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Kieran Duff, Rena Buckley, Jackie Tyrrell
GAA President launches new Laochra Gael series
The definitive GAA sports series returns to TG4 this spring for a 17th series. The series follows last year's new hour-long format, bringing each player's personal stories to screen. The series features six Laochra with genuine star quality and reveals deeper, fresh and sometimes unexpected insights into the lives of these icons. While their sporting careers continue to provide the backdrop to the story, the series travels well beyond the four white lines. Gripping personal storylines will compel viewers to travel towards territory unique to the GAA television landscape.
Jackie Tyrrell – The Journey
Jackie was recognised as one of the best defenders that ever played the game. But for a long period Jackie's own lack of confidence was crippling him, even as he was captaining his county to glory. This programme explores how this self-doubt affected him and how he finally overcame it after meeting a man who would change his whole attitude to life and sport. The programme follows Jackie Tyrrell's journey from complete lack of self-confidence to all-conquering defender and fashion icon.
Director: Hugh Walsh
Participants: Jackie Tyrrell, Eoin Kelly, Tommy Walsh, Br. Damien Brennan, Sarah Tyrrell, Eimear Tyrrell, Damian Lawlor.
A clip from the first episode grabyo.com
Seamus Darby – The Man Who Got the Goal
Seamus Darby, the man who scored the most famous goal in the history of the GAA. Darby could never have known the changes that would come when his life changed in an instant. The programme will explore Darby's story up to that defining moment, and how it came to be that it was he who went on with a few minutes to go. The detail of the dramatic climax of the 1982 All Ireland Final that put an end to Kerry's "5-in-a-row" dreams, will be relived. The documentary will also delve into Darby's life since then, and will discuss the difficulties he encountered as a result of being the man who scored the goal.
Director: Jimmy Duggan
Participants: Seamus Darby, Stephen Darby, Eugene McGee, Sean Lowry, Seán Walsh, Vincent Hogan.
Rena Buckley – The Best Person in the World?
The story of a trailblazer in women's sport, Rena Buckley. Rena broke some of the biggest records in the GAA. She won 18 All Irelands between camogie and ladies football, more than any other player male or female. She won 10 All Stars and when she lifted the Brendan Martin Cup in 2017 she became the first person to captain an All-Ireland winning team in two codes. This is the story of an ordinary girl from Iniscarra who changed the landscape of women's sport in Ireland and who inspired a new generation of girls' participation. But the journey from Iniscarra to the steps of Croke Park was not always easy.
Participants: Rena Buckley, Mary Buckley, Briege Corkery, Paudie Murray, Eamonn Ryan, Malachy Clerkin.
Kieran Duff – Don't Judge Me
Kieran Duff was the darling of Hill 16 but he was the subject of much controversy in his playing career. Duff was Dublin's key forward in the 1980's but his hard man image made him very unpopular outside The Pale, especially after his sending off in the infamous 1983 All Ireland Final. But was his ill-repute deserved? What effect did that reputation have on his personal life? Is there more to his story than meets the eye? This episode is a deeply personal journey with an iconic GAA figure.
Director: Fintan Walsh
Participants: Kieran Duff, Mags Duff, Barney Rock, Brian Talty, Vincent Hogan
Andrew O'Shaughnessy – Shaughs' Story
Andrew O'Shaughnessy; an extraordinary underage talent whose career was cut short by Multiple Sclerosis. He was the most talked-about young hurling in the country at the turn of the millennium, but O'Shaughnessy's intercounty career was over by the time he turned 24, after a diagnosis of Multiple Sclerosis that turned his world upside down. The programme looks back on O'Shaughnessy's extraordinary underage career, the brief success under Richie Bennis, the controversy under Justin McCarthy, and how O'Shaughnessy has rebuilt his life since receiving the devastating diagnosis.
Director: Paul Jenkins
Participants: Andrew O'Shaughnessy, Eimear O'Shaughnessy, Denis Ring, Stephen Lucey, Maurice O'Brien, Gráinne McElwain.
Colm Cooper – Gooch
The pressure, heartbreak and joy. The personal story behind the medals. A once-in-a-generation talent who defied convention by showing that Gaelic Football does not have to be a big man's game. This episode of Laochra Gael delves behind the 5 All Irelands and 8 All Stars and reveals the origins of an extraordinary talent in an ordinary Killarney housing estate. The documentary also explores the personal pain away from the pitch during the years of dealing with his father's death, as well as looking back on the testimonial controversy.
Director: Cormac Morel
Participants: Colm Cooper, Vince Cooper, Vincent Hogan, Marc Ó Sé, Malachy Clerkin, Anthony Lynch, Damian Lawlor, Conor Gormley, Bracker O'Regan, Eddie O'Connor, Noreen Buckley, Michael McCarthy.
Speaking at today's launch, Uachtarán CLG John Horan said…. "I warmly welcome the latest instalment of Laochra Gael, which has long been a mainstay in the compendium of compulsive viewing for GAA members and followers of our games. It dovetails with the excellent coverage afforded to our games by TG4 and Nemeton, coverage and analysis which affords them unique insights into the big games and the big names. The list of top players who have engaged with this series bears testimony to the quality of the viewing and I laud everyone involved in providing us with another set of programmes in the weeks and months ahead."
Welcoming the new series, TG4's Director General, Alan Esslemont says:
'Part of TG4's mission since our inception has been to give the credit that is due to our incredible Gaelic Games heroes. I am delighted that we now have hour long episodes which chronicle not only the epic feats on the pitch, but also show the heartbreak and emotional journeys that these incredible men and women undertake, throughout their sporting careers. I would like to sincerely thank all of the players who took part and Nemeton who are doing trojan work in this television genre'.
The series is produced by NemetonTV, the independent production company from An Rinn in the West Waterford Gaeltacht, which produces much of TG4's acclaimed sports coverage.
Laochra Gael on TG4 Wednesdays at 9:30pm from the 20th of February
For further information and viewing copies for press, please contact:
Sarah McCoy, Nemeton – sarah@nemeton.ie, 058 46499
Tomás Ó Neachtain, TG4 – Tomas.O.Neachtain@tg4.ie, 091 505050
Programme 1: Jackie Tyrrell, 9.30pm, Wednesday 20th February
Programme 2: Seamus Darby, 9.30pm, Wednesday 27th February
Programme 3: Rena Buckley, 9.30pm, Wednesday 6th March
Programme 4: Kieran Duff, 9.30pm, Wednesday 13th March
Programme 5: Andrew O'Shaughnessy, 9.30pm, Wednesday 20th March
Programme 6: Colm Cooper, 9.30pm, Wednesday 27th March


You are Always with Me. Letters to Mama 1923-1932 is a collection of 54 letters and postcards written by Frida Kahlo (1907-1954) to her mother. This is a translation of the original Spanish-language edition of 2016. They show the strong bond of the young artist and her mother and the formation of one Modern art's greatest painters. This publication has been timed to coincide with the current exhibition of Kahlo's art and personal possessions currently on display at the Victoria & Albert Museum, London. For a review of that exhibition, click here.
Frida Kahlo's father was Guillermo Kahlo (1871-1941), a German immigrant who worked as a photographer. Her mother was Matilde Calderón y González. Born in Oaxaca in 1876, she was mestiza – half Spanish-Mexican, half indigenous Mexican. The distinctiveness of Oaxaca tradition had an influence on Kahlo's sense of herself, despite her spending most of her life in Mexico City. This appropriation of maternal lineage was reflected in the presence of traditional Oaxacan costumes in her unique fashion choices and in her art.
Kahlo suffered from polio as a youngster and was left with a deformed leg and a lifelong limp. (She may also have had hereditary scoliosis.) Kahlo was close to her father and his favourite child. When young she worked with him in the studio and was frequently his model, which gave her a reason to dress up, sometimes in masculine clothing. She was fascinated by the transformative power of controlling her own image, something that shaped her self-portraiture as a painter.
The earliest letters to her mother are written by Kahlo from her school about her social plans and disciplinary issues. We see her asking for money and excusing her mischievous behaviour at school. The first letter mentions the talk to be given at her school by Diego Rivera. Rivera was a revered artist who had just returned from an extended stay in Europe. Seen as a leader of the Mexican avant-garde, Rivera was an influential figure. When he joined the Communist Party and began a series of public paintings commissioned by the government, he became a key figure in the formation of a group called the Mexican Muralists. The group developed an approach that combined Social Realism with reference to Mexican history and traditional art. Kahlo and Rivera would later start a relationship and marry.
On 17 September 1925 Kahlo was severely injured when the streetcar she was travelling in was involved in an accident. Some passengers were killed and Kahlo was close to death and was left with serious disabilities which required repeated operations. The pain, immobility and distress caused by her conditions and surgery left her reliant on alcohol and pain medication. These early events and influences had a formative impact upon Kahlo as an artist and she sometimes returned to specific events in her life for paintings. A large part of Kahlo's art is autobiographical but she took pains to frame her experiences in terms of universal subjects of suffering, regret, anger, pride and so forth, frequently drawing parallels to history and religious painting.
In 1929 Kahlo and Rivera married. In late 1930 the couple travelled to San Francisco, where Rivera was commissioned to paint a mural in the Pacific Stock Exchange Luncheon Club. The majority of the letters to her mother come from this period. She is excited to travel outside of Mexico for the first time. She describes her travels in California, unfavourably impressed by the wealth and luxury of the mansions of movie stars in Los Angeles compared to the housing stock inhabited by the poor. Comments on the Chinese immigrants living near her in San Francisco are frequent in the letters. Kahlo was pleased at the kindness shown to her and Rivera by the people she met in San Francisco. "The gringas have liked me very much and they are impressed by the dresses and shawls that I brought with me, my jade necklaces are amazing for them and all the painters want me to pose for their portraits." She met the luminaries of the art scene in San Francisco and began an affair with Nickolas Muray and (probably) her doctor Leo Eloesser. While it is the case that her journals and private comments display pain caused by Rivera's infidelities, she also had her own affairs. Their partnership was turbulent but stimulating, with deliberate provocation and selfish libido sporadically driving both Kahlo and Rivera at different times.
Translator and editor, Héctor Jaimes explains that Kahlo's writing style was idiosyncratic. Her erratic punctuation belied her top-class education. She writes in an apparently unpremeditated way, passing on news and opinions as they occur to her. She obviously presented what she thought her mother wanted and ought to know. She asks after her relatives by name and enquires about their health. Her own health is naturally a topic which comes up repeatedly as she describes Dr Eloesser's treatment, including endless injections. When she mentions her weight it is always to reassure her mother that she becoming less thin. Kahlo is often more concerned about her mother's health than her own conditions. Her devotion shines out.
There are many light-hearted moments. She describes parties, outings and airplane journeys. She makes catty comments about the gringas not being pretty and American food being not to her taste. (Not spicy enough for her.) She confesses to being an incompetent cook. Although she mentions in the letters that she is painting, she does not describe the subjects or the thinking behind the pictures. She frequently discusses Rivera's work – which was supporting them both, with irregular payments going to Kahlo's family – though gives few details about her husband's art.
Over 1931 to 1932 she was in New York. Rivera was attending an exhibition of his art and was commissioned to paint murals there. Kahlo felt more at home in New York than San Francisco. She writes of the incomparable treasures of the Metropolitan Museum and watching children play in snowy Central Park. Kahlo was repelled at attending functions held by Rivera's patron the Rockefellers at a time when the Great Depression had caused homelessness and poverty in New York. She saw the soup lines and beggars daily, something which deepened her commitment to Communism. On 15 September 1932 Matilde died of cancer. The death deprived not only the family of a beloved member but it also deprives us of more letters, including Kahlo's period in Detroit.
You are Always with Me allows us to see the world through Frida Kahlo's eyes. This attractive book includes a few well-chosen illustrations would appeal to anyone with even a passing interest in one of the most personal of painters.
In the wake of the Mexican Revolution (1910-20), the Mexican state started to reconstruct its social structure and establish a consensus. The new political situation entailed the working class of the agrarian nation would be the driving force behind land reform, anti-clericism and other dramatic changes. Communism took on new prominence as a leading force on the political Left following the Russian Revolution.
Compared to other Communist movements, the Communist Party of Mexico or PCM (Fondo Partido Comunista Mexicano) was judged weak in terms of membership and leadership in the early 1920s. Inspired by the example of the Russian Revolution, Mexican Leftists saw art as an important way of spreading the message of the PCM in the early years, be it through art or propaganda. The art would explain the party's message and attract converts. Leading visual artists who joined the PCM in 1923 were the Muralists Diego Rivera, David Alfaro Siqueiros and Xavier Guerrero. The lives and work of the Muralists captured the imaginations of the public and were frequently covered by the newspapers. The artists (especially Rivera) were deemed politically unreliable but useful to the party. They edited the Communist newspaper El Machete for a time. The Mexican governments' views of the PCM veered from wary collaboration to outright hostility, depending on the party in power. In 1929 the government banned the PCM and closed El Machete, which continued for a while as an underground operation.
Rivera was a problem for the PCM. He was the most prominent Mexican Communist, with an international reputation and wide popular appeal but he was wilfully independent and accepted mural commissions from the government, which was sporadically hostile towards the PCM. When Rivera left the PCM, Frida Kahlo, who was married to Rivera, left the PCM with him. The PCM undertook its other disciplinary procedures, expelling Siqueiros for inappropriate behaviour, risking revealing secret information about the now-banned party, plus various moral and financial infractions. Communist artists subject to hostile government action included Sergei Eisenstein and Tina Modotti, both of whom had to leave the country.
Smith discusses the associated Liga de Escritores y Artistas Revolucionarios (LEAR). Like the PCM at this time, LEAR was a banned organisation when it was formed, only later becoming legal. Its journal Frente a Frente included much Leftist and social realist art in the form of prints and photographs by LEAR members. Much visual material was propaganda explicitly dedicated to exulting collectivism and eschewing "the mystique of the individual". In 1935 LEAR members persuaded the government to unban the PCM, El Machete and LEAR. A 1936 group exhibition of art organised by LEAR included amateur art and even politically sympathetic commentators described the display as a mess and criticised the standard of art. Steering a course between political orthodoxy and artistic accomplishment was an impossible task.
An article in Frente a Frente (May 1935) by Siqueiros was critical of Rivera's Rockefeller Center fresco (1934). It led to a public debate between the artists later that year. They were divided on the appropriateness of murals as a revolutionary art form. Siqueiros – perhaps piqued by Rivera's greater success – averred that murals were overrated as a political tool and that art should be international in character and closer to Socialist Realism than Rivera's hybrid, which incorporated Modernism and native Mexican art. Rivera asserted that he wished to record the beauty and individuality of Mexican life in his art and that this was not incompatible with Communist principles. Siqueiros was pro-Stalin and Rivera pro-Trotsky. Deep enmities remained between the two painters for years afterwards.
Siqueiros became so involved in politics that he neglected art. He fought in the Spanish Civil War, as did Modotti. Rivera played a pivotal role in arranging for Trotsky's successful petition for political asylum in Mexico. Trotsky arrived in Mexico in 1937 and lived in the Riveras' guest house for a time. Despite public and private support between the men, there were political tensions. Ultimately, Trotsky and Rivera's alliance ended due to political differences in early 1939. Siqueiros and artists Luis Arenal and Antonio Pujol worked with NKVD in a plot to kill Trotsky. On the night of 24 May 1940 the trio broke into Trotsky's house, failed to find the elderly dissident and – apparently inadvertently – injured his grandson. Months later an unrelated individual assassinated Trotsky.
Smith covers the founding of the Taller de Gráfica Popular (the Popular Graphic Art Workshop; TGP) in 1937 without noting that this not simply an outgrowth of LEAR but an extension of a long-existing strand of popular Mexican art, namely social engagement of artists through the portrayal of the life of ordinary Mexicans via cheap and widely distributed graphic art. This uniquely Mexican blend of biting satire, political agitation and social realism – sometimes printed in newspapers – traced its origins to the iconic prints of José Guadalupe Posada (1852-1913). TGP proved to be one of the world's most enduring, influential and successful artist collectives in history, producing high-quality art distributed widely, fostering international connections and displaying a broadly united front on social issues. Aesthetically, it was hobbled by its commitment to realism – technically, in its founding principles, "art [that] must reflect the social reality of the times". However, considering the political priorities of the TGP, that position could hardly have been avoided. Ultimately, it was the rigid anti-abstraction stance and limitations on artistic and commercial freedom which undid TGP as a significant force in the arts, though it exists to this day. For my review of artists working in the TGP see here.
Perhaps the most valuable service the FCM, TGP, LEAR and their various publications achieved in the arts was to present a warning of the dangers of fascism and raising funds for the Spanish anti-Falangists. Later, their activities would help the refugees who fled the fall of Spain and Nazi-occupied Europe.
The author has based her studies upon access to Mexican secret service files and internal papers of the PCM, LEAR and TGP, allowing her to present new information on major figures in the fine arts. However, the book has shortcomings. Considering the lack of published research based on primary sources, we would have benefitted from more economic data. For example, what was the commercial value of producing oil paintings for private collectors compared to painting murals for the state or issuing editions of cheap prints for ordinary people? What was the private market for oil paintings at the time? Roughly how much money did prominent artists make from state-subsidised work? On the political side, what did artists write in diaries and letters about politics in art and did that contrast with manifestoes they signed and their public activities? More space devoted to summarising such findings would have been valuable. While we do get to understand some of the political dynamics, economic context is sometimes hazy.
Considering her previous specialisation in the field, Smith is commendably restrained on the issue of gender politics. In this book, we see that Smith is sensitive to gender politics of the Communist movement in Mexico in this era but she wisely partitions her subjects and makes no hyperbolic claims. Overall, The Power and Politics of Art in Postrevolutionary Mexico is an intelligent, accessible and well-judged account of an important aspect of Mexican art in the period 1920-50.
Anni Albers (1899-1994) was one of the most respected and innovatory figures in the modern craft movement. She studied at the Bauhaus in the 1920s, where she met her future husband Josef Albers, a teacher there. (Josef Albers, a pioneering abstract painter, was an influential teacher, especially on the subject of colour.) In 1933 the couple moved to teach in the USA, first at Black Mountain College and later at Yale. In later years, living in Connecticut, she produced tapestries and weavings, as well as writing articles and books on design and textiles. She was the first designer to have a one-person exhibition at MoMA (in 1949) and became recognised as one of the pre-eminent designers of the Modern era. Two new publications give us an insight into her ideas and practice.
Anni Albers's worked by weaving on hand-looms, producing designs which used the natural qualities of materials and a limited palette to produce (mainly) hard-edge abstract patterns. Frequently in her designs, simple geometric shapes on small scale are expanded over large areas. In her wall-hangings, she took care over having borders that complemented and also completed central designs. Triangles provide textural "tooth" and indicate visual dynamic flow. Her colours are usually restrained and are rarely more than two or three per design. She had a preference for white, black, grey and muted reds. She produced many striking and sophisticated wall-hangings (illustrated in On Weaving) and was a skilled designer of original artist's prints, especially silkscreens and lithographs.
The illustrations Albers selected include images of weaving techniques and machinery, sample patterns, wall-hangings and pictorial tapestries. Close-up views and diagrams demonstrate the principles of knotting, lace, twills and other techniques. Pre-historic, historical and modern examples are taken from many cultures, including Mexico (which Albers visited a number of times), Norway, Congo and Japan; also presented are striking artist-made Modernist pieces.
Albers particularly venerated pre-Columbian weaving from Peru and there are many illustrations of Peruvian textiles. This new edition adds an extensive selection of Albers's own woven designs to complement the relatively short text. Most of the old black-and-white photographs have been replaced by high-resolution colour photographs, which are pinpoint sharp. Albers's original photographs of ephemeral arrangements made specifically for the book are unique and reproduced in their original black and white. Albers experimented by producing texture studies made by pricking paper, arranging small items in patterns and by typing repeated characters on a manual typewriter.
The volume's cloth binding is appropriately handsome and sturdy. Two new essays by specialists and an afterword by Nicholas Fox Weber, Director of the Josef and Anni Albers Foundation, complement the original text. Fox Weber, Manuel Cirauqui and T'ai Smith set On Weaving in the context of the artist's training, milieu and own production. Albers herself chose not to concentrate on her own art in the book, though it perfectly exemplified many of the points she made in the text. Albers makes clear what she feels are the bases of good weaving – understanding the quality of materials, concentrating on design through structure rather than decoration and applying a truth-to-material ethos. The drive towards simplicity – that is, a distillation of the essence of a design – underpins her designs and advice to makers.
Notebook, 1970-1980 is a facsimile publication of Albers's only known sketchbook. This notebook with graph-paper pages (now coverless) is a typical school notebook as used in mathematics classes. This publication reproduces the book to exact size and includes all pages, including blank ones and those showing the ghost of the drawing on the other side of the page. Colour reproduction catches the slight yellowing of the paper and brown residue of adhesive tape.
Readers will find themselves instinctively treating the book as if they were holding the fragile original. Designer and publisher deserve credit for the care they have lavished on the production of this book. A brief afterword by Anni Albers scholar Brenda Danilowitz discusses the sketchbook.
The designs in the book relate to Albers's textile designs and artist's prints. They feature patterns of triangles and quadrilaterals drawn in pencil in several shades. Some are repeatable or potentially infinite patterns, while others are intended to be limited. Some introduce elements of apparent randomness. There are a few linear maze-like drawings (meanders) and some of Albers's distinctive curvilinear forms based on curling rope or thread. The illustrations capture the nuances of the artist's pencil shading, differentiating shades by pressure and grades of pencil. Little colour is employed. While a handful of drawings are doodles or incomplete, most are complete designs. There are few words other than notations of dates and titles of the relevant designs.
Both of these books would make excellent additions to college libraries as they are good examples of preparation and experimentation for students to learn from. Makers in general will also enjoy these impeccably produced volumes.
"Another example of censorship through petition power has come to light this month. An exhibition by Actionist Austrian artist Hermann Nitsch was scheduled to take place in February at Fundación Jumex, Ecatepec de Morelos, on the outskirts of Mexico City. But on 31 January it was cancelled. This followed an online petition against the Nitsch display, though, in its announcement, Jumex does not link the petition to the cancellation. The Nitsch exhibition has been replaced by a group exhibition of works by other artists in the Jumex collection – a mix of contemporary and modern art, including works by the usual names familiar from the network of state-supported museums, private foundations and international galleries, including Cy Twombly, Martin Creed and Lawrence Wiener.


the most successful new work, I believe, was Freedman's moving new string quartet, Phoenix. But if the concert was rather uneven, the post-concert reception was an unqualified success: a festive birthday celebration with two kinds of cake and a merciful absence of speeches. The "usual suspects" were in attendance, but also a few notables from beyond the confines of the new-music world: writer/producer Mavor Moore and visual artist Charles Pachter, whose recent portrait of the three featured composers was on display. I chatted with a composer who is currently writing an opera about a Jewish artist killed in the Holocaust. And I joined a group of people discussing the politics of the complimentary ticket list. (It turned out that only one person in that small group had actually purchased a ticket for this concert - the others had managed to get themselves invited.) HSBC ~x~ 2002 12003 SEASON lnternationa1oPOcaCRecitals Attending a contemporary music concert is much like panning for gold: listeners should be prepared for lots of mud and just a little gold. For the adventurous, the nuggets of gold make the whole experience worthwhile: new-music devotee and arts patron Roger Moore - a presence at almost every new-music concert in the city - seems to fall into this category. But even on those dark nights when a concert offers only a few bleak hours of luckless prospecting, there's always a chance that a good post-concert reception with the colourful new-music cognoscenti will raise the spirits ancJ make the evening·worthwhile. Colin Eatock (eatock@thewholenote.com) is a composer and writer in Toronto who contributes to the Globe and Mail and other publications. His T. 0. Musical Diary is a regular monthly feature of WholeNote magazine. A great Bookstore ... now with Music! Working in partnership with L'Atelier Grigorian, Ontario's most respected retailer of Jazz and Classical music, the U of T Bookstore has a wide selection of music including Jazz, Classical, Opera, Roots Music, Soundtracks, Pop and more. Visit the 2nd floor of the Book.store where you'll find a pleasant atmosphere, over 20 listening stations and regular label sales featuring discounted music from specific labels. Michae1SC HADE tenor Malcolm MARTI NEAUpiano WEDNESDAY APRIL 30 • 8PM ROY THOMSON HALL The world's charismatic lyric tenor of choice comes home to perform a recital program that includes Liszt, Faure and R·ichard Strauss. Sponsored by ONTARIOPOWiil GENERATION CLASSICA~@p;; M~ ki n s li f.e ''"""' f!i.1'.er.


You're the President of America. At a NATO summit, a European reporter asks you whether you believe in American exceptionalism. How do you negotiate that fraught question without undermining the cooperation you hope to secure abroad, or else angering the folks back home? I'm sure I couldn't have managed any better than this. It sure would've been easier to be president on a mission abroad before the advent of the television camera. I'd love for some historian to sift through the records of presidential visits, and the visits of envoys in the days before presidential travel, noting all the times words were spoken that never would've been said had they been transmitted to an American audience.
Conor, thanks for highlighting this. Pride, power, and humility is a hard mix to pull off.
Always thought that was well done.
↓ Are You Having a Bad Day?


Trans Kids is a trenchant ethnographic and interview-based study of the first generation of families affirming and facilitating gender nonconformity in children. Whereas previous generations of parents sent such children for psychiatric treatment aimed at a cure, these parents agree to call their children new names, allow them to wear whatever clothing they choose, and approach the state to alter the gender designation on their passports and birth certificates. Sociologist Tey Meadow argues that these parents are negotiating gender in new and significant ways, with everyone and everything, from intimates to institutions.
Drawing from sociology, philosophy, psychology and sexuality studies, Meadow depicts the intricate social processes that shape gender acquisition. Where once atypical gender expression was considered a failure of gender, now it is a form of gender. Engaging and rigorously argued, Trans Kids underscores both the centrality of ever more particular configurations of gender in both our physical and psychological life, and the increasing embeddedness of personal identities in social institutions.
"Tey Meadow's powerful account follows the institutional shift from regulatory to facilitative medicine in the treatment of gender variance, and documents the process through which atypical gender has become understood 'not as a failure of gender but as a form of gender.' Through moving and acutely attuned interviews, Meadow shows how parents can 'give gender' to their trans kids. This is a timely and illuminating book."—Gayle Salamon, author of Assuming a Body: Transgender and Rhetorics of Materiality .


[Bitluni] has quite a range of builds, from software-defined television to bad 3D-scanners to precision wine glass whacking. You should check out his stuff.
Using a spring doorstop as a controller is neat as heck as well as intuitive, but possibly not quite as intuitive as using an actual car as a video game controller.
Schematics and bill of materials are available on GitHub. Brilliant work! And while we're discussing the stroboscopic effect, find out how it can be used to tune guitar strings.
In this post, we are going to interface accelerometer with arduino. Accelerometer is a sensor used for detecting motion or change in coordinates. We have three coordinates i.e X, Y and Z axis. It's a five-pin device out of which are for power supply Vcc and Ground. The output of the sensor is in analog.
This sensor required three analog pins. We can provide Vcc and ground directly from the analog pins.
So, we are using five analog pins. Three for axis and two for providing power to the module.
USB type B cable for interfacing with computer.
The program is quite simple. We are using adc for reading the values of X, Y and Z axes.
Also, the adc value is in raw format means its value ranges from 0 to 1023.
No need to manipulate the raw adc value.
Once, we get the raw values of adc, we will fed it to serialprint function to check its output through serial monitor.
motion sensing game consoles. In case of robotics, we can use it for hand gesture based robot or to synthesize the hand gesture into voice.


text:
Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists
Jehan Belal Yahya, J. Farrell, Daniel O. Herzig, Catherine R. Degnin, Yiyi Chen, John Holland, Simon Brown, Jerry Jaboin, Charles R. Thomas, Timur Mitin
Radiation Medicine
Background: Accurate staging is crucial for management of patients with newly diagnosed rectal cancer. Endorectal ultrasound (EUS) has been the standard modality in the United States for decades, with magnetic resonance imaging (MRI) now preferred by national guidelines. Positron emission tomography (PET), conversely, is not recommended. The current utilization of imaging modalities by American radiation oncologists in staging newly diagnosed rectal cancer is unknown. Methods: American radiation oncologists completed an anonymous institutional review board-approved online survey probing their imaging preferences for initial staging of rectal cancer patients. Results: We received 220 responses from American radiation oncologists, with 39% in academic centers and with 45% seeing more than 10 rectal cancer patients per year. Most respondents utilize all three imaging modalities for rectal cancer staging-EUS, MRI and positron emission tomography/computed tomography (PET/CT). Fifty-two percent and 38% of respondents are high utilizers of EUS and MRI, respectively, defined as ordering these tests at least 75% of the time. Forty seven percent were high PET utilizers. The latter was associated with practice in a private setting (P=0.015) and being within 10 years from residency training completion (P<0.01). Conclusions: Our analysis reveals a dramatic discordance among national guidelines and the practice patterns among American radiation oncologists. More rely on PET for initial staging of rectal cancer patients than on pelvic MRI. Further research needs to determine the most effective imaging work-up of patients with an initial diagnosis of rectal cancer.
https://doi.org/10.21037/jgo.2018.01.19
Positive emission topography computed topography (PET/CT)
Radiation oncologists
Rectal neoplasm
10.21037/jgo.2018.01.19
Fingerprint Dive into the research topics of 'Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists'. Together they form a unique fingerprint.
Radiation Oncologists Medicine & Life Sciences
Rectal Neoplasms Medicine & Life Sciences
Positron-Emission Tomography Medicine & Life Sciences
Positron Emission Tomography Computed Tomography Medicine & Life Sciences
Neoplasm Staging Medicine & Life Sciences
Research Ethics Committees Medicine & Life Sciences
Yahya, J. B., Farrell, J., Herzig, D. O., Degnin, C. R., Chen, Y., Holland, J., Brown, S., Jaboin, J., Thomas, C. R., & Mitin, T. (2018). Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists. Journal of Gastrointestinal Oncology, 9(3), 435-440. https://doi.org/10.21037/jgo.2018.01.19
Preferential use of imaging modalities in staging newly diagnosed rectal cancer : A survey of US radiation oncologists. / Yahya, Jehan Belal; Farrell, J.; Herzig, Daniel O.; Degnin, Catherine R.; Chen, Yiyi; Holland, John; Brown, Simon; Jaboin, Jerry; Thomas, Charles R.; Mitin, Timur.
In: Journal of Gastrointestinal Oncology, Vol. 9, No. 3, 01.06.2018, p. 435-440.
Yahya, JB, Farrell, J, Herzig, DO, Degnin, CR, Chen, Y, Holland, J, Brown, S, Jaboin, J, Thomas, CR & Mitin, T 2018, 'Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists', Journal of Gastrointestinal Oncology, vol. 9, no. 3, pp. 435-440. https://doi.org/10.21037/jgo.2018.01.19
Yahya JB, Farrell J, Herzig DO, Degnin CR, Chen Y, Holland J et al. Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists. Journal of Gastrointestinal Oncology. 2018 Jun 1;9(3):435-440. https://doi.org/10.21037/jgo.2018.01.19
Yahya, Jehan Belal ; Farrell, J. ; Herzig, Daniel O. ; Degnin, Catherine R. ; Chen, Yiyi ; Holland, John ; Brown, Simon ; Jaboin, Jerry ; Thomas, Charles R. ; Mitin, Timur. / Preferential use of imaging modalities in staging newly diagnosed rectal cancer : A survey of US radiation oncologists. In: Journal of Gastrointestinal Oncology. 2018 ; Vol. 9, No. 3. pp. 435-440.
@article{600d045572e84e3da63363be572f162f,
title = "Preferential use of imaging modalities in staging newly diagnosed rectal cancer: A survey of US radiation oncologists",
abstract = "Background: Accurate staging is crucial for management of patients with newly diagnosed rectal cancer. Endorectal ultrasound (EUS) has been the standard modality in the United States for decades, with magnetic resonance imaging (MRI) now preferred by national guidelines. Positron emission tomography (PET), conversely, is not recommended. The current utilization of imaging modalities by American radiation oncologists in staging newly diagnosed rectal cancer is unknown. Methods: American radiation oncologists completed an anonymous institutional review board-approved online survey probing their imaging preferences for initial staging of rectal cancer patients. Results: We received 220 responses from American radiation oncologists, with 39% in academic centers and with 45% seeing more than 10 rectal cancer patients per year. Most respondents utilize all three imaging modalities for rectal cancer staging-EUS, MRI and positron emission tomography/computed tomography (PET/CT). Fifty-two percent and 38% of respondents are high utilizers of EUS and MRI, respectively, defined as ordering these tests at least 75% of the time. Forty seven percent were high PET utilizers. The latter was associated with practice in a private setting (P=0.015) and being within 10 years from residency training completion (P<0.01). Conclusions: Our analysis reveals a dramatic discordance among national guidelines and the practice patterns among American radiation oncologists. More rely on PET for initial staging of rectal cancer patients than on pelvic MRI. Further research needs to determine the most effective imaging work-up of patients with an initial diagnosis of rectal cancer.",
keywords = "Magnetic resonance imaging (MRI), Neoplasm staging, Positive emission topography computed topography (PET/CT), Radiation oncologists, Rectal neoplasm",
author = "Yahya, {Jehan Belal} and J. Farrell and Herzig, {Daniel O.} and Degnin, {Catherine R.} and Yiyi Chen and John Holland and Simon Brown and Jerry Jaboin and Thomas, {Charles R.} and Timur Mitin",
note = "Publisher Copyright: {\textcopyright}Journal of Gastrointestinal Oncology. Copyright: Copyright 2018 Elsevier B.V., All rights reserved.",
doi = "10.21037/jgo.2018.01.19",
journal = "Journal of Gastrointestinal Oncology",
publisher = "Pioneer Bioscience Publishing Company (PBPC)",
T1 - Preferential use of imaging modalities in staging newly diagnosed rectal cancer
T2 - A survey of US radiation oncologists
AU - Yahya, Jehan Belal
AU - Farrell, J.
AU - Herzig, Daniel O.
AU - Degnin, Catherine R.
AU - Chen, Yiyi
AU - Holland, John
AU - Brown, Simon
AU - Jaboin, Jerry
AU - Thomas, Charles R.
AU - Mitin, Timur
N1 - Publisher Copyright: ©Journal of Gastrointestinal Oncology. Copyright: Copyright 2018 Elsevier B.V., All rights reserved.
N2 - Background: Accurate staging is crucial for management of patients with newly diagnosed rectal cancer. Endorectal ultrasound (EUS) has been the standard modality in the United States for decades, with magnetic resonance imaging (MRI) now preferred by national guidelines. Positron emission tomography (PET), conversely, is not recommended. The current utilization of imaging modalities by American radiation oncologists in staging newly diagnosed rectal cancer is unknown. Methods: American radiation oncologists completed an anonymous institutional review board-approved online survey probing their imaging preferences for initial staging of rectal cancer patients. Results: We received 220 responses from American radiation oncologists, with 39% in academic centers and with 45% seeing more than 10 rectal cancer patients per year. Most respondents utilize all three imaging modalities for rectal cancer staging-EUS, MRI and positron emission tomography/computed tomography (PET/CT). Fifty-two percent and 38% of respondents are high utilizers of EUS and MRI, respectively, defined as ordering these tests at least 75% of the time. Forty seven percent were high PET utilizers. The latter was associated with practice in a private setting (P=0.015) and being within 10 years from residency training completion (P<0.01). Conclusions: Our analysis reveals a dramatic discordance among national guidelines and the practice patterns among American radiation oncologists. More rely on PET for initial staging of rectal cancer patients than on pelvic MRI. Further research needs to determine the most effective imaging work-up of patients with an initial diagnosis of rectal cancer.
AB - Background: Accurate staging is crucial for management of patients with newly diagnosed rectal cancer. Endorectal ultrasound (EUS) has been the standard modality in the United States for decades, with magnetic resonance imaging (MRI) now preferred by national guidelines. Positron emission tomography (PET), conversely, is not recommended. The current utilization of imaging modalities by American radiation oncologists in staging newly diagnosed rectal cancer is unknown. Methods: American radiation oncologists completed an anonymous institutional review board-approved online survey probing their imaging preferences for initial staging of rectal cancer patients. Results: We received 220 responses from American radiation oncologists, with 39% in academic centers and with 45% seeing more than 10 rectal cancer patients per year. Most respondents utilize all three imaging modalities for rectal cancer staging-EUS, MRI and positron emission tomography/computed tomography (PET/CT). Fifty-two percent and 38% of respondents are high utilizers of EUS and MRI, respectively, defined as ordering these tests at least 75% of the time. Forty seven percent were high PET utilizers. The latter was associated with practice in a private setting (P=0.015) and being within 10 years from residency training completion (P<0.01). Conclusions: Our analysis reveals a dramatic discordance among national guidelines and the practice patterns among American radiation oncologists. More rely on PET for initial staging of rectal cancer patients than on pelvic MRI. Further research needs to determine the most effective imaging work-up of patients with an initial diagnosis of rectal cancer.
KW - Magnetic resonance imaging (MRI)
KW - Neoplasm staging
KW - Positive emission topography computed topography (PET/CT)
KW - Radiation oncologists
KW - Rectal neoplasm
U2 - 10.21037/jgo.2018.01.19
DO - 10.21037/jgo.2018.01.19
JO - Journal of Gastrointestinal Oncology
JF - Journal of Gastrointestinal Oncology

redpajama_set_name: RedPajamaCommonCrawl


Take an inside look at the world's most popular sport. Soccer Anatomy will show you how to elevate your game by increasing strength, speed, and agility for more accurate passes and powerful shots.
Soccer Anatomy includes 79 exercises, each with step-by-step descriptions and full-color anatomical illustrations highlighting muscles in action.
Soccer Anatomy goes beyond exercises by placing you on the pitch and in the game. Illustrations of the active muscles involved in kicking, heading, tackling, and diving show you how each exercise is fundamentally linked to soccer performance.
From attacking to defending to goalkeeping, Soccer Anatomy will improve every aspect of your game. You'll learn how to modify exercises to target specific areas based on your style of play, personal needs, and goals. And you can prepare for competition by minimizing injuries using a system developed by FIFA's medical research program.
Combining authoritative advice, expert instruction, and stunning four-color illustrations, Soccer Anatomy is truly an inside look at this one-of-a-kind sport. Whether you're a player, coach, or fan, if you're serious about soccer, this is one book you need to own.
Donald T. Kirkendall is uniquely positioned to author Soccer Anatomy. He earned a PhD in exercise physiology from The Ohio State University and went on to teach human anatomy, physiology, and exercise physiology as a faculty member at the University of Wisconsin at Lacrosse and Illinois State University. In 1995 he was recruited to join the sports medicine program at Duke University Medical Center and then at the University of North Carolina at Chapel Hill. His research interests focus on sports medicine and physical performance with an emphasis on team sports—especially soccer. Since 1997 he has written a sport science column for the monthly magazine Southern Soccer Scene.
Dr. Kirkendall began competing in soccer during middle school and continued to play during high school and junior college and at Ohio University, where he competed in the NCAA tournament. He continues to play today in adult recreational leagues. He has coached soccer at various levels from U10 youth leagues to assistant coach at Ball State University in Indiana and earned the USSF B coaching license.
Dr. Kirkendall is a member of FIFA's Medical Assessment and Research Centre (F-MARC) based in Zurich, Switzerland. The Fédération Internationale de Football Association (FIFA) is the international governing body for soccer. F-MARC conducts and collaborates on medical studies to reduce soccer injuries and promote soccer as a healthful activity. Dr. Kirkendall is also a member of U.S. Soccer's Medical Advisory Committee. Because of these affiliations and his expertise in applying sport science concepts to soccer, he is in demand around the world as a speaker on soccer-related sport science topics. He frequently lectures at coaching clinics and to local and national coaching organizations, and he has lectured to audiences in all six of FIFA's confederations.
Goalies Goalies cont. Jumping Jumping cont. Soccer Ball Crunch Soccer Ball Crunch cont.


text:
Q: semantic ui modal print using printjs not getting result semantic ui modal ptint using printjs library. but the result is not
correctly showing the expected modal print.
help ?

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<link href="https://cdnjs.cloudflare.com/ajax/libs/semantic-ui/2.2.4/semantic.css" rel="stylesheet"/>

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A: The issue printing this modal is not related to print.js. The modal has a negative margin-top applied style which is the cause of issue when printing it.
In this fiddle, you can test using the Print2 button, it will print another html element content inside the same modal, without any issues.
https://jsfiddle.net/crabbly/y8e4ga8p/

redpajama_set_name: RedPajamaStackExchange


text:
All Fabulous
Mrs Crunch
MEG-A DRAMA
Meghan Markle refused Palace advice to visit Thomas Markle & blasts royals for 'putting pressure on her and Harry'
Holly Christodoulou
Updated: 14:20, 11 Nov 2021
MEGHAN Markle refused advice from the Palace to visit her dad and slammed the royals for putting "pressure" on her and Prince Harry.
The Duchess of Sussex, 40, sent her estranged father Thomas Markle a "heartfelt" five-page letter in 2018 after they reached "breaking point".
Meghan allegedly only wrote her dad a letter as senior royals told her toCredit: James Breeden - The Sun
The duchess was advised to see her father in person but chose not to do soCredit: Getty
But in sensational court documents released today, Meghan has now claimed she only wrote the 1,250-word note on advice of senior royals "A" and "B".
She said she was originally told by a Palace aide she should fly to Mexico and meet Mr Markle in person, which she felt was "completely unrealistic".
Instead, she reignited the discussion over how to "deal with the concern surrounding" her dad and "his dealings with the media" while visiting the senior royal B with Harry.
Meghan said: "While my husband and I were sitting with Senior Member B, I was told that Senior Member A was on the telephone and wished to speak to me.
"The telephone was passed to me and we had a discussion about the situation in the presence of Senior Member B and my husband.
"Once the call ended, we continued discussions with Senior Member B, and it was only after these discussions, and in accordance with the advice that I received from the two senior family members, as stated in my Re-Amended Reply, I decided, that I would write a letter to my father."
She also accused the royals of "putting significant pressure" on Harry and herself to deal with her father and said she "felt strongly" she had to "do something about it".
Meghan added: "It was only when my father began criticizing the royal family … that senior members of the family and their advisers expressed their concern over the public attacks, and expressed their desire to have them stopped.
"I felt that even if my attempt to stop my father talking to the media failed, at least my husband would be able to say to his family that I had done everything I could to stop it."
🔵 Read our Meghan and Harry live blog for the latest updates
The papers were revealed today at the High Court where the Mail on Sunday are appealing against Meghan's privacy win.
Meghan sensationally won the row in February after it published extracts of the handwritten note to her dad.
The court was told at the time how "anguished" Meghan had written to her dad begging him to stop talking to the press.
Her lawyer Justin Rushbrooke QC said it was written "by a daughter who felt she had reached a breaking point with her father".
But the new court documents suggest Meghan was not only advised to send the letter by royals, but also did so for her husband.
Separate papers by her former press secretary Jason Knauf claim she text him in 2018 about writing the note, saying: "The catalyst for my doing this is seeing how much pain this is causing H."
Mr Knauf continued in his statement: "The Duchess said she was writing the letter in part to allow The Duke to demonstrate to his family that some action was being taken by the couple to stop Mr Markle from continuing to engage with the media.
"She added that '…while unlikely perhaps it will also give my father a moment to pause'."
Jason Knauf has submitted evidence to the High Court
Mr Knauf also revealed in his witness statement how Meghan had been "meticulous" in her wording.
He told how she messaged him with an electronic draft of the letter where she asked if anything stood out as a "liability".
The papers read: "She also asked a specific question regarding addressing Mr Markle as 'Daddy' in the letter, saying 'given I've only ever called him daddy it may make sense to open as such (despite him being less than paternal), and in the unfortunate event that it leaked it would pull at the heartstrings."
Meghan later text Mr Knauf again, saying: "Honestly Jason, I feel fantastic.
"Cathartic and real and honest and factual. And if he leaks it then that's on his conscience.
"And at least the world will know the truth, words I could never voice."
The court was also told she was "happy for the public to read" the letter she sent her dad if he leaked it.
PRIVACY WIN
Lord Justice Warby ruled in February the publication of Meghan's letter to her father was "manifestly excessive and hence unlawful".
The judge said: "It was, in short, a personal and private letter.
"The majority of what was published was about the claimant's own behaviour, her feelings of anguish about her father's behaviour, as she saw it, and the resulting rift between them.
"These are inherently private and personal matters."
Meghan was granted a summary judgment - meaning she won her privacy claim without a trial where she would have come face-to-face with her dad.
She also won most of her claim the publication of the letter breached her copyright.
Meghan won her privacy row in FebruaryCredit: AFP
She also won parts of her copyright claimCredit: AFP
Meghan Markle insists she was 'standing up for what was right' during 'arduous' court fight over her dad's letter
NAME BLAME
I'm trolled over son's name - people say he'll KILL me after years of bullying
SECURITY FURY
The Queen will NOT help Prince Harry in his demand for Met Police bodyguards
THRONE MOAN
Harry behaving like a hypocrite is wearisomely inevitable, says Piers Morgan


Being ridiculously wealthy must definitely have its perks. But there are times when fortune can backfire and make you forget yourself, like when you become a parent, for example. If money was no object, I'm sure some of us might be tempted to get a bit of help now and then (leaving the kids with a sitter every other day so mom and dad can have quality time perhaps).
When it comes to everyday parenting duties, though (feeding, bathing, changing diapers, etc.), this is something you kind of have to do yourself at some point (no matter how much is in your bank account). Try telling that to some of these mega rich parents, though. The following celebs might be willing to bring a handful of kids into the world, but they don't seem prepared to tackle the nitty-gritty parts of parenthood, specifically when it comes to diaper duty!
Depressingly, the majority of these celeb 'diaper deniers' are men, which only goes to show just how far we still need to go before the whole housewife and stay-at-home mom stuff becomes a thing of the past. These celeb moms and dads presumably change their designer outfits more times than they change their kids' own diapers.
The British music mogul is worth around $550 million, owns three record labels, and has found talent from all corners of the globe throughout a nearly-16-year career as a reality TV judge. Despite all this, though, the supposed god of the entertainment industry can't bring himself to change a dirty diaper.
Cowell has previously said that he "won't and can't" change a nappy.
Since having his first child with his glam socialite girlfriend Lauren Silverman in 2014, Simon Cowell has since admitted to changing a few diapers, but his attitude on who should be the one to do it seems pretty clear. After his son's birth, he told Sky News, "I feed him and play with him, but I don't think dads do nappies. I'll leave that up to the nanny." Nice!
Since having 3 kids, Kanye West has learned to get on board with occasionally changing his own babies, but it took a lot of convincing. When Kimye first brought their little bundle of joy, North, into the world, the internet lost their sh*t and new daddy Kanye lost his nerve.
Okay… Since Saint and Chicago West came on the scene, perhaps Kanye has learned to be a little more responsible when it comes to parenting duties. But we doubt it. Apparently, Kim Kardashian would love to have two or three more children in the future. Good luck with that. If you hire five or six nannies, then sure, because daddy West won't be any help at all.
McConaughey didn't say whether the triple diaper duty was left up to his wife or a nanny, but he made it clear that he's not about that life.
Roberts revealed that she would never be able to raise her children and work without the help of her hubby, friends, family, and a couple of "amazing women" who take care of her kids.
We're not expecting her to change diapers on a film set, but does she really need this kind of entourage to raise her own kids?
Williams admitted to having what he describes as a "tribe and assembly line" to help out with his kids.
Nice to compare raising your own brood to working in a factory.
Of all the celeb moms on this list, Angelina Jolie is one that is rarely pictured with a nanny in tow when out and about with her kids, which kind of leads us to believe that she's some kind of superhuman. The truth is, Jolie does and has had more than her fair share of hired help in raising her six kids, which makes sense because it's just not possible to look as good as she does everywhere.
Jolie and Brad Pitt's eldest adopted children, Maddox and Pax, are now in their teens, and while they seem to have a close relationship with their celeb parents, the same can't be said for Jolie's youngest. A report in In Touch magazine revealed that some of Jolie's kids refer to their many live-in nannies as 'mommy', suggesting that Angie isn't around long enough to tuck them in bed, let alone change them.
Since his eldest child is almost 30 now, we'll never know if Murphy got his hands dirty once upon a time, but he doesn't appear to want to start learning now!
We can imagine that Ferrell is a warm and loving dad when it comes to making his kids laugh, but it's a shame that like a lot of guys on this list, he leaves the dirty jobs to his significant other. The comic actor admits that his main job as a parent kicks in when it's his kids' bedtime. Speaking to People magazine in 2010 when his youngest son was only 7 months, Ferrell revealed that in place of changing dirty diapers, he "reads to them in bed and does the funny voices." Cute, but seriously, Will? It wouldn't kill you to help out with the not-so-fun side of being a parent.
It's a good thing that the pro golfer was at something because he wasn't exactly winning at parenting (or marriage for that matter). Watson and his wife Angie's son, Caleb, was already over a month old when he admitted to playing no part in it. Now, with a daughter in tow, Watson has since stepped up his diaper-changing game, but it's quotes like this that make some celeb dads look way too out of touch.
(now that's a hell of a lot of unchanged diapers left on your conscience!). The ex-boxer's third wife has gushed before about what a great "hands-on" kind of dad he is. Hmm. At the end of the day, the guy who once bit another man's ear off in a fight can't handle his kids' poop. That's messed up.
It shouldn't come as much of a surprise that women in the Kardashian kingdom prefer to swerve the realistic responsibilities of being an adult, even when it comes to their own kids. Whether it's flying the nest and getting a real job or caring for their babies, the Kardashian and Jenner clan mostly prefer to get outside help for it all, and young new mom Kylie Jenner is no exception.
Since giving birth to her daughter, Stormi, earlier this year with her boyfriend, Travis Scott, the 20-year-old model and socialite has been struggling with the realities of motherhood.
Jenner was reportedly so "overwhelmed" in the beginning and hated changing Stormi so much that she has vowed never to have another child again and now leaves a lot of the care to her nanny.
"If there's no one there I can do it, but otherwise, I sort of slide away – I get very interested in my Blackberry at that point." Charming.
As Rossdale sees it, though, kids never grow up thanking you for all the dirty jobs you do as parents, so why bother? "A friend told me once that 'they never thank you, so don't sweat it'. I thought it was good advice." Maybe the kids won't remember your diaper dodging, but your wife sure will.
Back in 2008, J-Lo and her then-hubby, Marc Anthony, set off an unusual trend in Hollywood for family members to become permanent live-in nannies and babysitters to their kids. But for J-Lo, this happened by accident when the couple had two nannies quit on them within three months of their twins being born. Oops! Things got so bad that they were unable to find a nanny, despite offering a 9,000 monthly salary!
Sources reportedly revealed at the time that nobody was biting because J-Lo didn't just want help with her twins, but she also wanted someone to work 16 hours a day 7 days a week with the twins. Eventually, Lopez employed her mom to share baby care duties (and presumably diaper duties), and it wasn't long before Grandma Guadalupe moved in with them!
Rapper Bow Wow became a pretty young first-time dad in 2011 with his daughter, Shai, so this might explain why he's stumped by some of the less-than-glamorous sides to taking care of babies. Bow Wow (real name Shad Gregory Moss) had only just turned 24 when he and his now ex-girlfriend, Joie Chavis, welcomed their new baby girl, and it's fair to say that the rapper still feels like a kid himself. While on the Anderson Cooper 'Live' Show in 2012, Bow Wow opened up about the fact that being a young dad is a fun but messy business, but one important part of the mess isn't something he's the best at.
He told host Anderson Cooper that he mostly leaves that up to Shai's mom.
Cooper gave the young rapper a special diaper changing vest and butch daddy bag to encourage him to be more hands-on in the future. Hopefully, that'll work.
a "hands-off" dad when it came to diaper changing all five of his kids.
Since having Barron Trump with his wife, Melania, Trump has stuck by his 'no diaper' duty stance, almost to the point that he wears it like a badge of honor, claiming, "Men who change diapers are acting like the wife. Melania is a wonderful mother, she takes care of the baby and I pay all of the costs." Hopefully, Daddy Donny has some spare for when Barron needs adult therapy someday.


text:
Find > Basic Search
Dance Classes, Lessons, Events & Courses for Caroline Wright School of Dance.
Display this Results Page on Google Earth
CCA Hall, Park Road, Crowborough
Jarvis Brook Memorial Hall, Crowborough Hill, Crowborough
Whitehill Infant School, Luxford Road, Crowborough
Caroline Wright School of Dance
The Caroline Wright School of Dance was founded in 2004, offering classes in Ballet, Tap, Modern and Jazz. Classes are available to all levels and abilities from beginners to Adults. Caroline started her teaching career in Florida, USA, where she lived for 15 years, after her career as a professional dancer. In 2000 Caroline moved back to home town in Crowborough, East Sussex and started up her own dance school. Caroline was trained at the prestigious Bush Davies school in East Grinstead.
Dance Studio/School, Regular Dance Classes. Dance Styles: Ballet, Tap Dance, Jazz Dance, Stage Dance, Junior Dance, Ballet (English).
Email: Caroline Wright School of Dance.
(Last Edited: 20/10/2014)
ACCA Hall, Park Road, Crowborough, East Sussex
All Entries for CCA Hall Venue.
Ballet, Tap, Stage Dance Class
Ballet, Tap, Jazz, Stage, Junior, Ballet (English) Instruction, Practice. Contact organiser for times and further details.
BJarvis Brook Memorial Hall, Crowborough Hill, Crowborough, East Sussex
All Entries for Jarvis Brook Memorial Hall Venue.
n/a Ballet, Tap, Stage Dance Class
CWhitehill Infant School, Luxford Road, Crowborough, East Sussex
All Entries for Whitehill Infant School Venue.


Detroit Tigers slugger Miguel Cabrera has won the American League Most Valuable Player award for the second straight year.
NEW YORK — Detroit Tigers slugger Miguel Cabrera has won the American League Most Valuable Player award for the second straight year.
Cabrera won by a comfortable margin Thursday, getting 23 of 30 first-place votes from members of the Baseball Writers' Association of America. Angels outfielder Mike Trout was second — again — and Baltimore star Chris Davis finished third.
Cabrera became the first player to win two consecutive AL MVPs since Frank Thomas for the White Sox in 1993 and 1994. Albert Pujols won the NL MVP in 2008 and 2009.
Cabrera led the majors in hitting at .348 and took his third AL batting title in a row. The Venezuelan third baseman hit 44 home runs and had 137 RBIs, both second in baseball to Davis.
The 30-year-old Cabrera also topped the majors in on-base percentage and slugging.
Cabrera easily captured the AL MVP last year when he won the Triple Crown while hitting .330 with 44 homers and 139 RBIs.


Having an iPhone is great. They allow you to do quite a bit of business on the phone from taking orders, to email, and even bloggging. But with great power comes great responsibility.
Set-up your Touch ID or Face ID, really what's more secure than your fingerprint?
Turn off Siri on Lock Screen – easy go to Settings–>Siri & Search -mark off for Allow Siri when locked.
Turn on Find my iPhone. This is a great feature because if you do lose your iPhone or it's stolen you have the ability to erase the phone completely and lock it. Making it a nice paper weight.


text:
Karzai fires first salvo at power of Afghan warlords
By Ilene R. Prusher Staff Writer of The Christian Science Monitor
KHOST, AFGHANISTAN
Afghanistan interim President Hamid Karzai has called this region's most powerful warlord, Badsha Khan Zadran, a "killer" whose power must be broken.
This is the first time that the interim government has targeted any of the nation's warlords. A showdown with Mr. Badsha Khan could be a crucial test of Karzai's authority, and may influence US operations against Al Qaeda in the area. The US, which is allied with Badsha Khan's forces, says that relationship could change if Badsha Khan becomes a threat to the new government.
In a speech broadcast yesterday, Karzai said: "Our children and civilians are being killed by a cruel warlord and killer. I have decided to eliminate this kind of cruel warlord." He indicated he would launch an attack on Badsha Khan "as soon as possible."
Badsha Khan's brother Kamal Khan Zadran said Karzai is trying to discredit his sibling ahead of a June meeting of a national council that will decide the future government's composition. Badsha Khan has rejected Karzai's gubernatorial appointees in Khost and Paktia Provinces.
"It's true that Badsha Khan was an ally of ours before. We've had that relationship with a variety of warlords throughout Afghanistan," Gen. Franklin Hagenbeck, the commander of US ground forces in Afghanistan, told reporters at Bagram Air Base Tuesday. "But the old phrase 'there are no permanent alliances' probably smacks true in this instance."
Wedding blast in Afghanistan kills 23, including local politician
Afghans vote in presidential runoff
Backchannels As Karzai blusters over Taliban, more trouble in Afghanistan


text:
Theater Articles
Reviewer's Beat: American Son
January 3, 2019 - by Griffin Miller, Theatre Editor
In drama, real time is a double-edged sword. Because it's theatre, momentum needs to be addressed. Because it's human, the individuals—characters—are more often than not required to evolve, in what? Ninety minutes? Wrap your head around that, Darwin. Intermissions just muddy the trajectory.
Kerry Washington and Steven Pasquale in American Son. Photo by Peter Cunningham.
American Son, Christopher Demos-Brown's provocative new work, is set in the waiting room of a Miami police station where Kendra, an African-American mother, looks for answers about her missing teenage son. Interestingly, the writer not only plays the real time card, he sets his story in the near future: "Shortly after 4:00 AM on a day this coming June," suggesting that tomorrow will be as socially unbalanced as today… and yesterday. You can't erase history. And it is always about race.
Kerry Washington, Steven Pasquale, and Jeremy Jordan in American Son. Photo by Peter Cunningham.
As the lights come up, Kendra—Kerry Washington in a starkly persuasive performance—is trying to reach her son by adding a voice mail to the myriad texts she's already sent. Her anxiety is amped with the entrance of a young white police officer, Paul Larkin (Jeremy Jordan), whose insistence on evasive protocol rankles, as do his attempts at empathy—especially to Kendra, a psychology professor. "You keep saying 'I understand; I share your concerns.' Is that from some HR training video or something?," she asks.
The arrival of Scott (Steven Pasquale), Kendra's estranged husband and father of their missing son, Jamal, adds a welcome twist: not only is he white, he's an FBI agent with a military background. Through "one-cop-to-another" banter he's able to elicit info undisclosed to Kendra. To me this seemed more sexist than racist, but in retrospect, probably a combination of the two.
Pasquale and Washington's chemistry is moving, even when the timely script and cogent direction by Tony winner Kenny Leon veer off mark. Do Kendra's emotions always align with significant disclosures? Does Scott's behavior consistently mesh with his FBI training? And what of the play's fourth character, John Stokes (Eugene Lee), an African-American police lieutenant in his early 60s whose affect is almost frighteningly deliberate? Admittedly, these points pale under the overall scope of the play, which ignites an essential conversational spark—preferably without the gratuitous "Discussion Guide" tucked into the program.
American Son is playing at the Booth Theatre, 222 W. 45th St., 212-239-6200, americansonplay.com.
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September 27, 2010 | by Liz Willoughby-Martin	| in Opinion | [ssba]
A little less conversation, a little more action
I've talked a lot in these columns about how environmental and social justice problems are intrinsically linked; two sides of the same systemically awful coin. Like a terribly PDA couple at a party, it seems to be impossible to detach one from the other. While it's all very well to bitch about their dependency issues, how do we actually manage to stop them making out in the corridor? It's not just making the other guests uncomfortable; it's also fucking up our planet.
Okay, possibly not the highest-quality metaphor. But that is what we do, in university and in general life: we talk about stuff, we theorise, but we don't transmute theory into action. I can bemoan climate change all I want, I can draw all sorts of conclusions and connections, but it doesn't mean anything if my complaining doesn't produce any results.
Back to our overly affectionate bedfellows: today's example of the interdependency of social and eco inequalities is the destruction of Papuan rainforests, specifically the logging of Kwila, an endangered tree. Deforestation has already led to 83 per cent of Kwila disappearing from the forests of Papua, with the species estimated to slide completely off the map in 35 years if logging persists. We're talking habitat destruction, species extinctions and hardcore contribution to climate change.
As if being an eco-disaster wasn't sinister enough, the logging of Kwila also has serious human rights implications. Indigenous people in Indonesian Papua have their lands and resources stolen from them, and groups such as Amnesty International have recorded the torture and imprisonment of villagers working to oppose logging operations.
It seems obvious that logging Kwila is bad. One could say it's extremely bad. But where's all this endangered wood going? Who is ridiculous enough to purchase it? Well, Aotearoa and Australia receive about 60 per cent of all Kwila from Papua New Guinea, mostly in the form of attractive outdoor furniture. Yup, that's right, we are selling and buying endangered rainforest timber; one more thing for New Zealanders to be proud of.
There's currently no government regulation to stop illegally logged timber being imported into Aotearoa. While many stores have succumbed to pressure from environmental groups, a few continue to stock Kwila products and thus support human rights abuses and the trashing of Papuan rainforests. Bunnings Warehouse is one such example.
So here's our chance. Not only to concurrently strive for social and environmental justice, but to put our fighting words into operation. Come cut your teeth on some protest action: join Rainforest Action in asking Bunnings to end the sale of endangered Kwila. We'll see you and your pithy placard at 12pm, Saturday 2 October, outside Bunnings Warehouse, 46–56 Tory Street.
Maire Leadbeater says:
Good to see the coverage of this issue, and hopefully more people are becoming aware that kwila comes at a terrible cost to the environment and to indigenous people who depend on the forests. As you say it is now a threatened species, although it once grew South East Asia, the Pacific and and in parts of India and Africa. The remaining significant commercially viable stands on the island of New Guinea (shared by Indonesian controlled West Papua and Papua New Guinea) are being exploited.
Just one query – you suggest above that "Aotearoa and Australia receive about 60 per cent of all Kwila from Papua New Guinea, mostly in the form of attractive outdoor furniture". In Auckland the kwila furniture is sourced from West Papua (Indonesia on the labels). I understand we do import some kwila from PNG – but is 60% correct?
All the best, Maire
Miller says:
Hmm if only you could look it up on the internet.
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Whether a tumor is metastatic is one of the most significant factors that influence the prognosis for a cancer patient. The transition from a nonmetastatic tumor to a metastatic one is accompanied by a number of genetic and proteomic changes within the tumor cells. These protein-level changes conspire to produce behavioral changes in the cells: cells that had been relatively stationary begin to move, often as a group. In this study we ask the question of what cell-level biophysical changes are sufficient to initiate evasion away from an otherwise static tumor. We use a mathematical model developed to describe the biophysics of epithelial tissue to explore this problem. The model is first validated against in vitro wound healing experiments with cancer cell lines. Then we simulate the behavior of a group of mutated cells within a sea of healthy tissue. We find that moderate increases in adhesion between the cell and extracellular matrix (ECM) accompanied by a decrease in cell-cell adhesion and/or Rho family of small GTPase activation can cause a group of cells to break free from a tumor and spontaneously migrate. This result may explain why some metastatic cells have been observed to upregulate integrin, downregulate cadherin, and activate Rho family signaling.


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La "Sociedad Europea de Opinión e Investigación de Mercados" (European Society for Opinion and Marketing Research) (ESOMAR) es la organización mundial que regulariza y permite mejores investigaciones de los mercados, de los consumidores así como también, de las sociedades. ESOMAR promueve los valores de la Investigación de mercados y opinión, haciendo notar los problemas reales y logrando así, la efectiva toma de decisiones a nivel global.

Historia
Fundada en 1948, ESOMAR comenzó como una asociación regional dentro de Europa. El primer código de Prácticas de Marketing e Investigación Social fue publicado por ESOMAR ese mismo año. Luego de este, vinieron más redactados por organismos nacionales y por la Cámara de Comercio Internacional (ICC).

En el año de 1976, ESOMAR y la ICC, deciden crear un código internacional único por lo que en 1977, se publica el código conjunto ICC/ESOMAR. A este se le hizo una revisión en 1986 y de nueva cuenta en 1994, de tal manera que la versión actual, que lleva un título un poco modificado, es la cuarta edición.

Uno de los métodos más importantes para reunir información es el uso de la «investigación de mercados», un concepto que el código incluye es la Investigación Social y de Opinión. El éxito de la investigación de mercados depende, en la mayor parte, de la confianza del público en que ésta se realice de manera honrada y con total objetividad.
La principal finalidad de la publicación del código es la de fomentar la confianza del público y así, demostrar el reconocimiento de sus responsabilidades éticas y profesionales por parte de los profesionales de la investigación de mercados.

El código está basado en ocho puntos clave, los cuales son aplicados en su totalidad en los estudios de mercado y deben de ser considerados de manera conjunta con otros códigos y directrices dentro de los marcos de referencia de ESOMAR e ICC. La aceptación de este código internacional es requisito para ser miembro de ESOMAR y de todas las organizaciones naciones e internacionales que lo aplican oficialmente.

Misión
La principal misión de ESOMAR es la de promover el valor que posee la investigación de mercados y de opinión en elucidar situaciones reales para tomar decisiones más efectivas

 Atraer nuevas audiencias
 Reforzar y ampliar la plataforma mundial con un enfoque territorial
 Exhibir excelencia a todos los públicos interesados
 Promover la investigación en todo el mundo, en la propia industria y más allá de ella
 Proporcionar una plataforma creíble para el intercambio de ideas entre los líderes globales de la industria

Membresía
Actualmente ESOMAR tiene alrededor de 6.000 miembros en 130 países y reúne a profesionales de Investigación de Mercados y Opinión, Mercadotecnia, Publicidad, Negocios, Asuntos Públicos así como también, a medios de todo el mundo.

También trabajan con más de 80 representantes a nivel mundial que ayudan a promover el código así como también, apoyando la comunicación ESOMAR y sus mandantes locales.

Programa de eventos internacionales
Para facilitar el diálogo permanente ESOMAR crea y administra un programa completo de conferencias temáticas y específicas de la industria, publicaciones y comunicaciones así como defendiendo activamente la autorregulación y el código de práctica en todo el mundo.

Todo esto se realiza cada año con el fin de reunir a los miembros y de esta manera ayudarles a ampliar conocimientos, experiencia y, de esta forma, avanzar de manera profesional.

Referencias

Enlaces externos
 Cámara Internacional de Comercio
 ESOMAR
 EFAMRO European Federation of Associations of Market Research
 MRII Marketing Research Institute Internacional (Instituto Internacional de Investigaciones de Mercado)
 AMAI Asociación Mexicana de Agencias de Investigación de Mercado y Opinión Pública A.C.
 AEDEMO Asociación española de estudios de mercado, marketing y opinión
 SAIMO Sociedad Argentina de Investigadores de Marketing y Opinión

Mercadotecnia
Estudios de mercado

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