter, Sauk warrior Black Hawk, concerned about rumors that the Americans had occupied their village, traveled alone through the cold, snow-filled countryside, to see for himself. He found an American family occupying his own lodge. Through an interpreter he told them to leave and not to trouble Sauk lands. The family ignored the demand.

By spring, squatters who had moved into the Sauk village turned their cattle loose into the Sauk cornfields. Black Hawk talked with the American Indian agent and was told that the Sauk should give up all notions of ever returning to Saukenuk again. The agent recommended that the Sauk establish a new village west of the Mississippi.

Disturbed by the agent's advice, Black Hawk went to talk with Wabokieshiek, the Winnebago prophet. Wabokieshiek, who was in his mid-forties, presided over a village that was generally described as a mixture of many nations. He told Black Hawk that the Sauk should return to their village and that there should be no trouble between the Indians and the American settlers.

Sauk leader Keokuk then attempted to persuade the Sauk at Saukenuk to join the new Sauk community on the Iowa River. Black Hawk looked upon Keokuk as a traitor to his own people and refused the invitation. Black Hawk and his people attempted to live in their traditional village in a peaceful manner.

In 1830, the Indian agent for the Sauk expressed the hope that the government would provide justice for the Sauk and prevent squatters from taking over their land. The government, however, put the Sauk homelands in Illinois up for sale. When the Sauk returned from their winter hunt, they found settlers with legal titles plowing up the graves of Sauk ancestors.

In 1831, Black Hawk's Sauk returned to their village of Saukenuk following their winter hunt. The Sauk numbered 1,200 to 1,600 people with an estimated 300 to 400 warriors. In previous years, the Sauk had returned to their village after the winter hunt in a peaceful manner. In spite of this peaceful past, the Americans responded by calling up a force of 700 militia volunteers to protect the citizens of the state from the Sauk invasion.

Once again, Black Hawk consulted with Wabokieshiek, the Winnebago prophet. The prophet told him to stay calm and peaceful. If they offered no resistance to the soldiers, the prophet told him, the soldiers would not force them to abandon their land.

The Sauk met in council with the Americans. Before General Gaines could make his opening remarks, Kinnekonnesaut jumped to his feet and spoke. Gaines became visibly irritated. He then simply read his prepared address. It seemed to the Sauk that he was unwilling, or perhaps unable, to talk with them from the heart.

Keokuk complained to the Americans that the Sioux make life difficult and dangerous for them west of the Mississippi. He also pointed out that it was too late in the season to plant crops. He suggested that the Americans allow Black Hawk's people to remain in the village so that they could harvest the corn which they had planted.

When Black Hawk addressed the council, General Gaines demanded:

"Who is the Black Hawk that he should assume the right of dictating to his tribe? ...I know him not-he is not a chief-who is he?"

Black Hawk told the general that the women owned the fields, not the men. Then a woman selected by the other women addressed the Americans. She explained that the women owned the land and that they had never sold any of it, nor had they consented to transfer any of it to the United States. Gaines dismissed her comments and said that the President did not send him to make treaties with women nor to hold council with them.

The general ordered the Sauk to move within three days. He did, however, agree to provide them with corn to replace the corn which they would be unable to harvest. Twenty-eight chiefs and warriors signed the Articles of Agreement dictated by General Haines. The Sauk were to cross the Mississippi and never return to Saukenuk.

In order to avoid any confrontation with the state militia, Black Hawk left the state, leading some of his people to Iowa. Here they found little food and starvation began.

As soon as Black Hawk left, the American militia moved into their old village of Saukenuk and burned many of the lodges. The volunteer soldiers also vandalized the Sauk cemetery.

The War:

Black Hawk led about 400 Sauk warriors and their families back into Illinois in 1832. Their goal was to reclaim their traditional village of Saukenuk. The result of this move was a series of conflicts known as the Black Hawk War. The initial response by the Governor of Illinois was to mobilize the state militia, and President Jackson was determined to crush Black Hawk. Indian agent William Clark (of Lewis and Clark fame) writes of the Sauk:

"a War of Extermination should be waged against them. The honor and respectability of the Government requires this: -- the peace and quiet of the frontier, the lives and safety of its inhabitants demand it."

A force of 275 American volunteers overtook Black Hawk who had only 40 warriors with him. Facing odds that seemed to spell disaster, Black Hawk sadly sent out a delegation to discuss surrender. Even though the Sauk delegation was carrying a flag of truce, the Americans opened fire. Black Hawk decided that if he was going to die, he would die fighting. Rallying his warriors, they made a suicidal attack against the larger force. They ran shouting into certain death, and then, to their surprise, the American volunteers broke and ran. In memory of the American commander, the battle became known as Stillman's Run.

Following their victory at Stillman's Run, Black Hawk led his warriors through the countryside, burning farmsteads and taking scalps.  In Illinois, they attacked the American fort on the Apple River. Following this they battled a militia force at Kellogg's Grove, killing five Americans.

At the oxbow lake of the Pecantonic in present-day Wisconsin, Black Hawk's warriors battled American militia troops. The eleven Indians in the war party were defeated in a matter of minutes. Militarily this was a minor skirmish, but psychologically and symbolically it showed the Americans that the Indians could be beaten.

At Wisconsin Heights the Americans again engaged the Indians in battle. The Americans estimated that they killed 40-68 Indians, though Black Hawk later claimed that he lost only six warriors. Unknown to the Americans, some Kickapoo had joined the fight and nearly all of their warriors were killed at Wisconsin Heights.

At the Battle of Bad Axe the Sauk were finally defeated. At this battle, more than 1,300 Americans attacked the Sauk. When the Indians tried to surrender, the troops set upon them clubbing, stabbing, and shooting. It is not known how many Indians died in the massacre.

About 200 Sauk escaped from the massacre at Bad Axe by making their way across the Mississippi River where they were attacked by a Sioux war party.

Black Hawk, Wabokieshiek, Chakeepashipaho, Little Stabbing Chief, and about 25 others slipped away from the band before the beginning of the massacre.  They made their way through Winnebago country and established a clandestine camp on Day-nik (Little Lake) near present-day Tomah, Wisconsin. They were discovered by the Winnebago traveler Hishoog-ka who then notified his village chief, Karayjasaip-ka, of the band's presence. The Winnebago sent a delegation which included Chasjaka, who was Wabokieshiek' brother, to persuade Black Hawk to end his struggle and turn himself in to the Americans. The Sauk returned to the Winnebago village where they were greeted cordially.

Black Hawk gave his medicine bag to Karayjasaip-ka. His medicine bag had been passed down from Muk-a-ta-quet, his great-great-grandfather, to Na-na-ma-kee, his great-grandfather. For Black Hawk, this medicine bag symbolized the very essence of the soul of the Sauk people.

Together with Wabokieshiek, Black Hawk set off for Prairie du Chien to turn himself in. At the Indian agent's house, an hour before noon, on Monday August 1832, Black Hawk and Wabokieshiek appeared at the door as if they had materialized out of nowhere. Thus ended the Black Hawk War.

Aftermath:

Following his surrender at Prairie du Chien, Black Hawk, the Winnebago prophet Wabokieshiek, Sauk chief Neapope, and several others were sent to Washington, D.C. This journey would greatly enhance Black Hawk's fame and reputation.

They had a brief meeting with President Andrew Jackson. While Black Hawk attempted to explain to the President why he had gone to war-saying that he had been driven to war by the injustices against his people-Jackson was disinterested.

The party was then sent to Fort Monroe in Virginia where they were to be imprisoned. While at Fort Monroe, there was a procession of well-known artists who painted their portraits.

After only four weeks at Fort Monroe it was decided to release the prisoners, but only after they had been taken on a tour of the United States to impress them with the immense size and power of the country. Throughout the tour of the eastern cities, the group was met by large crowds and were treated as celebrities.

In 1833, Black Hawk told his life story to government interpreter Antoine LeClaire who published it as Life of Ma-ka-tai-me-she-kia-kiak, or Black Hawk. The book became a best seller and went through five editions during the first year.

Yes, I'm doing it: A top 10 rankings list of the pound-for-pound best fighters in the world today. 

It's a daunting undertaking. After all, what good can come of this? Spirited discussion, I hope, at the very least. That and a better appreciation for the elite fighters in the sport we know and love.

A comprehensive listing of the USA Today/SB Nation consensus rankings can be found here. Comprised of some of the top MMA sites on the Internet, it's a rather informative rankings list of the top seven weight classes in MMA today.

But it doesn't venture into the dreaded "pound-for-pound" waters.

That's what I'll do here. Each month, likely the Friday night following a major event, I will attempt to make sense of how the best in the game stack up against each other.

Or course, any rankings list is highly subjective and up for debate. So don't hold back if you disagree.

In we go.

10. Lyoto "The Dragon" Machida (17-2)

I can already hear it. "What?!?!? Machida?!?!?!? Just because he blasted through Randy Couture in his retirement fight with a Karate Kid style Crane kick?" Partially, yes. Not just because of who he did it to, nor the situation in which he executed it within, but because he's such a special fighter that he has the capabilities to do such a thing to some of the best fighters on Earth. That kind of special doesn't come along often. It's unclear what's next for Machida but he has risen from the ashes of his first career slump and he could be better than ever. That's a scary thought.

9. Jon Fitch (23-3-1)

Considering this is an inaugural rankings list, I can think of no man that deserves a spot more based on past accomplishments than the Fitchster. Argue if you will that he failed so monumentally once he reached the top of the food chain, his unabashed drubbing of every other challenger, save B.J. Penn, has been nothing short of staggering. And I fully expect he'll win the rematch against "The Prodigy" and he'll do so handily.

8. Cain Velasquez (9-0)

The Heavyweight Champion of the world is currently riding the pine while he rehabs a shoulder injury that will keep him out until a likely October return against the winner of Junior dos Santos vs. Brock Lesnar. Simply put, Velasquez earns his spot because not only has he cruised to nine wins in as many outings, he's done so with shocking efficiency. His utter and complete destruction of the aforementioned Lesnar, no matter your feelings on Sir Brockness, was especially impressive considering the circumstances. His skill-set is built for a long run at the top.

7. Gray "The Bully" Maynard (10-0-1)

It pains me to place him one spot beneath his arch nemesis, seeing as he is the only man to have ever defeated Edgar and I actually scored him the win in the rematch. His record is spotless and his abilities stretch beyond that of one hit wonder. Maynard is bred to hit the big time and never look back, at least as far as his in-ring talents are concerned. The third, and likely final, bout against Edgar is set for UFC 130 on May 28 and it's in that bout that he shall make his move up the list.

6. Frankie "The Answer" Edgar (13-1-1)

The quintessential underdog, Edgar, even by me and on this list, can't get no respect. Despite his status as the champion in one of the deepest of all weight divisions, and his impressive list of victories, he's still getting counted out on a larger scale. In many ways, it's unfair, but by the same token, he can dispense of all that talk with a definitive victory over his own personal "Bully" on May 28 in Las Vegas. Can he do it? I'm not so sure.

5. Dominick "The Dominator" Cruz (17-1)

Fight fans that follow the UFC and the UFC alone, have yet to be introduced to this man but make no mistake, he is one of the greatest fighters in the world today. Much like Lyoto Machida, the 135-pound division has yet to figure out an effective way to handle his spastic style. His lone loss came at the hands of Urijah Faber in a weight class he no longer resides within. However, he'll get the chance to avenge that defeat on July 2 and if he does, the bantamweight division belongs to him for as long as he would like it to.

4. Jose "Junior" Aldo (19-1)

The man that chased Faber off to the bantamweight division, Jose Aldo, makes his appearance the highest I could possibly rank him and still sleep at night. His abilities are unquestionable, as he possesses a rare mixture of speed, power and agility, along with near impeccable timing and technique. However, I can't seem to get past the fact that he's plying his craft in one of the weakest divisions of the seven major weight classes. In fact, he's defended his title all of three times and there is already talk that he's cleaned out his division. That's just absurd. He'll get the chance to continue his reign of terror against Chad Mendes on Aug. 6 in Philadelphia at UFC 133.

3. Jon "Bones" Jones (13-1)

What this man is able to do when he steps inside the Octagon, against the martial artists he has been able to do it against, is astonishing. His size, combined with his rising skills, make for one of the most dangerous fighters in the world. Ask Mauricio "Shogun" Rua what it's like to get in the cage with this beast. Jones, 23, is on the shelf for a while to heal up an ailing hand but he'll be looking at his first light heavyweight title defense upon his return, possibly against the winner of Rashad Evans vs. Phil Davis. No matter which, it's difficult to imagine his coming up on the short end in either hypothetical contest.

2. Georges "Rush" St. Pierre (22-2)

Ah, the welterweight king, still sitting atop his throne after a gutsy performance this past Saturday night at UFC 129 against Jake Shields. Fighting through the adversity he did was admirable but there are those calling into question exactly how impressive it is that St. Pierre has been able to win so many fights without putting a stamp on them. Sure, he's beating the top welterweights in the world, but he's not doing so in the fashion one has come to expect with the otherworldly expectations placed upon him. Is that fair? I would say it is, and it is for that reason, and that reason alone, that he is number two instead of number one. His chance to redeem himself might come in the form of a superfight against Nick Diaz. Or maybe, as much of a stretch as it may be, the man that occupies the top slot on this list.

1. Anderson "The Spider" Silva (28-4)

I defy you to find a flaw in his resume bigger than a flash submission loss to Ryo Chonan. And that was damn near seven years ago. His UFC career is the most impressive in the history of the entire promotion. 13 fights, 13 wins. 11 finishes, including seven (T)KO's and three submissions. Eight title defenses at middleweight and two displays of mastery at light heavyweight. This man has basically done everything there is to do in the UFC, short of taking on a fellow champion and defeating him, as well. That might be the future, if the organization can manage to put the fight together before time runs out. Silva is, after all, 36 years-old. All the more impressive when considering what he's accomplished. Up next is title defense number nine against former foe Yushin Okami. There is no reason to think he won't run away in that fight, as well. Bow down to the king.

What a great Thursday night for FOX. Rupert Murdoch broke out the good champagne to fill his pool with last night.

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Delivering a Knockout of the Night crane kick to the jaw of the immortal Randy Couture during their matchup at the Rogers Centre in Toronto, Ontario, Canada, Lyoto "The Dragon" Machida has rebounded from his defeat to both Quinton Jackson and Mauricio Rua and elevated his stature within the UFC light heavyweight division.

Holding notable victories over Rich Franklin, BJ Penn, Tito Ortiz, Rashad Evans, Mauricio Rua and the aforementioned Randy Couture, Machida has competed against some of the sports best fighters.

This Brazilian born mixed martial artist is a former UFC light heavyweight champion and is currently ranked the No. 5 light heavyweight fighter on the planet.

With an overall MMA record of 17-2 with six knockouts, "The Dragon" has re-positioned himself amongst the list of contenders viable to face the current UFC light heavyweight champion, Jon "Bones" Jones.

Defeating Mauricio Rua in March of this year to claim the championship title, Jones' reign at the top will be tested.

Known for his athleticism and unpredictability within his striking, Jones has demolished each opponent he has faced, including notable victories over Brandon Vera, Vladimir Matyushenko, Ryan Bader and most recently, Rua.

With an amazing 84.5" reach, explosiveness, tremendous athleticism and a solid wrestling background, Jones may be the quintessential ultimate fighter created by engineers in a laboratory.

Receiving rightful accolades, I do believe that Machida may be the one light heavyweight contender who could challenge Jones for his championship.

"The Dragon's" fighting style is grounded in karate. He is known for his elusiveness, dynamic strikes from various angles and planes, as well as his cautious, yet precise, counter striking. 

Machida, like Jones, is extremely unpredictable inside the Octagon. Unlike Jones, who is more of an explosive, aggressive, mauling style of fighter, Machida is tactically precise and delivers punches and kicks with perfect execution.

That difference in the ability to deliver a perfect strike may off-set Jones' advantages inside the Octagon. 

Due to the elusiveness of both fighters, and the fact that both Machida and Jones create abnormal striking angles, the winner of this matchup will be determined by a random variable.

I believe the advantage in the variable department lies with Machida, because he is not only athletic, elusive, dynamic and a solid all-around fighter with a black belt in Brazilian jiu-jitsu, he is also extremely precise with his strikes and delivers knockout power with perfect execution. 

If you doubt Machida's stand-up brilliance; just ask Randy Couture.

Fully aware of the level of difficulty that faces Machida if he is honored with a title shot against Jon Jones, I still feel that of the talent pool that resides within the UFC, Lyoto "The Dragon" Machida's fighting style would prepare the former champion with the ability to once again reign supreme within the UFC light heavyweight division.

I welcome your comments.

Todd Seyler

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With the surging popularity of barefoot running, it would seem that for the triathlete, barefoot running currently ranks up there with all-you-can-eat buffet coupons, a Clydesdale triathlete cycling in front of you on a windy day, and unicorns that toot free energy bars.

But although I didn’t grow up in a small pack of wolves or come from a remote tribe of natives living at 18,000 feet of elevation, I will readily admit that I can understand and agree with the benefits of barefoot running, especially the part about making your feet strong.

After all, if you spend all day in big, padded shoes, each of your feet will be like the little fairy tale princess who is never allowed to venture outside the confines of the mighty fortress: really weak (but still pretty hot) and easily wounded, bruised or broken by the slightest of encounters with the roughness of the real world (like witches or dragons or big rocks). In other words, you need to treat your feet more like a fairy tale peasant – ready and willing to traipse naked and dirty through the forest and fields.

The problem is, even though barefoot running is really good for strengthening and stretching the muscles, tendons, ligaments and bones in your feet, it’s pretty dang inconvenient at times.

Take my house for example. Outside my front door is a world of concrete, pavement, broken glass, small stones and pine needles that turn a casual barefoot running attempt into an adventure in pain management and self-wound care.

So in order to turn my feet from a princess to a peasant, I have to tack an extra 10-15 minutes onto a barefoot run to drive, bike or run to a soft, grassy park, take off my shoes, pray there are no sprinkler heads, then run around and around and around until I’m dizzy and bored, and finally spend the time investment getting back home.

But shouldn’t it be possible to get the foot blessing benefits of barefoot running without actually barefoot running? You bet! Here’s 3 ways to do it:

1. Calf Raises and Single Leg Balancing: Both of these activities can easily be done in the comfort of your own home. Perform calf raises while in the shower (work up to 50 double leg or 25 single leg), and single leg balancing while brushing your teeth. Once single leg balancing gets easy, try to shift to your toes, and also try to do more difficult activities on one leg, such as dumbbell curls, typing on your computer, or making love. Of course, this strategy requires you to walk around your house without your shoes on, but that’s one place where your pretty princesses will hopefully be safe.

2. Bosu Ball or Balance Disc: You’ll find either of these balance devices at most gyms, and you can easily buy them at a sporting goods store. Stand on either for 3 sets of 30-60 seconds on one leg with your eyes closed. For added difficulty, add partner taps, in which a partner attempts to throw you off balance with light shoulder taps. You can also do exercise like dumbbell curls and dumbbell presses while you stand on these balance devices.

3. Jump Rope: Repetitive impact with a plyometric hopping motion like jump rope will stress and strengthen the bones and soft tissue in your feet, and teach your joints to absorb impact properly – similar to barefoot running. Practice both double and single leg hopping, and if you’d like to count like a schoolgirl, knock yourself out. If you don’t have a jumprope, try jumping jacks in your barefeet or socks. I actually do these in my office, and I haven’t been fired yet.

Today’s high-tech, ultra-supportive shoes can definitely leave your feet weak, just like that fairy tale princess. But a consistent combination of the activities outlined above can leave you with strong feet – without actually requiring you to do barefoot running. And if you are a princess reading this article, my sincere apologies. I’m sure you’re good at other stuff.

Photo by Nicholas_T

Cancer-free, Prindle can almost walk with no assistance at all. The work was published last month in the Journal of Neuroscience: Spine . Images: Ohio State University Start your day smarter with our weekly e-mail newsletter . It's your cheat sheet for good ideas.

Doctors saved two sections of 53-year-old Mike Prindle's leg bones in order to quickly reconstruct a pelvis that would allow him to use a prosthetic leg.

Phat Loot Phriday: Collar of Bones Joystiq Throgg sighed as he waved the Collar of Bones at the druid. "But, Spot, you don't understand. This is from a troll place, and you obviously like those. And it's a collar of bones. I thought you guys loved bones." "My name is not Spot," the worgen said ...

Bones found in Milford not Jimmy Hoffa's Detroit Free Press Bones found today at the bottom of an old well in Milford Township at first could've been Jimmy Hoffa's body — if you took seriously the FBI's two-week-long excavation in 2006 in search of Hoffa's remains on a Milford horse farm. ...

Man's own amputated leg bones helped rebuild his hip SmartPlanet.com (blog) Michael Miller of Ohio State University Medical Center kept the bones of Prindle's amputated leg alive, and repositioned them in the pelvis and spine, meticulously cutting and reattaching blood vessels and veins. “We knew we were going to take his ... Cancer Patient's Lower Body Rebuilt With Bone Autografts and TitaniumMedgadget.com Pelvis reconstructed from patient's amputated legMass Device Ohio State Surgeons Rebuild Pelvis Of Cancer PatientRedOrbit Becker's Orthopedic & Spine (press release) all 12 news articles »

Apologies for not filing a rating story earlier, it was a pretty big busy morning in TV news today. With the final ratings for last night in, here are the biggest highlights: NBC's The Office (3.5/10 in 18-49) was down 17% from last week's episode, which marked the departure of star Steve Carell. It did better than the Carell's penultimate episode. NBC’s Parks and Recreation (2.5/7) was up 9% percent, while the season finale of 30 Rock (2.1/6) rose 11 percent. The paintball episode of Community (1.5/5), directed by the Russo brothers and guest starring Josh Holloway and Anthony Michael Hall, was up a tenth. CBS' and ABC's scripted series were roughly on par, while ABC's reality series Wipeout (1.4/5) tumbled 26% to a series low. On the flip side, Fox's American Idol (6.3/20) was up 11%, and Bones (3.2/9) up almost as much. In bubble-show watch, CW's Nikita (1.9 million, 0.8/2) improved, while NBC's Outsourced (1.5/4) was down 18%. Looking good for Nikita and not good for Outsourced.

A new *Sparrows (http://www.redsun-media.com/sparrows/)* song titled "Shook Them Bones" can be heard here (http://www.redsun-media.com/sparrows/). The band will be releasing their new EP, Goliath, on May 24.

The worgen was crouched low to the ground, his front lips raised in a mild snarl. "I don't mean to be rude," he said, "but if you try and put that collar on me, you'll pull back a bloody nub."

Throgg sighed as he waved the Collar of Bones at the druid. "But, Spot, you don't understand. This is from a troll place, and you obviously like those. And it's a collar of bones. I thought you guys loved bones."

Lolegolas quietly drank another shot of brandy.

"My name is not Spot," the worgen said calmly. "And I will not play the straight man for you comedic pair of ... ruffians."

"Ha!" Throgg exclaimed. "Ruffians! I get it! You're a clever dog! Who's a clever dog? You are!"

Lolegolas refilled his glass and quickly downed yet another shot.

"I recognize that's an exemplary caster hat," the worgen said. "But I only wear leather, right? Despite its critical ability and aid to hit, I lose too much wearing it. Like my dignity."

"Only leather, huh?" Throgg thought. "We used to be like that, too."

Lolegolas simply fell out of his chair.

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by Jane Housham

Old Man Hung is a "man of soup", a pho-seller in Hanoi. Making the traditional Vietnamese broth is akin to a religion for him, in a country where religion has been stifled by the communist regime. Even in war and famine, Hung strove to make pho out of whatever was available: pondweed and frogs, turnip and bones. Since 1986, when the Party declared doi moi (renovation), there's been energetic development of the free market, but Hung's life is still wretchedly empty, the legacy of too many harrowing experiences. In the new economy, art is booming; Maggie Li, whose mother fled with her to America in 1975, has returned to her country of birth to work as a curator and to look for traces of her father, a dissident artist "disappeared" by the regime. Locked in Hung's failing memory is cherished knowledge of all the writers and artists of the "Beauty of Humanity Movement", which he fears is about to be lost for ever. An intensive course in Vietnamese history, Gibb's poised and thoughtful novel does not flinch from horror but is also open to the beauty of this scarred country.

Tracey Emin's raw unpretentiousness – and the use she's made of her life in her work – has captured the nation's attention for 20 years. But its brilliance lies in its use of words

A cunt is a rose is a cunt. This is the title of a Tracey Emin monoprint from 2000. It's a reclining female nude, legs and torso neatly nicked off above the chest and at ankle and shin level, a body sloping backwards from the raised legs downwards, so that, held vibrant and prominent right at the centre of the drawing, there's not just the vibrating smudge and scribble of female genitalia but also a sense of something solid emerging from it, a shape cut in air, made by the crook of the upper knee and the line of the lower thigh.

"A cunt is a rose is a cunt" is Emin's reworking of the famous/notorious line from Gertrude Stein's 1913 poem "Sacred Emily": "Rose is a rose is a rose is a rose". This was probably inspired in turn by Juliet's comment on Romeo's name, 300 years before Stein: "What's in a name? – That which we call a rose / By any other name would smell as sweet" (and Shakespeare was a writer not averse to the odd pun on the word "cunt" himself). What would Stein, the great literary experimenter, have made of Emin's emendation? Here's what she said in 1935 when some students in Chicago questioned her about it:

Now listen. Can't you see that when the language was new – as it was with Chaucer and Homer – the poet could use the name of a thing and the thing was really there. He could say "O moon", "O sea", "O love", and the moon and the sea and love were really there? And can't you see that after hundreds of years had gone by and thousands of poems had been written, he could call on those words and find that they were just worn out literary words? The excitingness of pure being had withdrawn from them; they were just rather stale literary words. Now the poet has to work in the excitingness of pure being; he has to get back that intensity into the language. We all know that it's hard to write poetry in a late age; and we know that you have to put some strangeness, as something unexpected, into the structure of the sentence in order to bring back vitality . . . Now you all have seen hundreds of poems about roses and you know in your bones that the rose is not there. All those songs that sopranos sing as encores about "I have a garden! oh, what a garden!" . . . Now listen! I'm no fool. I know that in daily life we don't go around saying ". . . is a . . . is a . . . is a . . ." Yes, I'm no fool; but I think that in that line the rose is red for the first time in English poetry for a hundred years.

The "can't-you-see?" of this. The insistence on "listen". The repeating immediacy – now, now, now. The emphasis on the importance and excitement of aliveness; the intensity. The focus on strangeness; the understanding that something strange introduced into the structure of things renews things: Stein's isn't a bad lens through which to see Emin's own practice. For Emin a word like "cunt" is excitingly multiple. In her work it ranges across the whole spectrum of resonance, from affirmation, celebration, punchy frankness to unpleasantness, insult and mundanity, via the still-thrilling buzz of the just-not-said, and all simultaneously, all in the swivel of a repetition, the shape a word cuts in time. There's also, here, the cheek, the wit of her retake on Stein's rose, since for sure Stein knows that a rose means more than just a rose. "And then later," Stein says of her ring of words, "what did I do? I caressed completely caressed and addressed a noun." Emin, too, is a caresser and addresser when it comes to verbal and conceptual certainties and ambiguities. Inherent ambiguity is something she's well aware of if you look at the photograph, from the same year as A cunt is a rose is a cunt, called I've got it all, in which she sits with her legs splayed open, clutching notes and coins to her cunt as if either the cash is exploding out of her in fairground fecundity, spilling out as though she's a giant fruit machine, or she's in the act of cramming it into herself.

The thing about Emin is that she's really good with words. Maybe no one, until now, has so energised, understood, made visible, the possibilities of this particular, powerful word: cunt. Partly such energising is art's responsibility, one that works, by means of what WG Sebald calls "keeping faith with unsocial, banned language", to question, understand and, with any luck, transcend the proscriptions and the inarticulacies of whatever time we happen to live in. There's a parallel in Emin's punk insertion of the word "fucking" into the construct "red, white and blue" in her neon of 2002, Red, White, and Fucking Blue, where the word "red" is red neon, the word "white" and the "&" are white neon, and the words "Fucking" and "Blue" are blue neon, and suggest everything that could make you feel blue (in all senses of the word) in the cliché of the concept of being British. Plus, there's her general democratising, the total unpretentiousness – for instance, in one of her Princess Diana monoprints of 1999, on which she writes "Regardless of class or status no woman deserves what thoes cunts put you through – LOVE WAS ON YOUR SIDE." With Emin, art is about articulation: its questions, impossibilities and, above all, the fluidity and changeability of register. At the same time it's really very British, reminiscent of something a bit Lawrentian. Mellors, the close-to-nature gamekeeper in Lady Chatterley's Lover (1928) – a novel that's all about chatter, and the upper, the lower, the chattering classes – can switch rhetorical registers with ease, talking to his penis one minute ("Ay, th' cheek on thee! Cunt, that's what tha're after. Tell lady Jane tha wants cunt"), the next minute laughingly aphoristic to Constance Chatterley ("Blest be the tie that binds our hearts in kindred love"). Something in this resembles the versatile split-second shift from cloy to edge, from acrid to sentiment and back again, in Emin's work; the neon Be Faithful to your dreams (1998) next to Good Smile Great Come (2000) next to MY CUNT IS WET WITH FEAR (1998) next to Love is What You Want (2011). (Elsewhere in her work Emin has played this last one as Love Is What You Wont.)

Something in it is prefigured, too, in work by groundbreaking writers like Angela Carter, a genius of verbal and narrative reclamation and emendation, and the American post-beat writer Kathy Acker, whose seminal, anarchic 1978 novel Blood and Guts in High School is also a work of words and pictures with its graphic genital line drawings, including one of the labia labelled underneath in typewriter typeface "My cunt red ugh". (Acker was influenced, in turn, by the 1960s and 70s feminist performance artists, for instance Carolee Schneemann, one of whose practices was to pull a rolled scroll out of her vagina then read out what was written on it.) Somehow Emin goes beyond; with her, it's as if Warhol and Valerie Solanas were rolled into the same person, but minus his posture of obliquity and spaciness, minus the violent fixity of her political focus. Something else, something unexpected and difficult to articulate happens. As Jennifer Doyle says, about looking at Emin's repeated graphic versions of what Courbet calls "the origin of the world", "I couldn't help but think: 'Isn't this how Judy Chicago and Georgia O'Keeffe are supposed to make me feel (but don't)?'".

Emin's ear for the right word in the right place, and for the resonances of "rightness" and "wrongness" in word and place, are at the basis of her art. Take her play on meaning in the pair of neons, Is Anal Sex Legal and Is Legal Sex Anal (both 1998), so simple and so complex at once, so centrally about how (and where) words mean, and so witty about proscription, with shades too of Lewis Carroll's Alice lazily falling down the rabbit hole in a swoon pondering do cats eat bats, do bats eat cats? "And what is the use of a book", thought Alice, "without pictures or conversation?" Emin – while she brings straight to the surface all the things, including survival, Freudian strangeness, child/adult sexualities and innocences, which go unsaid or remain subconscious in the work of a writer like Carroll – is drawn to the place where meaning and consumption come together, fascinated by the conversation that happens when words and pictures meet, a dialogue most of us come across as soon as we first look at books. "I love writing," she says. "I think every artist has a backbone to what they do. For some it could be photography, painting, the ability to make a formal sculpture stand, but for me it's writing." For her, art is language and, as she put it in the press release for her very first show, "art has always been, a lot of the time, a mysterious coded language. And I'm just not a coded person . . . What you see is what I am."

This unpretentiousness has made Emin a national symbol. Her uncodedness, her frankness, her direct use of her own life in her work, have made her a repository, in the media and to some extent in the general public's eye, for all that's contentious in contemporary art. It's easy to dismiss, simplistically, her complex and redolent use of self-portraiture as ego-posturing. But the thing is, there's no pinning her down. There's no reducing Emin. No matter how – or how much – the media strings her up (one minute lunatic, the next the new William Blake), her work engages the nation, and has engaged it now for more than 20 years, in a dialogue about art and life and the crossovers between both. It does this at what might be called a language-sensitive place. She is multitalented, multifaceted; aesthetically endlessly versatile; there's no form she won't try. Somehow nothing circumscribes her.

From Blake's illuminated books to Stevie Smith's strange, pithy little illustrated verses, from Fra Angelico to Magritte's not-pipe; from the terrible increasing tension in Charlotte Salomon's Leben? oder Theater? to Gilbert & George's Dirty Words Pictures: artists and writers have worked for centuries with what happens when text and visual art come together. For Emin, it's another of her many modes of dialogue. In one of her monoprints, a girl wearing high-heeled shoes, with a smudge for a face, stands next to the words "dog" and "brains". Is she saying it about herself? Is she hearing it said about herself? The instability makes something momentary into something piercing and shaming.

In her book those who suffer love (2009), 11 monoprints by Emin of a woman masturbating accompany the text like a restless flickerbook; but the repeated shifts of the body up against the text make the text come alive, while the text itself, sometimes banal, sometimes funny, sometimes anguished, rubs up against the body to make the whole thing both pathetic and satisfying. Its title, a statement in its own right and an adjectival phrase, is a typical Emin reflexive. Considered carefully, it becomes more than itself, in the same way that the title of her celebrated tent-work, Everyone I Have Ever Slept With 1963–1995 (1995) played on the phrase's colloquial sexual meaning and was mischievously, seriously, quite literally, a list of everybody she had ever gone to sleep next to.

I wonder if, along with My Bed and the now lost Everyone I Have Ever Slept With 1963–1995 (which was destroyed in the Momart fire of 2004, and which Emin refuses to remake), one of Emin's most enduring images will prove to be the photograph Monument Valley (Grand Scale) (1995–97). In it, the artist is off centre, sitting in the desert on an old bright-green chair whose sides are lined with orange piping, so much in the foreground that the great slabs of Monument rock are miniaturised behind her, with the wide blue sky above her only slightly scuffed with clouds, the word "THANKS" appearing from behind her right leg and a book called Exploration of the Soul in her hands, open as if she's about to give a reading. She's looking straight at us. Her gaze is direct but distanced – shrewd, serious. There's both silence and the promise of voice in it. There's a waiting, a discrete openness.

The book is one she wrote in 10 days, an autobiographical work written with the considered rawness for which Emin has now become known. In the early 90s she toured America, giving readings to anyone who came to hear, sitting on her travelling storyteller chair, which was a gift to her from her grandmother (it originally belonged to her great-grandmother), which she patched with the names of the places she visited, like a suitcase. The chair is now an exhibit in its own right (There's a lot of money in chairs, 1994). It's a dialogue itself in the form of a chair, one that holds its own narrative shape between Emin and her grandmothers, between past and present histories. The work is about a girl who comes of age via the legends of her English mother and her Turkish-Cypriot father, their material ups and downs, then the girl's own horrific early sexualisation, first by abuse, then by rape, at the age of 13, at the hands of a local man, someone well known for having "broken in girls". "When I got in, my mum said, 'Tracey, what's wrong with you?' I showed her my coat, the dirt and the stains, and told her 'I'm not a virgin any more.' She didn't call the police or make any fuss. She just washed my coat and everything carried on as normal, as though nothing had happened." Exploration of the Soul ends with the story of Emin at the age of seven going to a children's party, from which she is sent home because "you don't have an invitation". The next morning the child Emin asks her mother, "What's an invitation?" It is a model fable of exclusion, of how language itself is used to exclude.

Emin is a great recycler. Much of Exploration of the Soul appears again in her book of "memoirs and confessions" Strangeland (2005), a work of echo and resonance and rewrite, in which – as in her video-poem Why I never became a dancer (1995) – she works with a repeating structure, one that shifts from abjection to empowerment and transformation. In it she declares "You don't have to be born with balls to have balls."

By her own authority, Emin writes with a gift of fused subjectivity and objectivity reminiscent of a writer like Nell Dunn (the titles of whose 1960s novels Up the Junction and Poor Cow read now almost like the titles of Emin works). Dunn, an upper-class girl who decamped to south London and wrote with what proved to be a transformative lack of judgmentalism about the working classes, has a talent for fusing roughness and beauty into something at once fragmentary and whole, seen from both outside and inside simultaneously.

"Instead of feeling on the outside, I realised that there was an outside and it was called 'being an artist'." Strangeland's first image, of her birth, is an infant vision between death and life, somehow wrong, voiceless: "When I was born they thought I was dead. Paul arrived first, ten minutes before me . . . I just rolled out, small and yellow . . . I somehow felt a mistake had been made. I couldn't scream or cry or argue my case . . . They put me into a little glass box and slowly I came round." Its final image, of the adult Emin in Egypt longing to smash through the glass case in a tomb and take into her arms a "tiny mummified foetus" is one of sheer empathy. "Dead for thousands of years, not completely formed, but he had soul. He still had soul," writes the artist who knows what spirit is, who can go from the word "drunk" to the word "soul", from inebriation to metaphysic, in the space of a single strip of material, and hold them both in equal measure (Drunk to the bottom of my soul, 2002).

It's all about connection. It's one word after another, with Emin. Give her a blanket and she'll make it speak. Give her the fabric of things and she'll find voice in it. Give her a cliché and she'll take it apart to give it back its full original whack of power again. Give her words, she'll write them backwards and forwards; she'll send them off in all directions; she'll work them into everything; she'll put them where you least expect. She'll make you wonder what they mean; she'll show you they're right and they're wrong. She'll take them to pieces then sew them back together again. She'll light them up.

Tracey Emin: Love Is What You Want is at the Hayward Galley, Southbank Centre, London SE1 (0844 875 0073), from 18 May to 29 August 2011. www.southbankcentre.co.uk

The restaurant scene fielded a fair amount of celebrity activity this week. There was Lavo, which obliged Goldie Hawn's request for something substantial. At Tazza, coffee and good timing brought Gabriel Byrne and Paul Giamatti together. But Crown got the most action, taking in the lion's share of celebrities leaving this year's Met Gala. Lots more sightings straight ahead.

Crown: After the big to-do at the Met, a number of guests flocked to John DeLucie's new Upper East Side spot, including Gwyneth Paltrow, Jay-Z, Beyoncé, Madonna, and Paul McCartney. [Gatecrasher/NYDN]
Fred's at Barneys New York: Amar'e Stoudemire and girlfriend Ciara (Amiara? Ciamar'e?) had lunch together. [Page Six/NYP]
Juice Generation: Hugh Jackman got a vital shot at the West Village location, while Salma Hayek visited the uptown location. [People]
Kenmare: Kelly Osbourne was seen dining with photographer Anton Lombardi. [Celebuzz]
Lavo: Goldie Hawn, sitting in the VIP area with Kurt Russell, kindly asked her waitress for some "real food." The chef interpreted this as margarita pizza and truffle fries. [Page Six/NYP]
Lure Fishbar: Amar'e, apparently not one to eat in, was spotted having dinner. [Page Six/NYP]
Norma's: Victoria Beckham took her sons out for brunch. The boys ordered chocolate-chip pancakes. [People]
Serendipity 3: Anderson Cooper and friends had hot dogs and Frrrozen Hot Chocolate. [Page Six/NYP]
The Spotted Pig: Christina Aguilera, wearing a screen-printed skeleton shirt, put some meat on her bones with boyfriend Matthew Rutler. [Just Jared]
Tazza: After enjoying some coffee outside, Gabriel Byrne walked in to find Paul Giamatti reading alone. After Byrne introduced himself, a witness says, the two got along famously and eventually exchanged phone numbers. [Grub Street]

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Bones is back, baby.

After a few lackluster episodes, last night's "The Sign in the Silence" reminded us why we love the Jeffersonian team and their quirky, funny, thought-provoking ways.

Next week, in the third installment of the sniper arc, Jacob Broadsky (Arnold Vosloo) returns and takes out another innocent victim with a bullet that was meant for Booth, who becomes more determined to catch Broadsky once and for all.

The first two episodes featuring Broadsky were both very solid, so here's hoping the trend continues as we head into May 19's game-changing season finale.

Here's Fox's promo for "The Hole in the Heart" ...

The Hole in the Heart Promo

Dominic Walsh Dance Theater looked thin to me on Thursday. The company's Third Course program, could have used more meat — and not just on the bones of the dancers.

Evidence of domestic violence is usually counted in bruises, cuts and broken bones.

Thursday night's final ratings.

ST. PAUL, Minn. - Susan Myster can tell a ton about you from your hips, teeth and collarbone.

Children in catechism class are taught that the patron saint of forehead veins Angelina Jolie has had many bones in her body but the hate bone isn't one of them. But this is actually a lie. Angie Jo does have hate for something. It isn't food. It isn't American holidays that end in "ing." It also isn't clothes that look like they don't belong in the closet of a professional funeral seat-filler. The thing that Angie Jo hates is the sound of her own voice! Yes, the sound heaven's angels hear when they put their ears up against an empty conch shell on their grandma's coffee table (every grandma has an empty conch shell on their coffee tables, even in heaven) is the sound that Angie hates the most!

Pass me a plate of youknowthishoislying and then read what she said during an interview with USA Today for that Kung Fu Panda sequel.

Men might like her voice. Jolie hates it.

"You know, when you hear your own voice, you can find it quite boring and uninteresting," she says. "Suddenly, you get very shy that your voice is not enough, because I'm not musical and I don't know my voice."

Jack Black's ears perk up as Jolie talks about her early auditions for voice-over work. She says she was so nervous about getting jobs that she brought dozens of zany voices she plucked from thin air, including a crude Mae West imitation.

"You mean like, 'Come up and see me sometime?' " Black asks in a husky breath.

"That sounds more like Bogart doing Mae West," Jolie says. Black rolls his eyes. "Uh, that was Bogart in drag."

Angie can inject that "you know" up into her bulging forehead vein and speak for herself, because I happen to love the sound of my own voice. I especially love it when a telemarketer hears the sound of my voice and calls me "ma'm." Not even "miss," "mrs." or "Are your parents home, young lady?" MA'M! Those stupid bitches.

Although, I could be projecting a "ma'm" since when they call I'm usually wearing a sweatshirt with some kind of cartoon cat character on it and am in the middle of pulling my dog's ears back so they look like Princess Leia buns. But that's still not a ma'm! That's more like a "Ms. Aniston."

Those of you who still pine for widetrack driving excitement have seen several attempts to restart the Pontiac shield on the bones of the new Camaro. Now the Florida home of new-age screaming chickens has gone to the next level with a GTO Judge. More »

The latest episode of CSI: Crime Scene Investigation, “Cello and Goodbye”, took a hit in the ratings on Thursday, May 5. The episode pulled in 10.46 million viewers, which was down from last week and put the series in second place behind Bones (11.09 million). Grey’s Anatomy was third with 9.86 million viewers, followed by [...]

The conceit for last night's episode of Bones, "The Signs in the Silence," was that the murder suspect is, in one character's words, "a deaf mute." The thirty-second promo with this piece of information drew ire from Deaf actress Marlee Matlin and other Deaf and hearing Twitter users, as "deaf mute" is a derogatory term in that it implies that Deaf people are incapabale of communicating. ... More »

Post from: Crushable

Marlee Matlin Takes Issue with Depiction of Deafness on 'Bones'

Emily Deschanel on her pregnancy being worked into 'Bones': 'I think it's ... Entertainment Weekly Ever since Emily Deschanel's pregnancy was announced in March, Bones fans have been wondering how her fall due date will affect the show. Now that the Fox drama has finally received a season 7 pickup, that's something producers are in ...

Man charged with killing Syracuse man whose bones were found in Oneida Utica Observer Dispatch Chauncey Winchell, charged with first-degree murder in connection with the death of Mark Murray, whose bones were found in Oneida 2010. By ROCCO LaDUCA A man already serving prison time in Arizona was charged Friday with murder and robbery in ... and more »

Pelvis reconstructed from patient's amputated leg Mass Device Doctors from the Ohio State University Comprehensive Cancer Center successfully rebuild the pelvis of a cancer patient out of bones from his own amputated leg. MASSDEVICE ON CALL — Pelvis reconstructed from patient's amputated leg. ... Cancer Patient's Lower Body Rebuilt With Bone Autografts and TitaniumMedgadget.com Ohio State Surgeons Rebuild Pelvis Of Cancer PatientRedOrbit Ohio Surgeons Perform Rare Pelvic Reconstruction on Cancer PatientBecker's Orthopedic & Spine (press release) all 11 news articles »

Found bones create mystery in Grand County Salt Lake Tribune The motorists took a bone fragment to Montrose, Colo., and police there. Those officers contacted White's office, he said. Grand County investigators searched the area and found more skeletal remains. White said they have been unable to identify the ... Man finds human bones in Grand County, UtahKKCO-TV all 7 news articles »

AceShowbiz

'Bones' 'The Hole in the Heart' Preview: Sniper Jacob Broadsky Returns Gather.com Next week, Bones will be continuing (and concluding) the big sniper arc in "The Hole in the Heart." Jacob Broadsky (Arnold Vosloo) is back, but will everyone survive the final encounter with him? "When sniper-on-the-loose Jacob Broadsky claims another ... 'Bones' Fan Columnist: Bones Never LieBuddyTV Bones Promo: "The Hole in the Heart"TV Fanatic 'Bones' Season 6, Episode 21 RecapTV Squad Monsters and Critics.com -Associated Content -Zap2it.com (blog) all 16 news articles »

With the AMERICAN IDOL Top 5 Results show and an original BONES, FOX won last night across all key demos and beat next highest rated

How do you know when it's time to let go?

The recent high profile retirements of some of the greatest mixed martial arts stars of yesteryear (see Liddell, Chuck and Couture, Randy) has quite a few of the sports stars that are still hanging around coming to grips with their own mortality.

One of them being the most hallowed killer in the history of the game, Wanderlei Silva.

"The Axe Murderer" has seen more than his share of battles and fought through enough wars to last a lifetime. His resume is as impressive as it is long.

At the age of 34, the Brazilian is still relatively young but when one considers the sheer volume of fights he's engaged in throughout his tenure in MMA (45 total), it's natural to think it might finally be time for the former Pride king to hang 'em up.

However, that staggering number will grow by at least 10 if it's up to Silva. The beloved brawler took to Twitter to let fans know exactly how many fights he thinks he has left in his old tired bones.

"I want to make more ten fights in my career. It's amazing, when I think about it my eyes are filled with tears ... Thank God because for some years now I don't need to fight for money, I do it because I'm crazy for you. My fans are my reason [for fighting] ... You have no idea how I do feel when I am inside that [the cage]. It's unique and intense. I've competed my whole life, I don't know how it'll be afterwards."

Awww.

The countdown to Silva's retirement begins with a long-awaited -- and highly anticipated -- match-up against middleweight masher Chris Leben at UFC 132 on July 2 in Las Vegas, Nevada.

But will Wandy ever make it all the way to 10 considering the heavy toll his stand-and-bang style has taken on his body throughout his 15-year career?

After losing five of six fights from 2006 to 2009, Silva sought a reorientation (as Georges St. Pierre would call it) of his career by moving down to the 185-pound division.

He was impressive in his first showing, a unanimous decision win over Michael Bisping, but can his body hold up to the weight cuts and tough fights that await him?

Stay tuned.

Ever since Emily Deschanel’s pregnancy was announced in March, Bones fans have been wondering how her fall due date will affect the show. Now that the Fox drama has finally received a season 7 pickup, that’s something producers are in the process of deciding — both in terms of story and production schedule. “I imagine

DEBUT ALBUM WHITE NOISE BED OUT JUNE 7

Santah

Santah, composed of guitarist/vocalist Stanton McConnell, drummer Steven Plock, bassist Otto Stuparitz, and Tommy Trafton on keyboards, will release their debut album White Noise Bed on June 7. Click here to pre-order the record and check out their tour dates below.

White Noise Bed Track List
1. Irish Wristwatch
2. No Other Women
3. Chips of Paint
4. Cold Wave
5. White Noise Bed
6. Overgrown
7. When I Couldn't Move
8. Merry Ann
9. Bat Suite
10. Dragonfly Papers
11. Neighbors and Cousins

Santah Tour Dates
10-May Milwaukee, WI Cactus Club
11-May Des Moines, IA Vaudeville Mews
12-May Iowa, City, IA The Blue Moose Tap House
14-May Chicago, IL Lincoln Hall
16-May St, Louis, MO Off Broadway
20-May Lexington, KY Cosmic Charlie's
21-May Chattanooga, TN Collective Warehouse
23-May Columbus, OH Rumba Cafe
24-May Detroit, MI Lager House
1-Jun Indianapolis, IN White Rabbit
3-Jun Pittsburgh, PA 31st Street Pub
4-Jun New York City, NY Piano's *
7-Jun Brooklyn, NY Knitting Factory ^
8-Jun Cambridge, MA TT Bear's
10-Jun Charlottesville, VA Twisted Branch Tea Bazaar
13-Jun Atlanta, GA Smith's Olde Bar
16-Jun Nashville, TN Mercy Lounge
17-Jun Champaign, IL Cowboy Monkey
18-Jun Chicago, IL Beat Kitchen

* = w/ The Dig and Dinosaur Bones
^ = w/ Brian Bonz and Stationary Set

Santah Tour Dates :: Santah News

Jordan Hoffart shown here in the Bones wheels video is trying to tell us something. Sure he’s going huge and still getting technical, we can agree. But do you see the real Jordan and not just the fantastic skater he’s become, I think not.

The bones of 62-year-old Severina Gómez and 23 others whose remains had lain together for 75 years, surrounded by bullet cases and with hands tied behind backs, have finally been removed from their mass grave in countryside near the central Spanish village of Loma de Montija.

Anxious family members watched last week as forensic archaeologists and volunteers scraped through layers of mud to uncover evidence of a crime committed in the heat of a civil war that still haunts parts of Spain – and that served as a curtain raiser to the bloodshed of the second world war.

Source & Full Story

BuddyTV

Thursday Ratings for May 5: 'Bones' Renewal Draws Viewers, 'Idol' Rules BuddyTV Both American Idol and Bones saw sizable increases in viewers over last week. CBS fared well with The Big Bang Theory and The Mentalist. Speaking of renewals, Ryan Seacrest revealed on last night's Idol that the reality singing competition would be ... TV Ratings: Thursday audiences pick 'American Idol,' 'Bones'HitFix Fox rocks on ThursdayVariety The Programming Insider: Idol Tunes Out RivalsAdweek The Beverly Hills Courier -TheWrap -TVLatest.com all 15 news articles »

Fox tops the adults 18-49 ratings again.

One could say it has been done before, with Johnny Cash at Folsom Prison, but one could never say that the message and the meaning have come through any clearer then it has with Rita Chiarelli's latest labor of love, "Music From The Big House". "Music From The Big House" was recorded live inside the Louisiana State Penitentiary, aka Angola, and is the Soundtrack to the award winning documentary of the same name.

"Music From The Big House" was a project of Rita's that was 10 years in the making and started when she was on a pilgrimage doing research down Highway 61. When she came across Angola and started to learn about it's musical history, it totally mystified her and thus the 10 year journey began, which turned into a Documentary and now an amazingly inciteful and powerful Album. By the way, Angola, nicknamed the "Alcatraz of the South" and "The Farm, was the prison that once housed the legendary blues artist, Huddie William Ledbetter aka Lead Belly. "It was there, in 1933, that he was "discovered" by folklorists John Lomax and his then 18-year-old son Alan Lomax during a visit to the Angola Prison Farm."

"Music From The Big House" consists of 13 Tracks that have no problem giving you the feel that you are sitting right there with the inmates, goose bumps running up and down your spine as Rita and the other performers sing the music which resinates loud and clear, especially with many in the audience whom have lived and are still living the words that are being sung.

When it comes to Soundtracks, the best way I can describe them, as far as how they come across to me is, that they are simply movies that you watch with your eyes closed, and if they are done really well, as "Music From The Big House" was, they will transport you to just as many wonderful places as a good book will.

The journey that is "Music From The Big House", starts off with a hauntingly beautiful opening number called "Rita's Journey". This track, which was written and performed by Christopher Guglick, is 1:19 in length and gives you a wonderful sense of Rita first entering the walls of Louisiana State Penitentiary, with the sounds of the inmates mixed in with the sound of birds in the background. The instrument of choice for this track was the piano, with the notes being wonderfully elongated for effect. This track ends with the footsteps of Rita being softly heard.

"These Four Walls" is the next Track and one of several that were not recorded live in Louisiana State Penitentiary, in addition to "Rita's Journey", and "Convicted". "These Four Walls" is a very simply done and very raw song that is about as perfect of a start you could expect to such an Album.

Track 3 is called "Mississippi Boy" and was written by Floyd Hamberlin and performed by The Jazzmen, a group of 9 great artists and 1 of 3 addition groups of musicians performing on "Music From The Big House". The other 2 groups were Pure Heart Messenger (10 artists) and Little Country (5 artists). All three of those groups are made up of inmates of Louisiana State Penitentiary. Contrary to their name, The Jazzmen "are a straight ahead blues band". Pure Heart Messenger is a Gospel group and Little Country, as the name implies in this case, is a little country. With the performance of "Mississippi Boy", one gets the sense that this band could easily put the run on any band on the other side of the walls.

"Don't Let Him Catch You (With Your Work Undone)" is the name of Track 4 which was written by Max Powell, Jo Armstrong, and Eddie Crandall and is the first Track on "Music From The Big House" performed by the Gospel group Pure Heart Messenger. This song features the wonderful full vocals of Ray Jones.

Track 5, "Mercy Blues" is another original song of Rita's, performed by The Jazzmen featuring 'Ross' (Fredrick Ross) and along with The Jazzmen, this tune really starts to heat up when Rita steps in around the halfway mark.

Track 6, "Harvest" is another Gospel song by Pure Heart Messenger, but this time around they highlight the amazing vocals of yet another one of their members, Albert Patterson. With the background vocal accompaniment of Pure Heart Messenger, "Harvest" comes across as Gospel sung at it's celebratory best.

The next Track up is called "Rest My Bones", a song I got acquainted with from Rita's previous album, "Sweet Paradise", but unlike the way it was done on that Album, this time it is done as a Prison Yard Rehearsal. This is a great addition to this Album with Rita explaining the song to the other singers as they run through it's rehearsal. The first half of the track is everyone getting acquainted with the way Rita would like it to sound and then it melts into the song being performed in the second half of the track.

Track 8 finds us listening to a great traditional song "Glory, Glory". Rita performs this gospel oriented song with none other then Pure Heart Messenger. This is wonderful interpretation and performance of that standard.

Track 9 & 10 is a song written by Marvin Jefferys called "Rain On Me". Track 9 is the rehearsal and Track 10 is the actual full length song. Once again the star here is Ray Jones who is backed up beautifully by the rest of Pure Heart Messenger, throughout this Track.

Track 11 is another original from Rita Chiarelli called, "I Love You Still" and since I cannot find the song on any of her other Albums, I am assuming that it was written solely for "Music From The Big House". This particular song is a little country, but of course it doesn't matter what Genre Rita is singing, the music still comes across as magical.

Musical get togethers such as this one all have their grand finales at the end and for "Music From The Big House", the song chosen was the Traditional "Midnight Special". Everyone, of course, gets in the act for this one and it could not have been a better song to end the last Live Track on this Album. The last few seconds of the Track fade to clapping and then it is farewell to all.

The beginning of "Music From The Big House", started off with a track written and performed by Christopher Guglick and that it the way this Album also ends, with another of Guglick's compositions called "Convicted". Again, it is more hauntingly beautiful music performed on his piano for 1:25. A wonderful end to an equally wonderful Album.

Not often do artists get a chance to out do themselves and in the process take monumental steps forward, but in the case of "Music From The Big House", Rita Chiarelli has done just that. She has not only managed to put together a truly inspirational Documentary, but also an equally stirring Soundtrack to that project.

"Music From The Big House" ethusiastically gets my Highest Rating of 5*****. Highly Recommended and Thoroughly Enjoyed. I cannot wait for the release of the DVD, which is slated for 2012.

Review by John Vermilyea (Blues Underground Network)

Additional Info Including Link To Samples Here... http://www.bluesundergroundnetwork.com/Rita_Chiarelli_CD2.html