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Posted on March 23, 2021 by Curt
Chamber music helps define effective value creation methodologies
"More people should play chamber music, even if they don't play very well. They could learn a lot for their lives as human, social beings. It greatly helps to have a common goal. And the goal in our profession is so dominant, so interesting, and so varied that it's worthwhile making the effort." Members of the Alban Berg string quartet
My History and Perspective on Value Creation
At fifteen years of age, I played the violin professionally in the R.I. Philharmonic Orchestra. During that period of my life, I discovered the joy of playing chamber music. That experience has always been my inspiration for what value creation and innovation in universities and businesses should be like: small teams, each person with unique roles, all aligned around a mission everyone is passionate about, and where the enormous amount of work required is worth it to all involved because the rewards are so great.
I believe that the mental models I developed as a musician are responsible for many of the unique properties of the value creation methodology we have developed and why it works so well. Indeed, I believe that playing music in a group is excellent training for life.
The definition of innovation is the delivery of new customer value in the marketplace with a sustainable business model. Value creation is the process of developing innovations. These two definitions apply to both technological and business innovation as well as music and the arts.
In the description below, not every concept is a perfect match. Nevertheless, although the words are often different, the melody is the same.
A major pivot
As a teenager, I realized that music standards are absolute, and I would be better off following my second love, science. For me at that age, it was a remarkably prescient decision.
I studied physics and went on to get a Ph.D. After graduate school, I worked for ten years at RCA Laboratories in Princeton, N.J., and then G.E. after it acquired RCA. After several years G.E. sold the RCA Laboratories to SRI International, headquartered in Silicon Valley.
At the time, SRI was a thousand-person technical services company that developed new products and services, primarily for global companies and governments. Like many mid-level managers in large companies, I developed advanced technologies but I had never learned how to systematically create new customer value, which was now my responsibility at SRI.
Just Learn
My great friend, Norman Winarsky, was the first to tell me about our sale to SRI, and I asked him what our colleagues thought. He said they believed it would be great. I suggested it would be a bit different because until five minutes ago, our jobs were to spend millions of dollars a year, and now it was to earn millions.
And then Norman said the words that changed our lives, "Curt, this is just like everything we have ever done; we just have to learn." Since Norman is one of the smartest people I have ever known, his optimism counted a great deal at that moment.
Pizza and Coke
"We just have to earn." And that is what we did. Every other Monday night from 5 PM to 9 PM, with Norman and our superb team of about fifteen technical colleagues, we would gather over pizza and Coke. Each of us would describe our projects and share something we had learned about our new business. We had no money to spend, and we were not officially blessed by senior management. It was actually the opposite. The V.P. of marketing at the time told me he didn't believe in what we were doing, so we would not get any support from his team. I thanked him for being so direct and clear.
Nothing Worked
For more than 18 months, we had zero success, which was a shock. When I was an RCA manager developing what would have been the world's first Internet company with partners like Citicorp and Nynex, everyone wanted to talk to me. Now no one did. I had meetings with managers at other companies that were five minutes long. It was both confounding and crushing. I had little to offer.
Our team studied and tried to apply lessons from all the popular books, such as "In Search of Excellence," and none helped. They were either about how a CEO did something remarkable or advice that was either too complicated or not actionable. Super intelligent, creative people will not put up with ego-centric, bureaucratic systems.
Mostly these books were about the what to do and not the how to do it. We needed to know how and after trying and failing repeatedly we realized that inventing the how was the task at hand. How to systematically create value for unmet opportunities of importance to others?
Our team learned, figured out basic value creation concepts and processes, and started to grow. We developed concise frameworks and concepts to help our teams more effectively get the answers needed. And our Monday night meetings became what we eventually called "Value Creation Forums", where new teams could learn and improve fast. We started growing and, bit by bit, we brought into our group other parts of the company that were in trouble.
In 1998 I became SRI's CEO. When I got to SRI in Silicon Valley, it had been in decline for twenty years and was approaching bankruptcy. The land was being sold, the buildings were in disrepair, and the staff was discouraged and hostile toward senior management. Who could blame them after twenty years of decline?
SRI had an illustrious history in Silicon Valley. It created electronic banking (e.g., those funny numbers on your checks), received the first Internet transmission, and invented the foundations for personal computing, including the computer mouse. The presentation of those concepts is the greatest demonstration of new computer ideas ever. It is called, "The Mother of all demos."
Given its endless technical opportunities, enviable talent, and location in the heart of Silicon Valley, it should have been a time of abundance for SRI; not the world of scarcity that was its current mindset. But SRI's business model had become obsolete, more like a university with little to no collaboration, and it had no effective value creation process.
I was optimistic about our future because I was sure that the value creation methods we had developed in Princeton could turn around SRI in Silicon Valley. We started training staff in value creation using the methods I describe below and in the Top-10 Businessweek book I co-wrote with Bill Wilmot, called Innovation. When I left in 2014, we had grown SRI by over 300% and were systematically creating one major innovation after another, such as HDTV and Siri, which was bought personally from us by Steve Jobs.
Value creation workshops
I had started SRI's HDTV program and, as part of that, had developed many friendships at the BBC in London. One day I got a call from a BBC executive who told me they had just completed a world-wide study on the different value-creation methodologies being used. They had concluded that our approach was the best, and they wondered if we would share it with them. The BBC is an exciting place with fascinating people, so I said yes.
It turned out to be a fantastic experience. Over 100 BBC managers and executives eventually came to SRI, and they were, by far, the most fun, clever, irreverent, and scatological group that has taken the workshop. Because of that success, we decided to offer the workshop to other partners as a way to form close friendships and to better understand different markets.
Post SRI
After I left SRI in 2014, I became professors at Northeastern University and Worcester Polytechnic Institute. I continued, with my partner Len Polizzotto, who had previously worked with me at SRI, to study ways to improve our value creation methodology. I wanted to understand why our methodology worked so well and others too often did not.
Since SRI, I now have a better understanding of why our methodology was so successful. The short answer is active learning, the educational science for how we learn and improve the best and the fastest.
Active learning consists of repeatedly doing the task, getting real-time feedback, working in small teams, using multiple representations to represent concepts, focusing on the big ideas, using the right tools and frameworks, engaging with teachers, practitioners, and mentors, assessing performance, and working in a complete system. The principles of active learning apply to music and many other non technical activities, such as almost all educational programs, healthcare, circus acts, dance and ballet, movies, stunt actors, the military and police, and other team activities, like crew, soccer, and basketball.
When I was introduced to the lead for the online, experiential value creation program we are building at Northeastern University, Sarah Callan, I asked her about her background. She said she stared her career as a professional trapeze performer. I immediately said to myself, I bet she understands teamwork, hard work, constant practice and iteration, and listening to others for understanding. She does.
From Northeastern University we currently have on Coursera an introduction to our program called, Innovation for Impact: The Carlson Polizzotto value creation method. In 2021 with Northeastern we will have the full workshop we have developed since SRI based on active learning. I wrote a Harvard Business Review article in 2020 about our method called Innovation for Impact: Value creation as an active learning process.
The Issue: Poor Innovative Performance
We have held workshops with over 500 teams in major companies, startups, government agencies, and universities. With the exception of some superb people who created major innovations, most of the results we see are poor. Ph.D.'s from the world's best schools do not know the definitions for invention, innovation, value creation, customer value, and the value proposition. That is, they are unfamiliar with the basic definitions that define one of their major responsibilities.
One result, that I still find stunning, is that no team has been able to compellingly and quantitatively describe their project's value proposition when first asked. At the end of a workshop, we discover that only about 25% of the proposed initiatives would provide any value if completed. In addition, almost all pivot or change direction after just two days. They make these conclusions; we simply give them a framework for them to conclude these things. Very few companies, like when I was working for RCA and GE, teach their employees the fundamentals of value creation.
University R&D is often worse, especially on large interdisciplinary programs, because the teams do not have shared language and concepts for value creation and team members do not collaborate intensely enough. I am convinced that large university R&D programs could be improved by 2 to 10 times by using the most fundamental value creation methods.
We also learned that none of the Ph.D.'s who came to SRI, even from the world's most famous universities, knew how to create value. It is not taught so we had to train them. Some programs, like the design school at Stanford are helpful but they are still limited in their effectiveness. Most entrepreneurial programs do not fully address the issue because entrepreneurship is an outcome. Value creation is the essential precursor to entrepreneurship, and it is what is missing.
The String Quartet as a Model for Active Learning
An analogy
Playing music in a string quartet is a compelling example of using active learning principles. It allows us to better understand the creative challenges and rewards in other fields, such as technological innovation. At the end, I will note analogous elements from our value creation methodology and what is missing from almost all other value creation methodologies.
Important mission
A string quartet consists of a 1st violin, 2nd violin, viola, and cello. After Hyden proved the potential of this combination, all great composers wrote string quartets, and many pieces are masterpieces. Beethoven's late quartets are among the most significant works in all of art. Playing them is a profoundly gratifying experience but also a humbling challenge.
In addition to their prodigious technical challenges, professional quartets will often play Beethoven's quartets over a lifetime and never feel satisfied that they have fully expressed Beethoven's intent. Part of their enduring magnificence is that the ideal performance is perpetually elusive.
The strong glue that holds quartets together and makes such intense collaboration possible is the enormous reward of making music in that form. A quartet is large enough to create a rich, complex musical experience but small enough to allow a precise, integrated performance.
Musicians agree that when a group comes together while playing a great music piece, the emotional rewards are extraordinary. It consumes all of the player's physical and intellectual resources. The quartet can enter a state of "flow," which psychologist Mihály Csíkszentmihályi describes as a state of complete immersion when people are totally involved and focused on what they are doing. Time becomes irrelevant.
Because achieving flow requires complete alignment from all four players, they must find a point where their playing has absolute authenticity – the full integration of both mind and body. Without agreeing on the importance of their work and realizing the joys it produces, mastering the challenges a quartet must face would be overwhelming.
Intense practice
To be a world-class professional musician typically takes 10 to 20 years of intense study, far exceeding the 10,000 hours Malcolm Gladwell suggested it takes to be an expert. Yo-Yo Ma, the world's leading cellist, practices 10,000 hours every five years.
Those years of study are augmented by individual lessons every week or two and at music camps, masterclasses, and other events where chamber and orchestral music are studied. The best students usually go to music schools, such as Julliard and Curtis, where for 3 to 6 years, the student's primary focus is on music theory, ensemble performance, and instrumental excellence.
Conceptual frameworks
Like all professions, music is composed of conceptual frameworks that capture its essential characteristics and designs. After the notes themselves, musical scales are the basic building blocks. They are the common language that defines music's grammar, which comes in many different combinations.
Students learn and practice these frameworks until they become mental models to be identified and used intuitively when playing. Professionals do not play by reading individual notes. The only way they can musically play rapid passages is by identifying music's larger structures and frameworks.
Masterclasses for team learning
A primary teaching method in music is the masterclass, where an expert teacher meets weekly with their twelve or so students. Multiple students will individually play a piece they are working on and receive feedback from the teacher. All the students learn by seeing what the other students do well, where they have trouble, and how the teacher helps them address shortcomings.
In the class, the objective is not to play the parts that student play well. It is to focus on those areas of major concern. Great music teachers are also usually mentors who help advance the careers of their students.
Even after practicing for 5 hours every day for 15 years and learning all the fundamental elements of music, there is still no guarantee that the student will become a great musician. There are other essential skills and attributes, such as the creative ability to conceive and execute compelling interpretations.
Creative tension
Conflicts are built into quartet paying. Like in all creative activities, conflicts can inspire transformational musical experiences. At the same time, conflicts always represent instability and the potential for failure.
Quartet performers are often with each other for weeks on the road while working up to 6 to 12 hours a day, continually playing, discussing, and sometimes arguing about what is likely the most important activity in their lives after their immediate families. Each of the players is a superb professional, and each may interpret parts of a piece differently. And yet they must eventually work out, bar for bar, how they will play together to convincingly perform the music.
To resolve conflicts, methods must be employed to maximize the team's potential while minimizing the endless possible disputes. There are numerous strategies for doing this.
Essential, productive diversity
On its face, a quartet is both perfectly diverse and perfectly aligned. The players all share the vision, have unique complementary skills, and share in the rewards of success. At the same time, they must have different perspectives that bring new creative insights and provide motivation, which are the basis for better ideas and unique performances.
To be productive, they must also share certain fundamental principles and human values, which are the strengths to be leveraged in the team. Often that comes from members having the same teachers or culture. My great Julliard cellist friend, Aline Johnson, describes this need for shared values as the base notes the cello plays in the quartet. There are times you can't hear them distinctly, but if they are not there, the loss is immediately apparent. The bottom drops out that holds everything together.
Play it first; don't argue
Some quartets argue endlessly about the different ways to play passages. But words can only partly describe what is required. They are always incomplete and open to misunderstanding. A better approach is for the quartet to play the proposed options immediately. Often, during the playing, the best option becomes obvious, resolving the issue.
Another approach is to always ask for three options, reframing the proposed idea and opening up new possibilities. It is the classic method of reframing problems to discover better solutions.
Constant feedback
Playing music is a "transparent activity" where the standards are clear. The great violin teacher, Ivan Galamian, always said, "No matter what happens, keep playing, half the audience listens, and half the audience watches."
That is good advice in many settings. But it is not the same for experienced musicians. As soon as someone plays three notes, they know exactly what to expect. There is no hiding or covering up.
Musicians understand this reality and also that no performer can fully evaluate their own playing. Thus, they constantly ask for feedback and often continue taking lessons throughout their careers. They want to be reminded about what works, as much as what does not.
The inherent transparency of music-making and the high global standards mean that lesser groups fall away. It is a demanding profession, and only those with the necessary skills, drive, and human values survive.
Balance of roles and responsibilities
In principle, the four quartet members are equals, but that is not completely possible because the first violin gets most of the melodic material. By default, the first violin usually becomes the leader.
This potentially results in a conflict if the first violinist is overbearing. A standard solution for this, used by many successful quartets, is that the first repeatedly points out that the quartet consists of four equal members and seldom refers themself as the leader. Thus, by minimizing the issue, the leader lessens the potential for conflict.
Another potential sore point is the role of the second violin. The second violinist may play almost as well as the first violinist, but they might lack some of the dramatic intensity required to make effective performances. If they are both equally good, one solution is to take turns playing first. Another is to find a person who prefers being less out front and is happy to play second. In all cases, the roles of all players are to be constantly acknowledged and celebrated.
One of the essential skills a quartet musician must have is the ability to actively listen to others. Active listening means hearing, understanding, and responding. Active listening is a continuous musical activity for musicians because it is the only way players can be musically aligned. Active listening is, to some degree, teachable, but it is still a particular skill that the best musicians possess.
In addition, because musical ideas are so important to players, when musical ideas are being discussed with fellow players, active listening is also fundamental. When people feel like they are not being taken seriously or disrespected, they will often act out.
My colleague, Bill Wilmot, one of the world's leaders on personal communications, said that when people act out, it is almost always because they feel like they are not being included or respected. In an intimate, intense activity like playing music, being ignored or disrespected can feel like the worst insult possible.
Delivering surprise
The goal of all art is surprise. People sometimes think that is not possible in chamber music. After all, they are often playing pieces that are hundreds of years old. But if there is no surprise, then there is no excitement or delight. The goal of quartets is to constantly reframe the music and discover new insights that bring the music to life.
The goal of all innovations is surprise. If there is no surprise, there is no new value and no innovation.
A string quartet is a small business so it must have a sustainable business model. That includes promotion, booking, logistics, and taxes. The different players must divide up these tasks. Not all quartets, even very good ones, can solve these business issues.
Enterprise Value Creation and Active Learning
Below are elements of our value creation process that are directly analogous to playing in a string quartet. Our methodology uses active learning, including constant doing and iteration, to have the concepts and frameworks mentioned become intrinsic mental models.
The objective of value creation is to address an important unmet customer and market need, not just an interesting one. Important opportunities are required to attract the best talent, raise resources, have the time needed to create a valuable innovation, and motivate the team to perform the hard work required. Valuable, important opportunities motivate value creation teams like they do for quartets playing the great repertoire.
Value creation is a process of learning and creating that can only be mastered by continuous work on the task for years. At SRI, when I was CEO, it took a new Ph.D. from 3 to 5 years of intense work to become an effective value creator. Most important innovations take 5 to 15 years.
Some people think that once you have a Ph.D., you know how to create customer value and innovations. But value creation is just as hard as playing an instrument and learning how to work together in a quartet. Additionally, the global standards are the same. There are only a few winners.
We use shared value creation concepts and mental frameworks, such as NABC value propositions, to facilitate effective communication and value creation. These concepts are like the scales in music, the basic grammar for value creation. Without these frameworks, teams cannot work efficiently and effectively.
Recurring team value creation forums are held for 60 to 90 minutes every 2 to 4 weeks consisting of 3 to 6 teams working on different initiatives. All presentations use the NABC framework with the focus being on the critical parts that are still not resolved. These are much like masterclasses.
At each forum, a facilitator has other participants give feedback from multiple perspectives and also introduces additional value creation concepts. The teams address different market opportunities, which is like students studying pieces from different composers. When required, mentors are provided for teams between forums to address performance gaps.
Value creation requires people with different skills and perspectives. Typical roles at the start include a person with business interests and skills, a person or two with deep technical abilities, and an operations person. One of the initial team may be the visionary who can "see" the opportunity. Additionally, someone will eventually be required to build the offering. The businessperson is usually the initiative's champion to drive it forward, like the 1st violin in a quartet. Also like in a quartet, there are potential conflicts or tensions in value creation teams. Those tensions can drive creativity, but they need to be aligned with the initiative's vision and goals. Like in music, the "bass notes" that establish the shared human values to be leveraged in a team must be there.
Essential, functional diversity
Most major opportunities today are interdisciplinary. Value creation starts with a small number of teammates, each of whom address a critically important aspect of the challenge. These teams share the vision, have unique complementary skills, and share in the rewards of success. Like in a string quartet, there are no bench sitters. In big companies, this principle is often violated. When there are redundant or unneeded people on a team, there will be waste and conflict.
In value creation forums, each team is given 3 to 10 minutes to present their value propositions. This is similar to a student in a masterclass starting the class by playing a passage from the piece they are working on and then getting feedback. Presenters are quiet after their presentation, so they can actively listen to the feedback from other teammates. Negative comments and arguing are not allowed. Like in music, when a value proposition is presented, its strengths and weaknesses quickly become apparent to almost everyone. And if an initiative has no value, the team soon realizes that, and it often drops away.
At value creation forums, the facilitator calls on other teammates at random (to assure everyone is actively listening) to give feedback from multiple perspectives: what was good, ideas for improvement, eyes of the end-user, eyes of the funders. The teams address the issues raised in forums by constantly reframing and iterating on their value proposition. Team members also practice by "pitching" their value propositions back and forth to each other to practice both the content and the presentation's delivery. The amount of feedback, study, and work required during the process of value creation to create a new innovation is equal to that required by a professional quartet.
Every initiative must have a champion who drives the formation of the value proposition and assembles the core team. Productive teams must exemplify integrity, trust, respect for others, and generosity of spirit (the bass notes). The champion is mostly the person with skills and interest in business development. They are the 1st violinist in a value creation initiative.
Each forum team presents for 3 to 10 minutes and then is quiet and listens carefully to the feedback. In addition, innovators are constantly interacting with potential customers, partners, and competitors. Value creators are always looking for faint signals in a sea of noise. To hear those faint signals, innovators must be active, empathetic listeners, like those in a string quartet.
Teams are taught how to "bring their ideas to life," so they are compelling and unforgettable. Value creation is about creating surprise. Like in music, if there is no surprise, there is no significant innovation.
Value creation is the process of creating innovations. Over time a complete business plan is developed, including having a sustainable business model.
Our value creation methodology, Innovation for Impact, is based on the principles of active learning. It is the only method that is so conceived. It differs from other popular methods in three fundamental ways.
Important unmet needs
Shared concepts and frameworks for value creation
Team-based value creation forums
First, our method is focused on finding and addressing important opportunities. Most people feel those are risky, but they have the least risk when the principles outlined here are used to learn, create, and improve fast. Important opportunities carry the advantages of playing great music. They attract the best talent, motivate and provide meaning, justify all the hard work, provide sufficient rewards for all involved, and make it possible to secure the necessary resources. Most would-be innovators do things that are interesting to themselves, but not important to others. That is the risky path.
Second, no other value creation methodology has a family of concise frameworks and concepts for value creation. We consider these concepts to be as important as scales in music. Their lack in other methods leads to enormous waste and inefficiency.
Third, all major innovations are interdisciplinary and require the integration of many different forms of knowledge. Value creation forums are essential for helping teams combine those different forms of knowledge. Value creation methods that use complicated frameworks, long presentations, and unfocused feedback are mostly ineffective. The multi-perspective feedback used in forums plus the concise NABC framework and short presentations uniquely allows for rapid reframing and comparative learning. That is, each team can see from the other presentations what works and what doesn't. Comparing different NABC value propositions is like an eye test in how quickly it helps teams learn, reframe, and improve their initiatives. In forums learning compounds, and the improvements made become exponential.
Carlson and Polizzotto, Innovation for Impact: Coursera
Curtis Carlson and Bill Wilmot: Innovation: The 5 Disciplines for Creating what Customers Want, Random House
Curtis Carlson: Innovation for Impact: Active Learning as the Basis for Value Creation, HBR
YouTube: See Innovation for Impact, Curt Carlson
LinkedIn: https://www.linkedin.com/groups/12325071/
Keith Murnighan and Donald E. Conlon: Dynamics of Intense Work Groups: A Study of British String Quartets: https://www.jstor.org/stable/2393352?seq=1
Hat tip: David K. Hurst


On November 16, 2017, California officials released a new set of regulations for cannabis manufacturing, testing, and growing. In many respects, these updates are a significant improvement to the initial draft regulations, however, some major problems remain.
Two important issues pertain to regulations on mold and foreign filth, which are absurdly loose. And unlike the initial proposal, no statement as to the rationale behind the new regulations has been released.
The October firestorms raging in Northern California have incinerated nearly a quarter million acres and displaced more than 100,000 residents. Heavy smoke has blanketed the skies in the nine-county San Francisco Bay Area, poisoning the air to an unprecedented degree and prompting air quality alerts and health advisories throughout the region.
"We have never recorded higher levels of air pollution in the Bay Area," said air district spokeswoman Kristine Roselius.
Cannabis Conversations video interview on the current landscape of pesticides regulation, pest management, and the need for further research.
Lab testing, safety protocols, adverse events reporting, and regulatory standards for the cannabis industry.
How Accurate is Potency Testing?
Want to know the potency of your medicine? How much, if any CBD, does it contain? Has it been sprayed with dangerous pesticides? Is it infested by molds or bacteria? The only way to answer these questions for sure is to have it tested by an analytical lab.
Read more about How Accurate is Potency Testing?


Four years later Komdu til mín svarta systir (come to me, my dark sister), Icelandic band Mammùt released a new album. Kinder Versions is out now via Bella Union. We had a little talk with band about the new work, live shows and more.
It's been four years from your latest work. "Kinder Versions" is your new album. What about it and the creative process? And the main inspiration?
The album took us about a year to write. The writing took place in many locations including a small isolated town in the middle of the winter, summerhouse where we wrote music in the midnight sun and a huge abandoned concrete walled office building in the suburbs of Reykjavík. The recording took another year and was produced by Curver. The inspiration is as always our daily lives with all the incidents and feelings that go with it. We dove deep into our souls and let everything loose and the outcome was Kinder Versions.
This album and the choice of English Language can be considered the big step to receive much attention outside of Iceland?
That is true. We've thought about making music in English for a very long time but it wasn't until now that it made any sense. Since it's the first time we release outside of Iceland it was a natural evolution for us to switch languages to be able to connect to our audience better.
The video of "Breathe Into Me" was shot, directed and edited by yourselves. What about this experience?
We have many ideas about our music and our whole appearance and since our band is full of visual artists and graphic designers it's a lot easier to do things ourselves rather than explaining our ideas to others. That way the outcome is exactly how we want it. We usually get people to assist us but we like to be in charge ourselves.
Which part of Iceland culture had more weight on your way to do music?
In the beginning it was mostly a lack of things to do in Reykjavik that pushed us into start making music. When we had started writing songs we realised how great it was and that has kept us doing it. The culture and surroundings always have an impact but we've never been able to identify exactly what affects us. For us making music is an inward journey that is expressed outwardly.
You have an upcoming tour. How do you conceive your live shows compared to the studio sessions?
Recording and playing concerts are two very different things even though they're both creative. Recording is digging deep into yourself and contructing what you might find and playing concerts is creating an atmosphere and a connection between us and the audience.
You played to the Iceland Airwaves last year. Tell us more about it.
Last year was the 11th time we play the festival but it's always as much fun every time. The whole city changes into one big chunk of musical excitement and you feel like you can physically touch the positive tension in the air. Last year was no exception.


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Stewart-Haas Racing, just a day after finalizing its team lineups, makes another major announcement
https://www.youtube.com/watch?v=OcN6SxL569k
Kurt Busch will defend his Daytona 500 crown in a Stewart-Haas race car after all.
After months of speculation, Busch announced earlier this week that he signed a one-year contract to remain behind the wheel of the No. 41 Ford Fusion. Sponsorship will continue to be provided by Haas Automation and Monster Energy.
Monster Energy will only serve as co-primary sponsor for 24 races in 2018 and will act as the full primary sponsor for one Cup Series event. Haas Automation, which is SHR co-owner's Gene Haas' company, will sponsor the car for the remaining races, according to a Tweet from Sports Science Journal's Adam Stern.
Busch had another solid campaign in 2017. He won the season-opening Daytona 500, finished in the top-10 15 times, and advanced to NASCAR's playoffs. Despite this success, he was left in limbo after SHR declined to pick up his 2018 option in August. Both the driver and team wished to continue their partnership, but were forced to wait on Monster Energy's decision whether it would offer sponsor next season.
Since joining SHR in 2014, Busch has earned five wins and made the playoffs each season. In 2018, Busch will be paired with crew chief Billy Scott. A year ago, Tony Gibson served in that role for the No. 41 team. However, he expressed a desire to get off the road, so Scott moved over to Busch's team after working as Danica Patrick's crew chief the last two years.
As you might expect, Busch is excited to defend his Daytona 500 crown in a SHR Ford.
"Knowing that SHR is committed to optimum performance, I believe that I have everything I need to win races this season and take home the 2018 Monster Energy NASCAR Cup," Busch said, according to ESPN. "I look forward to taking on next year with my team, sponsors and determination."
https://twitter.com/StewartHaasRcng/status/941050384143011840

redpajama_set_name: RedPajamaCommonCrawl


In 1973, Giffin Contractors was awarded their first significant automotive contract at General Motors in Oshawa. Since then we have provided solutions for clients in this sector which include paint finishing, metal treatment, energy reduction, pollution control, air handling, air movement and project management.
© 2019, Giffin Sheet Metals Limited, Giffin Contractors, Giffin Combustion Services Ltd. All rights reserved.


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Bomb Threat Copycats
The Daily Pennsylvanian has published an article on September 5, 2007, written by Katie Karas on the wave of bomb threats that are sweeping across the United States. Is copycatting behind what is occurring?
The bomb threats have been received for three months, but in a concentrated fashion between August 24th and 27th, and in the days afterward. Media this week are reporting that 13 colleges and universities have been the targets of the threats. I've tracked more than 13, including Carnegie Mellon University, Massachusetts Institute of Technology, Middle Tennessee State University, Princeton University, Cornell University, University of Iowa, University of New Hampshire, University of Alaska at Anchorage, Oregon State University, University of Akron, Clemson University, Western Illinois University, William & Mary College, Clarkson University, and Swarthmore College. There are probably several others.
This comes during a time when threats and extortion attempts against U.S. stores, banks, and businesses continue with more bomb threats being called in nearly every day, according to U.S. officials and the FBI. By last count yesterday, at least 24 threats have been received by businesses in more than 17 states.
The university bomb threat itself doesn't mention any college by name, and lists the sender of the e-mail as George Orwell@mixmaster.it., an Italian Web site. No bomb has been found in any situation, and the threat has been considered a hoax in each case.
I mentioned to Karas that in the cyclic nature of school shootings, there are often waves of bomb threats occurring afterward. For example, during the month after Columbine, over 400 false bomb threats were reported, mostly in high schools, across the United States. If this current wave is any indication of what is going to present itself in the wake of the Virginia Tech (Virginia Polytechnic Institute and State University in Blacksburg, Virginia) shootings of April 16, 2007, we all may have to be prepared for a busy fall and spring on the campuses of the nation.
The following is the text of the Karas' article:
Over a dozen American universities received bomb threats within the past ten days, though no explosives were found at any of the threatened sites.
The Federal Bureau of Investigations is still examining the apparent hoaxes.
"We're working with the college and university police and the local police to investigate these matters," FBI Special Agent Richard Kolko said. "Due to today's world, none of these threats can be taken lightly."
Schools have been especially on edge since last April's shootings at Virginia Tech, and many universities - including Penn - have instituted emergency alert systems in the event of a scare.
The Massachusetts Instiute of Technology and Princeton, Cornell and Carnegie Mellon universities were among the campuses targeted.
Kolko declined to comment on whether the FBI thought the threats could be related.
It is not unusual for so many threats to be received in such a short period of time, said Loren Coleman, the author of The Copycat Effect.
"I think what we generally find is there are waves of these situations where copycats do occur, and they come in clusters," Coleman said.
Vice President of Public Safety Maureen Rush said Penn rarely receives bomb threats.
The last one occurred last fall, when certain buildings of the Quadrangle were evacuated while police specialists responded to a bomb threat in the SEPTA line that runs underneath the area.
In the case of a threat, Rush said, building administrators and the police would be notified by PennComm, and police would then determine the level of threat and decide the appropriate course of action.
"We always err on the side of caution," Rush said, "but we try not to be trigger happy."
Police and security forces responded to the recent threats by sweeping certain buildings and sometimes evacuating them, though many of the threats did not specify which buildings were being targeted.
At M.I.T., for instance, the threat received did not mention any specific location on campus.
Officials at Princeton said the number of threats actually allayed their fears.
"After learning that there were other universities [that received threats, it] actually reinforced in our minds that it was not a credible threat," Princeton spokeswoman Cass Cliatt said.
Mario Scalora, a professor of psychology at the University of Nebraska-Lincoln and an expert on threat assessment, agrees that in many cases the threats are not worthy of a full-fledged response.
"If someone really wants to hurt you, they're not going to tell you in advance," he noted. "You take them all seriously because the threat still could materialize, but you have to take a bigger-picture look at things."
But with the sixth anniversary of the September 11th attacks approaching, Scalora suspects that the flow of hoaxes will not abate anytime soon.
Source: "Several universities receive bomb threats: Princeton, Cornell, others threatened, but safety officials find no explosives," by Katie Karas, The Daily Pennsylvanian, September 5, 2007.
Posted by Loren Coleman at 8:44 AM No comments:


Designed for the top players in the game, these men's tennis shoes are built to perform. They feature a supportive barricade chassis and full-length adiprene+ cushioning. The seamless bootee construction with geofit provides a comfortable, stable fit.


The new Exynos chipset boasts custom CPU cores, an upgraded GPU, and advanced machine-learning and image-processing capabilities, which should deliver an improved multimedia experience and tighter security.
According to Samsung, the CPU will be made up of four third-generation custom cores, which are relegated to power-intensive tasks and can operate at a maximum clock speed of 2.9 (GHz), and another four cores optimized for efficiency. Samsung claims that, with the widened pipeline and improved cache memory of the new chipset, single-core performance will be "enhanced twofold," while multi-core performance will be boosted by "around 40 percent" compared to the Exynos 8895.
The Exynos 9810 will boast advanced neural network-based learning capabilities, which will be used to power Samsung's "hybrid" 3D face recognition system. According to Samsung, this system will utilize both hardware and software to deliver improved security and realistic "face-tracking filters."
The Exynos 9810 also features dedicated image processing and upgraded multi-format codec (MFC), which can be used for advanced object recognition and scene categorization, as well as visual and image processing. Samsung says this could deliver advanced stabilization for images and video of up to UHD resolution, real-time shallow depth-of-field simulation in high resolutions, video recording in up to 120fps at 4K, and vastly improved low-light performance. This will also allow for improvements in Bixby Vision, which uses object recognition to deliver results.
The Cat.18 LTE modem inside the 9810 is also among the first to offer 6x carrier aggregation (CA), which (in theory) offers 1.2Gbps downlink and 200 megabits per second (Mbps) uplink speeds, a step up from the previous 5CA modem, which capped out at 1Gps.


There's a fine line between "childlike" and "childish," and it can get lonely being the only adult in a relationship.
As with many best-laid plans, things didn't quite turn out the way I had thought they would. I had always dated older men, thinking they were more mature than men my age. But the one and only time I even glanced at a man younger than myself, I ended up married to him.
I look young for my age and he looks a little mature for his, so no one would ever guess we come from different decades. Except for finances (he's a saver and I'm a spender) and food (he's plant-based; I'm an omnivore), we're on the same page with most of the major marriage flash points—religion, politics, and child-rearing. Our age difference simply isn't an issue on a day-to-day basis.
Almost 99% of the time, I can tell you why marrying a younger man is fantastic. He keeps me young with his boundless energy, thirst for knowledge, and endless enthusiasm. He's 4 years old when it counts, like when he plays with our almost 4-year-old son. But he can also be quite mature. He has travelled the world and had adventures most of us can only dream of, and he's incredibly introspective, which makes him wise beyond his years. Oh, and he's really strong, stronger than most men my age. He can lift, move, slide heavy things, reach high places, and open stuck jars—he can do it all! Just don't ask him to fix the toilet.
And then there's the downside. His youth will sometimes manifest itself as immaturity. Whereas I had decades of being alone, getting comfortable in my own skin and learning from mistakes, I often get the feeling that I'm my husband's relationship guinea pig. I think he ditched all of his prior girlfriends right after the initial romance stage, so never really learned what it takes to go the distance.
With three kids having ravaged my body, I'm sure he's also well past the attraction stage by now, which is the diplomatic way of saying that he's learning the hard way that our relationship requires ongoing upkeep for it to thrive.
And that's on top of some basic communication challenges that make me feel like I married a teenager. Getting his full attention is next to impossible, unless I raise my voice. He's always busy doing something or other, and I struggle to get him to look up or even mumble an acknowledgement when I talk to him. But when he wants to discuss something with me, heaven help me if I don't drop everything and give him my full attention immediately.
Sometimes I feel like I have a fourth child. I keep a checklist for my husband before he leaves the house. Not for the "please remember to buy the orange juice"-type stuff, but more along the lines of "don't forget to put on deodorant." I also have to remind him to do things a million times before he gets around to it, which, uncannily, is exactly how many times it takes to badger our son into cleaning up his toys.
I also occasionally feel like I'm mediating a schoolyard dispute between two boys. When my loving husband inadvertently hurts our son's feelings or plays a bit too rough, his response is usually, "No I didn't!" or, "He played rough first!" There's a fine line between "childlike" and "childish," and it can get lonely being the only adult in a relationship.
On days when I'm tired, insecure, or just plain frustrated, the doubts about our age difference creep into my head and wreak havoc on my psyche. I worry if we'll really be able to grow old together. Does he regret not marrying someone younger? Does he still find me attractive, and will he five, 10, or 20 years down the road? Does he resent when I pull rank based on my seniority, or is he grateful that my life experience on many occasions has served us well? Sometimes, I just don't know.
I know that there are no guarantees in life and love, regardless of our ages. I've seen young people get sick and old people stay vibrant well into their 80s and beyond. I've also seen people fall in and out of love in college dormitories and in senior citizen centers. Of course, I want to stay healthy and youthful for my husband, my children and myself for as long as possible, while also wanting my husband and I to grow old and gray together.
Which makes us no different from any other couple. We keep moving forward, sometimes in a breathless sprint and other times in shaky baby steps. Most importantly, we're still learning to be patient and forgiving with one another. We remain a work in progress, maturing individually and as a couple, regardless of our age differences. I hope we always do.
This originally appeared on Purple Clover. Republished here with permission.


403 Bolton fans were in attendance as Wanderers lost at Brighton & Hove Albion on Saturday. Here, we take a look at their pictures from the AMEX Stadium.
Bolton boss Dougie Freedman speaks to the press, following his side's 2-1 defeat at Brighton & Hove Albion.
Bolton were beaten 2-1 at Brighton & Hove Albion on Saturday. Here are the full classified results and updated league standings.
For the third time in a week, Bolton scored first but surrendered points - as they were beaten 2-1 by Brighton & Hove Albion at the AMEX Stadium.
Bolton travel to Brighton & Hove Albion on Saturday, looking to move out of the Championship relegation zone with a first league win of the season.
Graham Scott will referee Saturday's Championship fixture between Brighton & Hove Albion and Bolton at the AMEX Stadium.
Ticket details for Bolton's Sky Bet Championship fixture against Leeds United on Saturday 30th August 2014 - KO 15:00.


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Our Nation is the third full-length studio album by Dada Life. It was released 4 May 2018.

Background and recording
Prior to releasing the first single from Our Nation, "We Want Your Soul", Dada Life released several non-album singles from 2013-2017 - "Born to Rage" (which was re-released with vocals from Sebastian Bach of Skid Row), "This Machine Kills Ravers", "One Smile", "Freaks Have More Fun", "Tonight We're Kids Again", "One Last Night On Earth", "Tic Tic Tic" featuring Lzzy Hale of Halestorm, "Red Is The Color Of Rage", and "Yellow Is The Color Of Happiness". Engblom also released his debut single as a solo artist, "Pure Adrenaline", on Spinnin' Records.

In September 2017, Olle Cornéer announced his intent to take a break from touring with Stefan Engblom as Dada Life due to health issues, but stressed that he would continue to produce in studio.

Cornéer and Engblom released the first single from their then-untitled album, "We Want Your Soul", in December 2017. They followed in March 2018 with the second single, "Higher Than The Sun", alongside the announcement of the album title, release date, and tracklist.

Track listing

References

Dada Life albums
2018 albums

redpajama_set_name: RedPajamaWikipedia


My fourth year project in 2012, and thanks to Noor Shaker who proposed and supervised the implementation of the idea, was about personalizing content generation in first person shooter games through player modelling (don't be afraid from the hilarious name) in a complete state of the art approach (here for more). I do admit that, upon finishing the project successfully, I was amazed of what our game can do using the model we built. The model can intelligently manipulate the emotions of the player by automatically generating specific game content tailored by the player actions and hisher style while playing the game. The model can for example auto-generate a game level that can maximize the player's engagement in the game or even maximize the player's frustration! This is a two-edged sword since this can be implemented to obtain certain goals to the authoring party or used in a wrong way.
What I've been working on now (2013 and ongoing and supervised by Noor Shaker and Julian Togelius from ITU, Denmark) is an authoring tool for Cut the Rope, named Ropossum V1.0. My own version of the game is named Cut the Rope: Play Forever. Ropossum is all about letting you design your own levels, check your designed levels for playability on real time. You can also ask it for help to complete your unfinished designs according to your own preferences or just play the game you want forever only by asking Ropossum to generate a never-ending levels for you. A more futuristic vision is to create a social community for gamers, letting the players rate the designed/authored/generated levels and share them with their friends to create a whole new social community for games generating themselves by the effort of the players!
What we can see is that the games now still fall short on technologies that are proposed a while back. We should enjoy the technology we have because up to now, we are, sadly, lacking the courage to go through into the next phase.


Unicorn schoolbags: christmas gift bag.
Bag super. ????????? the freebies. parcel arrived somewhere in the past month. volume is not large, but everything you need to fit. the sparkles, not sure about their durability, but if you do not often use, think it will last for a long time this design. in general, very happy.
Won a freebie thing worthy… thanks to the seller and aliekspress delivery fast.
Goods went almost a month after arrival in minsk ceased. normal packing: transparent bag, pupyrchatoy and standard mail. bag came not wrinkled, no defects, odor-free. seams somewhere crooked, but in general. in one place small propleshinka missing a few ?????????, but not evident. bag material is not thin, cords also feel neat, thick. inside the bag small pocket with zipper. also had a small bonus of gum for hair.in general, despite the small details-seller can recommend, a good product. especially the bag we won the "freebies".
It is such which shown in the picture, very fast shipping. very happy with the seller!
Super!!! excellent backpack smenki! good lining, inside pocket, shoelace thick comfortable to hold. flake change color the pure silver. daughter happy!
Everything is fine. goods in moscow came quickly. all match the description.
The print of the bag is reverse!
backpacks, cheap backpacks, new cartoon women unicorn backpacks mermaid sequins drawstring bag christmas backpack children school beach travel shopping bag.


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text:
The Honor of Thieves
Crime190911 minutes
The Honor of Thieves (1909)
Because You d The Honor of Thieves
Crime 190911 minutes
Mack Sennett appears as a man at the dance and a cop in this film produced by the Biograph Company.The Honor of Thieves featuring Florence Lawrence and Harry Solter is not currently available to stream, rent, or buy but you can add it to your want to see list for updates. It's a crime movie with a less than average IMDb audience rating of 5.4 (22 votes).
Where to Watch The Honor of Thieves
The Honor of Thieves is not available to watch online.
Those Awful Hats (1909)
The Girl and Her Trust (1912)
The Birth of a Nation (1915)
Abraham Lincoln (1930)
Broken Blossoms (1919)
Way Down East (1920)
Orphans of the Storm (1922)
True Heart Susie (1919)
The Struggle (1931)
Hearts of the World (1918)
One Exciting Night (1922)
The Love Flower (1920)
A Romance of Happy Valley (1919)
A Corner in Wheat (1909)
She Done Him Wrong (1933)
Modern Times (1936)
Intolerance (1917)
The Blackbird (1926)
The Red Mill (1927)
Pardon Us (1931)
A Chump at Oxford (1940)
High Voltage (1929)
The Fatal Mallet (1914)
The Phantom (1931)
Chandu on the Magic Island (1935)
Phantom Thunderbolt (1933)
I Cover the Waterfront (1933)
The Return of Chandu (1934)
Brother Orchid (1940)
Almost a Gentleman (1939)
The Mayor of Hell (1933)
Love on a Bet (1936)
Varsity Show (1937)
Navy Blue and Gold (1937)
Florence Lawrence
Rachel Einstein
Harry Solter
Mr. Einstein
George Gebhardt
Anita Hendrie
At Dance
Arthur V. Johnson
Customer / Musician
Wilfred Lucas
David Miles
Owen Moore
Ned Grattan
Frank Powell
Mack Sennett
#6973 Ranked in Crime Movies
The Honor of Thieves has a less than average IMDb audience rating of 5.4 (22 votes). The movie is popular with Reelgood users lately.
About The Honor of Thieves
The Honor of Thieves Overview
Mack Sennett appears as a man at the dance and a cop in this film produced by the Biograph Company.
Related Genres: Crime
Original Release Date: Jan 11, 1909


text:
Florida State +3
Duke -3
Over 60.5 (-110)
Under 60.5 (-110)
Community Picks: Florida State 0% vs Duke 0%
Florida State and Duke Thread
One week ago, we were waiting for what we thought would be the games of the year in the ACC and Big Ten and a rather important matchup in the SEC. Those games have now come and gone — and with the North Carolina Tar Heels handling the Zion Williamson-less Duke Blue Devils on Wednesday, the LSU Tigers Continue to Article
February 26, 2019 9:13:am EST
The Notre Dame Fighting Irish dropped to 3-12 in ACC play on Monday night with a 68-61 loss to the Florida State Seminoles. We didn't learn a whole lot that was different from what we already know — but let's take a few minutes to chat about it. FINALLY (AND IT COULD HAVE BEEN BETTER) I've Continue to Article
David M. Hale ESPN Staff Writer Close ACC reporter. Joined ESPN in 2012. Graduate of the University of Delaware. Follow on Twitter Zion Williamson is "getting better," but he won't be on the court for No. 3 Duke's game at Virginia Tech on Tuesday, coach Mike Krzyzewski said. It will Continue to Article
February 25, 2019 12:49:pm EST
David M. Hale ESPN Staff Writer Close ACC reporter. Joined ESPN in 2012. Graduate of the University of Delaware. Follow on Twitter Zion Williamson is "getting better," but he won't be on the court for No. 3 Duke's game against Virginia Tech on Tuesday, coach Mike Krzyzewski said. It Continue to Article
What a lovely, lovely week. The Tar Heels followed up their impressive win over #1 Duke with a decisive victory over the #16 Florida State Seminoles, courtesy of a terrific second half. This win, coupled with Duke and Virginia surviving against teams that led at halftime, keeps the Tar Heels on pace Continue to Article


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Contract fabrics and home fabrics for residential upholstery: The range of textiles for interior design by Flukso is growing and expanding to reach different applications, spaces and types of interior (or outdoor) uses.
But above all, it is Flukso the one that changes, growing day after day and renewing its collections and its image.
At present Flukso offers architects, interior designers and decorators a contemporary mood, with fabrics with the best performance in the market, with its own capacity to innovate the textile sector but without betraying its mission of prime quality and 100% Made-in-Italy style and production.
A new photo service immortalises the interior design fabrics by Flukso within an urban setting made up of neutral and dark shades on which the contract fabrics, iconic, are silhouetted, or for domestic spaces, coated or natural, artificial leathers and leather-effect fabrics or the most classic upholstery, suitable for grand and opulent public and domestic settings.
The new photo service by Flukso, the first display of the renewed corporate image, is a summary of Flukso's textile production and a panoramic view of the most recent innovations introduced by the company in terms of both fabric performance and design. But there is also a promise here: The starting point of the huge research & development work Flukso is implementing.


text:
Posted on 3. November 2018 2. February 2019 by anlapf
Chapter And Verse welcome 'the new breed' to celebrate the release of their new single 'Ink' (2018, self-release) at the Black Heart in Camden.
Formed in 2016, the London based alt-rock band Chapter And Verse currently comprises vocalist Josh Carter, guitarist, Darren Gosling, drummer Ash Morton and bassist Jonny Hopwood. So far, the quartet released their EP 'The Wolves Back Home' (2016, self-release), followed by the two singles 'Magazines' (2017, self-release) and 'A Devil In Blue' (2018, self-release), as well as the most recent single 'Ink' (2018, self-release). Musically, they mix heavy guitars with mostly clean vocals, adding screamed elements now and then. Especially Josh's incredible vocal range and the mix between aggressively screamed as well as soulful calm and clear tones is impressive and adds a unique feature to the band's sound.
Around 8pm the doors of the Black Heart opened to the audience who previously signed up to get access to the sold-out show. With a capacity of around 150 people, there was a cosy and almost homely atmosphere. Overall, the audience was rather young in their early twenties but there were some older people as well.
First act on the stage was the British solo acoustic artist Luke Rainsford who already released two full-length albums and an EP, mixing pop punk and emo influences with intimate and deeply honest lyrics. Even though there were some technical issues, once they were solved everyone enjoyed the set and sung along. Turning up the volume with their electric guitars and slightly heavier sound, second band of the evening, the British sludge pop quartet Bellevue Days, mixed heavy sludgy music with melodic hooks and catchy choruses, creating a unique and dynamic vibe. Their slightly heavier alternative rock-ish sound prepared the audience for the final band of the evening, Chapter And Verse. As their music in general is very energetic, they captured the audience right from the beginning and transferred the energy from the stage into the crowd which resulted in a mosh pit at towards the end of the set. They played a good mix of their older songs such as 'The New Breed' and their latest release 'Ink' which was highly appreciated by old and new fans who screamed and chanted the lyrics back to the stage. The vibe of the set changed with every song depending on the energy and emotions. Especially when the first note of 'Ink' hit the audience, there was a electrifying shiver going through the room.
Luke Rainsford
Despite some minor technical issues, all three sets had a good acoustic as the sound was well mixed. The light show was kept rather simple and dark which helped to create a mystical and dark but homely atmosphere.
Overall, it was a special time, an amazing evening with talented artists, hones and beautiful music, as well as a great atmosphere. Both the bands and the audience had a great time. The audience enjoyed the sets and engaged by singing and dancing along which was highly appreciated by the artists. Everyone seemed to be happy.
Posted in Concert, musicTagged alt-rock, alternative rock, Bellevue Days, Black Heart, Camden, Chapter And Verse, concert photography, Live music, live music photography, London, Luke Rainsford, photography, The New Breed
'Trick Or Treat' – Happy Halloween
TheCityIsOurs


text:
Neurosurgery. 2003 Jul;53(1):110-20; discussion 120-2.
Quality of reporting in evaluations of surgical treatment of trigeminal neuralgia: recommendations for future reports.
Zakrzewska JM1, Lopez BC.
Barts and the London Hospital Oral Medicine, Dental Institute, Queen Mary's School of Medicine and Dentistry, London, England. J.M.Zakrzewska@qmul.ac.uk
There are numerous reports on the surgical treatment of trigeminal neuralgia, but the studies do not use uniform outcome measures, which makes it difficult for patients and clinicians to determine which treatment may be most appropriate. The objectives of this study were to set quality criteria and standards for outcome reporting for the surgical treatment of trigeminal neuralgia (on the basis of international expert opinion), to identify and assess all studies of the surgical treatment of trigeminal neuralgia and evaluate the studies against those criteria, and to provide recommendations for submitting reports on the outcomes of surgical treatment of trigeminal neuralgia.
The types of data that 11 neurosurgeons and 2 neurologists considered essential for articles reporting the outcomes of surgical treatment of trigeminal neuralgia were the quality criteria used by the two authors. Standards were established in terms of the minimal number and type of criteria that studies should meet to allow their use in a potential systematic review of pain outcomes of surgical treatment of trigeminal neuralgia. Studies were identified in MEDLINE searches and from other sources and were independently scored against those criteria by the two authors. The reproducibility of the method was checked with assessments of inter- and intra-rater reliability. A checklist for the reporting of studies was formulated.
A total of 281 studies were identified, of which 222 were scored. Seventy-one (32%) of the studies reached the minimal set standards, but only 28 (13%) could be used for assessment of pain outcomes, because they included actuarial analyses. There was good agreement between the two authors in the scoring of the studies, although some criteria required stricter definitions. A checklist for the reporting of future studies on the surgical treatment of trigeminal neuralgia was proposed.
When assessed against the proposed criteria and standards, the quality of reporting was generally poor. The methods for reporting surgical outcomes for trigeminal neuralgia were not uniform; therefore, the comparability of results and techniques was low. Data should be collected and reported in a standardized way. A protocol for data collection and reporting on the surgical treatment of trigeminal neuralgia has been proposed. Further research is needed to evaluate this tool.
10.1227/01.neu.0000068862.78930.ee
Evaluation Study
Clinical Protocols/standards
Evaluation Studies as Topic*
Neurosurgical Procedures/standards*
Neurosurgical Procedures/statistics & numerical data
Neurosurgical Procedures/trends*
Outcome Assessment, Health Care/standards*
Outcome Assessment, Health Care/statistics & numerical data
Outcome Assessment, Health Care/trends*
Reproducibility of Results
Research Design/standards*
Research Design/statistics & numerical data
Research Design/trends*
Trigeminal Neuralgia/diagnosis
Trigeminal Neuralgia/surgery*
Trigeminal neuralgia - Genetic Alliance
Trigeminal Neuralgia - MedlinePlus Health Information


text:
Based on the life of Scooby Doo, a thoughtful pooch, who meets a wacky person, Shaggy, as they become a close acquaintence with a gathering of shrewd young ladies and folks and make a group of heroes that chip away at illuminating baffling cases around the nation.
Actors: Will Forte,
Will Forte 17 June 1970, Alameda County, California, USA
Mark Wahlberg,
Mark Wahlberg 5 June 1971, Dorchester, Boston, Massachusetts, USA
Jason Isaacs,
Jason Isaacs 6 June 1963, Liverpool, Merseyside, England, UK
Gina Rodriguez,
Gina Rodriguez 30 July 1984, Chicago, Illinois, USA
Zac Efron,
Zac Efron 18 October 1987, San Luis Obispo, California, USA
Amanda Seyfried,
Amanda Seyfried 3 December 1985, Allentown, Pennsylvania, USA
Kiersey Clemons,
Kiersey Clemons 17 December 1993, Pensacola, Florida, USA
Ken Jeong,
Ken Jeong 13 July 1969, Detroit, Michigan, USA
Tracy Morgan,
Tracy Morgan 10 November 1968, The Bronx, New York City, New York, USA
Frank Welker,
Frank Welker 12 March 1946, Denver, Colorado, USA
Iain Armitage,
Iain Armitage
Genre: Comedy, Adventure, Mystery, Family, Animation
Director: Tony Cervone
Keywords: #Gina Rodriguez #Jason Isaacs #Mark Wahlberg #Scooby ! #Tony Cervone #Will Forte


It has been a busy April for Henleys whilst we undertake additions to our already large range (one of which award winning, see below), and another to make repairing your mattress even EASIER.
QardioBase is an award winning weighing scale with a difference – it talks to your smart phone! In addition to the QardioArm, Henleys now offer this as part of the range, so looking after you health has never been so easy.
Many of our CleanPatch customers advised us that they would like to have a pack which covers all sizes of damage. So we listened and can now introduce the CleanPatch Variety pack.
Information packs have been sent to the Cancer Centres in the UK for our Radiotherapy product R1 & R2.
We would like to congratulate Purchasing Administrator Claire AND our Contracts Assistant Michelle on their pregnancies. The new additions will be with us in August and September! Exciting times.
If you call our head office this month you will have noticed that it is a little noisy. This is because we are putting a brand new roof on the building! So please bear with us.
As always, many thanks from all at Henleys for your continued interest in our products.