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News One:

Comedienne and star of popular sitcom ?90s show ?Moesha? Yvette Wilson, is determined to survive the battle of her life. Wilson, who played ?Andell Wilkerson? on the hit starring Brandy, has Stage 4 cervical cancer and is in dire need of funds in order to pay her mounting medical bills.

Read the whole story at News One

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Updated Apr 30, 2012, 7:39am

Social games let you farm online, run stores online, play sports online, and even sing online, but is it possible to dance online? As it so happens, yes. Dancing With the Stars: Keep Dancing is a free-to-play browser-based social game that lets you glide across the dance floor with angelic grace, even if you?re about as smooth as a three-legged tomcat in real life.

Dancing With the Stars: Keep Dancing is, of course, based off the enormously popular ?Dancing With the Stars? reality television series, which began its life as the UK?s ?Strictly Come Dancing? in 2004. The show?s well-known dance-off format has since been sold to over 38 countries worldwide, prompting the Guinness Book of World Records to declare it the most successful television format in its 2010 edition. It?s no surprise that BBC Worldwide partnered with ABC to marry the property with another behemoth: social gaming.

?We think that [Dancing With the Stars: Keep Dancing] is perfect for people who watch the show,? says Robert Nashak, BBC Worldwide?s Executive Vice President of Digital Entertainment. ?The female casual game market is booming, and the dancing, stars, and music really appeals to the shows? fans and the average casual gamer.?

Come Dancing

Of course, Nashak stresses, Dancing With the Stars: Keep Dancing is a game for everyone. It?s designed to be a ?premium social experience,? which is evident in the game?s smooth graphics (which were motion-captured with the assistance of the show?s stars) and popular music. You can set your routines to Britney Spears, Alicia Keys, KC and the Sunshine Band, and other tunes that make Dancing With the Stars: Keep Dancing an authentic experience. There?s no cheap knock-off music here.

The game?s interface is intuitive and easy to navigate, especially for players who are already familiar with online social games. You begin by designing your own avatar, including gender, costumes, skin tone, facial features, the works.

You then choose your dancing partner, and you?ll see a few familiar faces during the selection process. Think you can keep up with Maksim Chmerkovskiy, Derek Hough, Kym Johnson, and Mark Ballas?

Then you and your partner hustle to the studio, where you learn the basics of the game. You practice a number of moves, including cartwheels, jitterbug whips, and everything else that?s necessary to turn you and your partner into the Lords of the Dance.

Practicing moves requires Energy (represented in classic social game fashion by a lightning bolt icon), and a move must be practiced several times before it?s finally Mastered. But once a move is Mastered, it can be placed in a routine and launched at your competitors.

At first, your partner builds the routines that are utilized on the dance floor. Once you hit level 8, however, you unlock the ability to choreograph your own routines. Dance for your life!

Up on the Stage

Practicing a routine is only half the battle. Before showtime, you also need to set the mood and lighting for your performance. Ideally, you want to put together a performance that blends visuals, movement, and music into a smooth delight that goes down easy.

Once you?re on the stage, you?re judged in several categories. The mastery of your routine is ranked, and you?re also assessed on how well you nailed the competition. ?Nailing the competition? involves clicking on the dancers at the right moments during the routine in order to spiff things up. You also need to click on the stage?s lighting at key points to give your routine the perfect tone.

When it?s all over, you?re supplied with your score, as well as coins and experience. Leveling up unlocks new in-game content.

Dancing With Friends

Dancing alone is a melancholy experience, which is why BBC Worldwide built Dancing With the Stars: Keep Dancing around a social platform. The game runs on its own site, but it can be accessed via Facebook.

In its current state, Keep Dancing is the ideal community hub for fans of ?Dancing With the Stars? to meet new friends, bond with current friends over a shared interest, or simply hang out. Moreover, BBC Worldwide has big plans for future social content, including the ability to send gifts and invite friends to vote on your routines.

Like most free-to-play games, Dancing With the Stars: Keep Dancing gives you the option to do a little shopping at the in-game store via microtransactions. Current available purchases include more Energy (since practicing routines eats it up?hey, try dancing for five straight hours and see how energetic you feel at the end of it all), and alternate costumes.

It?s Only Natural

Between its authentic costumes, celebrity partners, motion-captured graphics, and familiar music, BBC Worldwide worked hard to make Dancing With the Stars: Keep Dancing a genuine experience for the show?s biggest fans. Why not do some dancing via your web browser this Spring? You?ve already raised cows and lorded over cities: it?ll do you some good to try something different.

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WASHINGTON (AP) ? President Barack Obama has a new campaign slogan: "Forward."

Obama's re-election team unveiled its new motto in a video released Monday morning. The seven-minute video begins by recalling the grim state of the nation's economy when Obama took office, then ticks through what the campaign says are the president's accomplishments, both on the economy and other issues.

The campaign also uses the video to target congressional Republicans, saying Obama had to overcome GOP obstruction on Capitol Hill in order to pass legislation.

The video tries to make the case for Obama's re-election by saying there is still more work to do going forward.

The campaign says the video will be played for supporters attending the president's first re-election rallies Saturday in Ohio and Virginia.

Associated Press

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Internet marketing is now one of several greatest techniques for corporations to broadcast their message to folks seeking their products and services. Sadly, the very fact that the internet is now property to tens of millions of providers causes it to be hard for brand new web sites to score superior within the lookup engine rankings. Thus, choosing an Seo firm to spice up ones position while in the research is essential so that you can get more website traffic. Having said that, not all Search engine marketing businesses are equivalent, with some remaining absolutely improved than others. For those who will be looking out for Web optimization corporations which will produce high quality final results, subsequent are the best ten components to appearance out for.

one. Knowledge and Background
How long has the Search engine optimization Provider been during the marketplace? Much like every single other provider supplier, it is actually critical to to begin with think about the amount of several years that a business continues to be founded. The period where they remain during the market displays to how very well they can be doing while in the industry.

two. The Client Roster
Most companies will provide a list of consumers they have successfully serviced and this is an effective technique to figure out if their techniques really do the job. Future consumers really should go beyond the Sales and profits Webpage of your corporation and truly lookup the internet websites they may have optimized.

3. Comments
Such as the client roster, future shoppers should seem beyond the comments presented around the actual web site. Rather, make an independent lookup by attaching the term ?review? to a specific Website positioning Provider. This should make astounding success, generating it doable for purchasers to check out the ?good? and also the ?bad? of the business.

4. Search Engine Rating
How can a business claim that they have got the potential to tug a sites Google position if they on their own are usually not really put inside the search? It is not vital to get primary providing the Seo Provider isnt really situated with the far reaches in the Google lookup outcomes.

5. Price
The associated fee must be weighed against the quality in the assistance. One thing to maintain in thoughts while is the fact low cost Search engine marketing corporations normally equate to negative effects. For that reason, consumers really should search for a well-balanced pricing in the market place.

six. Personalized Services
A specially developed Search engine optimization technique is often a superb issue; specifically due to the fact the online world marketing approach for a restaurant and a computer shop are hardly the exact same.

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The company ought to have the opportunity to show the shoppers precisely how they want to solution the advertising side on the organization. Inquiring them the place the cash goes is in addition attainable.

8. Have they got a Guarantee?
Search engine marketing Organizations that present a 100% promise of staying #1 during the rankings is lying. There are a lot of elements to bear in mind in relation to internet website marketing and the finest any Web optimization business enterprise can do is pull the rankings increased.

nine. Unsolicited Email messages
In the event the company provide is sent by spam or uninvited e-mail, overlook it.

ten. Tactics
Companies really should find a way to disclose their technique on pulling a sites position upward. If not, then this might mean that theyre using a technique that is certainly not authorized and] could perhaps harm the site somewhat than increase it. This really is especially true given that search engines like google have produced techniques that allow it to be probable to spot websites that use black hat Seo to be able to rank higher while in the research engine effects.

Empire Media
Empire Media

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12 hrs.

Devin Coldewey

The exploits of the hacker known as Geohot have been in the news for years, but to people outside the world of tech it has been more like a series of isolated events than one cohesive story. A new account by The New Yorker adds little information but binds the last five years of hacking into a single thread, showing convincingly that what has contributed most to companies' security woes has been an inability to understand the motivations of those who hack.

Sony has been a favorite target for hackers recently, and it all started when George Hotz, a.k.a. Geohot, opened?up a PS3 to new uses. He wasn't sticking it to the man -- this kind of "jailbreaking" is a time-honored tradition among hackers, the epitome of man vs. machine.

"It?s competitiveness, but it isn?t necessarily competitiveness with other people," Hotz told the New Yorker. "It?s you versus the system. And I don?t mean the system like the government thing, I mean the system like the computer. ?I?m going to stick it to the computer. I?m going to make it do this!'"

Sony had?repeatedly trumped the PS3's security, yet Hotz cracked it in a month. They retreated and restricted what the device could do, and he cracked it again, but faster and better. Each round of patching led to increased righteous indignation among a noisy but small group of users. Eventually, though,?that group took matters further, launching an all-out attack on a company they now?considered an oppressor. Soon, websites started crashing and?the PlayStation Network and other Sony?online services were breached.?

What began as a spat with a single tinkerer ended up costing the company potentially?hundreds of millions of dollars, not to mention quite a bit of credibility, as anonymous hackers spent the next year?attacking them and the highly?public legal battle with Hotz grew into a David vs. Goliath situation.

Hackers didn't break into PSN to collect credit card numbers, they did it for two reasons: first, to protest Sony's handling of the PS3 jailbreak patch and to make the company realize that its boasting was far from justified. Second, for fun. Hotz says: "I don?t hack because of some ideology.?I hack because I?m bored."

It took a long time for Sony to do what they probably should have done in the first place: Call up Hotz and ask for his help. Facebook, quicker to seize on the opportunity a talented hacker like Hotz offered, had already employed him for eight months.?If you can't beat 'em, join 'em, they say -- or if you're a billion-dollar company, make 'em join you.

What hackers like Hotz represent is the future; they may be super-advanced users today, but in a few years their needs and wants will be mainstream. Who would have thought that hackers' wildest dreams in the early days of Playstation, of streaming video and installing Linux, would become standard features??Hackers see these needs before their peers, and using the skills they've learned as digital enthusiasts, they supply for their own demand.

If companies like Sony recognize these prodigal sons?of skill and foresight as the jewels they are, and not as vague threats to be put down, they might not only avoid some expensive troubles, but they could improve as a company and provide better for their customers. The story of Geohot and his peers shows this clearly, and hopefully that lesson is being learned in the tech industry at large.

Geohot once wrote on his blog that "Hacker is to computer as plumber is to pipes." People learned a long time ago to remain on good terms with their plumbers, mechanics, electricians, and so on. They're learning that it's just as important to be on good terms with their hackers.

Devin Coldewey is a contributing writer for msnbc.com. His personal website is coldewey.cc.

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Interesting article by Marjorie Perloff riffing off of Jed Rasula in The Boston Review:

http://www.bostonreview.net/BR37.3/marjorie_perloff_poetry_lyric_reinvention.php

It?s another of those ?It was not always thus? articles by someone fairly late in their career (it even says at one point ?It was not always thus?), which always makes me wary that it?s going to be infected by a false nostalgia of their own youth. So, with that in mind, I find she (and Rasula as well) misses the point as often as she hits it, but even so, it?s an interesting read.

First, the number of people involved in teaching creative writing at all levels in academia, they say, is 20,000. Then they say that research is the most important aspect of the continued employment of these 20,000. Then they say that this is causing a narrowing the aesthetic diversity of poets, which is this:

1) irregular lines of free verse, with little or no emphasis on the construction of the line itself or on what the Russian Formalists called 'the word as such';

2) prose syntax with lots of prepositional and parenthetical phrases, laced with graphic imagery or even extravagant metaphor (the sign of 'poeticity');

3) the expression of a profound thought or small epiphany, usually based on a particular memory, designating the lyric speaker as a particularly sensitive person who really feels the pain, whether of our imperialist wars in the Middle East or of late capitalism or of some personal tragedy such as the death of a loved one.

There is a point to this, but it?s not the point Perloff is making. The point I see is that there is a tendency, or a gravity, around aesthetic positions. It?s a contextual thing that gets reinforced by journals and universities and awards. It?s not the poet?s fault, though. It?s the journals and awards and universities. There are other poets doing other things, they?re just not valued by those journals, etc.

If Tony Hoagland is wrong in saying, using a very similar argument about journals and awards and universities, the dominant poetry of our time is skittery, this does not mean that Perloff is right, that it?s a homogenous totality of neo-autobiographical-light epiphany poetry. If either of them has a point, then both of them are wrong.

These are simplistic arguments that tend to fall apart, as Perloff?s does. First, I agree that it is true that most people who write poetry are involved in academia, but they are involved in various ways, and with various expectations of them. There are many, many poets who have won no awards, nor ever expect that they might. They also have never published in any of the journals Perloff and Rasula mention as the goal of contemporary American poets. Even with these two major strikes against them, they?re getting by just fine. Of course, many of them have academic positions that are at little-known universities off Perloff?s radar, but the fact remains that these poets don?t have to publish in the kinds of places she?s thinking of, and they don?t have to win the kinds of awards she?s thinking of. They can write absolutely however they feel like writing. And they do. I, for one, feel zero pressure from the small regional university I teach at to conform to the career she describes.

My guess, as with most writers, Rasula and Perloff and Hoagland see only what is around them. They see the winners of the big prizes and the people who teach at the most prestigious schools, and they extrapolate from there (though selectively so, as I?ll get to in a minute). The rest of us can see it quite differently.

True, there is a much more narrow aesthetic represented in the major awards than in the whole of contemporary American poetry. I do wish it were different, but awards are political things, not aesthetic things. It?s important to keep that in mind. (And sometimes those political economies end up choosing a poet I admire, as it has with Rae Armantrout, Mary Jo Bang, John Ashbery, among others). It will always be so.

Here?s a bit that struck me as especially disconnected:

?It was not always thus. The poetry wars of the 1960s?raw versus cooked, open versus closed, Donald Allen?s New American Poetry (1960) versus Donald Hall and Robert Pack?s anthology New Poets of England and America (1962)?produced lively and engaging debates about the nature of poetry and poetics. What made a lineated text a poem? Did poems require some sort of closure, a circular structure with beginning, middle, and end? Should the poet speak in his or her own person, divulging intimate autobiographical details? And so on.?

One must be pretty distant from the ground not to think that sort of thing is no longer going on. It doesn?t take much research to find that there are a lot of debates going on about the form, content, and function of poetry, a lot of it in places such as The Boston Review, in which her essay appears.

She has a point when she starts talking about the ageism of art:

??poets are always being displaced by younger poets. Whenever I sort out the hundreds of poetry books that come across my desk and rearrange my bookcases, I notice a curious phenomenon. Poet X has produced two or three successful books and keeps on writing in the same vein, but somehow the fourth book, no better or worse than the previous ones, gets much less attention for the simple reason that, in the interim, so many new poets have come on the scene. The newcomers are not necessarily better than their elders, nor do they write in an appreciably different mode, but the spotlight is now on them. Ezra Pound?s ?Make it New? has come to refer not to a set of poems, but to the poet who is known to have written them.?

This is a major problem in contemporary poetry. The young are not reading the older living poets as much as they should, but it?s also obvious to me that the older poets are also not reading the young.

After this, Perloff leaves her point almost entirely as she gets bogged down in a discussion of?American Hybrid and Rita Dove?s Penguin Anthology of 20th Century American Poetry. Even though, she does have a point when she writes that ?In the current climate, with thousands of poets jostling for their place in the sun, a tepid tolerance rules.? There are a lot, a powerful lot, of bad poems out there, and there is a large majority of poets who?ve decided to play nice about it. In fact, if I were to accuse academia and prizes for something it would be for this, much more than the work itself that poets produce. So we by and large nod our heads and smile at each other while jabbing ourselves in the leg with a pen to keep from screaming. Call it the Poetry Party Game.

And then, after these universals and generalizations, Perloff takes an unexpected (or maybe an expected) turn:

?So far I have been talking about the dominant poetry culture of our time?the culture of prizes, professorships, and political correctness. To dislodge the dominant paradigm is never easy, but in recent years we have witnessed a lively reaction from a growing group of poets who are rejecting the status quo.?

What bothers me in such a turn, is that she first says contemporary American poetry is this unified beast of boring, lazy, unmusical, etc, poetry that doesn?t have any productive tension, then she says there?s this rising reaction from a growing group. She wants to have it both ways. To say it?s monolithic and then to say it?s crumbling. And who becomes her model for the possible? John Cage. I like John Cage a lot, but he?s been dead for 25 years. She then introduces another example, Susan Howe, who again, has been around a very long time. If the general poem of our time is under siege from Susan Howe she?s very patient. Perloff does a bit better by bringing in Srikanth Reddy, but bringing him in poses another problem for her. He is a product of, and now teaches at, just the sort of prestigious institution she says ruins innovation in poetry. So, what is she saying the problem is again?

Bah. I give up. It?s a useless argument. We?ve all been here before. The lines are memorized. It?s this little dance we do because we think dancing is what art?s all about.

Fill it in with whatever you want:

Q:____________

A:____________

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Bobby Brown taped an interview with Matt Lauer this morning - for segments on The Today Show that will run Wednesday and Thursday - and made it a priority to defend himself against accusations that his hard-partying lifestyle played a role in the tragic death of Whitney Houston.

"I didn't get high before I met Whitney," Brown says, seemingly blaming HER for HIS problems, although clarifying that he did smoke "weed" and drink prior to their relationship.

But Brown emphasized that he wasn't "the one that got Whitney on drugs at all" and that he feels "terrible" folks think otherwise.

Because, really people, the important thing here is how Bobby Brown feels.

Houston and Brown were married from 1992 to 2007 and are the parents of a daughter, Bobbi Kristina. The singer told Lauer that their one year of filming Being Bobby Brown had a profound affect on their recreational drug use.

"The reality show gave us a wakeup," he says. "We [were] able to see that our drug use had affected our relationship, had affected the love that we felt for each other."

When did Bobby last see Whitney? About a week prior to her passing. He said she "looked really well" at the time.

Brown - who pleaded out a DUI arrest just this week in order to avoid jail time - said he was shocked and "hurt" when he learned Houston died with cocaine in her system. At the end of the day...

"I love that woman with everything that I am. And I believe she loved me the same way. We wouldn't have been able to make the most beautiful girl in the world - without love. And that's the truth."

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