BlackBerry returns not abnormally high: Jefferies



TORONTO (Reuters) - No abnormally high return rates have been seen for the new Z10 touchscreen device that underpins BlackBerry's attempt to reinvent itself, and demand appears to be positive in Asia, Jefferies & Co analyst Peter Misek said in a report on Tuesday.

BlackBerry has already said it will ask regulators to investigate a report from Boston-based Detwiler Fenton of high return rates for the new device, which is the first BlackBerry to use the new BlackBerry 10 operating system.

Misek, a long-time bear on BlackBerry, turned bullish on the stock late last year.

He said BlackBerry, which changed its name from Research In Motion when it launched the Z10, was increasing its build plan for new devices powered by the Blackberry 10 operating system. He expects BlackBerry to launch two or three additional models before the end of the year.

That would be in addition to the already-announced Q10, which launches in some countries later this month and which uses the mini keyboard that has long been one of BlackBerry's biggest selling points.

"Our checks indicate that builds for Q10 have kicked into high gear and led overall BB10 builds to increase from 2 million a month to 2 million plus," he wrote. "Anecdotal Asia demand checks were positive and U.S. checks indicate that return rates are not abnormally high."

BlackBerry's stock was up 2.1 percent at $14 in premarket trading. The volatile shares have more than doubled in value from last year's low of $6.22.

(Reporting by Janet Guttsman; editing by John Wallace)

Ahead of the curve: but bendable screens still seek breakthrough



By Jeremy Wagstaff and Sinead Carew

SINGAPORE/NEW YORK (Reuters) - The touted arrival this year of wearable gadgets such as computer displays strapped to wrists and in wrap-around glasses is just a step towards a bigger revolution in screens - those that can be bent, folded and rolled up.

Once freed from today's relatively heavy, breakable and fixed glass displays, tomorrow's devices may look very different, with screens that can be rolled out, attached to uneven surfaces, or even stretched.

But there's still some way to go.

"It becomes a product designer's paradise - once the technology is sorted out," says Jonathan Melnick, who analyses display technology for Lux Research.

There is no shortage of prototypes - South Korea's Samsung Electronics this year showed off a display screen that extends from the side of a device - but obstacles remain: overcoming technical issues, figuring out how to mass produce parts cheaply, and coming up with devices compelling enough for gadget buyers.

Screen technology - and the global small display market is seen more than doubling to around $72 billion by 2016, according to DisplaySearch - is still dominated by liquid crystal displays (LCDs), which require a backlight and sit between two sheets of glass, making the screen a major contributor to the weight of a device, from laptops to tablets.

"Most of the weight in a tablet is the glass structure in the display and the support structure around it to prevent it from cracking," said Kevin Morishige, a former engineer at Cisco Systems Inc, Hewlett-Packard Co and Palm.

LCD's dominance is already under threat from lighter Organic Light Emitting Diodes (OLEDs) that don't need backlighting, are brighter, offer a wider viewing angle and better color contrast - and can be printed onto a few layers.

FROM GORILLA TO WILLOW

Glass, however, is getting lighter and more flexible.

Corning Inc, whose toughened Gorilla glass became the screen of choice for many smartphones, will provide phones with curved glass edges as soon as this year. It is also now promoting Willow Glass, which can be as thin as a sheet of paper and is flexible enough to be wrapped around a device or structure. Initially, Willow will be used as a coating for products like solar panels, but it is eventually expected to create curved products.

A key selling point for Willow is more efficient production which involves so-called roll-to-roll manufacturing, like a printing press, rather than today's more costly batch manufacturing. But the commercialization of Willow as a flexible product is some way off, James Clappin, who heads Corning's glass technology group, told Reuters.

And glass has its limits.

"You can bend it, but you can't keep flexing it," said Adrian Burden, a UK consultant who has worked on several start-ups related to display technology, and holds patents in the field. This means that while glass is likely to continue to play a leading role in devices with curved displays, screens that users can bend, fold and roll will likely be plastic.

But plastic is not as robust as glass. "As soon as you introduce plastic substrates you have all kinds of issues with sensitivity to the environment," says Burden.

BARRIER FILMS, NANOPARTICLES

So while OLED and plastic would seem to be companion technologies they create an extra problem when laid together: they need so-called barrier films to prevent the various layers from leaking oxygen and moisture.

"There are barrier films in all sorts of products, for example food packaging, but the challenge is that OLED is one of the most sensitive materials we follow, and so creates huge challenges," says Lux Research's Melnick.

Singapore-based Tera-Barrier Films, for example, has developed a way to plug leaks in the layers using nanoparticles. Director Senthil Ramadas says that after years of delays the company last month started production in Japan and aims for mass production by end-2014. "You have several challenges in the value chain," he said. "All these things need to be established, and only now is it coming out."

And there's another problem: all the materials in a bendable display need to be bendable, too - including the transparent conductors that drive current through the display. Several technologies are vying to replace the brittle and expensive Indium Tin Oxide (ITO) used in most fixed displays, including nanowires, carbon nanotubes, graphene and conductive mesh.

Some of these technologies are close to production. Another Singapore-based firm, Cima Nanotech, for example, rolls a coating of silver-based conductive ink on a sheet which then self-aligns into a web of strands a few microns across that forms the conductive layer.

It's unlikely such shifts in the underlying technologies will yield products immediately. For one thing, "prototypes can be made," says Melnick, "but that's a long way from mass production as many of the processes and material in these devices face big yield and scaling issues."

ON A ROLL

This is gradually changing, some in the industry say, as production shifts from making parts in batches of sheets to the more efficient roll-to-roll process. "Batch is more expensive and slower than roll-to-roll, which needs new equipment and design - and takes time," said Ramadas at Tera-Barrier.

All this requires money, and manufacturers have to be convinced to invest in the new equipment.

Even after the success of Gorilla Glass, popularized by the Apple Inc iPhone, Corning is having to work hard to prepare customers for Willow displays. Clappin said customers want thinner devices and easier to produce glass, but Willow requires a completely different manufacturing set-up.

"When we talk about commercializing Willow a big part of our development activity is enabling the ecosystem to handle what is essentially a brand new material," Clappin added. "Nobody's accustomed to working with glass that bends and moves. It's a new material. The ecosystem needs to be trained to handle it."

He sees demand, particularly from video gamers, for Willow-based curved screens, but remains less convinced about rollable or foldable screens. "Conformable is in the near future. As far as flexible, bendable, fold-upable goes, I see that further out and I'm not even sure that's a viable product," he said.

That in turn requires figuring out what end users might want. "For us and for our clients it's not so much about the flexible display technology," says Brandon Edwards, Shanghai-based executive creative director of frog, a design company owned by India's Aricent. "That's a huge part of it, but what are the practical ways we can bring products to market and how fast, and what's the right cadence? What are consumers going to be responsive to?"

WHAT DO PEOPLE WANT?

For companies with deep pockets, like Samsung, this can mean building prototypes such as those displayed at international technology shows. But that doesn't guarantee success in selling products. Sony Corp, for example, promoted flexible OLED displays back in 2007. "Six years later they've not come up with anything," says Zhang Jie, senior scientist at Singapore's Institute of Metals Research and Engineering. "If Samsung's going to really drive this the application really needs to drive people and make them want it."

This slows down the process. In late 2011, Samsung told analysts it planned to introduce flexible displays into handsets "some time in 2012, hopefully the earlier part than later", but a year later the company said the technology was still "under development." In an investment note last month Jefferies said that while Samsung may introduce "unbreakable" screens this year, it didn't expect to see flexible displays in Samsung devices until 2014-15.

Ultimately, teasing out the technical problems may be only half the battle.

"This is the eternal question of the specialty materials industry," says Lutz Grubel, Japan-based head of marketing for German glass maker Schott's Xensation Cover 3D glass. "You have something, a material, and you're looking for an application. That's the game."

(Additional reporting by Miyoung Kim in SEOUL; Editing by Ian Geoghegan)

No heads lost in Thatcher statue debate...yet



By Christine Murray

LONDON (Reuters) - Revered or reviled, history shows that the placement of a public statue of former British prime minister Margaret Thatcher anywhere in the capital risks becoming a lightning rod.

Reactions to the idea of Thatcher atop the empty fourth plinth in London's Trafalgar Square mirror the emotions stirred up by the death of Britain's "Iron Lady" on Monday.

Some mourners left flowers outside her home, while others "celebrated" with a street party and buying so many copies of the 74-year-old "Wizard of Oz" song "Ding Dong! The Witch Is Dead" that it surged into a top 10 spot in the UK charts.

One small indication of the future prospects for a public statue of Thatcher happened more than a decade ago.

Theatre producer Paul Kelleher decapitated a statue of Thatcher in 2002, saying it "looked better that way".

The work, created by sculptor Neil Simmons, was on display at the time at London's Guildhall, just a short walk from St. Paul's Cathedral where her funeral will be held on Wednesday.

In a telephone interview with Reuters, Simmons laughed as he recalled hearing of the attack on the statue, adding that he knew it was a "poisoned chalice" when he took on the commission.

"I thought it might be sprayed with graffiti, maybe a few eggs thrown at it, but the decapitation was something else," he said.

Conservative London Mayor Boris Johnson said his office would do everything it can to ensure Thatcher gets a high profile London memorial.

A tribute in Trafalgar Square would put Thatcher on equal footing with King George IV and British army generals Henry Havelock and Charles Napier who occupy the other plinths. Though she would still be some way below the 50 meter-high monument of naval hero Horatio Nelson, who won the Battle of Trafalgar.

London Labour leader Len Duvall said on Thursday that such a gesture would be "crass triumphalism", particularly as the popular tourist spot was one of the sites of the riots over a deeply unpopular "poll tax" which contributed to her downfall.

Visitors to the square on Thursday were split over the idea.

"It would become a monument of hatred, you'd have a deluge of people coming from the north to vent their anger," said 57-year-old Glasgow-born Laurie who declined to give his last name.

But 20-year old Mia Cook said Britain's first female prime minister did a lot for the country.

"I think it would be a good idea and right now there's only men around here," she said.

Kelleher's first attempt at the Thatcher statue in 2002 with a cricket bat failed to get the job done, but a second swipe with an iron pole took its head clean off.

"Mr Kelleher was an Englishman armed with a cricket bat and inevitably destined to fail," the prosecution noted. Kelleher was later sentenced to three months in jail.

Simmons's original 2.6-metre likeness of Thatcher was designed for the Members' Lobby of Britain's House of Commons where a new larger-than-life bronze statue was placed in 2007.

"I might have preferred iron, but bronze will do," Thatcher quipped to laughter and applause at the statue's parliamentary unveiling. "It won't rust. And, this time I hope, the head will stay on."

(Additional reporting By Dasha Afanasieva, editing by Paul Casciato)

French scientist bemused by buzz over bra research



By Tara Oakes

PARIS (Reuters) - A little-known French sports doctor who spent 16 years studying the busts of about 300 women sent a scare through a country known for its love of lingerie this week when he suggested bras were useless.

Jean-Denis Rouillon, 62, was thrust into the limelight after he told a student radio station that his work suggested wearing a bra weakened the natural muscles that hold up breasts and women should consider going bra-less.

National radio picked up the story and Rouillon, based at the small University of Franche-Comte in the eastern town of Besan on, was soon being hounded by newspapers and TV.

France Info radio interviewed a 28-year-old volunteer in the study, Capucine, who said abandoning her bra had liberated her in more ways than one, improving her breathing and posture.

"You breathe better, you stand up straighter, you have less back pain," she told the national news station.

Even the highbrow daily Le Monde weighed in, offering an historical insight into the origins of the bra dating back to the 14th century.

Rouillon told Reuters that his unpublished work is still in the early stages and he is hesitant about giving one-size-fits-all advice to women, despite the media circus.

His preliminary results on 330 women aged 18 to 35 suggested that wearing a bra from an early age does nothing to help a wearer's breasts and going without could improve firmness.

"The suspension system of the breasts degenerates," Rouillon said, explaining that bras also unnaturally hamper circulation.

"But a middle-aged women, overweight, with 2.4 children? I'm not at all sure she'd benefit from abandoning bras," he added.

(Reporting by Tara Oakes, Editing by Belinda Goldsmith)

Michael Jackson civil case jury pool grows to 104



LOS ANGELES (AP) The pool of potential jurors to hear a case filed over Michael Jackson's death has grown to 104 people.

Attorneys and a judge concluded their second week of hardship screening on Friday.

In-person questioning of the panel will begin on Monday. It is expected to take multiple days for attorneys to select a panel of 12 jurors and several alternates to hear the case. Jurors must be available for 90 trial days.

The group of 103 has been given a 24-page questionnaire assessing their knowledge about the case.

The lawsuit was filed by Jackson's mother against concert giant AEG Live. The suit claims the promoter of Jackson's planned comeback concerts failed to properly investigate the doctor convicted of involuntary manslaughter for the singer's death.

AEG has denied all wrongdoing.

Manic comic Jonathan Winters dead at 87



LOS ANGELES (Reuters) - Comedian Jonathan Winters, whose manic, improvisational genius never seemed to take a rest, has died at the age of 87 after a more than 50-year career in stand-up comedy, on television and in film.

The burly, moon-faced Winters, a major influence on contemporary comedians like Robin Williams and Steve Martin, died on Thursday of natural causes at his Montecito, California home, surrounded by family and friends, said long time family friend Joe Petro III.

Winters had standout roles in 1960s comedy films "It's a Mad, Mad, Mad, Mad World" and "The Russians are Coming, The Russians are Coming."

He also made regular appearances on "The Tonight Show" with hosts Jack Paar and then Johnny Carson, "The Andy Williams Show" and his own TV variety shows, "The Jonathan Winters Show" and "The Wacky World of Jonathan Winters," in the late 1960s and early 1970s.

Winters' outlandish riffing style and repertoire of madcap characters made him a leading stand-up performer in the late 1950s but the pressure of being on the road led to a mental breakdown in 1959. He spent time in mental hospitals and was diagnosed with bipolar disorder.

Winters was a comedian who rebelled against telling jokes and entertained in a stream-of-consciousness style that could veer into the surreal.

"I love improvisation," he told Reuters in an interview nearly 13 years ago. "You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy. ... It's you. You're on. You've got to do it, and you either sink or swim with what you've got."

Actor Robert Morse, who starred with Winters in the 1965 movie "The Loved One," marveled at the agility with which Winters could transform an ordinary object into an instrument of rapid-fire gags.

" Most of us see things three-dimensionally," Morse once mused in The New York Times. " I think Jonny sees things 59-dimensionally. Give me a hairbrush and I see a hairbrush. Give Jonny a hairbrush and it will be a dozen funny things."

Steve Martin paid tribute on Twitter on Friday: "Goodbye, Jonathan Winters. You were not only one of the greats, but one of the great greats."

SALTY MAUDIE, DRAWLING SUGGINS

His characters included Maudie Frickert, the salty old lady with a razor for a tongue, and Elwood P. Suggins, the drawling, overall-clad hick who "was fire chief a while back until they found out who was setting the fires."

Winters joined the U.S. Marine Corps at 17 and fought in the Pacific during World War Two. After the war he returned to his native Ohio, attended art school and married Eileen Schauder.

At her urging he entered a talent contest, which led to a show on a Dayton radio station on which he would create characters and interview them using two voices.

Winters moved to New York and with his many impressions, facial expressions and sound effects, quickly made a reputation in the city's stand-up comedy clubs, leading to high-profile appearances on television variety shows.

Winters' career derailed in 1959 when he began crying on stage at a nightclub in San Francisco. He was later taken into custody by police who found him climbing the rigging of a sailboat, saying he was from outer space.

Wrung out from the solitude of the road and stress of performance, Winters spent eight months in a psychiatric facility.

"I almost lost my sense of humor," he said in the interview with Reuters, recalling that his role as furniture mover Lennie Pike in the 1963 ensemble comedy film "It's a Mad, Mad, Mad, Mad World" marked a turning point in his recovery.

"I was fresh out of the hospital. I didn't know if I was up to doing a picture such as this," he said. But he took the part at his wife's urging, and "I finally opened up, I realized I was back, and I was in charge of myself and my mind."

Winters once admitted he felt the need to be "on" at all times - staying on the set after filming was done to entertain the crew, breaking into characters to amuse strangers on an elevator or joking with customers in a store.

"I was the class clown," Winters told The New York Times in recounting his high school days. " Other guys had more security, steady dates and all that ... I didn't. They only thing that kept me together was my comedy."

In 1981 Winters was cast in the sitcom "Mork and Mindy," teaming him with Williams, an ardent admirer whose own gift for off-the-wall improvisation made him the Jonathan Winters of his generation.

Winters also became familiar for his commercial work on behalf of such brands as Hefty trash bags, Good Humor ice cream and the California Egg Commission.

He won an Emmy in 1991 for his work on the short-lived sitcom "Davis Rules" and was given the Mark Twain Prize for American Humor in 1999.

Recent work included providing the voice of Papa Smurf in the 2011 live action "The Smurfs" movie, and a sequel due for release in July.

His wife Eileen, with whom he had two children, died in 2009 of breast cancer.

(Reporting By Bill Trott, Eric Kelsey and Steve Gorman; Editing by Jill Serjeant and Vicki Allen and David Brunnstrom)

Lithuanian woman shares home with 3 puma cubs



KLAIPEDA, Lithuania (AP) A Lithuanian woman says she has been raising three pumas in her three-room apartment after fearing for their lives at the local zoo.

Rasa Veliute, a 23-year-old volunteer at the zoo in Klaipeda, a Baltic Sea port town, says she took the cubs home four months ago after their mother began neglecting them.

The pumas also known as mountain lions or cougars are named Kipsas, Gipse and Kinde. Veliute says they eat a lot of chicken and get along well with her East European shepherd dog.

There is no Lithuanian law barring keeping the animals at home, and the zoo did not object to Veliute's actions. But Veliute told reporters Friday that the pumas have grown fast and will likely return to the zoo this summer.

Ballet legend Maria Tallchief dies at 88



CHICAGO (AP) Maria Tallchief, one of America's first great prima ballerinas who gave life to such works as "The Nutcracker," ''Firebird," and other masterpieces from legendary choreographer George Balanchine, has died. She was 88.

Tallchief died Thursday in Chicago, her daughter, Elise Paschen, said Friday.

Tallchief danced with the Ballet Russe de Monte Carlo from 1942 to 1947, but her career was most associated with the New York City Ballet, where she worked from 1948 to 1965. Balanchine, the Russian-born dance genius, was not only the company's director; in 1946, he became Tallchief's husband for some years.

She told Women's Wear Daily in 2003 that when she first worked with Balanchine she thought, "'I am seeing music. This is it!' I was a musician myself, and I thought, 'I am in my place now.' I knew that that's the way I wanted to dance."

Tallchief was one of five Oklahoma natives of American Indian descent who rose to prominence in the ballet world from the 1940s through the 1960s. She retired in 1965, when she started teaching the next generation of dancers.

"My mother was a ballet legend, who was proud of her Osage heritage," Paschen said in a statement. "Her dynamic presence lit up the room. I will miss her passion, commitment to her art and devotion to her family. She raised the bar high and strove for excellence in everything she did."

Tallchief created roles in many of Balanchine's ballets, including "Orpheus," in 1948, and "Scotch Symphony," in 1952. She was the Sugar Plum Fairy in his original production of "The Nutcracker" in 1954.

Jacques d'Amboise, a former New York City Ballet dancer who partnered with Tallchief in many performances, said she was the Mount Everest of dance.

"She was the perfect representative of the American ballerina," said d'Amboise, who with the National Dance Institute in New York. "There is one word for her: Grand. She was absolutely grand."

In the 1970s, Tallchief served as artistic director of the Lyric Opera Ballet in Chicago. She later founded and was artistic director of the Chicago City Ballet.

Kenneth von Heidecke, founder of the Chicago Festival Ballet, studied under Tallchief during the 1970s in Chicago. Tallchief was an honorary artistic adviser with the ballet. He said he owed Tallchief his career because of her meticulous training.

"She would teach classical ballet not just technically ... but she would go beyond that and tell you how the laws of physics help you achieve great elevation or great velocity," von Heidecke said.

In 1996, Tallchief became one of five artists to receive the Kennedy Center Honors for their lifelong contributions to American culture.

Tallchief was born Elizabeth Marie Tall Chief in 1925, on a reservation in Fairfax, Okla., a small town about 60 miles northwest of Tulsa. Visiting teachers gave her lessons, and her mother later moved the family to Los Angeles so that she and her sister could receive additional training.

Tallchief's sister, Marjorie Tallchief, became the first American ballerina to join the permanent star roster of the Paris Opera Ballet.

In her 2005 memoir, "Maria Tallchief: America's Prima Ballerina," Tallchief wrote that her first ballet lesson was in the basement of the Broadmoor Hotel in Colorado Springs, Colo., when she was 3-years-old.

"What I remember most is that the ballet teacher told me to stand straight and turn each of my feet out to the side, the first position," Tallchief wrote. "I couldn't believe it. But I did what I was told."

Ashley Wheater, artistic director with Chicago's Joffrey Ballet, said Tallchief served as a role model to future dancers.

"She's an inspiration for young kids today that come from all different ethnic backgrounds to know that they too can have that opportunity," Wheater said.

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AP writer Jocelyn Noveck contributed to this report from New York.

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Follow AP writer Caryn Rousseau on Twitter at http://www.twitter.com/carynrousseau

Brits, Americans feud over park, tongues in cheeks



PORTLAND, Ore. (AP) The British and the Americans are quarreling albeit with tongues in cheek over territory again, this time over who has the world's smallest park.

One, in Portland, Ore., is essentially a concrete planter, 2-feet in diameter, with soil and some vegetation, and the Guinness Book of World Records says it's the smallest.

The other is about 5,000 miles away, in England. Those guys don't claim to have a physically smaller park theirs is 15 feet by 30 feet. But they are disputing whether Portland's is a park at all.

What started as two Brits' stunt to drum up publicity for a charity run at their park sparked some cross-pond banter. One online commenter wrote: "If that's a park then my window box should take the title."

Someone who said they were from Portland replied: "Yes, but our park has leprechauns. Does yours?"

Leprechauns? Yes, that's right. The faux-feud has helped unearth the curious story of a Portland newspaper columnist's quest to get the park declared the smallest and his claim that it was home to leprechauns.

The tale stretches back to 1946, when newspaperman Dick Fagan returned from World War II. From his office at the Oregon Journal newspaper, he could see a hole in the street where a light post was supposed to be erected. Fagan got tired of looking at the hole and planted flowers in it.

An Irishman with a vivid imagination, Fagan wrote about the park in his columns spinning tales about leprechauns who lived there. Somehow, Guinness proclaimed Mill Ends Park the world's smallest park in 1971.

Jamie Panas, the record-keepers spokeswoman, said she didn't know how that determination was made. But she said the entry in the Guinness database reads, in part: "It was designated as a city park on 17 March 1948 at the behest of the city journalist Dick Fagan (USA) for snail races and as a colony for leprechauns. "

Snail races? That's right. Snail races.

Over the years, Portland has been kind to the tiny park, giving it equal care as that afforded to the 200 or so normal-size parks scattered around the verdant city.

St. Patrick's Day ceremonies have been held there. It has plants and other vegetation. Strange objects have appeared mysteriously within it a miniature swimming pool with a diving board, a tiny Ferris wheel and a UFO.

The Occupy Wall Street movement, those protesters against income inequality, gave the park some recognition. In December 2011, a small group put miniature protest signs and toy tents in the teeny park and held a protest (a month earlier they had been evicted from a very real park they had occupied for six weeks). One of the protesters was arrested for refusing to leave.

And now, Portland's littlest park is getting big headlines. It started with a British sports management company called KV Events, based in Lichfield, north of Birmingham. It was promoting the "world's shortest fun run," around Prince's Park in Burntwood.

The park has the Guinness title of the United Kingdom's smallest park. It has a fence, a bench and three trees. It was founded in 1863 to commemorate the marriage of Albert Edward, Prince of Wales, to Princess Alexandra of Denmark.

Promoters Paul Griffin and Kevin Wilson decided to have some fun, launching a faux challenge to Portland's claim figuring that would generate publicity for the race and for the charity the race is intended to benefit.

The gauntlet was thrown down when Wilson told LichfieldLive.co.uk, a local website, that the Portland park was just a "glorified flower pot." Griffin followed up with interviews on Portland broadcast stations.

"We understand the definition of a park to be a fenced area, usually in a natural state, possibly for recreation purposes," Griffin said on KPAM radio's "Bob Miller Show."

Parks, said Griffin, are places where you can take family and friends for a picnic.

"We don't think you can do that in your fair park," Griffin quipped.

Portlanders have come to the defense of their Lilliputian park. Someone put a toy soldier with a bazooka in the vegetation as well as a fence a defensive perimeter.

"We Americans have a pretty good track record when it comes to taking on the Brits. Perhaps they're still smarting over that whole American Revolution thing," said Mark Ross, spokesman for Portland Parks & Recreation.

Wilson says he has no intention of actually asking Guinness to take away Portland's title. There is talk, however, of a North Atlantic alliance: A sister-park relationship between the two, whatever that might look like.

BBC in hot seat as anti-Thatcher song climbs chart



LONDON (AP) The BBC came up with an awkward compromise Friday over "Ding Dong! The Witch Is Dead," a song that is zooming up the music charts in a posthumous protest against Margaret Thatcher.

The online campaign to drive the "Wizard of Oz" song to the No. 1 spot on the U.K. singles chart was launched by Thatcher critics shortly after the former prime minister died Monday of a stroke at age 87. Opponents have tried to buy as many versions of the song as possible to protest the former British leader's divisive policies.

As of Friday, the song was No. 1 on British iTunes and in the top five of the music chart used by the BBC to compile its weekly radio countdown.

The song campaign strongly divided opinion in the U.K., with many people saying it was in bad taste and calling on the BBC to promise not to broadcast the song.

The BBC usually broadcasts the best-selling hits on its official music chart show, but some lawmakers from Thatcher's Conservative Party had urged the state-funded broadcaster to drop the song from its countdown. Others warned that such a move would be censoring dissent.

Under pressure from all sides, the BBC came up with a decision that can be criticized by both Thatcher fans and critics. It said it would broadcast only part of the song on Sunday's radio show, along with a news item explaining why it was a hit this week.

John Whittingdale, a lawmaker from Thatcher's Conservative party, told the Daily Mail tabloid that many would find the ditty "deeply insensitive."

"This is an attempt to manipulate the charts by people trying to make a political point," he said.

But not all Tories agreed that the song should be yanked.

"No song should be banned by the BBC unless its lyrics are pre-watershed," said former Conservative lawmaker Louise Mensch, referring to British restrictions on adult content.

Mensch, a prominent Conservative voice on Twitter, said in a message posted to the site that Thatcher, famously known as "the Iron Lady," would not have wanted it any other way.

"Thatcher stood for freedom," she wrote.