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Home > Blog > Technically Speaking > S. 2 Ep. 17 – How Philanthropy Can Boost Your Business
S. 2 Ep. 17 – How Philanthropy Can Boost Your Business
Back in season 1, we brought in Jeff Civillico to share his wisdom around building engagement in our audiences.
Jeff has headlined in Vegas for the better part of two decades. And with that experience, came mastering the craft of moving and deeply engaging with an audience.
We had such a good conversation about what it takes to truly engage an audience and we ran out of time to talk about something near and dear to Jeff's heart.
So, we decided to bring him back for season 2. That something?
Philanthropy! Jeff shares with us how rewarding, beneficial, and impactful philanthropy can be for you and your business.
Not only that, he shares with us a simple path forward for any of those looking to do more charity, start a non-profit, or simply give back.
Don't sleep on this episode. If you've at all thought about how to start giving back, this is the episode for you.
See you in there!
Taylorr: Welcome to another episode of Technically Speaking. We're your host, Taylorr and Austin and in today's episode, we brought back a special guest. Back in season one, we brought in Jeff Civillico to share his wisdom around building engagement in our audiences. If you haven't listened to that episode, definitely go and do that. Jeff is headlined in Vegas for the better part of two decades, and with that experience came mastering the craft of moving and deeply engaging with an audience. We had such a good conversation about what it takes to truly engage an audience that we ran out of time to talk about something near and dear to Jeff's heart. So we decided to bring him back for season two. That something? Well, philanthropy. Jeff shares with us how rewarding, beneficial, and impactful philanthropy can be for you and your business. Not only that, he shares with us a simple path forward for any of us looking to do more charity, start a non-profit, or simply give back. As always stick around until the end for some awesome resources. We hope you enjoy this one and we'll see you in there. And we are live. Jeff, you decided to come back for round two.
Jeff: Couldn't get enough fellas.
Austin: My question was going to be why? Like why?
Taylorr: Yeah. Are you okay?
Jeff: I'm back for some philanthropy. That doesn't sound as…
Taylorr: Philanthropy.
Jeff: It's hardcore. I'm here to talk about giving back. [Cross-talk 01:36]
Austin: There needs to be more people out there making that statement proudly.
Jeff: Yeah. Getting fired up.
Austin: You're one of what, two Taylorr? Guests that we've…
Taylorr: Yeah, two so far that we brought back, yeah.
Austin: Brought back for a second time too so boom.
Taylorr: One, two.
Austin: I mean…
Jeff: Who's the other?
Austin: You're in the elite class. Rich Mulholland.
Taylorr: Rich Mulholland.
Jeff: Okay.
Taylorr: Out of South Africa. Very cool individual.
Jeff: Awesome. Wow, I am honoured gentlemen. Thank you so much.
Austin: No man, we're honoured, it good to have you here.
Jeff: It's because of all the serious content I bring.
Taylorr: Yeah. We were just going to bring that up.
Austin: You know, we have this thing with mugs at Speaker flow. We were just on Sally Z's podcast recently.
Austin: Taylorr had the most Minnesotan mug I have ever seen…
Taylorr: This is legit all I use use. Everyone who's seen [ cross-talk 02:16] so far…
Austin: There you go. It's hilarious.
Taylorr: It's just this Buffalo plaid. It has a moose on it, because of course and it's the same one.
Jeff: Everything in my house is either Philadelphia Eagles or Mike Wasowski. Huge Mike Wasowski fan kindergarten, best three years of my life. Of my life.
Austin: It's a great show.
Jeff: Oh it's so good. Put that thing back where it came from or so help me and cut. I can go on and on.
Austin: Wow man. I think someday we're going have to do one more episode together where it's just, you dialoguing…
Jeff: It's just that.
Austin: Through the entire…
Jeff: The Mike Wasowski Special.
Taylorr: Yeah. It won't even be with Jeff Civillico. It'll be with Mike Wasowski…
Jeff: Oh, absolutely.
Taylorr: You can just the hear impression the entire time.
Austin: Featuring Jeff Civillico.
Jeff: I don't know if you've ever been at Disney World and seen the Monsters Inc Experience where Mike Wasowski host it from the [cross-talk 03:05]
Taylorr: Oh, I haven't seen that, no.
Jeff: Oh. Literally the jokes, kids are dying and me I'm in the back like, ah. It's clearly intended for children and I'm a grown man just like doubled over laughing. He's just silly. He'll say, alright, like great to be here. Everybody's having a great time except for that guy. And then like a spotlight will just go on this one person in the audience and it'll show a camera of just this random dude. And I'm just like some dad there right? And I'm just like, that's brilliant. We have the same sense of humour.
Austin: Oh man, I respect that. That's awesome. I think that it's a good thing that you're secure in your adulthood…
Jeff: Oh yeah,
Austin: But you still like your childlike wonder, right?
Taylorr: That's right. Love that…
Austin: We don't have enough [cross-talk 03:52].
Taylorr: These days.
Jeff: Absolutely, amen.
Austin: Hope you're inspiring some people out there to go watch Monsters Inc. Go do it folks. Not sponsored but should.
Jeff: Go watch Monsters Inc again.
Austin: Sponsored by SpeakerFlow.
Taylorr: Yeah. Oh man. Well Jeff, last time we had you, we ran out of time to talk about something highly important in your business, which is this idea of philanthropy. So we want to unpack that today and why it's so important to you where it kind of all stemmed from. Why don't you kick that story off? Why? What got you started on the whole thing?
Jeff: It's funny because it's always kind of the last thing to come up whenever you do an interview or…
Taylorr: It is yeah.
Jeff: You talk with someone. And I understand that you don't want to lead with like, well let me tell you about how great I am and all the nice things I do. It's always like this is my career, this is who I am and also this is how I give back or this is how I volunteer and I totally understand that and get that. But in my situation, the philanthropy actually came first. It came before the performing, before the speaking.
Taylorr: Wow, no kidding.
Jeff: Yeah, a lot of people don't realize this. The first show I ever did was a charity show. So I owe my performing career or my speaking career to my charity work because I was a charity performer first. So it was high school. I was 14 years old and I met with my guidance counsellor at the time and we had a service project to do and the task was to do something that takes you outside of your comfort zone and write a reflection on it. So you're supposed to talk to your counsellor, think, okay, well what you like to do? What resonates with you? How would you like to give back? And my friends were volunteering at senior care facilities or giving help to soup kitchens, helping out a habitat for humanity, working with the homeless. It was actually my dad who had the idea, he said, well you like to do these shows in the kitchen for grandma and the family after dinner, these magic and juggling kind of variety shows, why don't you do a show for the special needs school down the street? Now my dad is a dentist and he would give free dental care to all the kids and all the workers there as a way.
So we had this relationship. Thought, oh, that's really cool. That's kind of fun. Because I've never actually shown up somewhere outside of my kitchen and said, I am your entertainer and I'm here to entertain you. And so I thought that sounds fun and challenging and certainly would take me outside of my comfort zone. And that's what I did, and it sounds a little cheesy, but that show changed my life. Doing that show for that special needs school was the first time I ever showed up and said, I'm here to entertain and I learned quite a bit. So that's how it all started for me. I kept doing charity shows for that special needs school, and then you know the for-profit world, everybody talks. So pretty soon I was doing shows at other special needs facilities and I was doing shows at local hospitals, and then I was doing shows at nursing homes. And in high school, I actually started a juggling club where I taught some of my friends to juggle and we performed, we did the charity circuit.
That's all we did. We did like nursing homes and hospitals and all sorts of pro bono events. And that's how I started performing. So for me, it wasn't like something I added on later. It's baked into the fabric of who I am as a performer. And I always tell performers how do you get your gigs? Where do I start? I'm like start with charity shows…
Taylorr: Charity. Yeah.
Jeff: With free shows. Yeah, because they're super grateful. So it's a pretty easy audience, you're there to entertain at a children's hospital. It's a lot different than at a corporate event or something where they're paying you five figures so the pressure isn't there as much, but in a sense it's even more challenging, which is great for your formation and great for your development. Because if you can go and into a playroom at a children's hospital and make all those kids and parents and staff laugh, win them over, think about what they're going through, all the challenging circumstances or going door-to-door. We go into room-to-room, hospital bedside visits, show up and a kid, understandably is in a bad mood or they're tired or maybe they're stressed out about a surgery or they've just come from something, a treatment. And you can win that room over, like one kid in the hospital bed with his mom there and a nurse kind of coming in, then you're an entertainer. If you can bring that child some happiness and make that child smile and that's just a great feeling. So I always tell performers, there's no excuse, you can't get gigs, you're just starting out, there's a whole lot of people that would love for you to visit and entertain. Nursing homes, special needs facilities, foster homes, orphanages, even like title one schools, all sorts. Just get on the phone, get online and offer to do a show and they're not going to turn you down. They are so grateful for the support, they're grateful for you reaching out.
Austin: Man. Okay, so this prompted two things for me. First of all, I find myself inspired by young people that just really want to change the world. I saw a news article recently of this group of two or three or four teenagers really that had a river or creek that was near their house and it was just absolute, covered in trash and junk and stuff. And so they made it their mission. They sacrificed, but as a teenager…
Jeff: Yeah.
Austin: You have to give up your time.
Jeff: Time, yeah.
Austin: They gave up their time to go and spend time cleaning that thing up and it took them months and months, but now it's like this beautiful area and I've always wondered what happens to those people? Do they keep doing that for the rest of their lives? So you've now inspired me that you can in fact take those really cool things that happen in the form of years and continue to develop that over time until you have something like Win-Win, which I'm excited to unpack.
Jeff: Yeah. Well, I appreciate that. I really think that you kind of fall in love with that feeling. And I this is kind of controversial at times, too because it's like if you're still getting that fulfilment of doing something good, is it still as beneficial? And I would say yes. I don't care that I feel good about myself after I've done a show for a children's hospital, like who cares? You did the good work. It was well intentioned. If you feel good about that, That gives you a little like dopamine hit and that feeling of giving back and it inspires you, spurs you on to do more, great. So I don't care about that at all. And performers will come to me and say, oh gosh, I felt so good. I want to feel like that again. And then I kind of unpack it because I know. I'm like, well, yeah, no wonder why it feels, because you've just spent the last 10 years promoting yourself and talking about yourself on social media…
Jeff: And promo videos and look at me and all this stuff. And for the first time, probably in a while, you weren't thinking about anybody else.. You might have thought as you're going, oh, this will be good or I'm going to post this online. But when you're in that moment, and you're in the zone, in a hospital room with a kid, entertaining, everything else goes out the window, you don't care at all. And I have performers who will say, yeah, I can do a visit, but I'm really busy today. I can only stop by for like 20 minutes. They're there for like four hours. Because they realize this is super important and something happens to them when they're performing. You realize this is more important than anything else I had planned today, is like making this kid's day.
And I've had performers will say, hey, you know, I dropped off some magic tricks for this kid, any chance I can come back maybe next week and check in on him and see how he's doing. I'm like, absolutely. So it is kind of funny to see the difference of mindset. That flip between people who are, again, nothing wrong with it, but naturally focused on promoting themselves as the product when you flip the script like that. And it's not about you, it just opens your mind up to crazy perspective changes, which I think has a real lasting effect on you. Especially if you get involved doing it early.
Jeff: Then, something like Win-Win happens where you kind of get other people involved and it just grows and builds organically.
Taylorr: Yeah. I was actually going ask about that. So when did it segue for you from just doing pro bono work because it felt good to now, I'm going to create a non-profit. What happened for you where that that switch happened?
Jeff: Yeah. It's a great question. So as I mentioned, I started off, it was in high school doing these shows. So all through high school, it was just fun. I was doing shows at hospitals and nursing homes. And then I went to college in DC at Georgetown and same kind of thing. I got involved in like DC kids, Hoya kids, DC Reads, Big Brothers, Big Sisters, Boys and Girls clubs. A lot of these groups that were affiliated with Georgetown in some way. They would have a Boys and Girls club chapter of Georgetown kids. And then they would see me doing a show somewhere or they would hear about me doing shows at DC improv or elsewhere. And so I would perform for these charity groups that were kind of affiliated through Georgetown. So I loved doing that. So I kind of kept that going. And then as I turned pro as, a professional juggler at the time, after college, I was working on cruise ships but I was based out of Orlando. I lived right next to Florida hospital. And so I was working for Disney doing a lot of work on Disney cruise line, so when I was off, I would go do shows at Florida hospital.
And then I started doing shows like Give Kids the World which is an amazing organization in Orlando that sponsors trips for kids with terminal diseases. You're nodding your head, so you're familiar with them? Awesome organization. So I would do shows for them, so it was all just kind of for fun because I enjoyed it, this and that. When I got to Vegas that's when the red bull and gasoline kind of pew, made things explode. So a couple things happened then. I came to Vegas and I naturally just got involved with giving back like UMC children's hospital because that was the local non-profit hospital. But now I had my Vegas show and also social media, like Instagram, this is now, I'm dating myself but this is keep in mind when I started doing this there wasn't social media.
Jeff: And so now. Instagram, Facebook, everything's kind of blowing up and I had a bigger platform of the Vegas show. And so now when I would do these visits, I would post about them and performers would say, oh, that's awesome. They would say like, oh, I didn't know something like that existed. I was like, well, I mean it doesn't exist. You just call the hospital, email the hospital and arrange it, you can do that too. But sure, I'll arrange it for you. So I started arranging these shows for my friends and for performers in Vegas. There's so many here and most of them have their days free, even if they're doing their show at night. And so very organically, all of a sudden I realized I'm kind of serving like a charity agent. There's no money being exchanged, but I'm matching time and talent with hospitals that want it.
So again, everybody talks and things spread. So if I do a show at a hospital performers say, wow, that's cool, I'd like to do that. But then hospitals say, oh, hey, you know, so and so was a child life specialist came over here and said that you know some performers that would come visit. Can you arrange a visit for this day? And so all of a sudden I realized, alright, I've got like all the hospitals in Vegas and all these performers. And then it moved on from hospitals to senior care facilities and the USO air force bases. And it was when a guy named Charles Burau, who's still on our advisory board, he was the head of PR for the residential shows in Vegas for Cirque du Soleil at the time. And he connected with me. We went for coffee and he said, hey, I think you really have something here. Much bigger than you just texting your buddies and calling. Like Vegas needs this. Vegas needs a home for entertainers that can help connect them with all these causes in the community.
So with his help and another board member, Matt Malone who is a friend, a lawyer from Georgetown who lives in Vegas, we formed our 501C3 and we got going. I owe it to Charles to really say, hey, I think this is bigger than what you might think. And then I can turbo through we've refocused a few times to focus on just children's hospitals exclusively now, direct service to children's hospitals and we've just multiplied from there. So then other cities started calling. In Orlando is next because I came from Orlando. So the Florida hospital contacts I had were like, oh, this is great. I knew a ton of performers in Orlando. And now we're up to 15 plus cities.
Jeff: Yeah. Doing all these shows right up until COVID we were of course in person visits, but with COVID we turned everything virtual. So now we do all of our visits virtually as well. Hopefully we'll be adding back in person visits in 2022. But the virtual option has really expanded our reach because now we can hit all these smaller market hospitals where performers don't live or they're not traveling through. So now we have programs at Burlington Vermont, UVM, at Charleston, South Carolina, Riley Children's Hospital in Indianapolis. All these smaller market hospitals, as well as performers all over the country. So we'll have a performer from Columbus, Ohio zooming in to perform for kids at Phoenix Children's Hospital. So now it's just completely blown up in the best possible way.
Austin: Man. That is so cool. And I think what I love about this and what I hope some of our listeners are hearing amongst all of the other good things, but what you just described was an evolution into something that's substantial at this point. I'm sure there's [cross-talk17:57] a lot of logistics to make all this happen, but if somebody feels called to give back in anyway, you just described a scenario where it does not have to start like this complex thing. One of the questions as we were ideating what this episode would look like was when is the right time to get into philanthropy? And I think it's because…
Austin: Philanthropy, just as a word, has this connotation to large sums of money being given to people. I really think that's the thing that most people associate with it. But it doesn't have to be that. Like you started by just giving little bits of your time, trying to make a difference and improve people's lives and there was no structure to it because it didn't need that. It doesn't need that necessarily for somebody to get started and then it can become whatever it needs to become. I just love that.
Jeff: Yeah man. You are preaching it brother. People all the time say to me, I want to start a non-profit. And I'm always like, eh hold on a second.
Taylorr: Hold on, yeah.
Jeff: Yeah. When it's like, just do what you want to do now. Starting a non-profit is paperwork and this-that. What do you actually like to do? Well I want to work with kids who are Autistic and help them. I want to do like a sports league for kids with Autism. I'm like, cool, that exists. It's called Miracle League. It's a national organization. There's special needs Autism. Instead of trying to start a non-profit, you should start volunteering with Miracle League. Because one, two points I'm getting at here. One is like only start non-profit after you're in and doing the work for a while to understand the space, because there's a really good chance what you need to do is not start another non-profit, but help an existing non-profit, because there are thousands and thousands of non-profits in every city. I literally thousands and thousands and if you just pick an area like animals, or whatever, there's like thousands within that subset of whatever. Oh, I want to help animals. Great, learn what's going on in the space first, because you really might be duplicating your efforts and diluting volunteer efforts and donor efforts and everything else.
So, one, I would say you might not necessarily need to start a non-profit, although that could be well intended, what they really need is help. But also to your point, just start doing whatever it is that you're doing. If it turns into a non-profit, great. But there's nothing holding you back from starting to work on your mission, whatever that is now. People ask me all the time, how do you start a non-profit? I'm like by just starting to do the work. So again, look at Win-Win. If you were to say, I want to start a non-profit where I send performers to hospitals all over the country. Okay, awesome. You know how much I learned by actually doing it myself? Like I was the guinea pig.
I learned, I got the experience so that now when I talk to other hospitals, I'm like, here's the way this works best. Now, when I talk to performers about getting involved, I can say here's some tips and tricks and dos and don'ts. Even just basic stuff. Like don't ask a kid how he's feeling and what happened and things that sound obvious that now are like no-no but then if we have these toolkits that we send to the performers, as well as the hospitals to show we're legit, we understand where you're coming from. We understand what you're looking for so when a hospital is checking us out, they see all this social proof from all these hospitals. But more than that, they see, okay, they've got like dos and don'ts, they understand HIPAA violations, they know what insurance requirements are needed, they do background checks on all their performers. All of that would be totally daunting and inundating if you were starting off, like oh, I want to start this non-profit. Doesn't work like that. Start, get in there, build some relationships, get the experience and you learn so much more about what's really needed and where and how you can make an impact.
Taylorr: So simple. It's like that crawl, walk, run. You don't just dive in. It just doesn't happen. It's just a lot of baby steps to get there and it obviously makes sense to start by just giving making it as simple as possible. You're going feel fulfilment from that almost right away. I would anticipate.
Jeff: Well you're talking about full circle moment here. The word philanthropy, you're saying has this kind of big connotation, a little scary, lots of sums of money. It's something that I do after I'm established after…
Taylorr: Right. One day, right.
Jeff: I've made my mark and now let's build my legacy with some philanthropy. Putting your name on a building and donating something is like, sure, that's one small piece of philanthropy, but that's honestly why I do love my story because the giving came first, which is like how I believe it should be with everybody. I feel like it should be part of who you are. And a lot of that's how I was raised, it's just kind of part of the deal. When you think about your life, you think about your health, relationships, education and giving back, volunteering. That was always one of those big buckets about whether or not I was living a good and fulfilling life.
And sure, some of that is upbringing and family and schooling, but as I think about my formation, I'm like, yeah, that was always kind of a piece that if it wasn't there, I would think my life isn't as rich and fulfilling as it could be. And starting early at with whatever you can do is just awesome. And you mentioned the kids cleaning up the river. I see some of that now on social media and it's awesome. It's just great. You see like, there's a kid who he's really good with tech and so his dad has him volunteer at the local senior care facility and help them with tech. Help them do FaceTimes with their grandkids or help them with Iphoto and organize their photos and things. And the kid's like 13 or something. It's just cool. It's like, Hey, he's a tech whiz. His dad wants him to kind of learn about getting giving back. And then he started playing games with the seniors because he became known. So he started like hosting like bingo and fun games and stuff. And it's just so awesome when you see it start early like that.
Yeah. This is organic, it's like the definition of something that happens organically. What better way to do it? And honestly business owners are scroll chasers, like to kind of just go back to your point of don't start the non-profit right away. Maybe you have an idea of what you want to do, but that's not guaranteed that that's the thing you really find enjoyment in. Give yourself permission to explore and figure out all of the ways you can be most impactful in the ways you're giving back. That's the part of the piece of the puzzle here. Yeah and there's so many creative way you were…
Taylorr: Yeah, it's true.
Austin: Just outlining that kid that went to the nursing home or whatever, and they helped them better use technology. That's super creative. There's probably not a lot of people that could do that because he…
Jeff: Exactly.
Austin: Had the right balance.
Taylorr: Yeah. That's right.
Jeff: When you think about real life, what people need, what a great way to volunteer and to donate your time?
Taylorr: He's making the most of what he knows too. What I love about that story is like it's not he, I'm just making some hasty generalizations here, but what I'm hearing from the story really is that he just took what he was already good at and applied it to a way that he could give back. You didn't have to kind of go out of your own box, you search within to find that thing that you're just inherently good at, that you can provide value in.
Jeff: Yeah. And I do think there's kind of a rep. Like, oh, if I speak for free, you're like an amateur, this or that.
Austin: Yeah. I want touch on that. That free versus philanthropy label.
Jeff: Yeah. It's funny. Like the people at the top always give back because they're not threatened by what other people think. And I've seen that with Win-Win as well. There's some entertainers who are like, well, I don't want to do children's hospital because I don't want people to think I'm a kid's performer. It's like, okay, but there's also…
Austin: [Inaudible audio 26:08].
Jeff: Yeah. I'm like, sure but that's lame, you know what I mean? Because I don't think anyone is going to be potentially hiring you for some large contract and then see, oh he also donates time to children's hospitals so pass. Yeah in what world are you living in? But, whatever that kind of line of thinking is out there and I think it just comes down to being good at what you do. When you're really good at what you do nobody thinks that. They think like, oh man, this guy, this girl's awesome because they do this on the side. And I think it's everywhere. The idea of that you can perform or speak for free. There's a difference between a paying company that is not paying you to speak and you speaking for a children's hospital organization. That's a little different when you're doing a pro bono type of organization, charity organization, that's very different than IBM who's like, well we don't have much of a budget for you. Would you do it for free? Kind of thing.
Austin: Yeah, we got to check our intentions a little bit too, I think. Because it's easy to get ego tied up in this. And again, I'm making some assumptions here, I could totally be mischaracterizing this person that you just referenced here or I don't want to become known as the person that speaks for children or whatever. But are you doing the work because you want to see an impact and a change made?
Taylorr: Are you doing it for yourself?
Austin: Or are you doing the work so you can promote it and you can look like…
Taylorr: Exactly.
Austin: Somebody who's philanthropic? And to your point earlier, there's nothing wrong with promoting the good things that you do. And I think it's easy to see philanthropy as something where we have to be selfless about it, where there's no intentions of us benefiting from it. And to your point earlier, you feel good after you do that. And that's perfectly okay. So I'm not saying that the ego has to be entirely removed from the situation, but I think if you're asking yourself like, oh, well, I don't want to become known as the person that just speaks for free or whatever. Well, why are you really doing it? Why even promote it then? Maybe just don't tell anybody about it. Just go do it because you're good at it and then don't make a bunch of noise around it and then nobody will ever even know. And you've still been able to make the impact.
Jeff: Yeah. And another one that drives me crazy with entertainers especially is, say, hey, here's the schedule of free charity shows that we do, free events. We'd love to have you and keep in mind Win-Win we always know paid bookings come first. And that's why we exist is to protect you from that. So when you commit to us to do a free event, we are not telling the hospital until the morning of you out who's coming. And that means if you get a paid booking, take it. We're not telling you to turn down work. But that's the benefit of working through us so that if you do have a booking, we can fire off to our database in Orlando or Minneapolis, whatever, and saying, hey, we have a last minute, looking for a fill in for this Saturday or this Thursday at the hospital. So of course, I'm not asking you to turn down paid work, that's again, that's a big part of why Win-Win is there is to protect the performers from that. And the hospitals know, we don't know who it's going be, but we're going to get a flyer the morning of, and every week, Monday at 11:00 AM, there's an awesome show brought to us by Win-Win. So it works. But this happens all the time where someone say, ah man, I can't do free shows. Like I'm dying. It hasn't been a good year and this-that I'm like, well, that's totally backwards thinking…
Taylorr: Yeah, right?
Jeff: Scarcity kind of mindset. I've tried to talk people out of that and I realize you can't really. If people say like, oh man, no, it hasn't been good or this or that. I'm like, well, if anything, this will show you performing being active, it's like giving you some kind of buzz that you can go with. So I see performers all the time. They'll put our shows on their calendar. I think that's great. I'm doing a show for this children's hospital and doing a Win-Win live a virtual show. And I love that because they really bake us into their performing calendar in a way, again, that protects them. If they have to bail on us, it's not a problem. We have the network to be able to cover that. But again, I just think it's like a total misunderstanding. I feel like, ah it's such a missed opportunity when I see some of these performers who don't want to do the free shows because they're like afraid of it, like how it's going to look. I'm like, I think you're backwards there.
Taylorr: Yeah, for sure.
Austin: It's probably going to look good actually.
Jeff: Yeah, exactly.
Taylorr: It really has a benefit. And speaking of like, let's take a minute because let's acknowledge the elephant in the room. This will certainly help your business. There's no doubt about it. There's nothing that we should feel bad for about that. you're creating impact. Good promotes good. That's just how the world works. It's a beautiful thing. So, that being said and we talked about it creates buzz for you, which is nice. It's one business benefit. But from your experience, what have you found to be the benefits of also running a non-profit in addition to your for-profit business?
Jeff: Yeah. Well, I think at the end of the day, people want to do business with people they like. People they like, people they trust, and I think it tells a story of a little more about you than the guy who shows up and does the magic show, or the guy who shows up and speaks on customer service. It's like you kind of get to pull a curtain back on that person and see a different side of them, and I think that exposure, that vulnerability, there's certain authenticity and rawness that comes when you see someone in those situations. And I think it naturally just makes you kind of a more attractive option. I've been backstage at events where I'll be just kind of talking to somebody before, somebody, high executive in the company and they'll say, oh yeah, you know, it was down to you and this other guy, but we started poking around and we saw all the charity work you do and we thought, hey, this guy really reflects our values. Or we're a family owned business, and the Ridley family is really interested and has always put a high priority on giving back and so that kind of pushed us over the top and I'm like, oh, cool, that's nice. I wouldn't even think that but people poke around. And social media people kind of know…
Taylorr: Buzz.
Jeff: I think, especially with social media, they want to know that you're the same type of person offstage that you are on stage. And I think just again, it helps with building a connection and a relationship with your clients. So there's never been like a direct benefit it really is more of that peripheral, indirect. People like us do business with people like you. It's back to like Seth Godin talks about it all the time. People like us buy things like that, kind of building that brand. And I think you're able to endear yourself to clients and to potentially align values with brands and with clients through the non-profit work. And again it just shows a little more. People like to help people who are doing well and doing good in the world as well. So I do it all the time. I try to book performers, if I have somebody's like, oh yeah you're booked, you can recommend somebody?
I'm like, I'm going recommend one of the performers I know. Like this guy, John Rotellini. John Rotellini and Taylor Mason, these two performers, one's a comedy magician one's a comedy ventriloquist. They've both done over a hundred shows for Win-Win in the past, during COVID. And both Taylor and John said Win-Win really helped them get through quarantine because I could still do my thing, almost every day they were performing for children's hospitals, with their home studio set up and they were able to engage with people. And as performers, we need that man. It's like a drug we need that. And so of course I'm going to recommend John or Taylor first because I'm like, they're great guys. They've done so my much good. They put so much good in the world. It's not really intentional my part. It's just like I think of them top of mind. I'm like oh I want to help this guy like this. This guy's great.
Taylorr: Yeah, totally. Well Jeff, this has been an awesome episode. I'm so glad we got to unpack this. This is a unique episode. We haven't had any subject matter on this yet. So thank you for sharing your experience and giving some people insight on how they can get started. Of course though, everyone that's listening to this is an entertainer of sort. Speaker, so on, emcee perhaps. So if they're interested in potentially working with Win-Win, what's the best way for them to learn more?
Jeff: Yeah, for sure. We're online at winwinentertainment.org, on social media at Win-Win Charity and I would encourage anybody to get involved. We have a lot of speakers who they'll host games, board games, OR they'll be a speaker predominantly in one area, but they have another talent let's say they do some magic or something, right? They don't really do much anymore. It gives them a chance, like have some fun or of a musical acts, we will put together some fun songs or do like a sing along or things like that. So yeah, entertainers of course, but also speakers have gotten involved with Win-Win, which has been great.
Taylorr: Yeah, awesome. Well, we'll make sure all of those links are in the show notes. So Hey, if you're interested in joining, definitely go check that out. And you know, hey, if you like this episode, don't forget to rate it, like it, subscribe to it. If you want more awesome resources like this, go to speakerflow.com/resources. Thank you so much for chiming in. I just wanted to take a second to thank our sponsor Auxbus. Auxbus is the all- in-one suite of tools. You need to run your podcast. And it's actually what we run here at Speaker Flow for Technically Speaking. It makes planning podcasts simple, it makes recording podcasts simple; it even makes publishing podcasts to the masses simple and quite honestly, Technically Speaking, wouldn't be up as soon as it is without Auxbus. Thank you so much Auxbus and if you are interested in checking Auxbus out, whether you're starting a podcast or you have one currently get our special offer Auxbus.com/speaker flow, or click the link below in our show notes.
S. 3 Ep. 4 – What A Successful Speaking Business Looks Like To A Bureau
S. 3 Ep. 3 – How To Get Paid What You Deserve


For those of you that don't know me, we live on a farm. I tend to leave my doors open so our pups can come and go as they please. because of this there have been several occasions where I find a neighbor's dog in my kitchen. Yup, they appear out of nowhere excitingly wanting to say "hi" and looking to play with our guys.
Then I see this story on Facebook. I got a kick out of it, so here it is for you to enjoy!
An older tired looking dog wandered into my yard. I could tell from his collar and well-fed belly that he had a home and was well taken care of. He calmly came over to me, and I gave him a few pats on his head. He then followed me into my house slowly walked down the hall and curled up to fall asleep. An hour later he went to the door, and I let him out.
Have a cute story to share? Tell us about it in the comments below!
Andy is at it again!
Copyright 2019 4 Winds of Change LLC All rights reserved worldwide.


text:
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"Dental Cluster" Versus "Metabolic Cluster": Analyzing the Associations of Planned and Delivered Dental Procedures with Metabolic Syndrome, Utilizing Data from the Dental, Oral, Medical Epidemiological (DOME) Cross-Sectional Record-Based Nationwide Study
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Stefania Cantore
Lucio Quagliuolo
Mariarosaria Boccellino
Gkantidis, N.
Dritsas, K.
Gebistorf, M.
Halazonetis, D.
Ren, Y.
Katsaros, C.
Longitudinal 3D Study of Anterior Tooth Wear from Adolescence to Adulthood in Modern Humans
Nikolaos Gkantidis
1,2,* ,
Konstantinos Dritsas
Meret Gebistorf
Demetrios Halazonetis
Yijin Ren
Christos Katsaros
Department of Orthodontics and Dentofacial Orthopedics, University of Bern, CH-3010 Bern, Switzerland
Department of Orthodontics, W.J. Kolff Institute, University Medical Center Groningen, University of Groningen, 9700RB Groningen, The Netherlands
Department of Orthodontics, School of Dentistry, National and Kapodistrian University of Athens, GR-11527 Athens, Greece
Biology 2021, 10(7), 660; https://doi.org/10.3390/biology10070660
Received: 15 June 2021 / Revised: 9 July 2021 / Accepted: 11 July 2021 / Published: 13 July 2021
(This article belongs to the Special Issue New Trends in Precision Medicine, Dentistry and Oral Health)
Simple Summary
Tooth wear is the loss of tooth substance during everyday functioning by means other than dental caries. It is expected at a certain level in every person, and it increases with age. In the last decades, due to the increased life expectancy and high patient demands, it has become an important problem modern dentistry has to face. However, the average amount of tooth wear among individuals remains controversial. The purpose of this clinical study was to precisely detect the extent of anterior tooth wear over a thirteen-year period, from adolescence to adulthood. The present study revealed the very high tooth wear occurrence in the population already at early adulthood and showed that wear monitoring at an individual level is important for dentists to enable the better understanding of the problem and allow timely targeted interventions for patients in need. These might be preventive, such as the prescription of mouth guards to limit grinding and the cessation of harmful habits that lead to tooth wear, or interceptive, such as the restoration of the lost tooth substance to stop the progress of the condition and improve esthetics and function.
In modern humans, tooth wear can easily be observed as a loss of tooth substance, but its precise measurement is problematic. The aim of this longitudinal cohort study was to determine the precise amount of occlusal tooth wear in the anterior permanent dentition from adolescence to adulthood. Corresponding tooth crowns from serial 3D digital dental models of 72 individuals were best fit-approximated by applying novel, highly accurate 3D superimposition methods. The superimposed crowns were simultaneously sliced on intact structures, and the differences in the volumes of the subsequent occlusal parts were calculated. Over a thirteen-year period, there was an average loss of anterior occlusal surfaces of 1.58 mm3 per tooth. Tooth surface loss in at least one tooth was higher than 1 mm3 in 93.1% of the human subjects. Tooth wear severity differed by sex and tooth type, with males showing higher values versus females and upper canines versus other anterior teeth. The study revealed the endemic occurrence of occlusal anterior tooth wear, highlighting the need for monitoring of the condition in the population to identify high-risk patients and enable timely interventions. The novel methods applied here on 3D digital models are recommended for this.
tooth wear; anterior teeth; modern humans; quantitative assessment; three-dimensional imaging; long-term outcome
In modern humans, tooth wear is a physiological process that progresses slowly over time [1,2,3]. However, loss of tooth matter may also be atypical for the patient's age due to pathological conditions associated with attrition, abrasion, and erosion processes [2,4]. These conditions may coexist and act synergistically in varying degrees in individual patients [5].
Occlusal tooth wear is a very common finding in the general population, with anterior teeth exhibiting greater wear [2,6,7,8,9]. The etiology of tooth wear is multifactorial. Males show more often and more severe tooth wear than females [1,2]. Dietary factors, including acidic foods, have also been shown to have a critical role [2,4,6,9,10]. Certain occlusal factors, such as overjet and anterior protected articulation, have been associated with the progression of occlusal wear [11]. Subjects with different malocclusions have demonstrated different tooth wear patterns [12,13]. Masticatory function has also been associated with tooth wear [14].
In regard to the effects of tooth wear on individuals, the severity of occlusal/incisal tooth wear was found to be associated with dentine hypersensitivity severity [10]. However, the most important patient concern regards esthetics, followed by sensitivity, whereas functional problems and pain are less prevalent [15]. A series of studies designated anterior tooth wear as esthetically unpleasant [16,17,18]. Furthermore, anterior tooth wear negatively affected the quality of life in elder nursing home patients [19].
Proper monitoring of tooth wear is crucial for successful management [20]. Erosion has been found to progress more in individuals with previous signs of erosion, emphasizing the importance of an early diagnosis [21]. However, dental patients might be unable to recognize tooth wear and seek treatment, even in severe cases [5]. Additionally, conventional methods applied by dental professionals have been found to show a limited capacity to follow wear progress over time [22,23]. Therefore, novel clinically applicable 3D approaches have been developed for this [24,25,26,27].
The precise amount of tooth wear occurring in the long term on a group of individuals has not yet been fully explored. Longitudinal, quantitative in vivo studies on medium- to long-term tooth wear occurrence are scarce [28,29]. Thus, the purpose of the present study was to assess the amount of occlusal anterior tooth wear evident from adolescent to adulthood over a long-term period. To fulfill this purpose, recently developed 3D superimposition methods [24,25,27] were applied on serial post-orthodontic treatment digital dental models.
This study was reported according to the guidelines provided in the STROBE statement [30].
2.1. Ethical Approval
This research protocol was approved by the Research Ethics Committee of the canton of Bern, Switzerland (Project-ID: 2019-00326). All participants signed an informed consent form approving the use of their data for research purposes.
2.2. Sample
The sample consisted of individuals that completed their orthodontic treatment in a private practice in Grenchen, Switzerland and were selected for a previous project that tested the performance of fixed orthodontic retainers [31]. Time point 1 (T1) was defined as the point when the participants finished their orthodontic treatment. Time point 2 (T2) was a recall appointment performed to obtain, among others, alginate impressions and intraoral photos. T1 records were taken between 2000 and 2006 and T2 records between 2015 and 2016. A consecutive sample selection was applied to include all patients that fulfilled the eligibility criteria and accepted to participate in the study. The original sample collection was performed using the following inclusion criteria: (1) treated with fixed orthodontic appliances, (2) treated by the same orthodontist, (3) maxillary and mandibular retainers bonded at the anterior teeth immediately after active orthodontic treatment, (4) no orthodontic retreatment, (5) White patients, and (6) non-syndromic individuals. The following additional inclusion criteria were applied in the present study: (1) age at debonding between 12 and 24 years, (2) debonding 9–16 years prior to T2, (3) T1 and T2 casts of good quality in the anterior region of the dental arch, and (4) intact natural teeth without incisal or whole crown reconstructions.
The T1 and T2 dental stone models generated through alginate impressions were scanned using a 3D laboratory surface scanner (stripe light/LED illumination; full dental arch accuracy <20 μm; Laboratory scanner D104a, Cendres + Métaux SA, Biel/Bienne, Switzerland). This scanner resolves distances smaller than 5 μm between corresponding surfaces of repeated single jaw scans [24]. The subsequent maxillary and mandibular 3D surface models, consisting of approximately 600,000–900,000 triangles each, were exported as STL files. These files were used to measure anterior tooth wear, as described below.
Inadequate quality casts and broken or restored teeth were identified through the visual inspection of intraoral photos and 3D digital dental models. In case of doubt, the medical and dental histories of the patients were reviewed, the corresponding tooth pairs were superimposed, and color-coded distance maps were created for visualisation purposes. Afterwards, a joint decision was made by the first two authors (3 models).
From the 88 individuals included in the previous study [31], data from 72 individuals (54 females and 18 males) were used here. From the 16 excluded patients, 9 did not meet the age criteria, 2 the years from debonding, and 5 had poor-quality casts. Finally, tooth wear was measured on 690 individual teeth (Table 1). The median interval between the two time points was 12.8 years (interquartile range (IQR): 1.4). The median ages at the T1 and T2 points were 14.3 (IQR: 1.8) years and 27.4 (IQR: 2.2) years, respectively. All patients had acceptable occlusion at both time points, with the vast majority having positive overjet and overbites up to 4 mm and Angle Class I. The detailed occlusal characteristics of the sample are provided in Table 2.
2.3. Tooth Wear Assessment Workflow
Tooth wear was measured by applying previously developed and validated 3D superimposition techniques [24,25,27] on corresponding individual anterior tooth crowns of the T1 and T2 models. All processing was performed using Viewbox 4 software (version 4.1.0.8 BETA, dHAL Software, Kifissia, Greece). The tooth crowns of the six anterior maxillary and mandibular teeth were selected on the T2 dental models. Each T2 individual tooth crown was superimposed on the corresponding T1 tooth crown using the complete T2 clinical crown as a superimposition reference under the following software settings: 20% estimated overlap of meshes, matching point to plane, exact nearest-neighbor search, 100% point sampling, exclude overhangs, and 50 iterations. The superimposition aimed at the best fit approximation of the two models achieved through the implementation of an iterative closest point algorithm (ICP) [32]. Before applying the final setting, the T1 and T2 crowns were manually approximated using a 100% estimated overlap of the meshes to facilitate the registration process.
The superimposed T1 and T2 crown models were simultaneously sliced using one or more planes. The subsequent occlusal crown parts were transformed into watertight models through a hole-filling process. For each T1–T2 crown pair, the T1 occlusal part volume was subtracted from the T0 volume, providing the tooth wear measurement in mm3. The superimposition and measurement workflow are shown in Figure 1a–d and were validated previously [24,25,27].
2.4. Method Error
The whole superimposition and measurement process was repeated by the same examiner (K.D.) at least two weeks after the first measurement to assess method error. Twenty-four randomly selected teeth, representing each tooth type twice, were remeasured.
2.5. Statistical Analysis
Statistical analysis was performed in IBM SPSS statistics for Windows (Version 26.0. IBM Corp: Armonk, NY, USA). Data normality was tested using the Kolmogorov–Smirnov and Shapiro–Wilk tests and through the visualization of data distribution graphs. There were no significant deviations from normality, and thus, parametric statistics were applied.
Descriptive statistics were performed to present the variables of interest using exact measures and graphical representations.
Differences between the sides of the mouth (right left) were tested separately for each tooth type and jaw using paired t-tests. Based on the outcomes of these tests, the average values of the right and left sides were calculated for each tooth type.
Differences in the amount of tooth wear (dependent variable) among tooth types (fixed factor, 6 levels: upper canine, upper lateral incisor, upper central incisor, lower canine, lower lateral incisor, and lower central incisor) and between sexes (fixed factor, 2 levels: male and female) were tested using an analysis of covariance (ANCOVA; general linear model, full factorial). The patient and the duration of the assessment period were set as covariates to account for the matching and clustering effects and correct for the duration of the assessment period, respectively. Age at T1 was not included in the model, based on exploratory tests through bivariate correlations with the different tooth types (Supplementary Table S1). Following significant results, parameter estimates were calculated, and pairwise comparisons were performed.
The association of tooth wear between the different tooth types was investigated through bivariate Spearman's correlations.
The amount of error was assessed through the absolute differences between repeated measurements. The testing of systematic errors and assessments of individual measurements were performed through the Bland–Altman method.
The level of significance was set at an alpha level of 0.05. A Bonferroni correction was applied when multiple pairwise comparisons were performed for similar outcomes. The unit of analysis was each tooth crown.
There were no systematic differences between repeated measurements (n = 24; 95% Limits of Agreement: −0.13, 0.25 mm3). The average of the differences between repeated measurements was 0.06 mm3 on an average tooth wear of 1.68 ± 1.61 mm3. The average of the absolute differences between repeated measurements was 0.09 mm3, with a standard error of 0.014 mm3. The maximum difference detected was 0.24 mm3. Thus, the amount of error was considered negligible. The relevant Bland–Altman plot is shown in Figure 2.
3.2. Tooth Wear Differences between Contralateral Sides
There were no significant differences between contralateral teeth of the same type (Supplementary Table S2). Thus, the wear amounts of each tooth type per side were averaged for further analysis.
3.3. Tooth Wear among Tooth Types and between Sexes
The average occlusal wear over the assessment period was 1.58 mm3 per anterior tooth. If we consider a cutoff value of 1 mm3 as of clinical importance, 50.4% of the tested teeth (348 out of 691) showed higher wear amount. Furthermore, 67 out of the 72 tested individuals (93.1%) had at least one anterior tooth with occlusal wear higher than 1 mm3.
The ANCOVA identified a significant effect of tooth type and sex on the tooth wear amount (Table 3 and Figure 3). The parameter estimates indicating the effect of the tested factors on the tooth wear amount (dependent variable) are provided in Supplementary Table S3 and the estimated marginal means for the factors sex and tooth type in Supplementary Table S4. Males showed, on average, 2.66 (95% CI: 2.38–2.95) mm3 occlusal tooth wear in the anterior dentition, whereas females showed 1.21 (95% CI: 1.05–1.37) mm3. The upper canine presented the highest tooth wear amount (average: 3.30; 95% CI: 2.93–3.67 mm3), followed by the upper central incisor (average: 2.27; 95% CI: 1.86–2.68 mm3) and the lower canine (average: 2.13; 95% CI: 1.73–2.52 mm3). On the contrary, the upper lateral incisor showed the least tooth wear amount (average: 0.90; 95% CI: 0.52–1.29 mm3). Although males displayed approximately 2.2 times more tooth wear than females, the pattern of wear severity per tooth type was similar for both sexes (Figure 3). Furthermore, there were moderate-to-strong correlations (average Spearman's ρ: 0.57; range: 0.39–0.81; p < 0.005) between the wear amounts detected on different tooth types of the same individual (Supplementary Table S5).
Three-dimensional occlusal wear patterns of representative cases of the average and the maximum amounts detected per tooth type, for the entire sample, are shown in Figure 4.
The common occurrence of anterior tooth wear, in combination with the high esthetic demands and the increasing life expectancy of modern individuals, designates tooth wear an important challenge for contemporary dentistry. However, so far, there is limited information on the extent of the problem in the population over a long-term period. The present study applied highly accurate 3D superimposition techniques on a group of 72 adolescents, followed over a thirteen-year period. The average occlusal wear per anterior permanent tooth was 1.58 mm3. Approximately 50% of the tested teeth showed values higher than 1 mm3, whereas 93% of the tested individuals had at least one such tooth.
In the literature, we were able to identify only one study quantifying long-term tooth wear, and this was cross-sectional and used 2D radiographs. Τhe average tooth wear of permanent incisors, between 10 and 70 years of age, was 1.01 mm in the maxilla and 1.46 mm in the mandible, measured as the tooth crown length reduction [33]. A longitudinal study identified a crown length reduction of approximately 100–200 μm on the maxillary incisors of 10 middle-aged patients with nocturnal bruxism over a 4-year period [28]. In a previous study by our group, we calculated that 0.5-, 1-, and 2-mm vertical tooth crown loss corresponds to approximately 1.5-, 3.4-, and 8.5-mm3 volumetric loss, respectively [25]. Another longitudinal study performed a qualitative assessment of anterior tooth wear in orthodontically treated patients over a 5-year retention period [3]. Finally, a 3-year longitudinal study on 29 adults referred to a dental center for tooth wear management reported an average volume loss of 0.93 mm3 for the occlusal surfaces of all teeth, excluding third molars. More specifically, the measured volume loss was 2.53 mm3 on molars and 0.83 mm3 on upper central incisors [29]. Thus, the present study is advantageous to the available longitudinal studies, since it investigated a larger sample, which was followed over a much longer period and tested through newly developed accurate 3D methods.
The present findings revealed the endemic occurrence of anterior tooth wear, highlighting the need for proper diagnosis, prevention, and management tools. The identification of prognostic factors is crucial to define high-risk individuals for severe tooth wear and facilitate timely management. In accordance with previous findings [1,2], males showed 2.2 times higher tooth wear amounts than females. Interestingly, the pattern of tooth wear severity per tooth type was similar for both sexes. Apart from sex, the fact that tooth wear amounts within a dentition were correlated indicates a general effect of the predisposing or causative factors on the anterior dentition. This is not surprising when considering that the known associated factors, including sex [1,2], diet [2,4,6,9,10], occlusion [11,12,13], and mastication pattern [14], are not expected to have effects solely limited to specific teeth.
However, the multifactorial etiology of tooth wear complicates the accurate identification of high-risk individuals prior to the development of the problem. Additionally, there is evidence supporting that tooth wear progresses faster within a certain time period in individuals with previous wear signs [21]. Probably, such individuals continue to occupy the predisposing and causative factors that led to tooth wear at the earlier stages. Additionally, the fact that wear between tooth types is correlated within a dentition indicates that, in individuals featuring the predisposing factors, a number of teeth are affected. Thus, the detection of tooth wear at the early stages and the proper monitoring of its progression over time is imperative, especially in high-risk patients, to prevent this condition prior to a stage where relatively complex treatments, with questionable medium-to-long-term prognoses, might be required [20].
Apart from the known prognostic factors, such as sex [1,2] or acidic food [4,6,9,10], early diagnosis at an individual level will define the need for a detailed assessment with regular follow-ups. Eventually, this will enable the early identification and elimination of potential causative factors in high-risk patients. The methodology applied here offers a risk-free, low-cost, convenient, and highly accurate tooth wear assessment at a micrometer scale, provided that serial 3D digital dental models are available [24,25,27]. The high incorporation of intraoral 3D scanners in daily dental practice facilitates this purpose [34,35]. Currently, various intraoral scanners are available on the market, enabling the easy acquisition of highly accurate dental models, especially when considering structures of limited extent, such as single teeth [24,25,27,35]. We strongly recommend the acquisition of an intraoral model for every patient that attends a dental practice at the early stages of permanent dentition. This can be used as a reference to accurately monitor the progress of morphological alterations in the oral structure, such as tooth wear [24,25,27], by superimposing them with future models of the same patient.
The present study offers unique 3D information on the amount of tooth wear that should be expected in a young population from adolescence to early adulthood. The use of orthodontically treated individuals minimized the potential confounding from occlusal factors that have been shown to be associated with tooth wear development [11,12,13]. On the other hand, it could restrict the generalizability of the findings, though, in modern societies, it is quite common for patients with malocclusion to receive orthodontic treatment. Furthermore, a large-scale observational study on general practice patients did not identify any association between tooth wear and previous orthodontic treatments [1]. Non-White individuals were excluded from the study, since they represented a small percentage of the patients treated in the place of a sample collection. Thus, few patients with highly variable racial and cultural characteristics could have been included, potentially confounding the outcomes. In the present sample, the studied subjects had clinically acceptable occlusion and did not wear any removable appliances to retain their orthodontic treatment outcome, which might be another confounding factor. On the other hand, confounding deriving from dimensional instability of the digitized orthodontic stone models might be evident [7]. Large distortions, though, were excluded through the visual inspection of intraoral photos and primarily of distance maps of superimposed teeth.
Another limitation of the study is that the T1 data were retrospectively retrieved. Therefore, potential related factors, such as diet or masticatory function, were not assessed. Although specific risk factors on an individual level cannot be assessed, the tested sample can be considered representative of the tested population for reasons discussed earlier. Retrospective data collection might introduce selection and detection bias. Selection bias is not expected in this study, since the original sample was consecutively selected for another purpose—namely, to test the orthodontic retainer performance. To reduce the selection bias, all patients of the original sample who fulfilled the eligibility criteria were included. Detection bias was also not expected, since the applied methods were automated and standardized. Finally, the sample originated from a Central European population, and the outcomes need to be confirmed in other populations.
The present study revealed the very high occurrence of anterior tooth wear in a population over a thirteen-year period, from adolescence to adulthood. The anterior occlusal surfaces averaged a loss of 1.58 mm3 per tooth, with 93.1% of the tested individuals having at least one tooth worn more than 1 mm3. Tooth type and sex were significant factors related to tooth wear development, with males and upper canines showing the highest tooth wear amounts. The study revealed the endemic occurrence of occlusal anterior tooth wear, highlighting the need for closer monitoring of the condition in the population. The novel powerful 3D imaging methods applied here can facilitate this purpose, enabling the better understanding of the problem and timely targeted interventions for patients in need.
The following are available online at https://www.mdpi.com/article/10.3390/biology10070660/s1: Table S1: Spearman's correlation of the initial patient's age and the duration of the assessment period with the tooth wear amounts detected for the different tooth types. Table S2: Differences in the tooth wear measured for the different tooth types at the right and left sides of the mouth. Table S3: Parameter estimates indicating the effect of the tested factors on the tooth wear amount. Table S4: Estimated marginal means for the factors sex and tooth type. Table S5: Spearman's correlations of tooth wear amounts between the different tooth types.
Conceptualization, N.G.; data curation, N.G., K.D. and M.G.; formal analysis, N.G. and K.D.; funding acquisition, N.G.; investigation, N.G., K.D. and D.H.; methodology, N.G.; project administration, N.G.; resources, N.G., M.G., D.H., Y.R. and C.K.; software, D.H.; supervision, D.H., Y.R. and C.K.; validation, K.D. and D.H.; visualization, N.G. and K.D.; writing—original draft, N.G. and K.D.; and writing—review and editing, N.G., K.D., M.G., D.H., Y.R. and C.K. All authors have read and agreed to the published version of the manuscript.
This research was funded by the Papavramidès Foundation, Bern, Switzerland.
This study was conducted according to the guidelines of the Declaration of Helsinki and approved by the Research Ethics Committee of the canton of Bern, Switzerland (Project ID: 2019-00326; Date of approval: 9 April 2019).
Informed consent was obtained from all subjects involved in the study.
All data presented in this study are available in the article and the Supplementary Materials. The material used to generate the data is available upon reasonable request from the corresponding author.
D.H. owns stock in dHAL Software, the company that markets Viewbox 4. In the present study, D.H. was not involved in data curation and formal analysis. N.G., K.D., M.G., D.H, Y.R. and C.K. declare no conflicts of interest. The funders had no role in the design of the study; in the collection, analyses, or interpretation of the data; in the writing of the manuscript; or in the decision to publish the results.
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Figure 1. Tooth wear measurement process. (a) Corresponding T1 (light yellow) and T2 (light purple) central incisor tooth crowns. (b) Best-fit superimposition of the T1 and T2 tooth crowns. (c) Buccal and palatal aspects of the color-coded distance map of the superimposed T1 and T2 crowns. (d) Corresponding T1 and T2 occlusal crown parts, created following the simultaneous slicing of the superimposed T1 and T2 crowns. The subtraction of these volumes provided the tooth wear measurements used in this study. T1: time point at end of orthodontic treatment. T2: time point on average 13 years after T1.
Figure 2. Bland–Altman plot showing the intraoperator reproducibility of the tooth wear assessment in mm3. The axes lengths represent the true range of the measured tooth wear values. The continuous horizontal line shows the mean (0.06 mm3) and the dashed lines the 95% Limits of Agreement (−0.13, 0.25 mm3). M1: first set of measurements. M2: repeated measurements.
Figure 3. Box plots showing tooth wear for each tooth type and sex. The upper limit of the black line represents the maximum value, the lower limit the minimum value, the box the interquartile range, and the horizontal black line the median value. Outliers are shown as black circles (°).
Figure 4. Three-dimensional superimpositions of serial tooth crowns and corresponding color-coded distance maps of representative cases showing the average and the maximum volumetric tooth wears detected per tooth type for the entire sample. From top to bottom: upper canine, upper lateral, upper central, lower canine, lower lateral, and lower central. T1: tooth crowns at end of orthodontic treatment. T2: the same tooth crowns as in T1, on average 13 years after T1.
Table 1. Teeth that comprised the tooth wear measurement sample.
Lateral Incisors
Central Incisors
n = 71 n = 65 n = 67 n = 61 n = 65 n = 56
53F, 18M 50F, 15M 51F, 16M 47F, 14M 51F, 14M 41F, 15M
67R, 68L 60R, 63L 58R, 63L 55R, 51L 54R, 58L 49R, 45L
F: females, M: males, R: right, and L: left.
Table 2. Occlusal characteristics of the studied sample.
Angle Class 1 Class I 70 61
Class II 2 (unilateral) 11 (9 unilateral, 2 bilateral)
Overjet 2 Normal 72 70
Increased 0 2
Overbite 3 Normal 65 58
Reduced * 7 14
1 Class I: Molar relationship less than ¼ cusp deviation from Class I (in cases of asymmetrical extractions, premolar and canine occlusion was also considered). 2 Normal: 1–4 mm and Increased: >4 mm, and 3 Normal: 1–4 mm and Reduced: <1 mm. * Only one patient at T2 had a negative overbite. In all other cases, the overbite was between 0 and 1 mm. T1: time point at end of orthodontic treatment. T2: time point on average 13 years after T1.
Table 3. Results of the ANCOVA testing the effect of tooth type and sex on the detected tooth wear amount after controlling for the patient and duration of assessment period.
Corrected Model 13 16.35 0.000
Intercept 1 0.08 0.782
Patient 1 3.45 0.064
Assessment period 1 11.37 0.001
Tooth type 5 20.76 0.000
Sex 1 74.57 0.000
Tooth type × Sex 5 2.77 0.018
R-Squared = 0.364 (Adjusted R-Squared = 0.342). df: degrees of freedom. F: F-value. Sig.: Significance shown as p-values.
Gkantidis, N.; Dritsas, K.; Gebistorf, M.; Halazonetis, D.; Ren, Y.; Katsaros, C. Longitudinal 3D Study of Anterior Tooth Wear from Adolescence to Adulthood in Modern Humans. Biology 2021, 10, 660. https://doi.org/10.3390/biology10070660
Gkantidis N, Dritsas K, Gebistorf M, Halazonetis D, Ren Y, Katsaros C. Longitudinal 3D Study of Anterior Tooth Wear from Adolescence to Adulthood in Modern Humans. Biology. 2021; 10(7):660. https://doi.org/10.3390/biology10070660
Gkantidis, Nikolaos, Konstantinos Dritsas, Meret Gebistorf, Demetrios Halazonetis, Yijin Ren, and Christos Katsaros. 2021. "Longitudinal 3D Study of Anterior Tooth Wear from Adolescence to Adulthood in Modern Humans" Biology 10, no. 7: 660. https://doi.org/10.3390/biology10070660
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Biology, EISSN 2079-7737, Published by MDPI

redpajama_set_name: RedPajamaCommonCrawl


It's been nearly half a century since the Lt. William Calley led his troops into the hamlet of My Lai and wiped out the inhabitants. Few memories from Vietnam are as nightmarish for both sides. Guerilla Traveler Will Richardsson reports from the site of the massacre.


What Language Did Jesus Speak When He Preached To His Followers?
Aramaic was the local language and probably Hebrew.
He spoke Aramaic. Not used very often today.
Aramaic an ancient language in those days.
Aramaic, the language of his birthplace and where he lived. Many of the original Christian religious texts are also in that language, the rest mostly in Greek, the language of scholars.
I asked my pastor in church and he said he spoke to them in an Aramaic language.
Thank you for your answer and input Shunyata.
Why Does Joel Osteen Charge So Much To Hear Him Preach When Billy Graham Is FREE? If Jesus Were Preaching, I Don't Think He Would Charge.
What Religion Did Jesus Follow In The Bible?
What Language Did The Mayans Speak?
What Kind Of Language Style Did Shakespeare Used To Write His Plays?
What Did Shakespeare Leave His Wife When He Died?
Who Was Legion And What Did He Ask Jesus To Do To Him?
Did Jesus ever refer to his father as Yahweh?
What Would Happen If Jesus Didn't Die For Us?
What Does The Name Earnest Mean?


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Harry Potter and the Cursed Child Review: Dazzling Stage Magic, Hogwarts and All
The sheer spectacle of the hot-ticket play, arriving on Broadway from London, is enough to make up for its faults.
Photo by Manuel Harlan
The thing I like best about Harry Potter and the Cursed Child, which opened on Broadway on Sunday night, might be its title. The eponymous afflicted youth could be so many characters in the play. It could be Harry, now 40 and haunted by trauma and regret. It could be his son, Albus, whose early years at the Hogwarts School of Witchcraft and Wizardry are spent in the impossible shadow of his famous father. It could be Harry's former bully, Draco Malfoy, or Draco's son, Scorpius, with whom the lonely, outcast Albus forms a deep bond. Or the cursed child could be a couple of other people encountered throughout the two-part, five-hour play, names I won't mention for fear of spoiling.
The multiple implications of its title may be the most layered aspect of the play, written by Jack Thorne, based on a story by Harry Potter author J.K. Rowling and the production's director, John Tiffany. The Cursed Child is otherwise a fairly straightforward adventure, with a puzzle-solving structure similar to Rowling's novels. The play doesn't deliver the same emotional wallop as Rowling's books, but I was still followed by a little melancholy murmur as I left the beautifully renovated Lyric Theatre at the end of my many-hour viewing marathon.
A funny little quirk of mine is that I am a longtime, occasionally die-hard Harry Potter fan, a reader and re-reader of the books, watcher of the films whenever they're on TV (and sometimes when they're not), and half-proud, Pottermore-certified Hufflepuff. Weirdly, it turns out millions of other people, around the globe, happen to share my same interest in the Potterverse. So The Cursed Child is probably safe in assuming a certain level of familiarity and kinship with not just its main characters—Harry is joined, as ever, by Hermione Granger and Ron Weasley—but a whole roster of names and story lines from across Rowling's original seven-book sprawl. When I saw the show, the majority of the audience seemed to pick up on the play's myriad ties and references to the source material, knowing it like we know any other foundational myth.
But what of the parent or friend or partner who joins a Potter fan at the show, at great cost, and is unfamiliar with the dense, years-spanning narrative? Well, The Cursed Child could be tricky for them, despite the reasonably thorough primer provided in the program. I even worry that people who've only watched the films might have trouble with portions of the play, a ritualistic recitation of terms—places, events, bits of wizarding history—that are etched into the brains of readers of the books, but may have whizzed past in the movies. In that sense, The Cursed Child is a tall order, asking people to pay a lot for something that cannot stand on its own. It's an awfully expensive supplement.
Though, cushioning that reality a great deal is the production's stagecraft, a ceaseless spell of practical magic, both simple and intricate. Tiffany spares no indulgence as his lavish production unfolds, giving us acrobatic wand fights, polyjuice transformations, flying Dementors, and a stunt involving water that still has me boggled. There's a giddy bravado to a lot of this stuff, but the play isn't showing off to show off. Tiffany smartly contextualizes the spectacle, figuring out how to make a live Harry Potter show feel magical in a way that's unique to the theater. The "what are they going to do next, and how are they going to do it" of it all becomes an integral part of the experience, as much of an adventure as the story itself. The special effects only overwhelm toward the end, when the play has exhausted most of its energy and all the flames and flying starts to feel like a Universal Studios stunt show rather than a full-bodied piece of theater. Mostly, though, The Cursed Child's wizardry is plucky, thrilling, and well-proportioned.
Surprisingly, many of the show's fine touches are breathtakingly simple. At first the actors dramatically flourishing their cloaks and capes during scene changes looks a bit silly, until you notice how often they're doing it to disguise the removal of a bit of the set, a little analog sleight-of-hand trick that adds subtle undertones to the show's magic. Two rolling staircases are central to the set's design, and Tiffany finds ingenious ways to use them, articulating new spaces and creating movement and depth. They're employed particularly effectively in a montage sequence depicting a fractured friendship, the stairs shifting and rearranging as two characters miss and avoid one another. It's lovely, and involves nothing more complicated than a few stagehands—and Imogen Heap's lilting, invaluable score.
I've been vague on plot thus far because I've been asked to keep the secrets of The Cursed Child to myself, and because were I in your shoes I wouldn't want anything spoiled. Broadly speaking, the play is about fathers and sons, and about the pains of legacy and expectation. Young Albus is quite unlike Harry in many ways, which causes grief for both. The play handles this divide sensitively, unafraid to show Harry being stubborn and, in one scene, cruel as he fumbles his way through fatherhood. It's a bit alarming to see Harry like this, grown and angry and mulish. But Rowling was always careful to make her characters human, to address their flaws as much as their heroism. Without that crucial grounding, the busy and fantastical plots of the novels, and of The Cursed Child, might spin into incoherency. Maybe no one is going to the play specifically to see Harry Potter wrestle with adulthood and child-rearing, but it's a necessary part of the equation.
And it's handled quite well by the actor Jamie Parker, who has a Michael Fassbenderian bearing with softer edges. Playing adult Harry Potter in a big Broadway production is sort of a strange thing to do, but Parker fearlessly commits to the task, and finds some graceful notes hidden in the play's bluster. Sam Clemmett, as Albus, and Anthony Boyle, as Scorpius, are a bit shouty (Boyle especially), but they do have some touching scenes together. I only wish the play was brave enough to act on its obvious subtext. Disappointments to their fathers, ostracized by their classmates, and intensely devoted to one another, the boys are basically living a queer prep-school narrative—A Separate Peace in a world where spells can fix a broken leg. It's probably safe to explore all that in this post-Dumbledore-is-gay era, and yet the play walks up to the line (there are several scenes that are downright romantic) only to skitter away. Ah, well. Maybe in the sequel.
Though, there likely won't be need of a sequel for some time. The new, letter-H-patterned carpet at the Lyric suggests that the producers are settling in for a long run, one that's bound to satisfy audiences young and old (and somewhere in between). Though the script is tinny in parts, and the production often feels rushed despite its luxurious length, those problems are dimmed by the giddy magnificence of its design. And, yes, by the evocative way the play grapples with the past, intertwining itself with the treasured canon, coaxing out of us a heady mix of nostalgia and awe.
The feeling may be fleeting, and may be harder to come by when you haven't been given a pair of free press tickets. But I've no doubt that many people will be transported by The Cursed Child, a strange son of Rowling's lucrative universe that ought not disappoint its creators.


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Today's digital hearing aids are very small and discreet and contain a microchip - a miniature computer that helps us tune and personalise your hearing aid to your individual needs.
This means you can have a conversation in a busy or windy place without hearing loud background noise. All the hearing aids that we prescribe at Amplifon are digital.
Digital technology means that hearing aids are much smaller and less visible than older analogue devices. You can choose designs and colours to match your hair colour or skin tone. Some hearing aids are so small that you can barely see them at all.
Digital hearing aids are much more advanced than analogue aids. They contain a silicon chip comprising millions of electrical components that continuously process incoming sound, convert it into clearer and more audible sounds and then release these at the appropriate sound level into the ear. Their sophistication allows them to distinguish between sounds that need to be amplified and unwanted noise that needs to be reduced. This differentiation allows wearers to distinguish similar sounding speech sounds much more clearly.
The first electronic hearing aids were 'analogue' and some people still wear them.
Analogue hearing aids amplify sound - but that's all they do. They amplify all sound equally so that background noise is louder too. They can't help you distinguish between the sounds you want to hear and the sounds you want to cut out.
The microchip has completely changed hearing aids from the devices you may remember your parents and grandparents using.
or your parents wearing hearing aids like this.
You may still think of hearing aids as big, cumbersome and available in two colours only - grey or pink. You may remember the embarrassment when someone's hearing aid whistled in church or at the theatre.


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Derek definitely has a unique frame, some of his highlights show glimpses of a Durant-like athlete, obviously he is a far ways away from him skill wise, I am making more of a physical comparison.
DZ83CK, Apr 9, 2015
Bulls-Eye likes this.
Bulls-Eye Freshman
I've thought the same exact thing (physically), but didn't want to go there. Glad you did though DZ!
Bulls-Eye, Apr 10, 2015
Will be playing for the King James Shooting Stars and how to spend your summer vacation
April 10-12 Hampton, Va.
April 24-26 Lexington, Ky.
May 8-10 Houston, Texas.
May 22-25 Minneapolis, Minn.
July 15-19 Peach Jam Championship in North Augusta, S.C.
LitlBuck, Apr 24, 2015
Watch highlights of 2016 Ohio State basketball commit Derek Funderburk in AAU action: Buckeyes recruiting
States that he is glad his commitment is over because he does not have to worry about impressing coaches who might be watching him. Video is not that good.
LitlBuck said: ↑
So he only has himself to work for, right? It's good not to have that pressure, but hopefully he is still focused on improving his game.
DZ83CK, Apr 27, 2015
One writer's opinion
Funderburk is interesting to me because he'll be changing roles once he gets to college. Right now he's a long 6-foot-9 forward who's playing in more of a post role in high school. When he gets to Columbus he'll be more of a wing player. That means he'll have to work on his jump shot, but he's got the athleticism to play out there. When I saw him on Sunday in Lexington, he had a physical matchup with Gahanna Lincoln four-star power forward Nick Ward, and seemed to struggle a bit with the physicality. Part of the reason Matta likes Funderburk is because of his upside. He's far from a complete player, but he's already a great athlete and there's a lot to work with there.
http://www.cleveland.com/osu/index.ssf/2015/04/ohio_state_basketball_recruiti_1.html#incart_related_stories
FUNDERBURK IMPROVING
Thad Matta scouted Derek Funderburk Jr. well before offering a scholarship and before accepting his commitment. He's still a long way from fulfilling the potential Matta first saw years ago, but Funderburk is on track.
"Derek is one of the most skilled guys in the 2016 class," Wright said. "'I've seen a lot of kids play last year and this spring, and he's definitely one of the most skilled guys in the country."
Funderburk is currently averaging 8.7 points per game on 52.9 percent shooting from the field in AAU play. Wright admits they're not utilizing his complete skill set.
"He can step out, shoot the 17-footer. We don't really emphasize him shooting the three but he can," he said. "His low-post moves and facing up against defenders are great. His game will translate well [to college].
Once AAU is over, he can focus on getting stronger with his upper and lower body, and continue to work on his skills.The sky is the limit for Funderburk."
Entire article: http://www.elevenwarriors.com/ohio-state-basketball-recruiting/2015/05/53819/ohio-state-basketball-recruiting-notebook-derek-funderburk-jr-king-james-eye
ScriptOhio, May 21, 2015
ScriptOhio said: ↑
Looks like he has a nice skill set but I would like to see his intermediate game and he needs to put on some weight which I am sure he will do.
LitlBuck, May 22, 2015
Bill Lucas Senior
Those are low level teams he's playing against in that tape. He's just using his size inside. Hopefully, there will be tape from the July certified events against better competition and we'll see his versatility.
Bill Lucas, May 22, 2015
ScriptOhio, Jun 30, 2015
FUNDERBURK HEADING TO PREP SCHOOL
According to Cleveland.com staffer Tim Bielik, Lakewood St. Edward 2016 basketball star Derek Funderburk, Jr. is leaving the school and will enroll in a prep school for his senior year. The decision to transfer comes down to where he's most likely to make himself into the best player he can.
Funderburk has not yet picked a school, but said he has narrowed his choice to a few places. He doesn't know when he will make a decision, but said he plans to do so before school starts Aug. 20.
A big reason Funderburk decided to transfer was to help prepare him for his college career at Ohio State by playing against some of the best players in the country.
"I really think that I'll develop. Regardless of where I go, I'll develop," Funderburk said. "It wasn't anything about exposure. I have enough exposure."
Entire article: http://www.elevenwarriors.com/ohio-state-football-recruiting/2015/08/57427/the-hurry-up-another-buckeye-hoops-commit-transferring-mccall-setting-sights-on
ScriptOhio, Aug 12, 2015
I suppose if he did go to Montverde, it would make it easy to see him and Potter. But any of those big prep schools that get some games on ESPN would be good.
DZ83CK, Aug 12, 2015
FUNDERBURK CHOOSING NEW HIGH SCHOOL SOON?
Derek Funderburk @TooEvsy4
My choices are in the air but I will be announcing my school sometime tomorrow
10:17 PM - 17 Aug 2015
No choice has been made yet, but it should be coming soon. Last week, Funderburk announced he'd be transferring in the hopes of better preparing himself for college.
Entire article: http://www.elevenwarriors.com/ohio-state-football-recruiting/2015/08/57761/the-hurry-up-clark-coming-on-wallace-heating-up-and-hoops-recruiting-updates
Going to Hargrave Military Academy so that @Bill Lucas can give us reports
LitlBuck, Aug 24, 2015
OHIO STATE ANNOUNCES DEREK FUNDERBURK, MICAH POTTER HAVE SIGNED LETTERS OF INTENT TO PLAY FOR BUCKEYES
Ohio State added some much-needed depth to its frontcourt Wednesday when the school announced Derek Funderburk and Micah Potter each signed National Letters of Intent to play basketball for the Buckeyes.
Entire article: http://www.elevenwarriors.com/ohio-state-basketball/2015/11/63022/ohio-state-announces-derek-funderburk-micah-potter-have-signed-letters-of-intent-to-play