text:
Effect of Preperformance Routine on Advanced Swimmers' Performance and Motor Efficiency, Self-Efficacy, and Idiosyncratic Emotions
in The Sport Psychologist
Veronique Richard*,1, Justin Mason*,2, Stacey Alvarez-Alvarado*,2, Inbal Perry*,3, Benoit Lussier*,4, and Gershon Tenenbaum*,5
1 Montreal National Circus School
| 2 University of Florida
| 3 Academic College of Tel-Aviv-Yafo
| 4 National Institute of Sport, Montreal
| 5 Baruch Ivcher School of Psychology
https://doi.org/10.1123/tsp.2020-0023
swimming; sport psychology; emotional regulation; applied intervention
The aim of the present study was to compare the effectiveness of a learned preperformance routine (PPR) with an intuitively developed one before a simulation race on advanced swimmers' speed and motor efficiency, as well as self-efficacy and emotional regulation. In total, 46 National Collegiate Athletic Association Division I swimmers were stratified to either the control (intuitively developed PPR) or the PPR condition, which included four instructional sessions aimed at developing a PPR. A simulated competitive race was organized before and after the intervention. For each simulation, speed and motor efficiency were measured during the race, and self-efficacy and emotions, after the completion of the race. Nonsignificant effects were revealed for speed, motor efficiency, and self-efficacy following the intervention. However, performing a learned PPR prior to racing significantly influenced the swimmers' emotional state. These results provide some support for the effect of a PPR on emotional regulation prior to a swimming race.
* Richard is with the Center for Circus Arts Research, Innovation and Knowledge Transfer, Montreal National Circus School, Montreal, QC, Canada. Mason is with the Dept. of Occupational Therapy, and Alvarez-Alvarado, the Dept. of Clinical and Health Psychology, University of Florida, Gainesville, FL, USA. Perry is with the Academic College of Tel Aviv-Yafo, Tel Aviv-Yafo, Israel. Lussier is with the National Institute of Sport, Montreal, QC, Canada. Tenenbaum is with the Baruch Ivcher School of Psychology, The Interdisciplinary Center, Herzliya, Israel.
Richard (veronique_richard03@hotmail.com) is corresponding author.
https://journals.humankinetics.com/abstract/journals/tsp/35/2/article-p97.xml
The Sport Psychologist
Swimming Performance Indicators
Regulation Effects of a PPR
Current Study
Materials and Measurements
Manipulation Checks
Performance and Biomechanical Analysis
Individualized Emotion Profiling
Data Preparation and Statistical Analysis
State Anxiety
Perceived Exertion
Use of the PPR
Performance: Speed and Biomechanical Analysis
Individualized Emotions Profile—Frequency of Emotions
Individualized Emotions Profile—Intensity of Emotions
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Zamparo, P., Bonifazi, M., Faina, M., Milan, A., Sardella, F., Schena, F., & Capelli, C. (2005). Energy cost of swimming of elite long-distance swimmers. European Journal of Applied Physiology, 94, 697–704. https://doi.org/10.1007/s00421-005-1337-010.1007/s00421-005-1337-0)| false
Zamparo, P., Pendergast, D.R., Mollendorf, J., Termin, A., & Minetti, A.E. (2005). An energy balance of front crawl. European Journal of Applied Physiology, 94, 134–144.
Zamparo, P., Pendergast, D.R., Mollendorf, J., Termin, A., & Minetti, A.E. (2005). An energy balance of front crawl. European Journal of Applied Physiology, 94, 134–144.10.1007/s00421-004-1281-4)| false
Zeidner, M., Boekaerts, M., & Pintrich, P.R. (2000). Self-regulation: Directions and challenges for future research. In M. Boekaerts, P.R. Pintrich, & M. Zeidner (Eds.), Handbook of self-regulation (pp. 749–768). Academic Press.
Zeidner, M., Boekaerts, M., & Pintrich, P.R. (2000). Self-regulation: Directions and challenges for future research. In M. Boekaerts, P.R. Pintrich, & M. Zeidner (Eds.), Handbook of self-regulation (pp. 749–768). Academic Press.10.1016/B978-012109890-2/50052-4)| false
Veronique Richard
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text:
Adam Ben Ezra
Anthill Cinema
The Ashton Jones Project
Blaque Dynamite
Bob Lanzetti
Chris Bullock
DJ Logic
Drew Tucker
Ethan "Ebassman" Farmer
Ernest Ranglin
Farnell Newton (Neutron)
Farnell Newton & The Othership Connection
Ghost-Note
Hamilton de Holanda
Hotei
Jennifer Hartswick & Nick Cassarino Duo
John Papa Gros
Jojo Mayer / Nerve
Jonathan Scales Fourchestra
Joslyn & The Sweet Compression
Kamani
Kick The Cat
lespecial
Lucy Woodward
Ludic
Marcus Machado
Mike "Maz" Maher
Mike Dillon
Mike Dillon Band
MonoNeon
Muscle Tough
Natalie Cressman
Natalie Cressman & Ian Faquini
New Orleans Suspects
Nikki Glaspie
Nolatet
Papa Mali
Reed Mathis Electric Beethoven
Scott Law
Scott Law & Ross James' Cosmic Twang
Shaun Martin
Skerik's Bandalabra
Sun Beard
Sungazer
The Nth Power
Tommaso Cappellato
Toubab Krewe
Wednesday Night Titans
Yotam Silberstein
Zach Brock
Zach Brock & Bob Lanzetti
Royal Artist Group
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Wil Blades and Scott Amendola conjure various sonic deities though only a duo. For the past 10 years, their live shows have been generating a buzz around the San Francisco Bay Area. The two got their start as a group when Scott had the vision of performing Duke Ellington's "Far East Suite" in duo with Wil. While quite a daunting task translating a suite (originally written for a big band) into duo, the Hammond Organ had previously been used in the 1940's and 1950's to emulate the sound of big bands. With Wil's knowledge of this tradition and Scott's desire to push boundaries, they were able to pull it off in an explorative, yet cohesive manner. The duo continues to perform pieces from the Ellington suite, while also developing their original material. Their live performances are fun and playful, yet deeply musical. They can cover everything from Avant Garde to Funk, Bebop to Rock, sometimes within one song. In June 2015, at Duende in Oakland, CA, they set up shop for two nights and recorded in front of a live audience. The resulting release, entitled "Greatest Hits", is now out on SAZi records and has been receiving rave reviews!
"Sometimes it just ridiculous how much sonic space Scott Amendola and Wil Blades alone can fill up in a room. Freakishly funky and soul satisfying, this dynamic duo push the limits on their Greatest Hits, while having too much fun doing it."
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• 2017 Downbeat Critics Poll Winner: Rising Star–Organ
Blades, a native Chicagoan, has become the San Francisco Bay Area's first call organist and is rapidly gaining momentum throughout the world. Since 2006, he has been named in the Downbeat critics poll every year under "Rising Star" for organ. Wil has kept the traditional sounds of Jimmy Smith, Larry Young, and "Groove" Holmes alive, while creating a more personal, modern sound. Wil has performed and recorded with John Lee Hooker, Dr. Lonnie Smith, Melvin Sparks, Idris Muhammad, Joe Louis Walker, Nicholas Payton, Donald Harrison, Karl Denson, Will Bernard, Charlie Hunter, Stanton Moore, and many others.
An organizer by nature, Jersey native Scott Amendola has become a creative nexus for a community of musicians stretching from Los Angeles and Seattle to Chicago and New York. Amendola's inspiration stems from such stylistic influences as African music, jazz, blues, spirituals, rock, and the avant garde. Scott has never been satisfied with just being a masterful drummer, he has spent his career pushing music in new directions. Scott has toured, recorded, or performed with Bill Frisell, Dave Liebman, John Zorn, Wadada Leo Smith, Jacky Terrasson, Larry Goldings, Jeff Parker, Madeleine Peyroux, Sex Mob, Wayne Horvitz, Johnny Griffin, ROVA Saxophone Quartet, Pat Martino, Nels Cline, Peter Apfelbaum, Jim Campilongo, Ben Goldberg, Mark Turner, Michael Franti, Phil Lesh and others, and has toured extensively throughout Europe, North America, and Australia.
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text:
He, reports that limited the space available in
He, therefore, asserts that "the internet as it wires
millions of individuals as potential information experts into global
communications infrastructure provides an ideal platform for improving
journalism by incorporating the expertise of people of people outside" (p.
55). Networked journalism has
enabled journalists to tell stories much better, taking advantage of various
multimedia components. By doing so, social media will lead to improved
journalism as some stories
are told best in print while some are visual and require video, photos, and/or graphics. Furthermore, social media
has provided an opportunity for traditional media journalists to provide
comprehensive accounts of news stories. Unlike traditional newspapers and
broadcast news reports that limited the space available in a
newspaper/broadcast, the online setting offers virtually unlimited column space
and airtime. This has further enabled informal collaboration of journalistic
work through crowd-sourcing, which further adds more depth to the news
produced. Scholars argue that rather than relying on a single journalist to
consider or present all sides of the story social media enables a more
extensive and potentially more diverse community of users to collaborate as
producers of a more comprehensive form of news coverage that would have been
possible under the pressures of traditional media. As per Gans (2003), this
leads to "multiperspectival news reporting, encompassing fact and opinion
reflecting all possible perspectives" (p. 103). He further pointed out that
through collaboration, social media provides space for presenting unrepresented
perspectives, unpublicized facts, and unrepresented or seldom reported parts of
the population. By doing so, social media is helping traditional news reporters to interact with readers and sources. Such
interaction not only allows journalists to get instant feedback on their work
but also to gather meaningful tips and build valuable relationships with
audiences (Quigley, 2010). Additionally,
social media has benefited the journalism profession through increasing
interactivity thereby enabling even the younger audience to participate. This
has not only improved the quality of stories as suggested above but also
enhanced the potential of the media to attract a younger audience who happen to
be the next generation of news consumers. According Newman (2009), social
networks "score well with young people, the demographic group which newspapers
fear will never buy their products and which is beginning to desert traditional broadcast news and current
affairs programmes" (p. 41). The appeal to younger population derives from the
interactive media experience that young people have become accustomed to
through the use of other interactive devices such as instant messenger and
computer games which promotes a two-way street of communication (Bowman and
Willis, 2003). The interactive quality of social media has therefore been
assumed by traditional media and is proving to be important in helping news
media reclaim audiences' trust by involving them in the news making process.
A Guardian journalist acknowledged: we
are using user generated content not as a primary source but to extend the life
of stories, as a way of adding more
perspective and insight, not just as way to let people talk amongst themselves but actually with a
purpose to generate more leads and more insight" (Newman, 2009: p. 13).
Collaborating and having a conversation with audience members extends
news stories and also increases retention, understanding and gives more room
for sharing and discussing news stories. Apart
from the above, social media is an opportunity for journalists as it has led to
increased trust in the media through promoting participatory engagement.
Scholars believe participatory journalism provides media companies with the
potential to develop a more loyal and trustworthy relationship with their
audiences. This engagement can be achieved through reporters writing a story
and then asking the audience to have their input through providing tips,
feedback, and first-hand accounts that confirm a story's premise or take it in
a different direction. Bowman and Willis (2003) noted that: Involving an audience, either small
or large, in the creation of content also give them a sense of ownership – an affinity with the media brand that they
believe they are not getting
today – as well as a more intimate relationship with the storytellers (p.
53). An example of such
initiatives that have proved a success include the CNN iReport platform that
invites content from users which are then vetted and verified by its team of
experts before being used. To
conclude, given the numerous arguments that show the advantages provided by
social media towards the practice of journalism including providing
opportunities for collaboration, networked journalism, and comprehensive
accounts, I maintain that even in the social media era journalists are still
relevant, probably even more relevant now. While the negative impact of social
media including the challenge to media hegemony, dominance in breaking news and
dominance in audience engagements can never be taken for granted, the role of
journalists as filters and mediators remain crucial. Newman (2009) capture the
whole argument when he said, "social networks provide competition to
traditional publishers for consumer attention and at the same time they are
opening up new ways of engaging and connecting with audiences" (p. 42). Despite
the paranoia that social media is quickly taking the control of traditional
journalists thereby making them irrelevant, the absence of appropriate
journalistic training means citizen journalists are unable to effectively
provide a clear account of events, leaving room for conservative journalists as
a voice of authority. As a result, any conclusion dismissing traditional media
journalists are still too early while at the same time glorifying social media
as a replacement of traditional journalism is premature.
Chapter publics for the purpose of achieving
TOPIC: tend to assume what they watch and
Chapter working with public opinion (Dominick, 1993)
DEDICATION h vi HYPERLINK l _Toc515283596 CHAPTER ONE
He, has enabled journalists to tell stories
Tardigrades each serve a purpose. Its mouth serves
Ömer Nicopolis. After Edward II dethronement in1327, he
Think topic. How else can we test a
Chaz would be advertisement campaign that could "roast"


CapRescue along with ROCKY HARLEY-DAVIDSON have had yet another successful Roll the Dice Charity Bike Ride where a number of motorcycle enthusiast participated in an over 200km ride raising both funds and awareness for motorcycle safety. This was the first year Rocky Harley-Davidson have come on board with the event, and organisers say it's a great day for bikies to come together and advocate for motorcycle rider safety. Over 90 participants entered the Roll the Dice Charity Ride which started at Rocky Harley-Davidson with a free breakfast and registrations before the rumble of Harley's roared through town and made their way to Byfield Store Markets.
After a brief stop in Byfield, the group made their way to Cawarral Store, then onto the Keppel Sands Hotel for lunch. Prizes from the multi draw raffle were drawn throughout the day, and thanks to the continued support of FITZROY TROPHIES, several trophies were also presented. It all wrapped up back where it started at The Rumble Inn at Rocky Harley-Davidson.
Kirsty Wooler, RACQ CAPRICORN HELIOPTER RESCUE says "Historically, of the total Primary Vehicle Accidents that we attend 42% involve motor cycles with suspected spinal and neck injuries the most common outcome for the rider. Whilst wearing the correct protective gear, including a helmet, does greatly improve your chances of surviving a serious accident, all riders are encouraged to act in a responsible manner both on and off road to prevent an incident occurring. At the end of the day prevention is still the best cure".
The day was a great success for both riders and the Service with the key message of safety among all road users being paramount.


text:
Anna Steimarová, rozená Anna Budilová, (7. července 1889 Plzeň – 15. března 1962 Liberec) byla česká divadelní, operetní a filmová herečka, dcera významného plzeňského herce a divadelního ředitele Vendelína Budila. Byla první manželkou herce Jiřího Steimara a matkou herečky Jiřiny Steimarové.

Život
Dne 10. července 1915 se provdala za herce Jiřího Steimara. Za 1. světové války, kdy se jim narodila v roce 1916 dcera Jiřina, žili v pražském Podskalí. Šest let po Jiřině se jim narodil syn Miloš (1922–1949), který byl také nadějným hercem, hrál v Brně, ale v mladém věku se nešťastnou náhodou otrávil oxidem uhelnatým.

Později si Steimarova rodina koupila dřevěnou chalupu v Černošicích s půlkou ostrova na Berounce, kde pak mnoho let žila. Podnikavý herec Steimar později chalupu přebudoval v moderní penzión, o který se staral jako hoteliér, rád však hostům také uvařil. Steimarovi v Černošicích pěstovali holuby, psy a slepice. Místním občanům pomáhali s ochotnickým divadlem a sami v něm vystupovali. Jiří Steimar však organizoval i divadlo doma a zapojoval do něho celou rodinu i personál. Sjížděli se sem významní hosté – Olga Scheinpflugová, Xena Longenová, Saša Rašilov, Marie Hübnerová, Jan Masaryk, Jan Kubelík a Rudolf Friml.

Brzy po rozvodu se Steimarová pokusila založit vlastní divadlo, ale v podnikání se jí příliš nevedlo. Nějaký čas žila ještě v Černošicích s bývalým manželem a jeho novou ženou Žofií, poté se odstěhovala do Prahy. Řadu let byl jejím přítelem herec Jindřich Láznička, ale Steimarová se už nikdy nevdala. Po úmrtí syna byla v takové depresi, že výrazně zhubla a nakonec dostala TBC žláz, která se pak zvrhla v rakovinu. Umírala deset let.

Rodokmen Steimarů

Divadelní dráha
Anna Steimarová se stala hereckou hvězdou již v dětském věku, kdy ji její otec angažoval jako školačku do inscenace Malého lorda v rodné Plzni, později si roli vyzkoušela i v Národním divadle v Praze. Později studovala řeč a zpěv. Pěvecký talent svým sopránovým hlasem prokázala již v osmnácti letech, kdy zpívala Olympii v Offenbachových Hoffmannových povídkách.

Před 1. světovou válkou začínala jako operetní subreta v Německu – v Rostocku a ve Stuttgartu a v Theater an der Wien ve Vídni. Šest let působila v pražském Německém divadle a v této době se seznámila se svým budoucím manželem J. Steimarem.

Prošla několika pražskými scénami, hrála v karlínském Varieté, v kabaretu Rokoko, Aréně, Švandově divadle, ve Velké i Malé operetě (Tylovo divadlo v Nuslích), v letech 1928–1930 hrála ve Vinohradském divadle.

Po 2. světové válce se mihla na prknech divadel ve Zlíně a v Liberci, poté krátce působila v Národním divadle v Praze, aby svou kariéru ukončila opět v Severočeském divadle v Liberci. Zde byla v angažmá v letech 1947–1958. Vytvořila např. roli Jenny (Bertold Brecht, Žebrácká opera), paní Higginsové (George Bernard Shaw, Pygmalion) a Giudittu (Franz Lehár).

Film
Ve filmu hrála často, své drobné až epizodní role dokázala zvýraznit propracovaností svého hereckého mistrovství, hloubkou výrazu, jež dávala svým postavám, do nichž se neobyčejně dovedla vžívat. Začínala už v roce 1913 ve dvou němých filmech (Pan profesor, nepřítel žen a České hrady a zámky), ale pak se vrátila před kameru až po dvaceti letech.

Ve třicátých letech už hrávala postarší nevzhledné ženy, jejichž povahy dovedla mistrně vystihnout především v rolích žen zlých, hrubých, primitivních a hloupých. Sem patří např. role paní domácí ve filmu Kariéra matky Lízalky (1937), stará panna Apolena v komedii Cech panen kutnohorských (1938), drbna Rollerová ve Filosofské historii (1937) a Betty ve filmu Čtrnáctý u stolu (1944).

Hrála i role větší, ale žádná nebyla tak působivá jako role malé. K filmům, kde hrála hlavnější role, patří Naše XI. (1936), Andula vyhrála (1938), diváci si ji budou vždy připamatovávat jako tetu Mařenky (Nataša Gollová) ve filmu Kristián (1939) a vlezlá teta Ema Lindová v burianovské verzi Barona Prášila (1940). Za války však vytvořila drobné role dramatické, které byly výborně psychologicky propracované. Sem patří šantánová zpěvačka v Panenství (1937), stará kovářka v Čápově Babičce (1940) a barová madame z Nočního motýla (1941), jež byla ve své době přijata pozitivně kritikou. V tomto filmu vůbec nepromluví, ale výraz ženy stojící u barového pultu a pomalu překusující zrnka kávy jsou mistrovskou etudou.

Po válce její odchod do Liberce způsobil, že na ni pozapomněl i film. Objevila se v epizodních rolích ve filmech Řeka čaruje (1945) a Pancho se žení (1946), poté ještě vytvořila malou roli staré babičky ve filmu Páté kolo u vozu (1958).

Filmografie

Role
 Pan profesor, nepřítel žen, 1913 – role neuvedena
 České hrady a zámky, 1914 – Hašlerova milá
 V tom domečku pod Emauzy, 1933 – učitelka hudby Gusta Volmanová
 Anita v ráji, 1934 – ředitelka módního salónu
 Rozpustilá noc, 1934 – členka tlupy Monokla Fredyho
 Naše jedenáctka, 1936 – Josefina, Horova sestra
 Filosofská historie, 1937 – Rollerová, bývalá purkmistrová
 Kariéra matky Lízalky, 1937 – paní domácí
 Panenství, 1937 – stará zpěvačka v šantánu
 Andula vyhrála, 1938 – ředitelka ženského klubu
 Cech panen kutnohorských, 1938 – stará panna Apoléna
 Humoreska, 1939 – žebračka Šišvorka
 Kristian, 1939 – Mařenčina tetička
 Babička, 1940 – kovářka věštkyně
 Baron Prášil, 1940 – Ema Lindová, Olžina přítelkyně
 Dceruška k pohledání, 1940 – Helenina teta Formánková
 Katakomby, 1940 – žena konzula Marka
 Maskovaná milenka, 1940 – stará dáma
 Peřeje, 1940 – vdova Valerie, majitelka cirkusu
 Poslední Podskalák, 1940 – Králova žena
 Vy neznáte Alberta, 1940 – Blahníkova žena
 Noční motýl, 1941 – madame z baru
 Preludium, 1941 – Klepetářová
 Čtrnáctý u stolu, 1943 – paní Betty
 Šťastnou cestu, 1943 – Boková
 Rozina sebranec, 1945 – svodnice
 Řeka čaruje, 1945 – žena na veselici
 Pancho se žení, 1945 až 1946 – Rositina teta Lucie
 Páté kolo u vozu, 1958 – babička v redakci

Zpěv
 Proč se mi to někdy zdá (Panenství, 1937)

Odkazy

Reference

Literatura
 Jiřina Steimarová, Život plný kotrmelců, Praha 1995,
 Československý biografický slovník A-Ž, Praha 1992,
 Český hraný film I., 1898–1930, NFA Praha 1995,
 Český hraný film II., 1930–1945, NFA Praha 1998,
 Český hraný film III., 1945–1960, NFA Praha 2001,
 František Kovářík: Kudy všudy za divadlem, Odeon, Praha, 1982, str. 30, 31, 74, 350
 Z. Sílová, R. Hrdinová, A. Kožíková, V. Mohylová : Divadlo na Vinohradech 1907–2007 – Vinohradský ansámbl, vydalo Divadlo na Vinohradech, Praha, 2007, str. 45, 193,

Externí odkazy

Narození v roce 1889
Úmrtí v roce 1962
Pohřbení na Olšanech
České herečky
Ženy
Narození v Plzni
Úmrtí v Liberci
Narození 7. července
Úmrtí 15. března

redpajama_set_name: RedPajamaWikipedia


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On Tuesday, June 12th, Borough President James S. Oddo joined with literacy advocates to announce that the Board of Regents of the University of the State of New York voted to approve the charter for Bridge Preparatory Charter School. The school will open on Staten Island beginning in the 2019-2020 school year. As a result of the Regents' approval, Bridge Prep will be the first public school in New York State and one of only a few nationwide, designed to specifically meet the needs of students with dyslexia and other language-based disabilities.
The ability to read is not one that comes naturally to anyone and many children and adults have had their lives altered by reading difficulties, which know no class, race, or intelligence level. The schools that children attend make a difference in their reading and academic achievement. Bridge Prep will offer Staten Island students suffering from dyslexia or other language-based learning disabilities and their families a unique educational choice. Through a needs-based support structure, expanded learning opportunities, and creative educational experiences, the school will provide rigorous instruction based on a balanced, cross-cultural, and multisensory instructional approach to improve academic outcomes for all of its students. In addition to the use of the Orton-Gillingham approach to literacy, the school will have several other unique features, including a daily emphasis on Social Emotional Learning (SEL), Executive Functioning skill development, an emphasis on physical fitness, and specially designed creative learning extensions for student learning.
The school will open with 86 seats across grades 1 and 2, and will add a grade and new seats each year until it reaches its initial grade span of 1-5 by the 2022-2023 school year, serving approximately 242 students. A final location for the school in the borough is yet to be finalized and will be determined in the coming months.
Beginning in November of 2014, Borough President Oddo began meeting with parents, advocates, and students children to better understand the challenges they face every day. In early 2016, the Borough President and his staff became convinced that the best course forward to help address the needs of this cohort of students would be the creation of a new public charter school, and to that end, the Borough President convened a Planning Team for the school, consisting of literacy experts, advocates, educators and parents. The group began working on the charter application for the school in 2017.


text:
Neuroendocrine tumour service
The Christie NET Unit is actively involved in a number of different types of research.
Our work includes pre-clinical laboratory research and translational research through links with the CRUK Manchester Institute and the Manchester Cancer Research Centre, as well as interventional and observational clinical trials which recruit patients being treated in the NET Unit.
The NET unit also has a dedicated Research Group. The group meets regularly to maximize research opportunities and foster collaboration between medical practitioners and scientists working in the different specialities and disciplines involved in treating NET patients.
We offer participation in clinical trials whenever there is an available trial and when it's appropriate for their clinical situation. Taking part in a clinical trial is an important decision and can only be made once a patient has had time to consider available information and discuss it with family and friends.
There is absolutely no obligation for a patient to enrol in clinical trials and their clinical care will not be affected in any way if they choose not to take part, or if they agree to participate, but are found to be unsuitable for the trial.
Clinical trials do open and close frequently, so patients shouldn't be surprised if they meet other patients with similar conditions who have been offered entry on to a clinical trial, whereas they themselves have not.
It's our ambition to participate in trials and research that will widen future therapeutic options for patients with NETs resulting in improved survival and quality-of-life.
Christie stories during the COVID-19 pandemic
During the COVID-19 pandemic, we're doing all we can to make sure patients get the treatment, information and support they need. Read some stories from our patients and staff to find out what The Christie is doing at this difficult time.
"We have seen a lot of our research staff return to the office. This has massively improved morale as it is a lot easier to connect with people."
Corinne Faivre-Finn, Christie consultant
"The experience has allowed me to be able to hear what is not being said. The extraordinary strength and resilience of individuals as they greet you with a smile… when you are aware of the pain and anguish they will be going through."
Digital services team, redeployed to telephone patients
"Of course, the COVID-19 virus has not gone away – we have to be cautious and we have to proceed in an appropriate way."
Professor John Radford, director of research at The Christie