New insights to the function of molecular chaperones

ScienceDaily (Aug. 24, 2012) ? Heidelberg molecular biologists have gained new insights into the function of so-called molecular chaperones in protein synthesis. The team headed by Dr. G?nter Kramer and Prof. Dr. Bernd Bukau of the DKFZ-ZMBH Alliance, a research association between Heidelberg University's Center for Molecular Biology (ZMBH) and the German Cancer Research Center (DKFZ), was able to demonstrate how a molecular chaperone in bacterial cells can influence the formation of the three-dimensional structure of new proteins.

"Our findings have put an end to a scientific controversy about the point in time within protein synthesis at which the folding of a protein into a defined three-dimensional structure begins and the roles played by individual factors involved in the process," says Prof. Bukau. The research findings have been published as an online article in Molecular Cell and are to appear in the journal's print version as well.

Proteins are produced by ribosomes, large molecular machines translating genetic information into long chains of amino acids. But these so-called polypeptide chains only turn into functional proteins after they have been folded into stable three-dimensional structures. Incorrectly folded proteins can have devastating effects on cells or even the whole organism. Examples are neurodegenerative disorders like Alzheimer's disease or Parkinson's disease. To prevent folding defects, cells have whole arsenals of folding assistants referred to as molecular chaperones. Some chaperones support folding during protein synthesis at the ribosome. Up to now, the precise details of this complex process were largely unknown.

The Heidelberg molecular biologists have now succeeded in supplying a more exact description of a chaperone called Trigger Factor from the bacterium Escherichia coli. To this end, all the components required for protein synthesis were isolated from bacterial cells and the protein folding process was observed during synthesis in the test tube. "It turned out that in the beginning of synthesis the growing polypeptide chain is prevented from folding by its spatial proximity to the ribosome," says Dr. Kramer. "This inhibition is reduced in the course of synthesis by the fact that the already synthesised parts of the growing chain are increasingly moved away from the ribosome by the addition of new amino acids." Trigger Factor prolongs the effect of the ribosome and also interferes with folding. In the course of translation it binds to the ribosome and the growing polypeptide chain, thus also preventing the folding of parts of the protein already further away from the ribosome. Accordingly, the ribosome and Trigger Factor act in concert to confine premature folding of the nascent polypeptide.

"The surprising thing is," says Dr. Kramer, "that Trigger Factor can also unfold parts of the protein." This activity of Trigger Factor can reverse premature folding attempts of the growing polypeptide chain and facilitate a new folding attempt if the earlier one was unsuccessful. "The essential point is that Trigger Factor only develops unfolding activity when it is attached to the ribosome. In other words, it cannot unfold fully synthesised proteins."

In conjunction with other findings produced by the Heidelberg research team, these new discoveries now represent an extended model of the molecular mechanism of protein folding. At the early stage of protein synthesis, the ribosome prevents premature folding of the growing polypeptide chain. Other important modifications to the protein chain have to be performed here as well. Trigger Factor is not involved at this stage. The binding of Trigger Factor keeps the growing polypeptide chain unfolded until sufficiently large parts of the protein are synthesised so that productive folding can take place. But if the protein has already undertaken premature folding steps when Trigger Factor binds, these steps can be reversed by the unfolding activity of Trigger Factor. In this way the formation of harmful proteins in the cell can be actively prevented. "These findings represent an important advance towards a more detailed understanding of the conversion of genetic information into functioning proteins," says Prof. Bukau. "This process is indispensable for the survival of every cell and every organism."

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Story Source:

The above story is reprinted from materials provided by Heidelberg, Universit?t.

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

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Journal Reference:

1. Anja Hoffmann, Annemarie?H. Becker, Beate Zachmann-Brand, Elke Deuerling, Bernd Bukau, G?nter Kramer. Concerted Action of the Ribosome and the Associated Chaperone Trigger Factor Confines Nascent Polypeptide Folding. Molecular Cell, 2012; DOI: 10.1016/j.molcel.2012.07.018

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

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

Source: http://feeds.sciencedaily.com/~r/sciencedaily/top_news/~3/g7UndJwfFGI/120824082511.htm

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Trouble in Mind | Triangle Arts and Entertainment

TRIAD STAGE OPENS THE 12^TH SEASON WITH?TROUBLE IN MIND

Lincoln Financial Foundation presents Alice Childress?

Comedy-Drama of Character, September 2 ? 23, 2012

Pictured (left to right): Mark H. Dold, Harold Surratt, Cassandra Lowe Williams and Megan Oots. Photo by VanderVeen Photographers

(Greensboro, NC) ? Triad Stage?s 12^th season kicks off with Alice Childress? Trouble in Mind, directed by Preston Lane. 1957. Rehearsals begin on what everyone hopes will be the Great White Way?s next big hit?a topical drama ripped from the headlines. But social norms and prejudices collide as the company of aspiring stars, hard-edged veterans and hopeful dreamers set out to make a play. At the heart of it all is Wiletta Mayer (Cassandra Lowe Williams), a gifted African-American actress with the chance to finally play the lead role in a Broadway show, if she?s willing to compromise her principles. It?s a groundbreaking backstage satire of egos and attitudes and an insightful look at who we are and who we want to be. Trouble in Mind runs September 2 through September 23, 2012. Opening Night is Friday, September 7. The production is sponsored by Lincoln Financial Foundation with support from Chicks, Chat and Change, Bernard Robinson & Company, L.L.P and Graffiti Ads. Trouble in Mind is also part of United Arts Council of Greater Greensboro?s 17 Days art festival.

?We at Triad Stage have always believed that theater can change your life. But in our 12^th season, change isn?t just about what happens in plays. We have never been the kind of people to settle for the way things are, so we?re taking bigger chances, making better theater and daring even more,? says Triad Stage artistic director and director of Trouble in Mind, Preston Lane. ?And there is no better play to begin this season of change than Alice Childress? Trouble in Mind. Childress dared to write about race, about gender, about the making of art, about the business of theater in a fashion that no one else has done as radically or as truthfully.?

ABOUT THE PLAYWRIGHT
Alice Childress?was born October 12, 1916 in Charleston, South Carolina. At the age of nine, Childress moved to Harlem, New York where she was raised by her grandmother. Through the 1940?s Childress studied at the American Negro Theatre (ANT), acting and contributing in all aspects of their productions. It was during this time she crafted a name for herself as a skilled actress; making her Broadway debut in the ANT production of Anna Lucasta, for which she earned a Tony? award nomination. In 1949, Childress began her writing career with her first play, a one-act entitled Florence. ?In 1956, her play Trouble in Mind, won the Obie Award for the best off-Broadway play. Childress continued to write plays throughout her career such as Wine in the Wilderness, and Wedding Band: A Love/Hate Story in Black and White. In 1973 Childress won great acclaim for her first novel A Hero Ain?t Nothin? but a Sandwich, which she later adapted into a screenplay and subsequent film. Her novel,?A Short Walk, was nominated for a Pulitzer Prize in 1979. For her life?s work Childress was awarded the Paul Robeson Medal of Distinction, the AUDELCO Pioneer Award, and a Lifetime Career Achievement Award from the Association for Theatre in Higher Education.

ABOUT THE PRODUCTION

Making his Triad Stage debut, University of North Carolina School of the Arts professor and scenic designer John Coyne creates the backstage of a classic proscenium Broadway theatre in Triad Stage?s thrust space. ?In placing her play firmly in a theatrical setting, Childress reminds us that all the world is a stage and her stage reflects a world divided and struggling to come together. The story and its character ring as true today as in 1955 and shows how daunting the struggle remains,? says Lane.

Lane has assembled a cast of returning Triad Stage veterans and a few new faces. Returning to Triad Stage is Cassandra Lowe Williams (A Christmas Carol, Ethel Waters: His Eye is on the Sparrow, among others) as Willetta Mayer, New York actor Mark H. Dold (Hedda Gabler, Mirandolina), fresh off a two year run in Freud?s Last Session at New World Stages, as Al Manners and Harold Surratt, last seen at Triad Stage in The Sunset Limited, as Sheldon Forrester. Completing the cast is John Dillon (A Christmas Carol, 2011), prolific regional theater actress Chantal Jean-Pierre (Triad Stage debut), Phillip Lynch (Theatre 232: Fashionistas), UNCG student Megan Oots (Triad Stage debut), Lee Spencer (A Doll House, Oleanna) and veteran New York actor Evan Thompson (Triad Stage debut).

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The creative team includes: scenic designer John Coyne, costume designer Bill Brewer, lighting designer Norman Coates and sound designer David E. Smith. The dramaturg is Christine Woodworth, Christine Morris is the vocal coach, Cindi Rush is the casting director and the stage manager is Emily J. Mails.

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Biographies of the cast and creative team, and more information on the production can be found online at www.triadstage.org.

?

PERFORMANCE AND SPECIAL EVENT INFORMATION

Tickets for Preview performances of Trouble in Mind, on September 2, 4, 5 and 6, are all $24 each. From Opening Night, September 7, through the run of the production, single ticket prices range from $10 to $52. Prices vary depending on the day of the week and seat location desired.

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All performances are at Triad Stage at The Pyrle Theater, located at 232 South Elm Street in downtown Greensboro, North Carolina (between Market and Washington Streets).

?

Show times for Trouble in Mind are 7:30 p.m. on Tuesday, Wednesday, Thursday and Sunday evenings and 8:00 p.m. on Friday and Saturday evenings. Sunday matinees are at 2:00 p.m. There are no matinee performances during previews. Pay-What-You-Can performances are Tuesday, September 11, and Wednesday, September 12, at 7:30 p.m. Wine Tasting Friday sponsored by Our State magazine is Friday, September 14, prior to the evening?s 8:00 p.m. performance. A Sign-Interpreted performance is on Tuesday, September 18, at 7:30 p.m., with services provided by the Greensboro Communication Services for the Deaf and Hard of Hearing.

Technically Talking, a behind-the-scenes discussion with members of the design team is Tuesday, September 4, immediately following the 7:30 p.m. preview performance. The InSight Series, the free humanities program featuring Dr. La Vinia Delois Jennings, Ph.D, Lindsay Young Professor of English and professor of Twentieth-Century American Literature and Culture, who will be discussing the world of the play and Alice Childress will be held on Sunday, September 9, immediately following the 2:00 p.m. matinee performance. PostScript, a lively, open discussion with the cast, will be held on Thursday, September 13, in The UpStage Cabaret immediately following the 7:30 p.m. performance. The PostScript series is sponsored by Locke T. Clifford and Andrew C. Clifford.

ABOUT TRIAD STAGE

Triad Stage is a professional not-for-profit regional theater company based in Greensboro?s downtown historic district. All Triad Stage productions are created in Greensboro using the best of local and national talent. Triad Stage gratefully acknowledges the support of its Season Sponsors: Blue Zoom, the North Carolina Arts Council and the United Arts Council of Greater Greensboro. The starring sponsor for Trouble in Mind is Lincoln Financial Foundation, with support from Chicks, Chat and Change, Bernard Robinson & Company, L.L.P. and Graffiti Ads.

Triad Stage?s 2012-2013 MainStage Season continues with Donald Margulies? Shipwrecked! (October 14 ? November 4, 2012); Tennessee Williams?s, Kingdom of Earth (February 10 ? March 3, 2013); Alan Jay Lerner and Frederick Loewe?s musical adaptation of Pygmalion, My Fair Lady (April 7 ? May 15, 2013) and Preston Lane?s world premiere adaptation, Tennessee Playboy (June 9 ? 30, 2013). The season includes the return of Lane?s adaptation of Charles Dickens? holiday classic, A Christmas Carol (December 2 ? 23, 2012). Season Passes and single tickets for Trouble in Mind, Shipwrecked! and A Christmas Carol are on sale now.

The UpStage Cabaret season begins with a ghost play adapted by Stephen Mallatratt, The Woman in Black (October 4 ? 20, 2012); David Sedaris? The Santaland Diaries (December 4 ? 22, 2012) and Charles Ludlam?s affair of the farce, Reverse Psychology! (March 16 ? 30, 2013). Memberships to The Cabaret Club are on sale now. Tickets to The Woman in Black go on sale to non-members September 4.

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All Triad Stage productions feature the bold acting and breathtaking design that have been nationally recognized by The Wall Street Journal and by the American Theatre Wing, founder of the Tony Awards^?, which named Triad Stage one of the top ten most promising theatres in the country as a recipient of the 2010 National Theatre Company Grant. Triad Stage has also earned accolades including ?Best North Carolina Production of 2010? for The Glass Menagerie by Triangle Arts & Entertainment magazine; ?One of the Best Regional Theatres in America?, New York?s Drama League; ?Best Live Theater?, Go Triad/News & Record and The Rhinoceros Times; and ?Professional Theater of the Year?, North Carolina Theatre Conference.

?

To purchase tickets or for performance information on Trouble in Mind, call the Triad Stage Box Office at 336.272.0160 or toll-free at 866.579.TIXX (8499), or visit www.triadstage.org.

?

For tickets:

Phone: (336) 272-0160

Toll-free: (866) 579-TIXX (8499)

Box Office hours: Monday ? Friday, 10:00 a.m. ? 6:00 p.m.

Online: www.triadstage.org
Ticket prices: $10 ? $52, depending on performance date and seat location

?

Group tickets:

Call (336) 274-0067 ext. 221

Email: groupsales@triadstage.org

Ticket discounts: Groups of 10 ? 49, 25% off; Groups of 50+, 35% off

?

Educators? 20% discount tickets:

Current school teachers and professors receive a 20% discount off regular price tickets to all performances. A valid school employee ID or proof of employment must be presented to Box Office when picking up tickets. Subject to availability. Some restrictions apply.

Call: (336) 272-0160 or toll-free (866) 579-TIXX

Monday ? Friday, 10:00 a.m. ? 6:00 p.m.

Ticket prices: $10 ? $41.60, depending on performance date and seat location

?

$10 Student Rush tickets:

Current students with valid school ID may purchase tickets for $10. Student Rush tickets are only available at the Triad Stage Box Office one hour before each performance. Subject to availability. Some restrictions apply.

$10 Gallery Seats:

A limited number of $10 general admission gallery seats are available for each performance.

Call: (336) 272-0160 or toll-free (866) 579-TIXX

Monday ? Friday, 10:00 a.m. ? 6:00 p.m.

Also available at the Box Office for walk-up sales.

?

Trouble in Mind performance dates:

Sunday, September 2 7:30 p.m. 1^st Preview

Tuesday, September 4 7:30 p.m. Preview/ ?Technically Talking? post-show discussion

Wednesday, September 5 7:30 p.m. Preview

Thursday, September 6 7:30 p.m. Preview

Friday, September 7 8:00 p.m. Opening Night with post-show lobby party

Saturday, September 8 8:00 p.m.

Sunday, September 9 2:00 p.m. ?InSight Series? post-show discussion

Sunday, September 9 7:30 p.m.

Tuesday, September 11 7:30 p.m. ?Pay-What-You-Can? performance

Wednesday, September 12 7:30 p.m. ?Pay-What-You-Can? performance

Thursday, September 13 7:30 p.m. ?PostScript? post-show discussion with the cast

Friday, September 14 8:00 p.m. Pre-Show Wine Tasting event

Saturday, September 15 8:00 p.m.

Sunday, September 16 2:00 p.m.

Sunday, September 16 7:30 p.m.

Tuesday, September 18 7:30 p.m. Sign Interpreted performance

Wednesday, September 19 7:30 p.m.

Thursday, September 20 7:30 p.m.

Friday, September 21 8:00 p.m.

Saturday, September 22 8:00 p.m.

Sunday, September 23 2:00 p.m.

Sunday, September 23 7:30 p.m. Closing performance

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Rating: 0.0/5 (0 votes cast)

Source: http://triangleartsandentertainment.org/event/trouble-in-mind/

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Premium Rush's Chaotic NYC Bike Chases

Playing bike messenger Wilee in Premium Rush left a mark on Joseph Gordon-Levitt?in the form of actual scars. The actor was filming on Sixth Avenue in New York City when an SUV drove into the lanes closed for the production. "Joe?s approaching at 30 mph," director David Koepp says, "and he can either hit the guy, or swerve abruptly into live traffic that doesn?t know he?s coming, or go left. He can?t see, but he hopes that maybe there?s nothing there." So Gordon-Levitt went left?and hit a taxi, smashing the back windshield, slicing open his forearm and requiring stitches.

Aggressive drivers, speeding traffic, and oblivious pedestrians are all challenges real bike messengers face, and Koepp was determined to do all of the film?s riding and stunts realistically. So how did the crew of Premium Rush, out Aug. 24, manage to film the movie?s crazy chase sequences without any (other) serious injuries?

Gordon-Levitt trained for six weeks to prepare for his role, and the production employed actual bike messengers, stuntmen, and trick riders to help the actor pull off Wilee?s riding and stunts. They also provided expertise, weighing in on how a messenger would get on and off the bike, access his bag, and even where he?d put his pen. "I rode every day, and when you see me riding, that?s really me," Gordon-Levitt says. "But certainly there?s a lot from the other guys who are much, much better cyclists than I am."

One of those guys was Austin Horse, a New York City bike messenger who has won global competitions for speed. He spoke to Popular Mechanics while he was delivering packages. "I had to ride near cars and do skids and near misses," he says. "Pretty much a regular day of work." The toughest thing he had to do, Horse says, was a skid and short-stop in front of a truck. "I wanted it to look like he was at the very edge of control; as short and nearly horizontal as possible," he says. "I pushed it, and I fell down. But we did it again, and I got it on that take."

To capture the action, Koepp used a Porsche Carrera equipped with a camera crane, small digital cameras attached to the bikes, and a camera on a motorcycle. Some sequences, especially those with dialogue, were filmed on streets closed for the shoot, using cars with stunt drivers. "There isn?t enough control in live traffic," Koepp says, "and it?s really dangerous." In these scenarios, the stunt drivers had to follow one rule: Don?t switch lanes. "The people on the bikes had to know that they could weave between the cars and not have to worry about the Impala cutting them off and killing them," Koepp says.

Horse, for one, enjoyed the choreographed sequences. "I went from being 50 percent sure that a car is going to do a certain thing [in real life] to being 98 percent sure," he says. "Predictability is gold. It makes everything so much easier."

Even with those precautions, the shoot was kind of crazy. Case in point: Gordon-Levitt?s accident. "That was New York intruding on our best-laid plans," Koepp says. "The city is this giant, uncontrollable organism that runs on a certain amount of chaos. And the stunt riders were so fast that they would quickly outrun the stunt cars, particularly Austin. So they would just take off and go, and hopefully the motorcycle would stay with them and get some good stuff."

Even after training and filming, Gordon-Levitt doesn?t think he could cut it as a New York City bike messenger, but he does have a new appreciation for fixie bikes. "I learned to ride a fixed-gear bike, which is different from what you learn to ride growing up," he says. "You have more control, because there?s no mechanism in the way?you?re directly connected to the wheel. It feels less like you?re riding on top of a vehicle and more like your feet are attached to wheels. I grew to prefer it, actually."

Source: http://www.popularmechanics.com/technology/digital/visual-effects/premium-rushs-chaotic-new-york-bike-chases-12009356?src=rss

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India faces Twitter backlash over Internet clampdown

1 hr.

Devidutta Tripathy and Satarupa Bhattacharjya , Reuters

NEW DELHI (Reuters) - The Indian government faced an angry backlash from Twitter users on Thursday after ordering Internet service providers to block about 20 accounts that officials said had spread scare-mongering material that threatened national security.?

The backlash came as New Delhi turned up the heat on Twitter, threatening "appropriate and suitable action" if it failed to remove the accounts as soon as possible. Several Indian newspapers said this could mean a total ban on access to Twitter in India but government officials would not confirm to Reuters that such a drastic step was being considered.?

There was no immediate response from Twitter, which does not have an office in India. There are about 16 million Twitter users in the South Asian country.?

Also read:?India cracks down on Internet after communal violence

The government has found itself on the defensive this week over what critics see as a clumsy clampdown on social media websites ? including Google, YouTube and Facebook ? that has raised questions about freedom of information in the world's largest democracy.

"Dear GOI (Government of India), Keep your Hands Off My Internet. Else face protest" tweeted one user, @Old_Monk60.

India blocked access to more than 300 Web pages after threatening mobile phone text messages and doctored website images fuelled rumors that Muslims, a large minority in the predominantly Hindu country, were planning revenge attacks for violence in the northeastern state of Assam, where 80 people have been killed and 300,000 have been displaced since July.?

Fearing for their lives, tens of thousands of migrants fled Mumbai, Bangalore and other cities last week. The exodus highlighted underlying tensions in a country with a history of ethnic and religious violence.

Also read:?India: Text message threats, rumors came from Pakistan?

According to documents obtained by Reuters, the government has targeted Indian journalists, Britain's Daily Telegraph, the Australian Broadcasting Corporation and Al Jazeera television in its clampdown on Internet postings it says could inflame communal tensions.?

The directives to Internet service providers listed dozens of YouTube, Facebook and Twitter pages. A random sampling of the YouTube postings revealed genuine news footage spliced together with fear-mongering propaganda.?

Indian journalists targeted?
The government says Google and Facebook have largely cooperated while Twitter has been much slower to respond.?

"Every company, whether it's an entertainment company, or a construction company, or a social media company, has to operate within the laws of the given country," said Sachin Pilot, minister of state in the Ministry of Communications.?

Twitter has been instructed to remove 28 pages containing "objectionable content", an interior ministry official said.?

"If they do not remove the pages, the Indian government will take appropriate and suitable action," he added.?

The government has ordered Internet service providers to block the Twitter accounts of veteran journalist Kanchan Gupta and television anchor Shiv Aroor. Some appeared to have begun complying with the order on Thursday as Twitter users reported difficulties in accessing their pages.?

"It is a political decision, because of my criticism of the government," said Gupta, who was an official in the previous government led by the Hindu nationalist Bharatiya Janata Party.?

The government's actions triggered a storm of criticism from Twitter users, with the hashtags #Emergency2012 and #GOIBlocks among the top trending topics on Twitter in India on Thursday. Some compared the situation with the state of emergency imposed by the government in 1975, when some journalists were jailed.?

The Centre for Internet and Society, which analyzed the 300 banning orders, found that they contained "numerous mistakes and inconsistencies". Some of the banned websites belonged to people trying to debunk the rumors, for example, it said.?

"This isn't about political censorship. This is about the government not knowing how to do online regulation properly," said CIS program manager Pranesh Prakash.?

India's parliament last year passed a law that obliges Internet companies to remove a range of objectionable content when requested to do so, a move criticized at the time by rights groups and social media companies.?

Additional reporting by Ross Colvin, Annie Banerji and David Lalmalsawma.

Source: http://www.nbcnews.com/technology/technolog/india-faces-twitter-backlash-over-internet-clampdown-960989

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A little Yoga in Between: Committed

I love this quote.? And though I have posted it before I am posting it again as it sums up my year quite nicely. I have finally published a book. For now, it is only available as an ebook and it can be found here and here. Many of you already know this, but it comes with the job... writer err I mean, self-promoter.


I am creating a social networking world for Fame Place. If you feel like following please do so here, here, and here.

I have a whole list of books that I am in the process of writing or that need to be written. In order to accomplish these goals I have set daily writing goals. Many writers do this and I used to be better at it than I have been lately, meaning the last two years. Life has been full of twists, turns, and changes for me. It is time, once again, to get serious. Becoming anything in life takes commitment. Having a relationship with your work is one of the most important pieces in our lives. A friend said to me yesterday that life is about relationships and I responded that I have a relationship with my writing as well. In order for us to be successful we must spend that time with the work we want to create. And as an artist that takes even more of a commitment than does an already crafted and paying job. If you wanna create your own world you must be committed to it. As I settle into Fall I am looking forward to some quality time with my computer and my cats...:) And yoga, of course, always yoga...

What facets of Fall are you looking forward to?

Source: http://yarrowkae.blogspot.com/2012/08/committed.html

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Source: http://uploadons.com/blog/gaming-console-or-computer-system-in-all-probability-cannot-send/

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Child and Family Center manager named president of statewide ...

by Stacey Kendrick | Posted on Tuesday, Aug. 21, 2012 ? 1:40 PM

Rhonda Laird (Vanderbilt)

Rhonda Laird, manager of the Vanderbilt Child and Family Center?s Edgehill site, has been elected president of the Tennessee Association for the Education of Young Children. TAEYC has more than 2,000 members across the state, including teachers, administrators, family care providers, college personnel and educational specialists.?There are 12 local TAEYC affiliates.

The organization provides members with professional development opportunities and advocates for best practices in the care, development and education of all of Tennessee?s young children.?TAEYC is celebrating 58 years of serving children, families, educators and the community.

Laird previously has served as president of the Nashville-area affiliate of TAEYC and as public policy co-chair.?In 2010, she received the TAEYC Outstanding Member Award for her advocacy work as well as her involvement with professional development opportunities for teachers and directors in early childhood education programs.

Contact:
Stacey Kendrick, (615) 322-6689
stacey.kendrick@Vanderbilt.Edu

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Source: http://news.vanderbilt.edu/2012/08/laird-elected-taeyc-president/

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