Alabama hostage standoff ends with gunman dead, boy safe

MIDLAND CITY, Ala. -- A man who killed a school bus driver and then held a 5-year-old boy hostage in an underground bunker in rural Alabama for nearly a week was killed on Monday and the child was plucked to safety without injury, law enforcement officials said.

FBI agents entered the bunker to rescue the child after fearing that he was in “imminent danger,” said Steve Richardson, special agent in charge in Mobile.

Negotiations with the suspect, identified as 65-year-old Jimmy Lee Dykes, had deteriorated during the previous 24 hours, Richardson said during a televised news conference.

“Mr. Dykes was observed holding a gun,” the FBI agent said.

The rescue of the boy came on the seventh day of a standoff that drew national media coverage and gripped a rural corner of southeast Alabama with dread.

The drama began when Dykes, a retired trucker and veteran of the war in Vietnam, seized the kindergarten student last Tuesday after boarding a school bus and killing its driver with four shots from a 9 mm handgun, local sheriff's department officials said.

Dykes fled with the child, identified only as Ethan, to a homemade bunker on the man's property down a dirt road.

The child was being treated on Monday at a local hospital, but was physically unharmed, Richardson said. The boy is due to celebrate his birthday on Wednesday and, by all accounts, was taken by Dykes at random.

It was not immediately clear how Dykes died.

A local law enforcement source said a stun or flash grenade was detonated as part of the operation to free the boy, but further details were not immediately released.

The hostage-taking came amid heightened concerns about gun violence and school safety across the United States after the December shooting deaths of 20 children and six adults at a Connecticut elementary school.

Law enforcement officials had offered few insights about Dykes and their negotiations with him ahead of the rescue just after 3 p.m. local time.

Earlier on Monday, Dale County Sheriff Wally Olson said the gunman had a “very complex” story to tell.

“Based on our discussion with Mr. Dykes, he feels like he has a story that's important to him, although it's very complex. And we try to make a safe environment for all for that,” Olson said, without elaborating.

The sheriff's office previously had thanked Dykes for allowing them to deliver medication, coloring books and toys to the boy, who is said to suffer from Asperger's Syndrome and attention deficit-hyperactivity disorder.

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Live action: Twitter grabs Super Bowl spotlight

NEW YORK (AP) — Beyonce’s splashy show, a freak power outage, and —oh, yeah— a captivating game of football combined to generate a record 24.1 million posts on Twitter during Sunday night’s Super Bowl.

That’s up from 13.7 million last year — and that doesn’t even include chatter surrounding the ads.

Twitter said in a late Sunday blog post that about half of the more than 50 national TV spots that aired during the game included a “hashtag,” a word or phrase preceded by a number sign that’s used to organize subjects on the short messaging site. During last year’s game, only one in five ads included one. Brands ranging from Oreo to Tide and Budweiser, meanwhile, captured online buzz by linking the blackout to their brands in humorous tweets.

Super Bowl XLVII, like the London Summer Olympics and the U.S. presidential election, was yet another moment in which Twitter became the platform for millions of people to share quick reactions and participate in a massive, public conversation. Though it’s not as popular as Facebook Inc. or its buttoned-up cousin LinkedIn Corp., Twitter’s surging popularity during big events is a testament to its reach and utility. The question is whether these moments can translate into revenue for the 7-year-old company.

The company makes money by charging advertisers to promote individual tweets, accounts or trends designed to spark a conversation. Research firm eMarketer estimates that Twitter will book advertising revenue of $ 545.2 million this year, up 89 percent from 2012. Next year, worldwide ad revenue is expected to hit $ 807.5 million, a 48 percent increase from 2013.

Tweetable events such as the 34-minute Super Bowl power outage are ripe with marketing potential, provided that brands act quickly.

“It’s really clear right now that Twitter has a lock on real-time conversation on the Internet,” says eMarketer analyst Debra Aho Williamson.

To capitalize on this, Twitter has to show advertisers that it pays to promote their tweets — even though fans are likely to spread the catchiest slogans on their own, free of charge.

That’s what happened with a certain cream-filled cookie on Sunday.

It took Oreo’s marketers roughly 10 minutes after the power went out to tweet a picture of an Oreo cookie in the half-dark with the words: “You can still dunk in the dark.” As of Monday afternoon, the image had been shared on Twitter more than 15,000 times. Tide followed suit with the slogan “we can’t get your blackout. But we can get your stains out” with more limited success. The message was re-tweeted about 1,300 times. Calvin Klein, meanwhile, tweeted a video of a shirtless, chiseled male model doing crunches “since the lights are still out…”

Such “real-time marketing” is still in its infancy, but Williamson expects this to change, as more companies develop the ability to respond to events immediately.”

“To do what Oreo did actually takes a lot of pre-planning,” she says.

Laurie Guzzinati, spokeswoman for Oreo owner Mondelez says the power outage was a natural moment to engage consumers. The cookie’s TV ad had a planned social media component asking people to follow Oreo on Twitter and post photos on Instagram. The company had set up a “social media command center” that included people from Oreo’s brand team, the ad agency 360i and other partners whose job was to follow the Super Bowl and interact with fans on Facebook, Twitter and elsewhere.

Mondelez likely spent the going rate of as much as $ 4 million on its Super Bowl television spot. But Guzzinati says the company didn’t pay Twitter anything for the “dunk in the dark” picture. Still, Twitter says advertisers moved quickly following the outage.

Matt McGee, editor-in-chief of the blog Marketing Land, counted 26 Twitter mentions in the 52 national spots that aired during the game. Facebook, meanwhile, got only four shout-outs, while Google Plus walked away with zero (though Google Inc.’s YouTube scored one mention from Hyundai).

“When it comes to second-screen advertising, it’s Twitter’s world now and there’s no close second place,” McGee wrote in a blog post late Sunday night. “Last year, brands split their focus on Twitter and Facebook with eight mentions each. This year, brands recognize that Twitter is where they need to try to attract the online conversation around one of the world’s biggest events.”

David Berkowitz, vice president of emerging media at 360i, which worked on the Oreo campaign, says Twitter has done a good job tying itself into major television events.

“If you look at (Twitter’s) trending topics any day especially during prime time or major events, they’re heavily fueled by television,” he says. “So TV is responsible for Twitter’s growth in general.”

He thinks Twitter has done a better job than other social media sites like Tumblr and Pinterest in proving it’s the place to be when it comes to talking about big events online.

“A large part of it right now is just showing this is where the conversation is happening and building their brand around that,” he says. “Even with other very successful social media sites, no one is better at conversation than Twitter.”

__

AP Retail Writer Mae Anderson contributed to this story.

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For “Life of Pi,” the secret to its sound is in the silence

LOS ANGELES (TheWrap.com) – Ang Lee‘s “Life of Pi” was a famously difficult movie to pull off, a philosophical and spiritual journey featuring a young protagonist (don’t work with kids) stranded on the open sea (don’t work on water) with his only companion, a Bengal tiger named Richard Parker (don’t work with animals).

Throw in a beloved bestselling book whose devoted fans would be comparing the adaptation to the novel, extensive special effects that included a menagerie of largely CG animals, and Lee’s decision to shoot in 3D for the first time, and only the truest of true believers would have dared suggest that the movie would end up an international hit with grosses approaching $ 450 million, and a critical favorite with 11 Oscar nominations, including Best Picture and both sound categories.

For Oscar nominated sound mixers Doug Hemphill, Ron Bartlett and Drew Kunin, “Life of Pi” was both a technical challenge and a spiritual journey – as Hemphill termed it, “one of the most beautiful mixing experiences I’ve ever had.” Hemphill and Bartlett spoke to TheWrap about sound, silence and the particular challenges of an impossible movie that turned out to be possible after all.

What was your basic approach to the sound mix on “Life of Pi?”

Doug Hemphill: It was all based on the tacit understanding that the sound reflected Pi’s inner life and the arc of the story. That was our roadmap, but since Ang is incredibly creative, we took chances here and there and went to different places. And the way I always work, I try to stay in the audience. It’s not a technical job to me. It’s a job of feeling emotions and participating in the film and the story, and responding with sound as if I was an audience member. Would I like to have quiet here? Would I like to have some sound that would help tell the story better? It’s just a million choices that are sometimes based on your instincts.

You talked about the quiet, and a lot of the movie takes place in a setting that seems very quiet: the open sea, particularly when it’s calm.

Hemphill: There are so many things going on in the film, and one of them is the Buddhist idea that you can’t have anything until you lose everything. Ang said to me, “Sometimes in film there’s a desire to fill in the quiet spaces with something, and I don’t want to do that.” He wanted to have that quiet, and let people think and absorb, as Pi was doing in the film. It takes confidence to be able to do that.

Ron Bartlett: There were moments in the film where we really went with a more sparse, isolated feel. Out in the middle of the ocean we purposely dialed some things back and didn’t fill the track up with sounds for story reasons. Pi’s abandoned, he’s alone, he’s totally isolated, and we didn’t want to wrap a lot of sound around him.

Hemphill: That’s a maxim that was used throughout “Life of Pi” in the track. It’s like a writer saying, “Let the readers finish the sentence and bring themselves into the story.” Certainly with sound and music, when you hold back a little it can be just right for the story, because it doesn’t crowd the audience.

I spoke to composer Mychael Danna, and he said at first he sometimes found himself trying to put too many ideas into the music. But he had to learn to dial it back, and simplify what he was doing.

Hemphill: The whole film is like that. It’s not a literal movie about including the sounds of everything you see. It’s about what is necessary to tell the story and leave breathing room. Mychael was definitely very conscious of that, and I think he wrote one of the most beautiful scores I’ve heard in a long time. I can’t tell you the effect that score had on us when we were working on it.

Bartlett: The music was really the heart and soul of the film, and it was a dream gig to mix that kind of score. The challenge was to make it the best I could, because I had so much respect for it.

Let’s talk about the sequence in the movie where Pi and Richard Parker find themselves on an island occupied by tens of thousands of meerkats, all of them chattering away.

Hemphill: We were just laughing about that last night. Ang said to Eugene Gearty, who did the sound design, “OK, you’ve got 100,000 meerkats in the movie, Eugene. What are you going to do?” And Eugene knew it had better be good. He was out recording meerkats until he probably became the world’s leading expert in meerkat vocalizations.

Bartlett: He used some great tricks with the sound design to make it feel like a crowd. And there are so many different emotions running through that sequence. Pi is elated, he wakes up with the sound of the water lapping, and now he’s got land and water and food and everything’s great. And then he find that something weird is going on. So many different emotions, all in one sequence.

Was it tricky to find just the right balance in a sequence like that?

Hemphill: Very. Volume changes, revealing things but leaving the audience enough room to dive into the story – all the little adjustments make such a big difference. I’ll give you another example: One of our biggest challenges was when Pi and Richard Parker are in the lifeboat and they’re dying, and the tiger’s head is in his lap, and Pi says, “Can you feel the rain?” We worked hard to get the flat, dead-sounding rain plops, and have that be very sparse and funereal. And with Richard Parker’s vocals, we made a very conscious choice not to have any growls, just labored breathing and wheezing.

As Ang said, Richard Parker has his head on Pi’s lap not because he’s his friend, but because he’s too weak to attack him.

Bartlett: Things were so exposed in the film that you had to have the exact right sound, the right level. Everything was magnified because of the sparseness at times. And then it would go the other direction, like the storm sequence or the shipwreck sequence, where you’re flooded with sounds. It goes from the sparsest raindrops to the hugest storm.

The two storms, though, play very differently onscreen.

Hemphill: Yeah. I’ve worked on a lot of movies with storm sequences, like “Master and Commander,” and the first storm sequence in “Pi” wasn’t a big action setpiece for me. It was about Pi being frightened and alone and separated from his family. So the storm had a real emotional content to me. It wasn’t about, “This is a Ferrari with the pedal to the metal.”

And for the second storm, we changed the paradigm. That storm was about Pi’s epiphany. Even though visually there was a huge storm, sonically it was the music that was telling the story and conveying the emotion. I was tasked with having a certain amount of what you saw in the soundtrack, because you see the storm. But what I chose to do was use filters to take frequencies out that would leave the music room and freedom to play, but still give the audience the sense of a storm under the music.

Bartlett: To rack focus, but respective of sound.

Hemphill: That’s what we do. To the layman I say, “You know how a cameraman racks focus to determine what you’ll be looking at? We do the same with sound.”

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Well: Expressing the Inexpressible

When Kyle Potvin learned she had breast cancer at the age of 41, she tracked the details of her illness and treatment in a journal. But when it came to grappling with issues of mortality, fear and hope, she found that her best outlet was poetry.

How I feared chemo, afraid
It would change me.
It did.
Something dissolved inside me.
Tears began a slow drip;
I cried at the news story
Of a lost boy found in the woods …
At the surprising beauty
Of a bright leaf falling
Like the last strand of hair from my head

Ms. Potvin, now 47 and living in Derry, N.H., recently published “Sound Travels on Water” (Finishing Line Press), a collection of poems about her experience with cancer. And she has organized the Prickly Pear Poetry Project, a series of workshops for cancer patients.

“The creative process can be really healing,” Ms. Potvin said in an interview. “Loss, mortality and even hopefulness were on my mind, and I found that through writing poetry I was able to express some of those concepts in a way that helped me process what I was thinking.”

In April, the National Association for Poetry Therapy, whose members include both medical doctors and therapists, is to hold a conference in Chicago with sessions on using poetry to manage pain and to help adolescents cope with bullying. And this spring, Tasora Books will publish “The Cancer Poetry Project 2,” an anthology of poems written by patients and their loved ones.

Dr. Rafael Campo, an associate professor of medicine at Harvard, says he uses poetry in his practice, offering therapy groups and including poems with the medical forms and educational materials he gives his patients.

“It’s always striking to me how they want to talk about the poems the next time we meet and not the other stuff I give them,” he said. “It’s such a visceral mode of expression. When our bodies betray us in such a profound way, it can be all the more powerful for patients to really use the rhythms of poetry to make sense of what is happening in their bodies.”

On return visits, Dr. Campo’s patients often begin by discussing a poem he gave them — for example, “At the Cancer Clinic,” by Ted Kooser, from his collection “Delights & Shadows” (Copper Canyon Press, 2004), about a nurse holding the door for a slow-moving patient.

How patient she is in the crisp white sails
of her clothes. The sick woman
peers from under her funny knit cap
to watch each foot swing scuffing forward
and take its turn under her weight.
There is no restlessness or impatience
or anger anywhere in sight. Grace
fills the clean mold of this moment
and all the shuffling magazines grow still.

In Ms. Potvin’s case, poems related to her illness were often spurred by mundane moments, like seeing a neighbor out for a nightly walk. Here is “Tumor”:

My neighbor walks
For miles each night.
A mantra drives her, I imagine
As my boys’ chant did
The summer of my own illness:
“Push, Mommy, push.”
Urging me to wind my sore feet
Winch-like on a rented bike
To inch us home.
I couldn’t stop;
Couldn’t leave us
Miles from the end.

Karin Miller, 48, of Minneapolis, turned to poetry 15 years ago when her husband developed testicular cancer at the same time she was pregnant with their first child.

Her husband has since recovered, and Ms. Miller has reviewed thousands of poems by cancer patients and their loved ones to create the “Cancer Poetry Project” anthologies. One poem is “Hymn to a Lost Breast,” by Bonnie Maurer.

Oh let it fly
let it fling
let it flip like a pancake in the air
let it sing: what is the song
of one breast flapping?

Another is “Barn Wish” by Kim Knedler Hewett.

I sit where you can’t see me
Listening to the rustle of papers and pills in the other room,
Wondering if you can hear them.
Let’s go back to the barn, I whisper.
Let’s turn on the TV and watch the Bengals lose.
Let’s eat Bill’s Doughnuts and drink Pepsi.
Anything but this.

Ms. Miller has asked many of her poets to explain why they find poetry healing. “They say it’s the thing that lets them get to the core of how they are feeling,” she said. “It’s the simplicity of poetry, the bare bones of it, that helps them deal with their fears.”

---

Have you written a poem about cancer? Please share them with us in the comments section below.

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S&P says US to sue over ratings

Standard & Poor's on Monday said it expects to be the target of a U.S. Department of Justice civil lawsuit over its ratings of mortgage bonds prior to the recent financial crisis.

The lawsuit against the McGraw-Hill Cos unit focuses on its ratings in 2007 of various U.S. collateralized debt obligations (CDO), S&P said.

It would be the first federal enforcement action against a credit rating agency over alleged illegal behavior tied to the financial crisis.

"A DOJ lawsuit would be entirely without factual or legal merit," S&P said in a statement. "The DOJ would be wrong in contending that S&P ratings were motivated by commercial considerations and not issued in good faith."

The Justice Department was not immediately available for comment.

Several state attorneys general are expected to join the case, The Wall Street Journal said, citing people familiar with the matter. The expected charges follow the breakdown of talks between the department and S&P, the newspaper said, citing the people.

In afternoon trading, McGraw-Hill shares were down $2.39, or 4.1 percent, at $55.95.

S&P and its main rivals, Moody's Corp's Moody's Investors Service and Fimalac SA's Fitch Ratings, have long faced criticism from investors, politicians and regulators for assigning high ratings to thousands of subprime and other mortgage securities that quickly turned sour.

The rating agencies are paid by issuers for ratings, a standard industry practice that has nonetheless raised concern about potential conflicts of interest.

In January 2011, the Financial Crisis Inquiry Commission called the agencies "essential cogs in the wheel of financial destruction" and "key enablers of the financial meltdown."

McGraw-Hill had acknowledged last July that the Justice Department and SEC were probing potential violations by S&P tied to its ratings of structured products, and that it was in talks to try to avert a lawsuit.

The New York-based company had previously disclosed an SEC probe into its ratings of a $1.6 billion CDO known as Delphinus CDO 2007-1. It was not immediately clear whether that CDO is a focus of the potential lawsuits.

Last July, Mizuho Financial Group Inc agreed to a $127.5 million settlement to resolve SEC allegations that a U.S. unit obtained false credit ratings for Delphinus.

In a variety of lawsuits brought by investors, S&P has maintained that its ratings constitute opinions protected by the 1st Amendment to the U.S. Constitution.

Last August, a Manhattan federal judge refused to dismiss one such case, brought by Abu Dhabi Commercial Bank, King County in Washington state, and other investors against S&P, Moody's and Morgan Stanley over losses in Cheyne, a structured investment vehicle.

Cheyne went bankrupt in August 2007. A trial is scheduled to begin on May 6, court records show.

In its statement, S&P said it "deeply regrets" how its CDO ratings failed to anticipate the fast-deteriorating mortgage market conditions, and that it has since spent $400 million to help bolster the quality of its ratings.

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Super Bowl: Ravens lead 21-3 in 2nd

The Baltimore Ravens jumped out to a fast start Sunday against the San Francisco 49ers in Super Bowl XLVII at the Superdome in New Orleans.

A 27-yard field goal by David Akers on the final play of the half gave the 49ers a little life, but they still trailed the Ravens 21-6 at halftime.

Ravens quarterback Joe Flacco has been on fire, completing 13 of 20 passes for 192 yards and three touchdowns. He has completed passes to seven different receivers.

49ers quarterback Colin Kaepernick has completed 8 of 13 passes for 139 yards with an interception.

Flacco lofted a pass to Jacoby Jones, and the wide receiver did the rest as the Ravens took a commanding 21-3 lead over 49ers shortly before halftime of Super Bowl XLVIII. Jones made a diving catch, then got up and danced around 49ers defenders to score the Ravens' third touchdown.

The 56-yard touchdown hookup was the longest play of the game so far. It was Flacco's third TD pass of the game and gave him a record-tying 11th of the postseason.

The score made up for the Ravens' inability to convert earlier on a fake field goal.

Safety Ed Reed, who injured his knee early in the game, intercepted Kaepernick with just under seven minutes remaining before half. It was Reed's record-tying nine career postseason interception.

The Ravens took a 7-0 lead in when Flacco hit Anquan Boldin with a 13-yard touchdown in the first quarter.

It was Boldin's fourth touchdown of this year's postseason. He beat both linebacker NaVorro Bowman and safety Donte Whitner.

The 49ers went three-and-out on their first possession and were killed by an illegal formation penalty on the game's first play. It wiped out a 20-yard hook between Kaepernick and tight end Vernon Davis.

The 49ers responded to the Ravens' early touchdown with a score of their own on their second drive, but had to settle for David Akers' 36-yard field goal to make it 7-3. The big play during the drive was Kaepernick's 24-yard pass to Davis. Frank Gore threw the key block to give Kaepernick time to throw. Davis apparently was injured on the play and got medical attention.

Before the field goal, Kaepernick missed Michael Crabtree in the end zone, then got sacked by Paul Kruger on third down.

Ravens safety Ed Reed (left knee) exited the field and went to locker room after the same play during which the 49ers' Davis got banged up. Davis hurt his elbow and is probably to return.

After outside linebacker Courtney Upshawn forced a fumble and ended a 49ers' drive, the Ravens and Flacco responded with yet another touchdown to take a 14-3 lead.

Flacco ended the 10-play, 75-yard drive by firing a ball to tight end Dennis Pitta for a 1-yard score.

It was Flacco's 10th touchdown of the postseason, with no interceptions.

Inactives were announced 90 minutes before kickoff.

The Ravens' inactives: CB Asa Jackson, S Omar Brown, CB Chris Johnson, LB Adrian Hamilton, G/T Ramon Harewood, WR Deonte Thompson, DT Bryan Hall.

For the 49ers, QB Scott Tolzien, S Trenton Robinson, RB Jewel Hampton, LB Cam Johnson, DT Tony Jerod-Eddie, G Joe Looney and nose tackle Ian Williams.

-- 49ers kicker David Akers, who has been struggling since late in the regular season, hit the crossbar on a 60-yard field-goal attempt pregame kicking toward the Baltimore Ravens' endzone. Akers made a pair of 55-yarders and came up short on an earlier 60-yard attempt.

He missed another 60-yard try kicking toward the San Francisco 49ers' endzone.

-- Kaepernick is the fourth quarterback to start a Super Bowl in the same season in which he made his first career start.

The two previous quarterbacks in that position, Tom Brady and Kurt Warner, also won.

--Ravens players made $86,000 apiece in playoff earnings through the AFC championship game. The 49ers had made $64,000 -- San Francisco had a first-round bye, and played two games instead of three for the Ravens. The Super Bowl winner player share was $88,000, with $44,000 per player to the losing team.

-- The 49ers are 5-0 in the Super Bowl before Sunday. The Ravens, also undefeated, were 1-0.

The Ravens lead the all-time series with the 49ers 3-1 and have won the last three meetings

-- 49ers safety Donte Whitner and wide receiver Ted Ginn were also teammates at Cleveland's Glenville high School. Only once before have high school teammates won the Super Bowl; running back Dominic Rhodes and long-snapper Justin Snow did it as Colts teammates who won Super Bowl XLI. They were teammates at Cooper High School in Abilene, Texas.

Tribune News Services contributed

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BlackBerry Z10 Smartphone Already Going for $1,500 on eBay

The new BlackBerry Z10 smartphone won’t be out for weeks, but you can already get your hands on it via eBay for about $ 1,500.

BlackBerry — the company formerly known as Research In Motion (RIM) — announced the new smartphone at an event earlier this week and handed out samples to guests and members of the press in attendance. It didn’t take long for the Z10, which could potentially turn around the struggling company, to pop up on eBay.

[More from Mashable: BlackBerry’s Secret Weapon: Women]

One page notes “this particular device was given to all attendees of the Jan. 30, 2013 product launch.”

[More from Mashable: Don’t Hold Your Breath for More BlackBerry Tablets]

BlackBerry didn’t tell attendees what they can or can’t do with the device, which comes unlocked, according to the listing, and without a SIM card.

Four units are currently being sold on eBay, with bids starting at $ 800 and rising quickly. The auction for the one going for $ 1,500, which has eight bids so far, will end this afternoon.

Images by Mashable and via eBay, eBay

Click here to view the gallery: BlackBerry Z10 Review

This story originally published on Mashable here.

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Country singer Gary Allan bests Grammy nominees for Billboard No. 1

LOS ANGELES (Reuters) – Country singer Gary Allan scored his first No. 1 album on the Billboard 200 chart on Wednesday, keeping Grammy-nominated favorites from the top spot.

Allan’s ninth studio album “Set You Free” sold 106,000 copies in its first week, according to figures from Nielsen SoundScan, garnering the singer his best sales week in his 17-year career.

The Billboard 200 is the album chart for all music genres.

Allan, 45, who is a staple within the country music scene, has notched three No. 1 albums in the Billboard country music chart.

The lead song from his new album “Every Storm (Runs Out of Rain)” started gaining chart popularity in September last year, and Allan’s label decided to push forward the release of the album from March of this year to January.

Allan told Reuters the song struck a chord among audiences with its message of hope. “This is a time when our country needs hope and I think that’s why it’s doing so well,” he said.

Allan’s album kept Grammy nominees The Lumineers at No. 2 with their debut self-titled record, which was released last April but has steadily been rising on the charts after the band picked up two Grammy nominations.

The official “2013 Grammy Nominees” compilation album, the only other new record in this week’s top 10, landed at No. 4 this week after selling 41,000 copies, coming behind the soundtrack for last year’s comedy “Pitch Perfect.”

Allan’s reign atop the Billboard 200 is likely to be short-lived, for Canadian pop phenomenon Justin Bieber’s latest album, “Believe Acoustic” is set to debut at the top next week, making Bieber the youngest artist to score five No. 1 albums.

On the Digital Songs chart, rapper Macklemore and Ryan Lewis’ “Thrift Shop” held onto the top spot for a third week, ahead of Taylor Swift’s “I Knew You Were Trouble” at No. 2 and Lil Wayne’s “Love Me” at No. 3.

Justin Timberlake’s “Suit & Tie,” his first new single in five years, dropped from No. 2 to No. 8 this week on the Digital Songs chart.

(Editing by Philip Barbara)

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Concerns About A.D.H.D. Practices and Amphetamine Addiction

Before his addiction, Richard Fee was a popular college class president and aspiring medical student. "You keep giving Adderall to my son, you're going to kill him," said Rick Fee, Richard's father, to one of his son's doctors.

VIRGINIA BEACH — Every morning on her way to work, Kathy Fee holds her breath as she drives past the squat brick building that houses Dominion Psychiatric Associates.

Matt Eich for The New York Times

MENTAL HEALTH CLINIC Dominion Psychiatric Associates in Virginia Beach, where Richard Fee was treated by Dr. Waldo M. Ellison. After observing Richard and hearing his complaints about concentration, Dr. Ellison diagnosed attention deficit hyperactivity disorder and prescribed the stimulant Adderall.

It was there that her son, Richard, visited a doctor and received prescriptions for Adderall, an amphetamine-based medication for attention deficit hyperactivity disorder. It was in the parking lot that she insisted to Richard that he did not have A.D.H.D., not as a child and not now as a 24-year-old college graduate, and that he was getting dangerously addicted to the medication. It was inside the building that her husband, Rick, implored Richard’s doctor to stop prescribing him Adderall, warning, “You’re going to kill him.”

It was where, after becoming violently delusional and spending a week in a psychiatric hospital in 2011, Richard met with his doctor and received prescriptions for 90 more days of Adderall. He hanged himself in his bedroom closet two weeks after they expired.

The story of Richard Fee, an athletic, personable college class president and aspiring medical student, highlights widespread failings in the system through which five million Americans take medication for A.D.H.D., doctors and other experts said.

Medications like Adderall can markedly improve the lives of children and others with the disorder. But the tunnel-like focus the medicines provide has led growing numbers of teenagers and young adults to fake symptoms to obtain steady prescriptions for highly addictive medications that carry serious psychological dangers. These efforts are facilitated by a segment of doctors who skip established diagnostic procedures, renew prescriptions reflexively and spend too little time with patients to accurately monitor side effects.

Richard Fee’s experience included it all. Conversations with friends and family members and a review of detailed medical records depict an intelligent and articulate young man lying to doctor after doctor, physicians issuing hasty diagnoses, and psychiatrists continuing to prescribe medication — even increasing dosages — despite evidence of his growing addiction and psychiatric breakdown.

Very few people who misuse stimulants devolve into psychotic or suicidal addicts. But even one of Richard’s own physicians, Dr. Charles Parker, characterized his case as a virtual textbook for ways that A.D.H.D. practices can fail patients, particularly young adults. “We have a significant travesty being done in this country with how the diagnosis is being made and the meds are being administered,” said Dr. Parker, a psychiatrist in Virginia Beach. “I think it’s an abnegation of trust. The public needs to say this is totally unacceptable and walk out.”

Young adults are by far the fastest-growing segment of people taking A.D.H.D medications. Nearly 14 million monthly prescriptions for the condition were written for Americans ages 20 to 39 in 2011, two and a half times the 5.6 million just four years before, according to the data company I.M.S. Health. While this rise is generally attributed to the maturing of adolescents who have A.D.H.D. into young adults — combined with a greater recognition of adult A.D.H.D. in general — many experts caution that savvy college graduates, freed of parental oversight, can legally and easily obtain stimulant prescriptions from obliging doctors.

“Any step along the way, someone could have helped him — they were just handing out drugs,” said Richard’s father. Emphasizing that he had no intention of bringing legal action against any of the doctors involved, Mr. Fee said: “People have to know that kids are out there getting these drugs and getting addicted to them. And doctors are helping them do it.”

“...when he was in elementary school he fidgeted, daydreamed and got A’s. he has been an A-B student until mid college when he became scattered and he wandered while reading He never had to study. Presently without medication, his mind thinks most of the time, he procrastinated, he multitasks not finishing in a timely manner.”

Dr. Waldo M. Ellison

Richard Fee initial evaluation

Feb. 5, 2010

Richard began acting strangely soon after moving back home in late 2009, his parents said. He stayed up for days at a time, went from gregarious to grumpy and back, and scrawled compulsively in notebooks. His father, while trying to add Richard to his health insurance policy, learned that he was taking Vyvanse for A.D.H.D.

Richard explained to him that he had been having trouble concentrating while studying for medical school entrance exams the previous year and that he had seen a doctor and received a diagnosis. His father reacted with surprise. Richard had never shown any A.D.H.D. symptoms his entire life, from nursery school through high school, when he was awarded a full academic scholarship to Greensboro College in North Carolina. Mr. Fee also expressed concerns about the safety of his son’s taking daily amphetamines for a condition he might not have.

“The doctor wouldn’t give me anything that’s bad for me,” Mr. Fee recalled his son saying that day. “I’m not buying it on the street corner.”

This article has been revised to reflect the following correction:

Correction: February 3, 2013

An earlier version of a quote appearing with the home page presentation of this article misspelled the name of a medication. It is Adderall, not Aderall.

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Battle between Cubs, rooftop owners is best viewed from sidelines

From the Super Bowl to the sandlot, just as surely as players give 110 percent, the math of sports is always suspect.

Sports isn't like other businesses. What other investment becomes more attractive because of its unpredictability? Revenue can always be accounted for, but what of ego, pride, loyalty, stubbornness or even the microns that separate a catch from a muff?

In no other industry does a perennial also-ran continue to see its value increase.

That's why it's a mistake to get too wrapped up in the dispute between the wealthy Ricketts family that owns the Chicago Cubs and the owners of buildings adjacent to Wrigley Field who have turned their rooftops into garish, outsize extensions of the bleachers?

If it's just money, there's a price — and if there's a price, there's a solution to be worked out. If it's a game, the drama is best enjoyed with healthy detachment because logic may or may not dictate the outcome.

Like a hockey fight, one or both combatants will eventually run out of gas, then will be penalized with the loss of time and opportunity.

"What we are trying to do is resolve this right now," Jim Lourgos, one of the rooftop club owners, said recently during a visit to Tribune Tower. "If you're in court on something like this, my feeling has always been that by the time you're in court, you've already lost."

Unless, say, you're trying to run out the clock. But enough with the sports metaphors.

At the center of this dispute, for those late arrivals to this fight, is a nearly 99-year-old ballpark long overdue for a rehab. Wrigley must be brought into the 21st century, in the interest of the team but also all those who benefit from its standing as a tourist magnet, including those peddling rooftop seats.

The Ricketts family is said to finally have abandoned its quest for taxpayer help in funding the project.

It is true other sports franchises in town have received taxpayer help to build facilities that enrich their owners, but every bad idea has to end somewhere. This would at last be consistent with the philosophy of patriarch Joe Ricketts, who has said he considers it "a crime for our elected officials to borrow money today to spend money today and push the repayment of that loan out into the future on people who aren't even born yet."

Rather than hitting up the cash-strapped city and state, the Ricketts clan instead wants help in the form of concessions such as a relaxation of landmark restrictions and city ordinances that limit such matters as the number of night games and ads in the ballpark. They also want to turn one of the streets into a pedestrian mall.

The rooftop interests, which kick 17 percent of their revenue back to the Cubs as part of a nine-year-old settlement with the team, are terrified the loosened restrictions will result in their views of the ballpark being blocked by advertising signs.

Never mind that Wrigley Field itself has many seats with obstructed views, thanks to support posts.

The rooftoppers have offered to put advertising on their building facades with the money going to the team and city. And they think they have leverage via the 2004 contract they signed with then-Cubs owner Tribune Co. (Yes, that's the same Tribune Co. that owns the Chicago Tribune and still has a small piece of the ballclub.) They think they can parlay this into an extension of their current agreement with the team to 2023.

But the contract allows that "any expansion of Wrigley Field approved by governmental authorities shall not be a violation" of the deal, which means if Mayor Rahm Emanuel gets behind the Ricketts, look out.

Rooftop owners talk about the taxes they pay, the people they employ, the money they've invested to make their businesses safe and viable, the character they add to the neighborhood.

The basic argument, however, still seems a little like when your neighbor with the big-screen TV decides to start watching with the drapes closed on what's become movie night at your house. It's bad form to complain that they not only shouldn't shut the drapes but should open the window and turn up the volume so you and the people in your living room you've charged $1 a head can make out the dialogue better.

At the same time it's hard to sympathize with the Ricketts family, which invested $850 million to acquire the team and ballpark, effectively creating a family trust that's a tax-efficient structure for protecting and eventually distributing wealth across generations. It's not as though these people didn't know Wrigley Field was in need of work or the deals in place with the rooftop clubs. They ought to be able to come up with the cash to make this happen, with or without advertising.

That deal is really something, though. For example, the contract calls for the Cubs to help hype them in a variety of ways, advancing the argument that the rooftop clubs are part of the appeal of Wrigley.

There's a requirement that "WGN-TV will show and comment upon the Rooftops' facilities during the broadcasts of Cubs games and the Cubs will request other Cubs television broadcasting partners to do the same." There's also a mandate for the team to "include a discussion about the Rooftops on their tour of Wrigley Field" and to include stories positive about the Rooftops in The Vine Line," the team's publication.

What you won't read in The Vine Line is that this fight, like the ballpark itself, is a fight over something that may increasingly be quaint in the coming decades. The Los Angeles Dodgers last week announced a $7 billion, 25-year deal for their own cable channel, following the example of the New York Yankees, which already have their own.

With that kind of money coming in via television, the pressure to make money from ticket sales may be relieved somewhat, turning the stadiums into glorified studios. But that may be too logical for sports. For one thing, it assumes that player salaries won't escalate in response as owners ditch their budgets in order to get an edge that may or may not materialize.

That's the thing about sports. You never know how the numbers will add up.

philrosenthal@tribune.com

Twitter @phil_rosenthal

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