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Mollie Tibbetts case: Cristhian Bahena Rivera found guilty in Iowa student's stabbing death
By Kelly Hayes
Cristhian Bahena Rivera convicted of murder in Mollie Tibbetts case
A jury has found a farm laborer guilty of murder in the abduction and killing of a University of Iowa student who vanished while out for a run in 2018. (Source: FOX Edge)
DAVENPORT, Iowa - A jury found a farm laborer guilty of murder Friday in the abduction and stabbing death of Mollie Tibbetts, a University of Iowa student who vanished while out for a run in 2018.
Cristhian Bahena Rivera, 26, was found guilty of first-degree murder in the death of Tibbetts, who is remembered as a friendly 20-year-old who was studying to become a child psychologist. Bahena Rivera, who came to the United States illegally from Mexico as a teenager, will be sentenced to life in prison without the possibility of parole.
Jury finds Cristhian Bahena Rivera guilty in the murder of Mollie Tibbetts
A jury has found a farm laborer guilty of murder in the abduction and killing of a University of Iowa student who vanished while out for a run in 2018.
The verdict was handed down after a two-week trial at the Scott County Courthouse in Davenport. The case has fueled public anger against illegal immigration and concerns about random violence against women.
Tibbetts, 20, vanished while out running on July 18, 2018, in Brooklyn, Iowa. She was reported missing the next day after she didn't show up for her summer job at a daycare. Investigators recovered her partially naked, decomposing body from a cornfield a month later.
Cristhian Bahena Rivera, a 26-year-old father of a young daughter, had no criminal history before being charged with first-degree murder in Mollie Tibbetts' death. (Source: FOX Edge)
Prosecutors used the DNA evidence, surveillance video showing Bahena Rivera's Chevy Malibu driving near where Tibbetts was running, and his partial confession during an 11-hour interrogation to build their case. Tibbetts' DNA was found on blood spots on the rubber trunk seal and trunk liner of the Malibu.
During a lengthy interrogation that began Aug. 20, 2018, Bahena Rivera said that he drove past Tibbetts while she was running and turned around to get another look because he found her attractive.
He eventually said that he approached Tibbetts and fought with her after she tried to get away and threatened to call the police. He claimed that he then "blacked out" but remembered driving with her body in the trunk of his car. He led investigators in the early morning hours of Aug. 21 to a remote cornfield where they found her badly decomposed body hidden under corn stalks.
An autopsy found that Tibbetts died of sharp force injuries from several stab wounds to her head, neck and chest. Investigators never found the murder weapon.
What happened in the Mollie Tibbetts case
Mollie Tibbetts was a 20-year-old student at the University of Iowa when she was stabbed to death in 2018.
The defense rested its case Wednesday after Bahena Rivera took the stand and gave a far different narrative than presented by the prosecution. In a surprise development, Bahena Rivera reversed his confession to killing Tibbetts and claimed for the first time that two masked men took him at gunpoint from his trailer, forced him to drive as one of them killed Tibbetts on a rural road and directed him to a rural area where he left her body.
Prosecutor Scott Brown said in his closing arguments that the testimony revealed "overwhelming evidence" that Bahena Rivera is guilty of murder.
He told jurors that Bahena Rivera killed Tibbetts out of anger after she rebuked him. He said Bahena Rivera also had a sexual motive, noting that Tibbetts was found partially naked with her legs spread when her body was found.
"There weren't two other guys. That's a figment of his imagination," Brown told jurors, saying Bahena Rivera concocted the story to try to explain away damning evidence. "All of the credible evidence points to him."
The Associated Press contributed to this report. It was reported from Cincinnati.
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The 19th Encounters Short Film and Animation Festival has announced its international line-up, with films starring Ben Whishaw and Alan Rickman.
A total of 225 works from 40 countries selected to be showcased in competition at the festival from September 17-22 in Bristol. This year the festival received a record 2,372 entries.
Brief Encounters will feature live action and mixed format short films from all over the world, including new short format work by a number of established British filmmakers who are returning to the festival: Daniel Mulloy (Bashk), Chris Shepherd (The Ringer), Simon Ellis (Stew and Punch) and John Smith (Dad's Stick).
Prominent national talent is also on display in Orbit Ever After, directed by 2012 Screen Star of Tomorrow Jamie Stone and starring Mackenzie Crook; No Kaddish in Carmarthen by Jesse Armstrong (Four Lions), Aneil Karia's Beat, starring Ben Whishaw; and Ben Ockrent's Dust featuring Alan Rickman and Jody Whittaker.
The competition features a number of European short films that have already enjoyed success on the festival circuit, including Berlinale Golden Bear winner The Runaway (Jean-Bernard Marlin, France), Ninja Thyberg's Pleasure (Sweden) which took the Canal+ Award at the Cannes International Critics' Week, and the film that cleaned up at the Clérmont-Ferrand International Short Film Festival in February, Before Losing Everything (Xavier Legrand, France).
The programme entitled Visions of Modern Europe presents contemporary perspectives on a continent in crisis including Rachna Suri's Our Lad with Aquib Khan about a Muslim soldier in the British Army.
A programme highlighting work that pushes the boundaries of filmmaking, entitled Shifting Perspectives, will include visual artist Nicolas Provost's latest work, Tokyo Giants (Belgium).
Following his BAFTA win for The Making of Longbird, Will Anderson is in competition with his new short Sweetie & Sunshine (UK), and Tony Donoghue's Irish Folk Furniture (Ireland), which won the Sundance prize for best short animation, will be screening.
Encounters alumni Paul Bush (Lay Bare, UK) and Theodore Ushev (Gloria Victoria, Canada) also return with new work.
In addition, there will be the world premiere of Risehigh by Adam Wells (UK) and the competition also includes Bydlo by Patrick Bouchard (Canada), which won best animated film at the Clérmont-Ferrand International Short Film Festival.
Puppet animation has two entire dedicated programmes - Power to the Puppets and No Strings Attached.
To celebrate his 80th birthday and 25 years since the release of his most celebrated pioneering work, Encounters will welcome veteran animator and triple-Oscar winner Richard Williams as the Guest of Honour.
The festival opens with a special digitally-remastered gala screening of Williams/Zemeckis' Who Framed Roger Rabbit?.
Williams is also this year's 'Desert Island Flicks' castaway where he discusses and shows clips of his all-time favourite animated films. The festival will also present a special retrospective shorts programme of Williams' work presented in partnership with the Edinburgh International Film Festival.
In addition to the festival's awards, contenders will be in the running for nomination for the top short film and animation accolades to which Encounters is a gateway from the BAFTAs and European Film Awards to the Ocars.


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November to Remember
You never forget your first time.
This November (ok, technically the first poll dropped in late October) major college football is engaging, for the first time, in a run up to a playoff. Some critics claimed that adding a playoff, even a barely-a-playoff playoff like the current four team configuration, would cheapen the regular season, but at least so far, the opposite seems to be true: Teams that would have been counted out in previous season have legitimate reason to believe that if things break the right way, they may find themselves in the final four.
Part of this is through the use of the committee, which no one's certainly figured out yet, and we may never since human subjectivity injects randomness. While no poll matters until the final one in early December, each rendition provides more insight into what the committee values. And moreso than with two final teams, folks pay particular attention to the "if the season ended today" top four.
There was some consternation when the first poll came out with three SEC West teams among the top four, but that would, of course, work itself out, as it may completely when Mississippi State plays Alabama. This past week, a bone of contention was that an undefeated FSU dropped to third behind a one loss Oregon team, which rose to #2. The order of these two, if the season ended today (ITSET needs to become a common shorthand) would change absolutely nothing but jersey color - and we've seen FSU go color-on-color in last year's ACC title game - as the two would still meet in a "neutral" site game on the west coast in the Rose Bowl. In fact one could argue FSU may fare better at #4 - while the Sugar Bowl would also be closer to home for Mississippi State, it's also a far more manageable trip from Tallahassee.
Another sticking point is TCU vs. Baylor. If the two win out, both will be Big 12 co-champions. Baylor owns the head-to-head over TCU following an overtime victory over the Frogs, and yet at least at present, TCU has the edge in the polls. It seems the committee sets out to reward strength of schedule, and TCU's is stronger, though the variance really hinges upon one game. Both play nine conference games in the Big 12, and both met SMU - which, schedule strength aside, ought to continue, as it's a logical in state (in metro for TCU) and former Southwest Conference game for each. Once you discount each school's FCS opponent, the difference lies in TCU playing Minnesota as Baylor played Buffalo. This puts two criteria at odds with one another: All things being equal, which carries more weight, schedule strength or head-to-head?
We'll keep learning more as the season marches on. Speaking of marching on, any word yet on if the playoff games and the national championship will feature a proper halftime?
Labels: college, football, playoffs
...But That's None of My Business
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Clinical trials are studies that evaluate the effectiveness of new drugs or treatment strategies. The development of more effective cancer treatments requires that new and innovative therapies be evaluated with cancer patients. In oncology, clinical trials are especially important because, in the absence of high cure rates, nearly all therapeutic approaches are developmental in nature. All new cancer drugs that are currently available in the United States were once only available in clinical trials. Patients should decide whether or not participation in a clinical trial is an appropriate treatment option as early in their evaluation as possible because, once treatment of their cancer has been initiated, patients may become ineligible to participate in some clinical trials.
To learn more about clinical trials, please click on any of the subcategories.
Clinical Trials Topics:
What Are Clinical Trials
Phases of Clinical Trials
How are Clinical Trials Conducted?
Clinical Trials Safeguards
Participating in Clinical Trials
The Cost of Clinical Trials
Finding Specific Clinical Trials
A clinical trial is a research study designed to evaluate potential new treatment options. These studies are the result of a long and deliberate cancer research process that often takes years. Clinical trials test the safety and effectiveness of new or modified cancer drugs, new drug doses, unique approaches to surgery or radiation therapy, and varied combinations of treatments. Clinical trials play a central role in improving the treatment of medical conditions because they lead to higher standards of care. In the United States all new cancer treatment products must proceed through an orderly clinical trials evaluation process to ensure that they have an acceptable level of safety and demonstrate benefit to helping patients with a specific cancer before they become commercially available to other patients.
Clinical trials essentially fall into two general categories.
The first general category of clinical trials are designed to evaluate new drugs, compounds, or biologic agents that have not yet been approved by the Food and Drug Administration (FDA) for administration to patients. All substances must go through several phases of clinical trials to document their safety and effectiveness before the FDA approves them for routine use to treat cancer patients. Prior to FDA approval, these substances are only available through clinical trials; however, after FDA approval, they are commercially available.
Clinical trials may also evaluate drugs, compounds, or biologic agents already approved by the FDA for the treatment of one or more types of cancer. These substances have already been determined to be safe by the FDA and they are now being evaluated in different doses, schedules, and combinations to determine how to optimally use them for the treatment of a variety of cancers.
Development of new anticancer agents and treatment strategies occurs in four phases. Each phase is designed to determine specific information about the potential new treatment such as its risks, safety and effectiveness compared to standard therapy. The hope is that the new therapy will be an improvement over the previous standard therapy.
Phase I Trials:
This phase is probably the most important step in the development of a new drug or therapy. These trials usually involve a small number of patients for whom other standard therapies have failed or no known alternative therapy is available. Phase I therapy may produce anti-cancer effects and a small number of patients may benefit. However, the primary goals of this phase are to determine anticancer activity in humans, the maximum tolerated dose of the treatment, the manner in which the drug works in the body, the toxic side effects related to different doses and whether toxic side effects are reversible. Upon completion of phase I trials, the information that has been gathered is used to begin phase II trials.
Phase II Trials:
Once the information is gathered and analyzed from phase I trials, phase II trials are designed to determine the effectiveness of the treatment in a specific patient population at the dose and schedules determined in phase I. These trials usually require a slightly higher number of patients than phase I trials. This number may increase depending on the number of responses as the phase II trial progresses. Drugs or therapies that are shown to be active in phase II trials may become standard treatment or be further evaluated for effectiveness in phase III trials.
Phase III Trials:
Phase III trials compare a new drug or therapy with a standard therapy in a randomized and controlled manner in order to determine proof of effectiveness. Phase III trials require a large number of patients to measure the statistical validity of the results because patient age, sex, race, and other unknown factors could affect the results. To obtain an adequate number of patients, several physicians (investigators) from different institutions typically participate in phase III clinical trials.
Phase IV Trials:
Once the drug or treatment becomes part of standard therapy, the manufacturer of the drug may elect to initiate phase IV trials. This phase includes continued evaluation of the treatment effectiveness and monitoring of side effects as well as implementing studies to evaluate usefulness in different types of cancers.
Clinical trials are designed to test treatments under very specific scientific and ethical guidelines. Clinical trials use written protocols to define the purpose, design and conduct of a specific clinical trial. All of the research centers participating in a particular study use the same research protocol. The protocol is written by the sponsor of the study and explains what the trial will do, how it will be conducted, where it will be conducted, who may participate and how and when the participants will be evaluated. Sponsors of clinical trials include, but are not limited to, the National Cancer Institute, groups or networks of physicians, individuals within a single cancer institution and manufacturers of biopharmaceutical products.
In order to protect patients participating in clinical trials, the sponsor reviews the protocol for safety and appropriateness and then the protocol must undergo a second neutral review by an Institutional Review Board (IRB). The Institutional Review Board is responsible for overseeing any clinical trials that are performed in the specific healthcare institution where the clinical trial is offered. An Institutional Review Board includes physicians, healthcare providers and individuals not involved in healthcare, including the clergy or ordinary citizens. Institutional Review Board members do not have any personal interest in the results of the trial and, therefore, can ensure that the study is conducted fairly and safely. Committee members serving on Institutional Review Boards address the following questions in reviewing protocols:
Does this protocol have scientific value?
Does the protocol have scientific validity?
Are risks to subjects minimized?
Are the risks to subjects reasonable in relation to anticipated benefits (if any) to subjects and the importance of the knowledge that may reasonably be expected to result?
Is the selection of subjects equitable?
Are additional safeguards in place for subjects likely to be vulnerable to coercion or undue influence?
Will informed consent be obtained from research subjects or their legally authorized representatives?
Is there adequate provision for monitoring the data collected to ensure the safety of subjects?
Are there adequate provisions to protect the privacy of subjects and to maintain the confidentiality of data?
The Institutional Review Board also reviews all informed consent documents to make sure that they provide clear and complete information for those evaluating the merits of enrolling in a specific clinical trial.
Clinical trials evaluating cancer treatments or strategies may be offered in large university hospitals, local community hospitals and/or physician practices. The location where a clinical trial is conducted depends on the specific resources required to conduct the trial, the number of patients needed for enrollment in the trial to answer the question and the individual or institution's interest in performing clinical trials in general.
Clinical Trial Safeguards
Both standard care and clinical trials have risks, side effects, and benefits that vary depending on the individual. However, there are rigorous guidelines in place to protect the well-being and safety of clinical trial participants. The physician and research nurse conducting the study will explain any known or anticipated risks ahead of time. Once a patient's eligibility for a specific trial is established, the research nurse will explain the informed consent process. Informed consent is one of the patient's most important rights in the research process, as it outlines the purpose of the study, the exact treatments that will be administered, all possible side effects, and the patient's right to withdraw from the study at any point. Signing the consent form acknowledges that the trial was explained and is understood. Also, clinical trial participants are constantly monitored to identify any changes in their condition.
Clinical trials are designed to evaluate the effectiveness of new treatment interventions. The objective of these clinical trials is to test new therapies in patients who have cancer. Patients participate in clinical trials for several reasons, including:
The potential to benefit from a new drug or treatment procedure
Improved management of symptoms resulting from treatment from treatment or cancer
The opportunity to directly contribute to improving the understanding of how to treat a cancer and ultimately, benefit other patients
Patients who participate in clinical trials receive either a promising new treatment or the best available conventional treatment. If a new treatment option is proven to work, patients who are participating in the clinical trial will be among the first to benefit. While there is no guarantee that any treatment will be successful, clinical trials have been proven to offer some of the most effective cancer treatments currently available today.
There are two types of costs associated with a trial:
Patient care costs; and
Patient care costs: These are costs associated with providing medical goods and services to each patient. Usual care costs include doctor visits, hospital stays, clinical laboratory tests, x-rays, and any other medical costs that occur regardless of whether a patient is participating in a clinical trial or receiving standard treatment. These costs are usually covered by a third-party health plan, such as Medicare or private insurance.
Care that is related to the clinical trial but not part of routine care may or may not be covered by your insurance. When considering clinical trial participation, you should work with your doctor, the research nurse, or your health plan to determine what is and is not covered.
Research costs: Research costs are costs that are associated with clinical trial participation, such as data collection and management, research physician and nurse time, analysis of results, and tests performed purely for research purposes. Such costs are usually covered by the sponsoring organization, such as a pharmaceutical company. The sponsor and the participant's health plan need to resolve coverage of these costs for particular trials. Again, be sure to consult with your physician about the financial aspects of any trial you are considering.
Cancer clinical trials are available in many hospitals and clinics throughout the United States. Currently, there are several Internet resources designed to facilitate access and accrual to clinical trials. Unfortunately, no single clinical trials listing service or database contain all the available clinical trials in the United States. One of the more comprehensive sources, however, is the National Cancer Institute (NCI). The NCI website has a searchable database of thousands of clinical trials that are currently enrolling patients. Your doctor or healthcare facility may also be able to help you locate a clinical trial that's right for you.
Despite the multitude of new oncologic treatment strategies in development and the efforts of the federal government, advocacy organizations, and the biopharmaceutical industry, there has been only modest progress with regard to the time it takes to implement and complete pivotal clinical trials. As patient and physician demand for clinical trials increases over the next several years, it will be imperative to remove several existing barriers to clinical trial enrollment. The Internet is a growing resource for both educating and recruiting patients for clinical trials.
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Q: How to host a WPF control in an MS Access VBA Form? We have a large MS Access project that requires GUI functionality that is difficult / impossible to do in the VBA / access forms environment.
Over time, we wish to re-write / migrate to a managed C# environment with WPF as the presentation layer.
The only practical way for us to do this is over a longer period of time - converting some of the VBA forms first (that would give the best productivity benefit), and then over the course of 12-24 months convert the entire system.
What do you believe is the best approach. Can MS Access host the WPF forms as we convert them?

A: What if you look into Visual Studio Tools for Office (VSTO) ?
You can write managed .NET addins for Office in C#, that will integrate as ribbons with office.
Now, the problem is that Access add-ins are not supported in VSTO AFAIK.
But, take a look here, it seems to be not that impossible.
So, if you happen to be lucky, you could

*

*Write a C# ribbon for Access which would have all the advanced GUI you need

*Write services in C# that could be accessed from Access to encapsulate important business logic for instance, so that you could gradually move not only GUI, but build proper domain object model in C#.

If you decide to try it out, let me know how it turned out :)
Good luck anyway.
PS something else which maybe is helpful?
Access 2007 Developer Extensions (ADE)

A: Thank you badbadboy - I will certainly experiment with this (using VSTO).
The solution you suggested to allow VSTO to work with ms access, does seem slight hackery - not that I mind this, but I am nervous about using this work-around in production if it isn't solid  i.e there would be no support from MS.
From what I can see this will allow me to host a winforms control, that in-turn hosts a WPF control.
Anybody gone down this path with a production system - any caveats?
Note there is a VSTO access project template on codeplex that makes the process a little easier.

redpajama_set_name: RedPajamaStackExchange


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trait ResponseRedirect {

    /*
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     *
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     */
    public function redirect($Path = '/'){

	$Redirect = sprintf('Location: %s', $Path);

	header($Redirect);

	return true;
    }
}

redpajama_set_name: RedPajamaGithub


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Tag Archives: trust
Patsy Burstow and the next great NHS betrayal
Posted by Mike Sivier in Conservative Party, Health, Labour Party, Law, Liberal Democrats, Politics, Powys, Public services, UK
119, Act, administrator, amendment, andy burnham, betray, budget, clause, close, closure, collusion, company, Conservative, consultation, Democrat, finance, government, health, Health Secretary, hospital, Initiative, Interest, Lib Dem, Liberal, Mike Sivier, mikesivier, national, neuter, NHS, patsy, paul burstow, PFI, politics, Powys County Council, private, public, sell-out, service, shadow, social care, special, Tories, Tory, trust, TSA, Vox Political
Patsy n A person regarded as open to victimisation or manipulation; a person upon whom the blame for something falls.
Burstow n A patsy.
It seems a familiar story: The Tories plan legislation that is clearly no good at all – in this case, a legal clause to allow the closure of successful hospitals to prop up failing NHS trusts (Clause 119 of the Care Bill). The Liberal Democrats object and threaten to rebel. The Tories then offer concessions to make it seem less likely that this will happen and the Lib Dems withdraw their objections.
All seems well until the new rules are put to the test. Coalition MPs voiced disquiet at the powers being granted to allow a trust special administrator (TSA) to force through changes at a neighbouring hospital if they consider it necessary to save one that is failing. This power is considered likely to be used to save hospitals run under the Private Finance Initiative (PFI), which are therefore saddled with huge unnecessary interest bills on the money invested by private companies.
We are told there will be some form of public consultation. Great. Here in Mid Wales, Powys County Council consulted constituents on its plans to cut £20 million from its budget for 2014-15. After the answers came back, the council's cabinet ignored every single word of the responses and pressed on with its plan. Changes were only brought in after the rest of the council made it clear that they weren't putting up with those shenanigans.
So much for consultation.
The minute a hospital is closed to prop up the PFI place next door, the Tories will blame Patsy – sorry, Paul – Burstow. They'll say he had a chance to do something about it but didn't.
What makes it worse for him is that Labour weren't going to put up with his shenanigans and forced a vote on his amendment – which would have completely neutered the offending clause. Burstow voted against it – that's right, against his own amendment, helping the government to a narrow 47-vote victory.
So much for him.
One politician who does seem to have the good of our hospitals at heart is Shadow Health Secretary Andy Burnham. What did he have to say about all this, during the debate yesterday (March 11)?
"What we have seen … from the right hon. Member for Sutton and Cheam (Paul Burstow), who positioned himself as though he was going to make a stand for local involvement in the NHS, is the worst kind of collusion and sell-out of our national health service.
"Just as the Liberal Democrats voted for the Health and Social Care Act, again they have backed … the break-up of the NHS."
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A&E fears fall on deaf ears
Posted by Mike Sivier in Conservative Party, Cost of living, Health, Labour Party, Law, Liberal Democrats, People, Politics, Poverty, Public services, UK
A and E, A&E, accident, admission, afford, ambulance, andy burnham, breakdown, Care Quality Commission, CCG, clinic, clinical commissioning group, Coalition, competition, Conservative, cost, cost of living, CQC, crisis, Democrat, doctor, eat, elderly, emergency, frail, government, health, heat, hypothermia, increase, Jeremy Hunt, law, Lib Dem, Liberal, listening exercise, malnutrition, Mike Sivier, mikesivier, National Health Service, NHS, pause, people, politics, poverty, prescription, pressure, queue, rickets, scurvy, sick, Social Care Act, spin, Tories, Tory, trust, Victorian, Vox Political
Andy Burnham, Shadow Health Secretary: He'd rather listen to real doctors than spin doctors.
The title of this article should seem brutally ironic, considering that the Coalition government famously 'paused' the passage of the hugely controversial Health and Social Care Act through Parliament in order to perform a 'listening exercise' and get the views of the public.
… Then again, maybe not – as the Tories (with the Liberal Democrats trailing behind like puppies) went on to do exactly what they originally wanted, anyway.
Have a look at the motion that went before the House of Commons today:
"That this House is concerned about recent pressure in Accident and Emergency departments and the increase in the number of people attending hospital A&Es since 2009-10; notes a recent report by the Care Quality Commission which found that more than half a million people aged 65 and over were admitted as an emergency to hospital with potentially avoidable conditions in the last year; believes that better integration to improve care in the home or community can relieve pressure on A&E; notes comments made by the Chief Executive of NHS England in oral evidence to the Health Select Committee on 5 November 2013, that the NHS is getting bogged down in a morass of competition law, that this is causing significant cost and that to make integration happen there may need to be legislative change; is further concerned that the competition aspects of the Health and Social Care Act 2012 are causing increased costs in the NHS at a time when there is a shortage of A&E doctors; and calls on the Government to reverse its changes to NHS competition policy that are holding back the integration needed to help solve the A&E crisis and diverting resources which should be better spent on improving patient care."
Now have a look at the amendment that was passed:
"That this House notes the strong performance of NHS accident and emergency departments this winter; further notes that the average waiting time to be seen in A&E has more than halved since 2010; commends the hard work of NHS staff who are seeing more people and carrying out more operations every year since May 2010; notes that this has been supported by the Government's decision to protect the NHS budget and to shift resources to frontline patient care, delivering 12,000 more clinical staff and 23,000 fewer administrators; welcomes changes to the GP contract which restore the personal link between doctors and their most vulnerable patients; welcomes the announcement of the Better Care Fund which designates £3.8 billion to join up health and care provision and the Integration Pioneers to provide better care closer to home; believes that clinicians are in the best position to make judgements about the most appropriate care for their patients; notes that rules on tendering are no different to the rules that applied to primary care trusts; and, a year on from the publication of the Francis Report, notes that the NHS is placing an increased emphasis on compassionate care, integration, transparency, safe staffing and patient safety."
Big difference, isn't it?
From the wording that won the vote, you would think there was nothing wrong with the health service at all – and you would be totally mistaken.
But this indicates the sort of cuckooland where the Coalition government wants you to live; Jeremy Hunt knows what the problems are – he just won't acknowledge them. And he doesn't have to – the media are run by right-wing Tory adherents.
So here, for the benefit of those of you who had work to do and missed the debate, are a few of the salient points.
Principal among them is the fact that ward beds are being 'blocked' – in other words, their current occupants are unable to move out, so new patients cannot move in. This is because the current occupants are frail elderly people with no support in place for them to live outside hospital. With no space on wards, accident and emergency departments have nowhere to put their new admissions, meaning they cannot free up their own beds.
Health Secretary Jeremy Hunt had nothing to say about this.
Andy Burnham, who opened proceedings, pointed out the huge increase in admissions to hospital accident and emergency departments – from a rise of 16,000 between 2007 and 2010 to "a staggering" 633,000 in the first three years of the Conservative-Liberal Democrat Coalition government.
Why the rapid rise? "There has been a rise in people arriving at A and E who have a range of problems linked to their living circumstances, from people who have severe dental pain because they cannot afford to see the dentist, to people who are suffering a breakdown or who are in crisis, to people who cannot afford to keep warm and are suffering a range of cold-related conditions."
He said almost a million people have waited more than four hours for treatment in the last year, compared with 350,000 in his year as Health Secretary; the statement in the government amendment that waiting times have halved only relates to the time until an initial assessment – not total waiting time. Hospital A and Es have missed the government's targets in 44 of the last 52 weeks.
Illnesses including hypothermia are on the rise, and the old Victorian ailments of rickets and scurvy are back, due to increased malnutrition.
Hospitals are filling up with the frail elderly, who should never have ended up there or who cannot get the support needed to go home because of a £1.8 billion cut in adult social services and support. This, Mr Burnham said, was "the single most important underlying cause of the A and E crisis"; ward admissions cannot be made because the beds are full. The number of emergency admissions of pensioners has topped 500,000 for the first time.
Ambulances have been held in queues outside A and E, unable to hand over patients to staff because it is full. That has left large swathes of the country — particularly in rural areas — without adequate ambulance cover.
The government is downgrading A and E units across the country into GP-run clinics, while pretending that they are still to be used for accidents and emergencies – in the middle of the A and E crisis.
People in England are reducing the number of drugs they are taking because they cannot afford to buy them. Families are choosing between eating, heating or other essentials, like prescriptions.
Competition rules have been stifling care, Mr Burnham said: "The chief executive of a large NHS trust near here says that he tried to create a partnership with GP practices and social care, but was told by his lawyers that he could not because it was anti-competitive."
He added: "Two CCGs in Blackpool have been referred to Monitor for failing to send enough patients to a private hospital. The CCG says that there is a good reason for that: patients can be treated better in the community, avoiding costly unnecessary hospital visits. That is not good enough for the new NHS, however, so the CCG has had to hire an administrator to collect thousands of documents, tracking every referral from GPs and spending valuable resources that could have been spent on the front line."
And the health trust in Bournemouth wanted to merge with neighbouring Poole trust, but competition rules stopped the merger taking place.
Mr Burnham demanded to know: "Since when have we allowed competition lawyers to call the shots instead of clinicians? The Government said that they were going to put GPs in charge. Instead, they have put the market in charge of these decisions and that is completely unjustifiable. The chief executive of Poole hospital said that it cost it more than £6 million in lawyers and paperwork and that without the merger the trust will now have an £8 million deficit.
"The chief executive of NHS England told the Health Committee about the market madness that we now have in the NHS: 'I think we've got a problem, we may need legislative change… What is happening at the moment… we are getting bogged down in a morass of competition law… causing significant cost and frustration for people in the service in making change happen. If that is the case, to make integration happen we will need to change it' – that is, the law. That is from the chief executive of NHS England."
The response from current Health Secretary Jeremy Hunt needs to be examined carefully.
He said more than 96 per cent of patients were seen within four hours – but this conforms with Mr Burnham's remark; they were seen, but not treated.
He tried to rubbish Mr Burnham's remarks about scurvy by saying there had been only 26 admissions relating to scurvy since 2011 – but this misses the point. How many were there before 2011? This was an illness that had been eradicated in the UK – but is now returning due to Coalition policies that have forced people into malnutrition.
He dodged the issue of competition rules strangling the NHS, by saying that these rules were in place before the Health and Social Care Act was passed. In that case, asked Mr Burnham, "Why did the government legislate?" No answer.
As stated at the top of this article. he did not answer the question of the frail elderly blocking hospital beds at all.
The vote was won by the government because it has the majority of MPs and can therefore have its own way in any division, unless the vote is free (unwhipped) or a major rebellion takes place among its own members.
But anyone considering the difference between the Labour Party's motion and the government's amendment can see that there is a serious problem of perception going on here.
Or, as Andy Burnham put it: "This Secretary of State … seems to spend more time paying attention to spin doctors than he does to real doctors."
Vox Political believes in a free and full health service for all – not just the rich.
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That's why Vox Political needs YOUR help to continue.
Who is the fool who chose Grant Shapps to question BBC trustworthiness?
Posted by Mike Sivier in Business, Conservative Party, Corruption, Media, Politics, Public services, Television, UK
BBC, bias, chairman, Chuck Champion, Conservative, David Cameron, Ed Miliband, education, executive, fair, Freedom of Information, Gordon Brown, Grant Shapps, Howtocorp, Jeremy Hunt, Jimmy Savile, licence fee, Martin Rowson, Michael Gove, Michael Green, Mike Sivier, mikesivier, national audit office, NHS, payout, politics, report, right-wing, Sebastian Fox, share, Stuart Hall, Tories, Tory, trust, trustworthiness, trustworthy, Vox Political
Shapps v BBC: Take a look at the name on his tag and ask yourself who you think is more trustworthy.
Sometimes you have to wonder if the Conservatives are just having a laugh. Admittedly, the jokes would be sick, but it seems the only logical explanation for some of their decisions.
Take the latest attack on the BBC. A Conservative spokesman has said the Corporation should face a cut in its licence fee or be forced to share it with other broadcasters unless it rebuilds public trust after receiving bad publicity over payouts to top executives and the way it handled the Jimmy Savile scandal.
Unfortunately, the spokesman himself is Tory Chairman Grant Shapps, a man who has his own issues in the same area and who is known to have used at least two false identities for shady reasons.
As 'Michael Green', in the run-up to the 2005 election and afterwards, he "charged clients £183 an hour for advice on how to make money from the web as well as offering tips on how to beat the recession blues, including splashing out on a jet-ski or learning to play the guitar," according to the Daily Mail. Apparently he said his use of the name was to keep his business interests separate from his future political work, but he ended his involvement with that business in 2009, four years after he entered Parliament.
'Sebastian Fox' was another alias he used on Howtocorp, the web publishing company he created in 2000.
The two aliases were enough for people to make a connection with 'Chuck Champion' of a website called Howtopickupwomennow – but the evidence suggests it is unlikely that this is yet another pseudonym. Besides, the two we already had were enough to make the point that the BBC has no need to accept lectures about trust from Grant Shapps.
Of the BBC (and on the BBC News website) Mr Shapps/Green/Fox said: "They have ended up working in this culture which is buried in the last century, which is 'we are the BBC, we do what we like, we don't have to be too accountable'.
"But they are raising £3.6bn through the licence fee, which is a tax, and, quite rightly, the public wants to have sight of how the money is spent. Things like the pay-offs have really caused concern, as have, obviously, things like Savile and [Stuart] Hall [currently in prison for sex offences against young girls) and the culture that goes around that. I think it is one of too much secrecy," said the man who hid his own business affairs behind false names for the first four years of his Parliamentary career.
Shapps said the BBC should open its books to inspection by the National Audit Office, and open itself up to Freedom of Information requests. He added that there was a "question of credibility" for the BBC over whether it applied "fairness" to its reporting of politics.
How interesting that last point is.
Regarding the bulk of the Shapps complaints, the BBC was quick to point out that the NAO already has full access to the BBC, except for its editorial decisions, and that in 2012 the Corporation responded to more than 1,600 FoI requests and volunteered information on hundreds more subjects.
Then we come to that interesting last point. The BBC spokesman said: "Mr Shapps is right that transparency is key to the future of the BBC. So is its freedom from political pressure." (Italics mine)
It seems bizarre that the chairman of the Conservative Party should be complaining about the fairness of BBC political reporting. He can only be doing this to imply that the BBC is biased against the Conservatives – but we know that this has already been investigated and the opposite was found to be true.
As reported by this blog in August: "The BBC has a broadly right-wing bias. The study showed that the government of the day generally gets more airtime than anyone else (natural considering it is making policy and actually carrying out the business of government) but in reporting of immigration, the EU and religion, in 2007 Gordon Brown's appearances on the BBC outnumbered David Cameron's by less than two to one, while in 2012, Cameron's outnumbered Ed Miliband's by around four to one. The same ratios occurred for other prominent members of each party. When reporting of all topics is taken into account, Conservative politicians were featured more than 50 per cent more often than those from Labour in both 2007 AND 2012."
So now the real motive behind the Shapps attack becomes clear. He wants to coerce the BBC into an even more slavish adherence to the Conservative Party line than it has already, with the threat of losing its monopoly of the licence fee hanging over it.
And he wants to get the public on-side by pushing the discredited claim that the BBC is a den of Lefties.
You'll have noticed, Dear Reader, that Shapps has not referred directly to any individual news stories. Are we to take it that he opposes the BBC's failure to report the anti-Tory demonstration outside the Conservative Party conference on September 29? More than three times as many people turned up for that (50,000) as there were delegates in the conference, if I recall correctly.
The Shapps intervention has already received the lack of respect it deserves on the social media. "I see Grant Shapps now loudly slagging off the BBC so we're all diverted from Hunt'n'Gove systematically destroying the NHS and Education," Tweeted one member of the Great British public. See recent Vox Political articles for the facts behind those words.
And cartoonist Martin Rowson put the whole affair in context: "Does everyone know that unbelievably fatuous poltroon @grantshapps is Cousin of Mick Jones of The Clash? Weird, huh? Though not as weird as this meretricious delusional oaf thinking anyone ever takes anything he's ever said ever more seriously than a pool of puppy sick."


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I'm With Her – See You Around: Hey, it's a better band name than "Make Americana Great Again".
Artist: I'm With Her
Album: See You Around
In Brief: A smart but subdued folk/bluegrass record from an all-female trio that at times appears to be holding back the full power of their vocal harmonies and songwriting skills. This took a while for me to fully get into, but I can now say that I'm with I'm With Her.
The members of I'm With Her would like you to know that they chose their band name well before Hillary Clinton chose the exact same phrase as her campaign slogan. I'm sure they must get annoying questions about it constantly. The three ladies in the band – Sara Watkins, Sarah Jarosz, and Aoife O'Donovan – hail from San Diego, Austin, and Boston respectively, and the style of music they perform can be loosely described as "Americana" – essentially a hybrid of mellow folk and bluegrass, with the group mostly following the same configuration of fiddle, mandolin, and guitar as Watkins' more well-known band Nickel Creek. Their music, as far as I can tell, is not overtly political, and their name seems to have been chosen primarily to indicate that the band is a collaborative process with no single person acting as leader – every one of them is "with" the other two, and they perform in mutual admiration of one another. OK, are we settled on the name and the general intentions of the band? Good. Let's talk about the album now.
Despite performing together in some capacity for several years and releasing the occasional song along the way, 2018's See You Around is the trio's first full-length album. While I'm not personally familiar with the careers of Jarosz or O'Donovan before this point, I felt like I had a pretty good idea of what to expect based on Watkins' creative contributions to Nickel Creek's work and also her own solo records – generally laid-back, pastoral instrumentation with soothing vocal harmonies to help it go down easy, maybe a little bit of genre experimentation to blur the lines regarding what can be considered "folk music", and the occasional bit of vocal or instrumental sass that helps a song or two to rise above the album's otherwise peaceful lull. There's not a ton of showing off here, despite the wealth of collective talent between these three ladies – they seem to prefer blending in with each other seamlessly to the gratuitous spotlighting of any one member. I'm fine with that in the sense that no single person appears to dominate the creative process in the way that Chris Thile sometimes can in Nickel Creek, but it also makes it hard to tell who does what at times. While Watkins is primarily the violinist, Jarosz the mandolinist, and O'Donovan the guitarist, all three ladies contribute both acoustic and electric guitar at different points on this record, as well as a few other instruments, and their voices are all eerily similar, making it hard for me to even tell who sings lead or whose mind a particular song might have sprung from. The liner notes credit all three on general terms without going into detail on who did what for each specific track. Despite their diverse origins, I'm With Her seems to really want to hammer home the idea that they function as a democratic unit. This approach, along with the mild-mannered production style that can occasionally cause some elements to barely register in the background rather than being as crisp and clear as I'm normally prefer from an acoustic record of this sort, made it a bit difficult to fully appreciate the creative energy that went into both the music and lyrics of most of these songs on the first several listens. (To put it another way, this is a "headphones album", not a "road trip album".) Months after it came out, I'm only just warming up to a few of these songs beyond the initial ones that struck me as highlights.
And for those willing to sit quietly and listen carefully beyond the few spikes in energy, I think there's a lot to discover in the group's songwriting and instrumental phrasing. The expected songs about travel, troubled relationships, and the like are all present here, but a few tracks also take on interesting perspectives where it feels like a songwriter put some solid effort into writing from a point of view other than their own. Aside from the Gillian Welch cover that closes the album, this is all original material composed and arranged by the band. Aside from the presence of a single instrumental track that serves as a sort of intermission midway through the record, the focus is pretty squarely on songcraft here, making this record feel a bit like Nickel Creek's This Side, at least in terms of the shift toward a singer/songwriter aesthetic in a genre where the folksy instrumentation is often the defining factor. While I can't say that See You Around ever scales the same artistic heights as This Side, or whether that's even a fair comparison to make, my response to both records is similar in terms of how long it's taken me to warm up to them (and how in some cases I still am warming up to this one). Long story short: You have to be patient with this one, but it's worth the effort.
(And yes, I'm aware of the similarity between this album's cover and Haim's Days Are Gone. Apparently the thing to do if you're a vocal-heavy, all-female trio is to take a photo-op of yourselves sitting in lawn chairs on a sunny day.)
INDIVIDUAL TRACKS:
1. See You Around
The opening track is one that seeps in slowly, rather than seeking to impress listeners right out of the gate. I'm a bit at odds with the soft, apparently canned strings that open it – they give the false impression that we're being drawn into some sort of a fantasy sounscape, even though the instrumentation in the rest of the song (and throughout the album) is very down-to-earth and the lyrics rooted in reality. I do appreciate how the song weaves back and forth between one of the three women singing solo, two of them singing in harmony, and all three singing in unison. It's not one of the more powerful vocal harmonies I've ever heard, but it's a soothing one befitting the declaration that a woman simply wants to listen through all the noise and hear the far-away voice of the person she loves, with whom she's apparently been at odds for a while. The imagery used in this song, which relies on ocean/beach metaphors and the notion of a heart breaking and being filled up again, isn't particularly groundbreaking, but it sets the stage for an album on which a lot of the songs appear to be about people overcoming the vast distances between them.
2. Game to Lose
It's unsurprising that this track was chosen as one of the album's early singles, as it's the one most likely to jump out at a first time listener, at least if you're like me and you're looking for a little more instrumental and vocal flare to contrast with all the mellow sweetness. This one feels quite similar to something Nickel Creek might have conjured up, due largely to how prominent Watkins' fiddle is in the mix – it gently weaves through the verses and even gets a solo spotlight at one point, while the mandolin and guitar go from fluid finger-picking in the verses to a much bumpier, more urgent playing style in the chorus, which is the most fired up these three ladies sound at any point on this album. They seem to express exasperation over a person who is unwilling to take chances – perhaps on a romantic relationship or perhaps just on an important decision in their own life that could lead to genuine happiness if only the person would actually commit to it. I really enjoy the soft/loud dynamic in this song, and the gamut of emotions that it seems to run as the music becomes tense and urgent and then briefly relaxes again. This one's got a solid amount of crossover appeal – especially now that tUnE-yArDs has taken a crack at remixing it.
3. Ain't That Fine
This one's got Watkins written all over it. It even mentions "a dotted line" as though it could have been a leftover track from the Nickel Creek album of the same name. Unfortunately it's not a particularly eventful song – the mandolin and fiddle help to keep things pleasantly upbeat, but there seems to be zero conflict whatsoever in its lyrics. The title pretty well describes it – it's just "fine". Alright. So-so. The lyrics seem to describe a formerly troubled life that is now at peace, that may not seem all that remarkable to an observer but that is nothing to scoff at, either. I get the sentiment, but the whole thing seems to low-stakes that I can't get excited despite the exuberant chorus vocals. If you're gonna keep assuring me, "It's nothing special, ain't that fine", then I guess you shouldn't be surprised when I end up feeling like your singing about it is nothing special, either.
4. Pangaea
Continental drift is a pretty good metaphor for distance in a relationship, I guess. Björk certainly made it work in her song "Mutual Core". There are no volcanic dynamics in play here, though – just the soft drone of an almost monotonous chorus where the ladies are singing together, before they split off into these little fragments of lyrics that seem almost blurted out in the verses – similar to their approach in "Game to Lose", but not as energetic. I can see the pain inherent in a lot of the lyrics as they milk their metaphor for all it's worth, and I can feel the longing in some of Sara's somberly textured violin melodies as they slowly reach up into the atmosphere, begging to be heard by someone who is too far away to listen. This song doesn't move mountains for me, but it's mildly pretty in its own sad way.
5. I-89
This might actually be the most clever song on the album. It's also the most startling – even though it's not quite as energetic as the louder parts of "Game to Lose", it throws the listener's expectations for a loop by leading off with a fuzzy electric guitar (or bass, perhaps?) that offers a little dissonance for the acoustic instruments to play against. The chorus melody is one of the album's most memorable and fun to sing along to, even if it's a bit on the wordy side, it keeps looping back on itself in a way that makes it easy for the listener to pick up on what's going on and have that bit of sassy melody stuck in their head by the end of it. "If there was another way out, I'd take it/If there was another way down, I'd go/If there was another way other than the highway/Show me on a map, point out the road." I like how these lyrics are basically calling someone's bluff for taking a "my way or the highway" approach to a relationship and then apparently denying that this is what they're doing. These lyrics make it pretty clear that this other person's way isn't realistic, prompting them to prove that there's a third option aside from one of them saying "See ya later" and hitting the Interstate. (The actual I-89, named in the title but nowhere in the song itself, is a major artery in Vermont and New Hampshire helping to link the cities of Boston and Montreal, so I'm gonna take an educated guess based on geography that this was an O'Donovan lyric.) I like how it plays with the notion that folk songs are so often about travel, but the road map they're actually referring to isn't actually a physical one that you can fold up and keep in your glove box, or bring up as an app on your phone. As much as I consider this track a highlight, I'm actually even more drawn to the Spotify Singles rendition of it, which swaps out the fuzzy guitar for a banjo, and which seems to have a tighter and more forceful arrangement overall. Either way, it's an incredibly well-written and well-performed song that reminds us this old genre still has some new tricks up its sleeve in 2018.
6. Wild One
There's a lot of soft "ooh"-ing in this one. it's produced in such a soft manner that you're likely to miss most of what's going on if you just have it on in the background while there are other ambient noises in the room or the car to distract from it. I can't say a whole lot about the instrumentation – it's not an acapella song, but not much stands out to me aside from the vocals, and their gentle plea of "Do not cross over/Don't get yourself undone/Do not cross over/The other side is a wild one." it could be a plea to someone who is ready to check out on life, telling them they need to hang on, but it's so understated that it doesn't really have a lot of emotional impact. There's probably a lot more depth here than I'm giving it credit for – they may be referencing the melody or lyrics of some folk or Gospel standard that I could be completely unaware of. it has that sort of feel to it. It just isn't a performance that really compels me to keep coming back to it.
7. Waitsfield
It should be no surprise at this point that I'm generally drawn to the more fiddle-oriented tracks on this album. This one's a quick instrumental – just two minutes and change – and it's at once the most traditional and most celebratory thing on the album, based around a cutesy, up-tempo fiddle melody that I can easily picture people square dancing to at one of those farms where you go apple picking or something. It picks up even more about halfway through, until it's running at almost breakneck speed – it's not quite as frantically paced as something like Nickel Creek's "Scotch and Chocolate", but it's heading in that general direction.
8. Ryland (Under the Apple Tree)
Speaking of apple picking, this tender ballad draws a pretty strong connection between making apple pie and making love. It's not an overtly sexual song, but the act of gathering fruit and baking a delicious dessert together seems like it may as well be a form of foreplay, given the meek-but-kinda-sultry vibe of the performance here. It's sort of a waltz, gently picked out on an electric guitar before the other instruments come in, and like much of the album, I'm less drawn to the instruments than the vocals. This one's cute at first, but it gets a bit tedious – I find myself wishing they'd either laid the youthful nostalgia on thicker and taken it in a twee pop direction, or exaggerated the sensual twists and turns in the vocal melody a little bit more to give it a seductive feel a la Over the Rhine. It ends up in a vaguely pleasant middle space between the two that doesn't really do a whole lot for me.
9. Overland
I really didn't care for this song at first, but I have to say it's the track from this album that has grown on me the most. It took me some time to appreciate, despite its overall slow pace similar to the songs around it, how Jarosz had actually swapped out her mandolin for banjo here, and how the lyrics told a story of actual geographic separation between family members at a time when traveling from one end of the United States to the other was no easy task. Watkins sings lead on this one (which I only know because I've seen an in-studio performance of it), and she seems to take on the role of a railroad worker who has to leave family behind in Chicago because the only viable economic opportunity to provide for them is thousands of miles away in San Francisco. So this character takes on the journey, but deeply resents the extra years all the stress and toil and poor medical standards of the era have put on their face, lamenting, "If it isn't one thing, then it's one thing more If it isn't a fever that shows you the door It's the air, or the water or the goddamn war." The use of "goddamn" really startled me here, which might be part of the reason I didn't take to the song at first. In context, it's a more-than-reasonable thing to get upset and rage against the heavens about. You really feel when listening to this song that this migrant worker simply wants to do what's best by their family, and they're coming from a place of poverty instead of privilege, where the entire universe seems to have stacked the cards against them. Shouldn't be hard to figure out why a song like this resonates with me here in 2018.
10. Crescent City
Even though we're drowning in an endless sea of ballads that are hard to tell apart on first glance at this point, this one stood out to me right away simply by being about a lesser-known place in California than the types of places that usually get mentioned in popular music. Crescent City is way at the tip-top of Northern California, right before the Oregon border, deep in redwood country, and the overall vibe of this song makes it easy to picture a person taking a long drive up highway 101, leaving their normal life behind for a few days, and trying to find themselves again. Even though the performance itself isn't particularly gritty, the lyrics hint at a return to more of a simple life, existing closer to the earth: "Dirt under your fingernails/Wipe the mud from the window sill/In this world of sweat and tears/Make a life worth of living." I'm drawn to that ideal, for some reason, even though it's not the kind of life that appeals to me personally – I guess I'm just used to passing through small towns on road trips and wondering what people's lives there are like, and this song seems to come from a similar perspective. Watkins' fiddle does a nice job of trailing after the chorus, following a similar melody, and the chorus melodies are some of the sweetest on the album. It's not quite as strong of a highlight as the ones in the front half of the album, but it's easily my favorite thing in the back half.
11. Close It Down
This song comes drifting in and out so gently, at a point in the album where I'm honestly longing for something to shake up the status quo, that it was very easy for me to miss what its lyrics were about on the first several listens. It's four verses and a bridge, without an identifiable chorus, basically comprising a conversation between two lonely people at a bar, their memories growing fuzzy, trying to remember why they're there and whether they have a good reason to stay with each other or get up and leave. It isn't revealed until the end of the song, when the bar is closing and it's time for the wayward couple to go home either together or alone, that the guy remembers he's got a wife to go home to. It's sung so softly, with the end of the song coming rather abruptly right after it, that the big "wham" effect it's meant to have when the listener realizes what was at stake here is kind of muted. Really interesting idea for a song – it just deserves more of an attention-grabbing delivery, I think.
12. Hundred Miles
The final song, while it's yet another subdued performance that doesn't do a whole lot to motivate me to care at this point, does at least provide some good thematic closure for the album. This is the aforementioned Gillian Welch cover, and I'm pretty sure it's not the first time I've heard someone in Nickel Creek's general orbit offer their take on one of her songs – she seems to be a wellspring of cover-worthy material. The acapella first verse sounds like the kind of thing that's going to build up to a bigger arrangement, and then there's this big organ swell leading into the second verse, where the instrumentation comes in, but none of it does anything to really lift the melody or the energy level of the song. It's a mellow, weary song about traveling, and it's probably meant to be – I just feel a bit misled by the hope of it turning into more of a standout performance. If you like, you can imagine that this is a final letter home from the weary traveler we last heard from in "Overland", as they've finally made enough of a life for themselves that they can now have a tearful reunion with their long lost family who have since been scattered to the wind, and set about building better lives together than the ones they left behind in Chicago all those years ago. It's one of those songs that, by itself, would just strike me as a so-so vignette of life out in the prairies, where the roads are straight and flat, the asphalt is unforgivingly hot in the summertime, and the distance between one small semblance of civilization and the next are vast. This either sets a stage on which other stories can be told, or clears the stage after those stories are told, and the group seems to have chosen it in this case to do the latter.
WHAT'S IT WORTH TO ME?
See You Around $1
Game to Lose $1.75
Ain't That Fine $.50
Pangaea $.75
I-89 $1.50
Wild One $.25
Waitsfield $1
Ryland (Under the Apple Tree) $.25
Overland $1.25
Crescent City $1.25
Close It Down $1
Hundred Miles $.25
Sara Watkins: Vocals, violin, ukulele, acoustic and electric guitar
Sarah Jarosz: Vocals, mandolin, mando-guitar, banjo, acoustic and electric guitar
Aofie O'Donovan: Vocals, acoustic and electric guitar, piano, keyboards
MORE USEFUL LINKS:
https://www.imwithherband.com/
https://www.facebook.com/Imwithherband/
Tagged 2018 albums, americana, aoife o'donovan, austin, B grade albums, bluegrass, boston, california, folk, i'm with her, massachusetts, san diego, sara watkins, sarah jarosz, texas
4 thoughts on "I'm With Her – See You Around: Hey, it's a better band name than "Make Americana Great Again"."
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ADULT EDUCATION: Sunday, August 7th, at 9:00 am. We will continue to focus on the study of Matthew with Chapter 30 (N.T. Wright's book).
WORSHIP: August 7th, the Holy Eucharist, Rite II, with Rev. Ray Brown.
READINGS for this Sunday (Twelfth Sunday after Pentecost): Genesis 15:1-6; Psalm 33:12-22; Hebrews 11:1-3, 8-16; Luke 12:32-40.
MIDWEEK EUCHARIST will be on Thursday, August 11th, at Noon.
Sam Harris, Jim Howe, Jr., William Millard, Susan Gibbs Worrell, Jeffrey Mink, Richard Hargraves, Katy Mouritsen, Elena Hinderer, Sharon Hinderer, Belinda Hyslip, Walter Morris, Sr., Walt Morris, Pat Wheeler, Carol Simmons, and Dr. Marion McDaniel.
The ECW meeting this month will be at church in the undercroft on August 8th at 5:00. Please bring items for boys or girls ages 5-9 so we can fill more boxes for Operation Christmas Child. If anyone needs boxes to fill on their own, please contact Bennette Morris (870-338-1340).
The Samaritan's Purse: Donations that will fit in a shoe box can be placed in the basket by front door.
Angels of Grace and Anchor Mission ministries: The item from their wish list this week is cleaning supplies. Plastic tubs for each are located at the stair landing just outside the chapel.
Humane Society of the Delta: Donations needed are dog food, cat litter and large used bath towels. There is a plastic tub for them also on the stair landing.
Grace Food Pantry labeled container in the narthex is for any plastic bags you might want to donate.
Thursday, August 4th, at 12:00 Noon, Holy Unction & Prayers for the Healing in the Chapel.
Monday, August 8th, at 5:00, ECW will meet at the church in the undercroft.
Thursday, August 11th, at 12:00 Noon, Midweek Eucharist in the Chapel.
St John's historical records: "Back in the day" (as they say), children were awarded pins if they had perfect attendance at Sunday School. Not so today, so if we hurt Tom Miller's or Jack Hornor's feelings by telling that when they were just little boys in 1955 they missed 9 or 10 Sundays out of 52 in a year, we apologize, and we admit that our own adult attendance isn't perfect, either. To have been in Sunday school 41 and 42 out of 52 weeks is actually mighty good!
The Women's Missionary Society in 1879 paid the monthly salary for the organist. The salary was $8.00 per month.
Office: If you know anyone that needs to be on the prayer list please contact the office in order to include them in the newsletter and the bulletins. We also need to know when someone should be taken off. Email, text or call, your help is greatly appreciated.


Traumatic Brain Injury (TBI) remains a significant cause of mortality and morbidity, affecting individuals of all age groups. Much remains to be learned about its complex pathophysiology, with a view to designing effective neuroprotective strategies to protect sublethally injured brain tissue that would otherwise die in secondary injury processes. Experimental in vivo models offer the potential to study TBI in the laboratory, however, treatments that were neuroprotective in animals have, thus far, largely failed to translate in human clinical studies. In vitro models of neurotrauma can be used to study specific pathophysiological cascades — individually and without confounding factors — and to test potential neuroprotective strategies. These in vitro models include transection, compression, barotrauma, acceleration, hydrodynamic, chemical injury and cell-stretch methodologies. Various cell culture systems can also be utilised, including brain-on-a-chip, immortalised cell lines, primary cultures, acute preparations and organotypic cultures. Potential positive outcomes of the increased use of in vitro platforms to study TBI would be the refinement of in vivo experiments, as well as enhanced translation of the results into clinically meaningful neuroprotective strategies for the future. In addition, the replacement of in vivo experiments by suitable in vitro studies would lead to a welcome reduction in the numbers of animal procedures in this ethically-challenging field.


LONDON (Sputnik) - The Russian Embassy in the United Kingdom slammed anti-Russia rhetoric by UK Defence Secretary Gavin Williamson, saying that his statements are aimed at justifying expansion of NATO states' defense budgets.
Earlier in the week, Williamson, in his address at the Atlantic Council, accused Moscow of aggression, cyberattacks and the political sabotage.
"An unusually belligerent rhetoric of Gavin Williamson … sheds light on the true motives behind the forced increase in spending by NATO countries, expected to reach $1.26 trillion in 2018," the embassy's spokesperson said on Friday.
The embassy expressed regret over the UK stance and noted that such claims undermine constructive relations between the European states and are part of the Conservative party's campaign against Russia.
Russian-UK relations worsened after the poisoning of former spy Sergei Skripal and his daughter Yulia in the UK city of Salisbury.


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Tag: no way home
Leave a Comment on Is there No Way Home, Spiderman?
Is there No Way Home, Spiderman?
What happens when an IP tries to imitate its past? The latest entry in the Marvel Cinematic Universe takes inspiration from the past and the future.
Phase four has driven us towards the multiverse with hiccups and missteps. Loki did it one way, Doctor Strange another. Ultimately there should be an internal logic that makes sense throughout the films. You could get into that, but it would defeat the purpose of entertainment.
So who is your favourite Live-Action Spiderman? Sam Raimi and Tobey Maguire told a different story. One where every swing of the wall-crawler across New York City was the first of its kind on a large screen. Exciting, impactful and full of emotion. But after a few days of reading other people's opinions on Twitter, Rotten Tomatoes and whatnot, I feel like people have this incredible recency bias that compels them to rate the latest adventure as the best. I feel like over time, as we move away from this initial hype, it will come down as a very derivative movie relying heavily on what came before. I mean, think about it. In terms of Peter's story, he is often secondary to other characters on screen doing the cool stuff. First, J. Jonah Jameson reveals his identity to the world, then MIT decides to not take them in for their undergraduate programme. Then Doctor Strange casts the spell that breaks reality. Then Aunt May convinces Peter to try to cure the previous generations villains. Then previous Spider-Men take all the applause as they appear in a muddled way due to nostalgia, then Willem Dafoe stops Peter from trying to save MJ which gives Andrew Garfield some closure. The point is, what incredible thing did Tom Holland's Peter Parker do? Nothing but be a passive protagonist.
It did feel like a fan made this film. It broke box office records, but I think it will not stay in the lexicon for any of its current moments. All the cheer and excitement was to see the previous two SpiderMen come back to dawn their costumes. Another point of frustration is that they underplay so many of the seemingly unbelievable events with a silly joke. No one would behave like that if an actual person from another universe visited.
Perhaps they don't believe in their verisimilitude. The MCU-Sony Spiderman films have not been my favourites. That's because I have felt the first iterations to be good enough and definitive. For example, if you admire a word, dream about how you'd feel if you too had tiny spikes in your hand that make you crawl on walls, then someone would come and say that look, that thing you loved is now something else, something new, you'd feel weirded out as well. Cinema greats like Martin Scorcese and others who have raised concerns about Marvel movies do have a point when they say that these kinds of films are not cinema. They feel like theme park rides where they don't seem to have any relatable consequences as any threat could be CGI'd away instantly.
Their stakes don't seem high enough for the main characters, even though the world around them is folding onto itself in the mirror dimension. With a great past comes a mediocre imitative present but a hopeful future.


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Amélie Rivat-Mas, née le  à Lyon, est une coureuse cycliste française, professionnelle entre 2012 et 2017.

Biographie
Amélie Rivat est née à Lyon où elle est assistante de gestion. Elle a commencé sa carrière au club cycliste de Saint-Martin-en-Haut, commune où elle s'est mariée.

Après six podiums en catégorie jeunes, elle obtient trois fois la médaille d'argent en catégorie élite au championnat de France de la course en ligne (2010, 2013 et 2017), ainsi qu'une médaille de bronze en 2014. Son premier titre important est le classement général de la Coupe de France en 2014.

Fin 2017, elle annonce mettre fin à sa carrière.

Palmarès

Par années
 2006
  du championnat de France sur route juniors
 2007
  du championnat de France du contre-la-montre juniors
 2008
 Grand Prix Fémin'Ain
 Championne Rhône alpes espoir sur route
  du championnat Rhône alpes élite sur route
  du championnat de France sur route espoirs
 2009
  du Grand Prix Fémin'Ain
  de Prix de la Ville du Mont Pujols
 2010
  du championnat de France sur route
  du championnat de France sur route espoirs
 Championne Rhône alpes élite sur route
 2011
  du championnat de France sur route espoirs
  du championnat d'Europe sur route espoirs
 2012
  de la coupe de France
 Championne Rhône alpes élite sur route
 2013
 Grand Prix Fémin'Ain
  du championnat de France sur route
 2014
 Coupe de France
 Prix de la Ville du Mont Pujols
 Championne Rhône alpes élite sur route
 2015
  du Cholet-Pays de Loire Dames
  du championnat de France sur route
 Championne Rhône alpes élite sur route
 2016
  de la Classique Morbihan
 2017
  du championnat de France sur route

Classements UCI

Notes et références

Liens externes

Coureuse cycliste française
Naissance en novembre 1989
Naissance à Lyon

redpajama_set_name: RedPajamaWikipedia


This vector set illustration contains several number of rockstar hairstyles. Most of them are long hairstyles and they are really funky. You can pick one of them to suit your design project. Could be good as design element in rock music event or band promotion.


Most of the time when I want to travel or indulge in photography, I prefer to hit the hills. Somehow they never fail to attract me. Armed with my camera, I just need a reason to escape to the hills. I started early morning on one fine day for one such trip. After photographing the first rays of the sun and a few landscapes in the crisp chilling weather of autumn, hunger struck me. Was it because I could smell something nice being cooked at a small roadside shack? Maybe that this was exactly what was needed for the famished photographer.
Like every region in the world, Kumaon also has its own wonderful cuisine. Locally grown vegetables cooked with spices and herbs! What caught my fancy at this place was the wood fired stove. In this age of a variety of electrical and gas stoves, I have seen coal burners too, but a wood fired stove was something really out of a Rudyard Kipling book.
The moment, I stepped into the shack, I forgot about my hunger. The hands itched to take the camera out again and photograph the relic being used. It was hand made stove covered with clay for insulation. The logs burned below with the smoke going out from a cast iron pipe at the back end.
I reached out for my camera. This particular stove was a challenge for exposure. Cream colored clay was coated with dark black soot at many places. The logs were the usual dark brown and the burning fire was bright red-yellow. Even the ambers from the wood were quite bright. From a glance, the scene seemed to cover approximately 16 -17 stops. Nikon Df does not have that kind of dynamic range. Maybe I should try HDR? But then, the fire was dancing around a lot. Getting the tripod out was also going to be another task.
'Namaste, what will you have for breakfast?'. These words broke my chain of thoughts. With a puzzled look, the owner looked at me and my camera. I ordered some eggs and an assortment of the Kumaoni delicacies that he had prepared. After completing the order, I went back to my main business there. Where was I? Yes, to do HDR or not! Anyway, that could wait. First to capture a few shots and see what can be achieved.
Setting my camera to Evaluative metering mode (3D Matrix), Aperture Priority and Auto-ISO, with the Nikkor 50mm lens mounted, I was all set up. First capture turned out to be overly bright. The meter had considered the bright fire as the most important element in the composition and had metered accordingly. The impact was lost. The open fire seemed to be lacking something.
The owner was also amused by my photography. He went ahead and placed a dark soot covered vessel on the fire. This made the composition complete. Within a few minutes, the steam started to escape from a corner. Perfect! With -1 EV compensation (Exposure Compensation), I made the next exposure. This was a keeper.
By now, my food was served. It was delicious. The freshly prepared rotis (Indian bread) were being served by their kid daughter who must not have been more than 5 years of age. A very pretty little girl who was playing and helping out her dad on a Sunday morning. I wanted to capture a portrait of her but she was shy and ran away. I am still to improve my communication skills with small children.
A swallow flew in into the shack and made itself comfortable on a wooden log that sat on one side. No chirping, none of the usual greetings. It just settled down in one corner and went on with its scrutiny of the new person in the shack. I was the stranger here and the swallow, a regular visitor. Reminded me of the old granny who was my neighbor, at a house I had rented many years back. She was always suspicious of me whenever I walked out of my house early morning with my camera. Once I had clicked her photographs, after getting her permission, and yet she became all the more suspicious of me. Come to think of it, she had a pointed nose and resembled the way, the swallow appeared with her pointed beak while observing me.
The breakfast was followed by a hot cup of tea, with rich creamy milk and heaped spoon of sugar. The hill folk love their tea sweet and creamy. On a cold morning with chilled wind biting me, the warmth of the wood fired stove and a cup of hot tea was perfect.
This is now going to be a regular stop whenever I travel this road again. Signing off, with love from Kumaon.
This entry was posted in Travel and tagged Kumaon, Travelogue. Bookmark the permalink.


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Home / Health and Medicine / New drug reduces chemotherapy-induced nausea and vomiting
New drug reduces chemotherapy-induced nausea and vomiting
Two new studies now show that aprepitant – the first in a new class of drugs that interfere with the vomiting reflex – can substantially reduce chemotherapy-associated nausea and vomiting in cancer patients treated with cisplatin, a common type of chemotherapy. Results of both Journal of Clinical Oncology studies, early release articles published online October 14, formed the basis of the U.S. Food and Drug Administration's approval of aprepitant in March 2003.
Aprepitant Combined with Standard Treatment for Nausea and Vomiting Helps Prevent These Symptoms Following Chemotherapy
The first study, led by Paul J. Hesketh, MD, at the Caritas St. Elizabeth's Medical Center in Boston, found that adding aprepitant to the standard therapy to control nausea and vomiting could more effectively prevent these symptoms than the standard treatment alone. Nausea and vomiting were reduced both on the day that chemotherapy was given and, more importantly, in the several days that followed, when nausea and vomiting often occur.
"The nausea and vomiting that occurs 24 hours after receiving cisplatin is particularly problematic for patients, and aprepitant provided a substantial improvement," said Dr. Hesketh. "Aprepitant should change the standard of care for the treatment of chemotherapy-induced nausea and vomiting, especially for patients receiving chemotherapy drugs known to cause severe vomiting."
The international phase III study involved 520 patients with respiratory cancers, all of whom received ondansetron plus dexamethasone – the standard therapy to prevent nausea and vomiting. In addition, the patients were randomly assigned to receive oral aprepitant or a placebo. Patients kept diaries to document any nausea or vomiting that occurred on the day that chemotherapy was given and on the four days that followed, noting whether they needed additional medication to control these symptoms.
Researchers found that 26 percent of patients on the aprepitant regimen experienced nausea or vomiting, while nearly 48 percent of patients on the standard treatment experienced these side effects.
Results were particularly encouraging two to five days after the administration of chemotherapy, when standard treatments often fail. During this time period, 25 percent of patients on the aprepitant regimen reported nausea or vomiting, compared to 44 percent of those taking the standard drugs.
Aprepitant Added to Standard Therapy Protects Against Nausea and Vomiting Over Multiple Cycles of Chemotherapy
The second study, led by Ronald de Wit, MD, PhD, of the Rotterdam Cancer Institute in the Netherlands, found that the benefits of aprepitant extended over the course of multiple cycles of chemotherapy. Previous studies have shown that nausea and vomiting often become more severe over the course of several cycles of chemotherapy, and that standard therapy to control nausea and vomiting tends to become less effective as the number of chemotherapy cycles increases.
"This is a major clinical improvement in the ability to control nausea and vomiting – two of the most distressing side effects of chemotherapy," said Dr. de Wit. "The benefits experienced by patients taking aprepitant should be considered a major leap forward."
The international phase II clinical trial involved 164 cancer patients, all of whom were scheduled to receive up to six cycles of cisplatin. Recruited from 50 centers, including 21 in the United States, patients were randomly assigned to receive either oral aprepitant or a placebo, in addition to ondansetron and dexamethasone. Patients kept diaries identical to those in the previous study.
Researchers found that 64 percent of patients taking aprepitant plus standard therapy experienced no nausea or vomiting after the first cycle of cisplatin, compared to 49 percent of patients taking only the standard therapy. After six cycles of cisplatin therapy, 59 percent of patients who continued to take aprepitant along with the standard therapy reported no nausea or vomiting, compared to only 34 percent of those who received the standard therapy alone.
"This study shows that the benefits of aprepitant are not confined to the first cycle of chemotherapy and that this enhanced protection against nausea and vomiting can be sustained," said Dr. de Wit.
"The Oral NK1 Antagonist Aprepitant For the Prevention of Chemotherapy Induced Nausea and Vomiting: A Multinational, Randomized, Double-Blind, Placebo Controlled Trial in Patients
Receiving High-Dose Cisplatin." Paul J. Hesketh, M.D., et al; Caritas St. Elizabeth's Medical Center, Boston, Massachusetts.
"Addition of the Oral NK1 Antagonist Aprepitant (EMEND®) To Standard Antiemetics Provided Protection Against Nausea and Vomiting during Multiple Cycles of Cisplatin-Based Chemotherapy."
Ronald de Wit, M.D., et al; Rotterdam Cancer Institute, Rotterdam, The Netherlands.
The Journal of Clinical Oncology is the semi-monthly peer-reviewed journal of the American Society of Clinical Oncology (ASCO), the world's leading professional society representing physicians who treat people with cancer.
Carrie Housman EurekAlert!


Microsoft came up with the Bing Search few years back to compete with the Google search with an edge for the developers to create their own solutions based on it. Microsoft exposed its public search API to be easily used by the developer community around the globe.
The Bing Search API enables developers to embed and customize search results in applications or websites using XML or JSON. Add search functionality to a website, create unique consumer or enterprise apps, or develop new mash-ups. The Bing Search API gives you access to web, image, news, and video results, as well as related search and spelling suggestions. Microsoft came up with Bing Search API 2.0 earlier.
With introduction of Windows Azure, the Bing Search API 2.0 is transitioned to new cloud-based data service that is available via subscription based on usage requirements. The new cloud-based Bing Search API enables developer community to create their own applications using it to search, get and use the available data store provided by Bing. They can also analyze the data online using the new Service Explorer tool.
• Metered subscription of query limits.
• HTTPS query URLs (sometimes called "endpoints") that provide results in either XML or JSON media formats.
• Open Data Protocol (OData) support for easy consumption across multiple development systems.
• Improved support for data types.
• The ability to monetize applications in the Windows Azure Marketplace.
• Access to fresher results and improved relevance.
For users of old Bing Search API 2.0, the migration documents are provided at Windows Azure Marketplace to move to new and fresh cloud based Bing Search API.
There are two issues you will face while moving you codebase to new API. First, if the code was written in .Net 2.0, so the new <BingSearchContainer.cs> provided at Windows Azure Marketplace will not work as such as this file requires version 4.0. Second, you need get new Bing account key.
Following is the list of changes to be made to migrate to new Bing search API.


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Q: Apache flink Kafka Connector not found I'm fairly new to flink/Java/Scala so this might be a non-question but any help is appreciated. I haven't been able to find an example that uses the Flink Kafka connector with Flink 1.13 (and works for me).
My project is here: https://github.com/sysarcher/flink-scala-tests
I want to I'm unable to use FlinkKafkaConsumer (link) which I want to try out.
I'm using IntelliJ Idea. The project was generated from the tutorial on Flink's website

*

*The First problem seemed to be the provided scope as suggested here: https://stackoverflow.com/a/63667067/3760442 ... Now, DataStream API (and the example) seem to work.

*The current problem is that I'm not able to use the Kafka connector which I'm looking to try out.

The following link was used to generate the project: https://ci.apache.org/projects/flink/flink-docs-release-1.13/docs/try-flink/datastream/#how-to-follow-along
Error Encountered
$ mvn clean compile
[INFO] ...
[WARNING] Multiple versions of scala libraries detected
[ERROR] /hide/abs/path/github/flink-stuff/frauddetection/src/main/scala/spendreport/FraudDetectionJob.scala:42: error: not found: type FlinkKafkaConsumer
[ERROR]     val kafkaConsumer = new FlinkKafkaConsumer[String]("car.create", new SimpleStringSchema(), properties)
[ERROR]                             ^
[ERROR] one error found

UPDATE:
One problem was the missing import statement:
import org.apache.flink.streaming.connectors.kafka.FlinkKafkaConsumer

I can build the artifacts using mvn clean compile but IntelliJ still complains with the following error:
/long/path/flink-stuff/frauddetection/src/main/scala/spendreport/FraudDetectionJob.scala:30:35
object connectors is not a member of package org.apache.flink.streaming
import org.apache.flink.streaming.connectors.kafka.FlinkKafkaConsumer

A: It turns out the problem was with IntelliJ's indexing (or something, I'm not sure). I pressed CTRL+SHIFT+A and typed Reload All Maven Projects. Thereafter, the build was successful.
This comment helped: https://lists.apache.org/x/thread.html/rc332d1054886e35af65de4a7c38553e02a2304a2ebdab8197badd94d@%3Cuser.flink.apache.org%3E

It seems sometime IntelliJ does not works well for index, perhaps you could choose mvn -> reimport project from the context menu, if it still not work, perhaps you might try remove the .idea and .iml file and re-open the project again.


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John Crist is one of today's fast-rising stand-up comedians, with more than one billion video views, over five million fans on social media, and sold-out shows from coast to coast making Pollstar's Top 100 Global Tours list in 2019 with over 197,000 tickets sold.
Widely known for viral videos like "Honest Football Coach," "Every Parent at Disney," "Brands that need to be CANCELLED" plus hundreds more, John Crist has performed all over the world. In 2021, he began his multi-city national theater tour called "Fresh Cuts" selling out theaters all over the United States.
Group discounts are available for select performances at The Classic Center Theatre, including all shows in the Broadway Entertainment Series. Discount percent and group size vary based on each event. For more information or assistance reserving a block of tickets, visit ClassicCenter.com/GroupSales.
Tickets for this event range from $29.75 - $59.75, plus applicable fees.
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