It was seven more favourable days for NBC utmost week, effulgent with Olympics coverage that brought the sort of ratings triumph a electronic network dreams of.
If only it didn't
Saturday, 6 September 2008
Sunday, 17 August 2008
Blue Cross Blue Shield Of Michigan-American Society Of Clinical Oncology Initiative To Reduce Costs, Improve Patient Care
�
Blue Cross Blue Shield of Michigan and the American Society of Clinical Oncology are collaborating to collect and analyze treatment information on tens of thousands of people with cancer in Michigan in an elbow grease to ameliorate care and reduce costs, the Detroit News reports. According to BCBS officials, similar initiatives have decreased hospital deaths and saved millions of dollars in unnecessary medical expenses. The effort likewise is a way for the insurance firm to turn more involved in the delivery of care, according to the News. Thomas Simmer, BCBS' senior vice president and chief aesculapian officer, aforesaid, "Its main focus is on timbre, but we recognize that we may save some costs for customers."
For the initiative, the groups will collect data from 11 oncology practices in Michigan that account for 180 physicians treating 16,000 patients every year. The data will be entered into ASCO's national registry, which includes information about a number of aspects of cancer discourse, including chemotherapy-related side effects and pain management, from 25,000 cancer professionals at almost 385 oncology practices.
Physicians who supply data will receive $3,000 for each one. BCBS says it plans to spend approximately $500,000 this year on the send off. According to ASCO CEO Allen Lichter, BCBS is the
Blue Cross Blue Shield of Michigan and the American Society of Clinical Oncology are collaborating to collect and analyze treatment information on tens of thousands of people with cancer in Michigan in an elbow grease to ameliorate care and reduce costs, the Detroit News reports. According to BCBS officials, similar initiatives have decreased hospital deaths and saved millions of dollars in unnecessary medical expenses. The effort likewise is a way for the insurance firm to turn more involved in the delivery of care, according to the News. Thomas Simmer, BCBS' senior vice president and chief aesculapian officer, aforesaid, "Its main focus is on timbre, but we recognize that we may save some costs for customers."
For the initiative, the groups will collect data from 11 oncology practices in Michigan that account for 180 physicians treating 16,000 patients every year. The data will be entered into ASCO's national registry, which includes information about a number of aspects of cancer discourse, including chemotherapy-related side effects and pain management, from 25,000 cancer professionals at almost 385 oncology practices.
Physicians who supply data will receive $3,000 for each one. BCBS says it plans to spend approximately $500,000 this year on the send off. According to ASCO CEO Allen Lichter, BCBS is the
Friday, 8 August 2008
Tuesday, 1 July 2008
Carlos Alomar
Artist: Carlos Alomar
Genre(s):
Electronic
Discography:
Dream Generator
Year: 1973
Tracks: 10
Guitarist Carlos Alomar has played on more than David Bowie albums than whatever other sixer stringer has (including Mick Ronson, world Health Organization was peradventure the most identifiable with Bowie). In 1974, Alomar crossed paths with Bowie, world Health Organization was interested in authorship an record album that explored dance/funk sounds of Philadelphia soul. The two attain it sour, which would signal the origin of a long and fruitful relationship between the isaac M. Singer and guitar player. 1975's classical Young Americans soon followed, as Alomar too helped co-write one of Bowie's biggest hits, "Celebrity," on with Bowie and John Lennon. It was besides around this meter that Alomar supposedly 'discovered' person isaac Bashevis Singer Luther Vandross, having him blab on Bowie's album, which at long last lED to a successful solo career of his have. Alomar apace figured out that Bowie wasn't typeset on a single musical expressive style for whatever period of time, as Alomar unbroken pace on such experimental and musically varied Bowie albums as 1976's Station to Station, 1977's Low and Heroes, 1979's Lodger, and 1980's Scary Monsters. The guitarist and Bowie as well helped revive the life history of hood icon Iggy Pop during this time period, serving bring forth and co-write two of Pop's finest solo albums, 1977's The Idiot and 1978's Lust For Life.
Alomar continued to play/tour with Bowie off and on throughout the '80s, including being named "musical theater director" of Bowie's portentous Glass Spider Tour in 1987. An surfeit of session work out likewise came Alomar's fashion, as he played with a change of early artists during this geological period - Paul McCartney, Mick Jagger, Chuck Berry, Bette Midler, Arcadia, Digable Planets, James Brown, The Bee Gees, Tina Turner, Whitney Houston, Bruce Springsteen, Carly Simon, Duran Duran, and Prefab Sprout, among innumerous others. As a upshot, the guitarist/songwriter has played on a total of 32 Gold and Platinum records all over the days. Alomar as well issued a solo album in 1988, Dream Generator, which focused more on synth/guitar textures rather than screening cancelled his chops. Soundtrack work for movies and TV followed, including such movement pictures as Pretty Woman, Pretty In Pink, Usual Suspects, and Christina F, asset jingles for idiot box commercials. Alomar as well reunited with his old sidekick Bowie for such latter day releases as 1995's Outside and 2002's Heathen. The early twenty-first hundred saw Alomar assist as Director of A & R for the "Boombacker" Music label, and putt together another solo expiration, to be highborn Hyly Volatyl.
Wednesday, 18 June 2008
"Bookish" show at SU's Hedreen Gallery ends noted chapter in curator Carrie Scott's career
"Bookish," a quiet, thoughtful little show at Seattle University's Hedreen Gallery, doesn't shout "last hurrah!" but it does astutely represent the final curatorial effort by Carrie E.A. Scott before her departure to New York. Scott is leaving several positions here in Seattle — part-time curator of the Hedreen Gallery, director of the James Harris Gallery, freelance curator and arts writer — to become the director of the Nicole Klagsbrun Gallery in New York.
Scott was the first curator of the Hedreen, hired by Seattle University in the fall of 2005 right before the 2006 opening of the Lee Center of the Arts. The layout of the gallery, which doubles as a lobby for SU's theater, could make showcasing art difficult. But Scott was thrilled with the possibilities, saying that "the space was new and the slate was clean, which is what made it so exciting."
Scott began planning a diverse exhibition schedule that presented both emerging and established artists. She tended to limit the number of artists and works of art, a practice that increased the bright, airy feel of the space and our ability to focus on individual works of art. But the pared-down nature of the exhibitions occasionally hindered the full articulation of Scott's impressive curatorial themes.
Nonetheless, Scott made a name for herself as one of several young curators in Seattle who could step into any space and forge engaging exhibitions on a relatively small scale.
"Bookish" is typical of Scott's curatorial efforts. It's ambitious in theme but manageable in scale; the handful of works is intellectually suggestive and visually complex. As the title playfully indicates, the three artists in the exhibition — David Bunn, Carol Es and Leo Morrissey — create works of art that are related to books, but are not exactly, or only, books. They are approximations and tweakings of the combination of image and words, and explorations of how text, knowledge and narratives are organized and presented.
In 1990, Bunn acquired 2 million cards from the Los Angeles Central Library's catalog when record-keeping there went digital. I am in no way lamenting the switch to computerized systems of catalog searching, but Bunn's work reminds us of the position of individual people, which can get lost within these coolly impersonal systems of data collection.
In "Bookish," Bunn displays cards that bear obvious traces of human presence — a looping red line from a pen attests to the slip of the hand of someone riffling through the cards, trying to track down a certain source. According to Scott, Bunn's photographic enlargements of these human errors "reveal uncanny connections in which the mark and the text on the card resonate," as with the blood-red line that disturbs the neatly typed information for the book "It All Started With Eve."
Es, a self-taught Los Angeles artist with a burgeoning career, is represented in this show by two of her handmade artist's books, which display charming drawings and witty writing. Her appealing approach creates a disjuncture — while also allowing a deeper engagement — with her achingly brutal statements about her difficult childhood.
Morrissey also inserts himself into text, but in a more conceptual, less autobiographical way. Using old books, often dictionaries and encyclopedias, Morrissey carefully carves his silhouette into the covers and pages. The contour lines and layers of his abstracted identity are constructed out of the removal of text and information.
Scott's smart selections of the works of art for this exhibition encourage different kinds of "reading." We can respond emotionally, explore the complex visual experience and, yes, we can delight in being bookish ourselves, analyzing the many relationships between representation (in words and images) and meaning.
The positive, generous demeanor and confident professionalism that Scott brought to her deep involvement in Seattle's art scene are clear when she states, "I'm sure whoever comes on board next will build on what has just begun."
According to Steve Galatro, administrative specialist at Seattle University, the Department of Fine Arts is looking for a new curator.
While two other exhibitions that Scott has organized will open at the Hedreen later this year (work by Leo Saul Berk and Patrick Caulfield), "Bookish" is the last show to go up during Scott's tenure here in Seattle; it works well as a reflective, whispered leave-taking.
See Also
Monday, 9 June 2008
Swayze Co-Star: "Patrick's a Real Fighter"
Patrick Swayze's co-star in his new A&E drama pilot, The Beast, is speaking out about his experience working with the actor admid his battle with Pancreatic Cancer.
Travis Fimmel tells Extra, "I had a great time working with Patrick on the pilot for The Beast. I'm thrilled that he is doing so well, although I can't say I'm surprised as Patrick is a real fighter! I can't wait to get back on the set to get on the series with him."
Swayze, who was diagnosed with Pancreatic Cancer earlier this year, has been given the 'ok' to begin working again. The A&E network told Extra that the actor "has responded well to treatment and his doctors have given him the go-ahead to resume working."
See Also
Tuesday, 3 June 2008
50 Cent - Ex-girlfriend Brands 50 Cent A Bad Dad
50 CENT has been dubbed a bad dad by the mother of his ten-year-old son MARQUISE.
Shaniqua Tompkins, who escaped a fire on Friday (30May08) at the New York mansion the star owns, claim 50 Cent has yet to call to check on Marquise, who was at the house with his mother when the blaze started.
She tells the New York Daily News, "He didn't even attempt to call his son to see how he was doing. A good father would do that."
Tompkins has accused the rapper - real name Curtis Jackson - of starting the fire. He was shooting a movie in Louisiana when it took place.
See Also
Subscribe to:
Posts (Atom)