Mothers from Central America search for missing kin in Mexico









SALTILLO, Mexico — The mothers knock on the doors of flophouses and morgues. They sift through pictures of prisoners and the dead. Clutching pictures of their own, some from long ago, they ask the same questions, over and over.

Have you seen him? Does she look familiar?

Occasionally, there is a reported sighting. More often, it's another shake of the head, a "Sorry, no." And with that, weariness stooping their shoulders and worry sagging their faces, they board their bus and move on to another town.





By last weekend, these mothers, wives and sisters of missing Central American migrants had already crossed some of Mexico's most dangerous territory in their two-bus caravan.

Following a route often used by migrants northward along the Gulf Coast to the U.S., they had entered the country in the south through Tabasco state. They traveled through Veracruz and Tamaulipas, sites recently of horrific massacres of Central Americans and others, stopping along the way to ask and search — against all the odds wishing for a happy ending.

By the time they finish what has become an annual mission organized by several migrant rights and church groups, they will have traveled to 23 cities and towns in 14 states in 19 days. A total of nearly 3,000 miles.

Aboard the buses, with the lived-in feel of ordered chaos, the women pass the time dozing, chatting, occasionally watching a movie.

Despite their pain, or perhaps because of it, they find friendship. The Nicaraguans share stories of their experiences during their country's civil war, telling of relatives killed or forced into armies; the Hondurans recount tales of their nation's utter, violent poverty that fuels one of the world's highest homicide rates and drives their children to seek lives elsewhere.

Emotions soar and fall. The women joke and tease one another and laugh. Then, suddenly, one remembers the son she is missing and breaks into sobs and another moves to her side to comfort her.

Another nine hours through hot, dusty cactus fields brought them here to Saltillo, the capital of Coahuila state, where the top leader of the notorious Zetas paramilitary cartel was slain by government forces last month. By all accounts, it is the Zetas who most routinely and viciously prey on the migrants, thousands of whom have gone missing in recent years — kidnapped, killed, pressed into involuntary labor by drug traffickers, or simply lost to poverty and desperation.

Dilma Pilar Escobar last heard from her daughter, Olga, in January 2010. Olga had taken off from their home in Progreso, Honduras, leaving behind five children, with the plan of reaching the United States. Like so many others, her idea was to earn a little money, make things a little easier for her mother and her children.

Now Escobar is raising her grandchildren, listening to their questions every night about when their mother might come home. She is running out of answers.

"I've looked in hospitals, in morgues," said Escobar, 55. "We see so much about what's happening in Mexico on TV. It puts a lot in your head."

Escobar was inspired to make the trip in part by a local radio program that attempts to help families with missing relatives.

"It gave me the push to come here," said the woman with dark, unsmiling eyes, grasping an 8-by-10 photo of Olga that hangs from her neck on a green cord.

In each city or town, the mothers stage a public event to make their presence known. A Mass. A march. Here in Saltillo, they converged on the downtown Plaza de Armas, the pale-blue-and-white that adorns all Central American flags fluttering in the breeze ahead of the slow march of mothers. They hung their photos of loved ones on clotheslines at the center of the square.

The women — about 40 on this year's caravan — sleep on cots in churches or in "migrant houses," shelters set up by a number of communities, where they also receive donated meals.

"We are facing a humanitarian tragedy," Tomas Gonzalez, a Franciscan friar who runs a shelter in Tabasco, told the women. "Mexico has become a cemetery for migrants."

In August 2010, 72 migrants from El Salvador, Honduras, Guatemala and a handful of other countries were slain execution-style, hands tied behind backs, shot once in the head, in Tamaulipas state, which borders Texas. Among the youngest was 15-year-old Yedmi Victoria Castro of El Salvador. The Zetas were presumed responsible. Dozens more bodies were found in the same region in the months that followed.

Not a week goes by, it seems, without fresh reports of hidden graves and unidentified dead. But the Mexican government has been slow to recognize the epidemic of missing persons, only this year moving to toughen legislation and expand the collection of DNA samples and other data.





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Simon Cowell Stamps His Sound on Sony's Top End



The concept of “personal music” has become so embedded in modern culture that we no longer even entertain the idea of not pocketing our music and piping it directly into our brains.


For those of us minted prior to the iPod age, the Sony brand is synonymous with creating and laying that foundation with its Walkman line of portable players. Clearly, much has changed since the early ’80s, and Sony has been leapfrogged by many competitors in portable music. But that doesn’t mean the big “S” doesn’t know a good thing when it hears it. That’s why the company has teamed up with British mega-producer and singing-show lightning rod Simon Cowell to develop the MDR-X10, a premium on-the-ear headphone.


The industrial design of these “X Factor” headphones, all matte and polished silver polycarbonate, is thoughtful and aesthetically pleasing. However, the ear pads on the X10 are rather deceiving — they’re not hollowed out like most bigger cans on the market. Instead, they’re flat, but when placed over your head, the cushy memory foam envelopes your ear without significantly altering the sound-channeling shape of the ear’s cartilage. This design creates an excellent acoustic seal that markedly diminishes the incursion of outside ambient sound. Another pleasing design element is the removable, single-sided flat cable that comes in two flavors — one is a plain straight cable with a mini phone jack, and the other is an iGadget-friendly cable with an in-line mic/remote assembly.



The X10s are tuned to accentuate the predominant sounds in popular music. And straight out of the box, the proprietary 50-millimeter driver pumps the bass and treble just the way you’d expect. That initial listen demonstrated to me how headphones with boosted bass often overshadow the subtleties of the midrange elements.


However, to get the truest impression of a speaker’s sound, whether it’s inside a headphone or a big wooden enclosure, they need to be “burned in” for 100 hours or so. It’s a simple process: Just connect them to your audio source, turn the music up to about six on the dial, and walk away for four days.


That’s exactly what I did. When I returned to Cowell’s cans, they were greatly improved. The midrange frequencies in the soundstage were much more defined. The bass and treble were still holding court, but the mids were definitely clearer and made space for themselves in my ears. The post-burn-in sound was deep, rich, full and well defined — much more balanced overall, and closer to what I’d expect from a set of headphones that costs $300.


Simon Cowell’s personality on television is definitely polarizing, but his success at discovering and launching musical talent is well documented. Sony’s development partnership with the notoriously nit-picky producer has actually served this product well.


Andrew Sivori, Sony’s VP of personal audio, tells me Cowell was involved in the development of the headphone’s sound signature throughout the entire process.


“He gave fantastic feedback,” Sivori says. “He listens for a living, and he’s been incredibly successful at it.”


It looks like Sony and Cowell may have another hit on their hands. The X10s are comfortable, they kick out some great sound, and they look great doing it.


WIRED Ear pads are plush and comfy. Deep, rich, dynamic sound. Comes with two replaceable flat cords and a 1/4-inch plug for an audiophile sound system. They fold up for portability. High-quality protective case.


TIRED Price is steep. Headband could use a little more padding at the top of the head. Tough to simultaneously wear glasses.



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American composer Elliott Carter dies at age 103
















(Reuters) – Classical composer Elliott Carter, who twice won Pulitzer Prizes in a career that spanned more than 75 years, died on Monday in New York at age 103, music publisher Boosey & Hawkes said.


Carter was awarded Pulitzer Prizes in 1960 and 1973 for string quartet compositions. He composed 158 works, including several at over 100 years of age. One composition for chamber orchestra is scheduled for a world premier in February.













“The great range and diversity of his music has, and will continue to have, influence on countless composers and performers worldwide,” the publisher said. “He will be missed by us all but remembered for his brilliance, his wit and his great canon of work.”


He was inducted into the American Classical Music Hall of Fame in 1998 and celebrated his 100th birthday at New York‘s Carnegie Hall in 2008 with a new work performed by the Boston Symphony Orchestra.


Carter was presented the National Medal of Arts, the highest award given to artists by the United States, in 1985. He also received national honors from Germany and France.


(Reporting by David Bailey; Editing by Cynthia Johnston and Mohammad Zargham)


Music News Headlines – Yahoo! News



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Unlikely Model for H.I.V. Prevention: Adult Film Industry


Stephanie Diani for The New York Times


INDUSTRY DATABASE Shylar Cobi, right, a film producer, confirmed test results of the actors who perform as James Deen and Stoya.







LOS ANGELES — Before they take off all their clothes, the actors who perform as James Deen and Stoya go through a ritual unique to the heterosexual adult film industry.




First, they show each other their cellphones: Each has an e-mail from a laboratory saying he or she just tested negative for H.I.V., syphilis, chlamydia and gonorrhea.


Then they sit beside the film’s producer, Shylar Cobi, as he checks an industry database with their real names to confirm that those negative tests are less than 15 days old.


Then, out on the pool terrace of the day’s set — a music producer’s hilltop home with a view of the Hollywood sign — they yank down their pants and stand around joking as Mr. Cobi quickly inspects their mouths, hands and genitals for sores.


“I’m not a doctor,” Mr. Cobi, who wears a pleasantly sheepish grin, says. “I’m only qualified to do this because I’ve been shooting porn since 1990 and I know what looks bad.”


Bizarre as the ritual is, it seems to work.


The industry’s medical consultants say that about 350,000 sex scenes have been shot without condoms since 2004, and H.I.V. has not been transmitted on a set once.


Outside the world of pornography, the industry’s testing regimen is not well known, and no serious academic study of it has ever been done. But when it was described to several AIDS experts, they all reacted by saying that there were far fewer infections than they would have expected, given how much high-risk sex takes place.


“I don’t think there’s any question that it works,” said Dr. Allan Ronald, a Canadian AIDS specialist who did landmark studies of the virus in prostitutes in a Nairobi slum. “I’m a little uncomfortable, because it’s giving the wrong message — that you can have multiple sex partners without condoms — but I can’t say it doesn’t work.”


Despite the regimen’s apparent success, California health officials and an advocacy group, the AIDS Healthcare Foundation, are trying to make it illegal to shoot without condoms. They argue that other sexually transmitted diseases are rampant in the industry, though the industry trade group disputes that.


In January, the city of Los Angeles passed a law requiring actors to wear condoms. A measure to do the same for the whole county is on the ballot on Tuesday.


Producers say the condom requirement will drive them out of business since consumers will not buy such films. Local newspapers like The Los Angeles Times oppose the ballot measure, calling it well-intentioned but unenforceable, and warning that it could drive up to 10,000 jobs out of state.


Very frequent testing makes it almost impossible for an actor to stay infected without being caught, said Dr. Jacques Pepin, the author of “The Origins of AIDS” and an expert on transmission rates. “And if you are having sex mostly with people who themselves are tested all the time, this must further reduce the risk.”


When the virus first enters a high-risk group like heroin users, urban prostitutes or habitués of gay bathhouses, it usually infects 30 to 60 percent of the cohort within a few years, studies have shown. The same would be expected in pornography, where performers can have more than a dozen partners a month, but the industry says self-policing has prevented it.


“Our talent base has sex exponentially more than other people, but we’re all on the same page about keeping it out,” said Steven Hirsch, the founder of Vivid Entertainment, one of the biggest studios.


Performers have to test negative every 28 days, although some studios recently switched to every 14.


If a test is positive, all the studios across the country that adhere to standards set by the Free Speech Coalition, an industry trade group, are obliged to stop filming until all the on-screen partners of that performer, all their partners, and all their partners’ partners, are found and retested. In 2004, the industry shut down for three months to do that.


It has had briefer shutdowns in each of the last four years.


In 2009 and 2010, no other infected performers were found. Coalition representatives said an infected woman in 2009, from Nevada, may have had an infected boyfriend, and offered evidence that a man infected in 2010 in Florida had worked outside the industry as a prostitute. The 2011 test was a false positive.


A shutdown in August came after several actors got syphilis, not H.I.V. All performers were given a choice: Take antibiotics, or pass two back-to-back syphilis tests 14 days apart.


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State Supreme Court wants Arizona donors audited









SACRAMENTO — An Arizona group was scrambling late Sunday to keep secret the individuals behind its $11-million donation to a California campaign fund after California's Supreme Court, in a rare and dramatic weekend action, ordered it to turn over records that could identify the donors.

The order followed days of frenzied legal battles between California regulators, who have tried to get documents related to the anonymous contribution before election day, and attorneys for the Arizona nonprofit who have resisted delivering them.

The showdown continued into the night Sunday, with no records produced nearly seven hours after the justices' late-afternoon deadline. Lawyers for the nonprofit said they were trying to comply even as they rushed to ask the U.S. Supreme Court to halt to the audit.





The $11 million went to a committee that is fighting tax increases proposed by Gov. Jerry Brown in Proposition 30 and promoting an initiative that could limit political spending by unions, Proposition 32. The donation has been among the most controversial moves of this election season, with Brown railing against the "shadowy" contributors at campaign appearances.

The case, which has the potential to reshape a growing sector of political giving, has put California at the forefront of a national debate over concealed political donations. Ann Ravel, chairwoman of the state Fair Political Practices Commission, which initially sued the Arizona group, called the California high court's decision historic.

It all began with a complaint from activists at Common Cause, who said the $11-million donation from Americans for Responsible Leadership violated a new California regulation. Federal law allows nonprofits to keep the identities of their donors confidential, but a rule implemented here in May says contributors must be identified if they give to nonprofits with the intention of spending money on state campaigns.

The matter has rocketed from court to court as Ravel's commission fought to obtain the Arizona group's records. The seven justices of the state Supreme Court, based in San Francisco, made the unusual decision to consider the matter over the weekend. On Sunday afternoon, they held a conference call to discuss it.

Shortly after 3 p.m., they ordered Americans for Responsible Leadership to produce — in less than an hour — the records sought by Ravel, a Brown appointee. The justices did not explain their unanimous decision, indicating in their order that they would consider the legal issues in a later, more detailed ruling.

But no records were delivered as a team of auditors and lawyers waited in the commission's Sacramento office, prepared to dig into the nonprofit's emails, text messages, financial statements and meeting minutes. Their task would be to comb the disclosures for any sign that the contribution violated the new California regulation.

If the Arizona group was found to be in violation, the state planned to direct the nonprofit to disclose the donor names and was ready to back up the directive by seeking another court order, if needed, Ravel said.

Lawyers for Americans for Responsible Leadership balked at the California court's order, preferring to ask the U.S. Supreme Court to weigh in on the case before turning over anything. In the early evening, they asked the California jurists for more time — at least until 9 a.m. Monday — to comply.

That would provide enough time, they said, to request an emergency stay from the nation's high court. Attorneys defending the nonprofit group wrote to Washington outlining their case.

"Disclosure in this highly charged political environment and in the face of an unprecedented and vehemently legally contested investigation is impermissible viewpoint discrimination and plainly violative of ARL's First Amendment rights," Thad Davis, a lawyer for the nonprofit, said in his letter to the U.S. Supreme Court.

Justice Anthony Kennedy has authority over Western states and can issue a stay in this case.

Meanwhile, the state court told the Arizona group there would be no extension.

At risk of being in contempt of the state court, lawyers for the nonprofit said they would begin an "attempt to comply with the order."

"While we are working to deliver the records, we still believe the FPPC does not have the authority to take such an action," said Matt Ross, a spokesman for the group's legal team, in a statement Sunday night.

Ravel said she had staff members prepared to work all night to review whatever the Arizona group produced.

A career government lawyer, Ravel is hardly known in Sacramento as a firebrand. But the Arizona group says in its court filings that she is conducting a "one-woman media onslaught, rabblerousing and prejudging, including 'tweeting' her incendiary view."

State authorities are keeping the pressure on as election day looms.

California Atty. Gen. Kamala Harris, whose office is helping to represent the Fair Political Practices Commission in court, said in an interview that the Arizona group's legal maneuvers are "an effort to obstruct the process and run out the clock."

chris.megerian@latimes.com

maura.dolan@latimes.com

Times staff writer Evan Halper contributed to this report.





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Have Your Say: TenderTree Can Help You Pick a Caregiver



At this point practically every restaurant, shop, or handyman service has a Yelp, Google, or Angie’s List review to help us decide who gets our money. But when it comes to a far more important and subtle kind of decision, finding the right person to take care of an elderly or disabled friend or relative, the internet offers very little guidance.


Startup TenderTree is hoping to be that guide. A Summer graduate of incubator 500 Startups, TenderTree is doing the same for hiring a home care provider that UrbanSitter has done for finding a babysitter – helping people find and hire a qualified worker online and at a lower cost.


When someone needs to hire a caregiver, it’s typical to go through a government or non-profit agency. The problem, says TenderTree founder Andy Argawal, is that you rarely have a say about who comes into your home. You can always send back a care provider that you don’t think is a good fit, but you don’t get the chance to check someone out before they walk in the front door. TenderTree, Argawal says, is different because it lets customers pick out and hire professional caregivers based on their qualifications and personalities.


For Jim Cadena, a customer who used TenderTree to find assistance for his 92-year-old mother, the ability to pick out and personally interview who he hired was the best feature of the service. “Agencies are daunting, and they just send you people without you getting a choice,” he says. Cadena says the process of finding someone was as simple as posting the job description on TenderTree, sifting through responses, and interviewing a few candidates. The level of quality of the caregivers was much higher than what he experienced with agency workers, and the price was far lower, he added.


On average most agencies charge between $15 and $30 per hour for caregiver services, according to a recent study. (Cadena says he’s paid $28 per hour). Agency-hired workers only take home about half of those wages, says Robert Woods, a home-care provider who used to work for an agency and now gets jobs through TenderTree. On the platform, providers set their own rate and the company takes a small cut of their earnings. Though Argawal wouldn’t disclose the exact percentage TenderTree takes, he says much of it goes toward insuring each caregiver with a $3 million policy – it’s clearly a volume play for the startup. TenderTree is looking to create as large a marketplace as possible for caregivers and those in need of their help, and take its small piece of the action.


TenderTree also handles all the payroll tax paperwork and deducts payments from a customer’s credit card at the end of each week. Workers log their hours on the platform, and the customer approves them for payment.


Before offering them up for hire, TenderTree does extensive criminal background checks and skills verifications on every person accepted into the program. Unlike a pet sitter or babysitter, caregivers often need to have specific training and certifications to handle a patient’s medical needs.


The types of care providers available on TenderTree range from companions who cook, clean and provide conversation, to certified aides who can assist the elderly and disabled with feeding and bathing. At the most skilled end of the spectrum are licensed nurses who provide in-home medical care. There’s also speech and occupational therapists available for hire that can assist with developmental and physical disabilities.


TenderTree launched its private beta in March 2012, and has had “thousands” of customers and caregivers sign up. Currently the service is available for customers in the San Francisco Bay Area that pay out of pocket for home care, not those paying with insurance plans or government aid. That is the biggest barrier to the startup’s plans to scale broadly. If it really has the goal of helping the largest number of people – both patients and caregivers – it will need to find a way to accept the forms of payment that most people use.


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Sharon Osbourne has double mastectomy
















LONDON (AP) — Sharon Osbourne says she had a double mastectomy after learning she carries a gene that increases the risk of developing breast cancer.


Osbourne told Hello! magazine that “I didn’t want to live the rest of my life with that shadow hanging over me.”













The 60-year-old “America’s Got Talent” judge, who had colon cancer a decade ago, said that without the surgery, “the odds are not in my favor.”


She added: “It’s not ‘pity me,’ it’s a decision I made that’s got rid of this weight that I was carrying around.”


The magazine went on sale Monday.


Osbourne, husband Ozzy and children Jack and Kelly became rock’s most famous clan thanks to reality show “The Osbournes” a decade ago.


Jack Osbourne, 26, was recently diagnosed with multiple sclerosis.


Entertainment News Headlines – Yahoo! News



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Well: Winter Squash Recipes for Health

Some of the more varied vegetables of fall all go by the same name: squash. But as Martha Rose Shulman explains in this week’s Recipes for Health, you can discover new flavors by cooking with a squash of a different color.

This week it’s hard not to think about pumpkins, even though most of you won’t be cooking your jack-o’-lanterns. But along with the pumpkins in bins outside my supermarket, there are as many kabocha squashes, butternuts, acorns and large, squat European pumpkins that the French call potirons.

You can use either butternut or kabocha squash in this week’s recipes, though the two are not identical in texture or flavor. Butternut is a denser, slightly sweeter squash, and kabocha has an earthier flavor. Kabocha squash absorbs flavors beautifully and is especially well suited for salads because of the nice way it absorbs tart dressings.

For more ways to cook with these hardy vegetables, see all of the winter squash Recipes for Health.

Here are five new ways to cook with squash.

Puréed Winter Squash Soup With Ginger: One of the most comforting dishes you can make with winter squash is a puréed soup.


Lasagna With Roasted Kabocha Squash and Béchamel: No-boil noodles make this rich-tasting lasagna easier to prepare.


Roasted Beet and Winter Squash Salad With Walnuts: This composed salad sets the colors of the beets and the squash against each other beautifully.


Winter Squash and Molasses Muffins: Add walnuts and raisins or chopped apricots to personalize these moist muffins.


Balsamic Roasted Winter Squash and Wild Rice Salad: Tossing the squash with the vinegar before roasting deepens the flavors of both.


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Keeping 007 relevant in a changed world









NEW YORK — Early in "Skyfall," Judi Dench's M pulls aside our embattled hero, played once again with suave ennui by Daniel Craig, and wonders whether the world still needs either of their services. As Bond wraps his head around that idea, he looks searchingly at his boss. "So this is it?" he wonders. "We're both played out?"

Questions about relevance dangle throughout the new James Bond movie, which opens in the U.S., after a crescendo of marketing, on Nov 9. Field agents are of diminishing importance in an era of cyber-spying and drone warfare, and the uniqueness of Bond's gadgets has been diluted at a time when everyone and their great-aunt carries an iPhone.

PHOTOS: James Bond through the years





Yet as the film franchise turns 50 (yes, someone born the year "Dr. No" came out is now eligible to join AARP) themes of retirement and sell-by dates aren't simply screenplay fodder — they pertain to the franchise itself.

After strong early reviews and solid overseas business, the latest Bond adventure sweeps into theaters with blockbuster expectations. But even if the Sony release blows the doors off the box office like, well, 007 making a grand entrance, it can't hide what those who worked on it quietly acknowledge — making this movie was a more difficult and delicate undertaking than ever.

No longer is a successful Bond movie simply a matter of dialing up clever dialogue and dazzling set pieces. Facing a world that would be unrecognizable to those behind the early Ian Fleming adaptations, Bond filmmakers and actors grapple on many levels with how to keep the series fresh.

They must find ways for a tuxedo-wearing, martini-swilling protagonist to stay relatable while a global downturn rages. They need to project a contemporary degree of villainy in a world where the threat of Islamist terrorism is, for a variety of reasons, not as easily portrayed as the enemies and fears of the Cold War.

They want to retain at least a hint of gravitas after years of Austin Powers and Johnny English.

Maybe most important, they struggle with how to avoid what might be called the quaintness trap — staying relevant in a cinema culture that has seen the rise of splashy CG action movies on the one hand and modern truth-seekers a la Jason Bourne on the other.

"The theme of our story is that we have to question if the old classic things still work," said Javier Bardem, who plays the villain in "Skyfall," directed by Sam Mendes. "It's implied in every character in this movie. But it's also the question about the James Bond franchise."

New obstacles

For years, Barbara Broccoli, the longtime producer and steward of the spy series (total box office: about $5 billion), knew that she wanted a film for the franchise's 50th anniversary. "Bond 23," as "Skyfall" soon became known, was a way of honoring her late father, Albert "Cubby" Broccoli, who died in 1996 and was heavily responsible for putting Fleming's work on the screen. It also offered a third act in the Craig-led Bond.

About three years ago, with the blessing of studio MGM, Broccoli and stepbrother/fellow producer Michael Wilson hired the longtime Bond writers Neal Purvis and Robert Wade, along with "The Queen" scribe Peter Morgan. At nearly the same time they brought on Mendes, the British director of "American Beauty" who was in a slump after his young-marrieds drama "Away We Go" flopped in 2009.

Then MGM filed for bankruptcy, and suddenly everyone was frozen in place. (To avoid legal action from creditors, Mendes was retained off the books as a "consultant.")

PHOTOS: The Bond girls

"It was a nightmare," Broccoli recalled. "This was one of those situations that's really frustrating — when all the delays have nothing to do with the making of the movie." Craig's attitude was even more bleak. "I thought OK, we might have to say goodbye to this," he said in an interview in New York several weeks ago. "And that made me really sad." In the hiatus, Morgan left, replaced by the veteran John Logan ("Hugo").

MGM was finally reconstituted with new owners. But now came another problem: how to make Bond dramatically relevant again. The franchise wasn't just long in the tooth — it was coming off a disappointing entry in 2008's "Quantum of Solace." Craig acknowledged in the interview that the movie wasn't "satisfying." Wilson said that, after witnessing the critical reception, he thought, "Oh God, we really screwed this up."

A big reason for that was Bond's nemesis. During the decades that the series provided a catharsis for the Soviet threat, it was easy to put a face on the menace. But since the Iron Curtain fell — and especially after the attacks of Sept. 11 — that was a lot tougher.

In "Casino Royale," Craig's initiation, filmmakers used a clever work-around: They channeled the demons that would normally reside in the villain into the hero. Craig's Bond was grimmer and darker, which not only made for a compelling character but for some juicy zeitgeist stuff, Bond's beleaguered air matching our post-Sept. 11 anxiety.

In "Quantum," writers essentially opted out, creating villains and stakes that had little to do with the headlines (they involved a Bolivian coup and the arcana of water rights.) The film was rushed into production after the writers strike — "you shouldn't try to rewrite whole sections of the story while you're shooting," Craig noted dryly — and the results were wobbly.





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Head Hunter: Rare Specimens From a World-Class Skull Collection

If you were to go clicking down Alan Dudley’s anonymous-looking English street in Google’s Street View, there’d be no reason to stop outside his anonymous-looking English home. But inside, in a space no bigger than a child’s bedroom, Dudley has amassed one of the world’s most impressive private collections of skulls -- some 2,500 of them, incredibly well-organized and impeccably preserved. A good chunk of the animal kingdom is represented -- fish, reptiles, birds, and mammals fill the space.



British journalist Simon Winchester’s first reaction to the collection was horror. “I thought, ‘This is macabre, this is horrible, this is grotesque,’ because I was, I think like most of us, brought up to associate skulls with piracy or warning or danger or death,” Winchester says. “But then you see beneath the muscle and the skin something so beautiful, so finely constructed, that you can understand the fascination that someone like Dudley has. It may sound rather corny, but it gives you a new reverence for life.”



Winchester was so moved that he, along with an ex-BBC producer, created an app that showcased the collection. Though highly regarded when it launched last year, the app didn’t sell particularly well. But publishers in New York were interested in the material. When he was asked to turn the app into a book, Winchester happily agreed. The result is Skulls: An Exploration of Alan Dudley’s Curious Collection, which was published earlier this month. The book features hundreds of Dudley’s skulls, supplemented with rarer specimens and Winchester’s writings on skull lore and history. We spoke to Winchester about what he learned and the most interesting skulls he discovered. These are some of his favorites.



Above:



Winchester loves “the extraordinary canine teeth that look like horns but are actually teeth which curve back into its own head and make it look utterly weird.”
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