Tash Sultana Releases Final Single, “Sweet & Dandy”, Ahead Of ‘Terra Firma’ Album Release [Listen]

first_imgTash Sultana has released “Sweet & Dandy”, the fifth and final single from their forthcoming album, Terra Firma, due out on February 19th via Lonely Lands Records. “Sweet & Dandy” follows “Pretty Lady“, “Greed“, “Beyond The Pine“, and “Willow Tree”, all of which Sultana released in 2020.Related: Tash Sultana Officially Releases “Through The Valley – The Last Of Us Part II” [Listen/Watch]Terra Firma will see Sultana moving away from their solo looping techniques and towards a more full band sound. Like previous singles, “Sweet & Dandy” carries a bouncy groove, dripping with reverb and wavy vocals. Sultana never fails to impress, both with their musicianship and vocal abilities. They weave themes growth, self love, and personal development throughout the symphonic track.“‘Sweet & Dandy’ is about the process of withdrawing yourself from negative distractions and living in the present, always remembering that you are enough. You and you alone, you do not need the world to tell you to be a certain way,” said Tash Sultana in a press release, according to mxdwn.com.In addition to audio, Sultana also shared a lyric video to accompany the “Sweet & Dandy” release. Check out the “Sweet & Dandy” lyric video below and click here for more listening options.Tash Sultana – “Sweet & Dandy” – [Lyric Video][Video: Tash Sultana]Pre-orders for Sultana’s forthcoming album, Terra Firma, are available now. The album will be available in CD and vinyl LP formats, with some packages including merch like posters and t-shirts. Visit Sultana’s official store to pre-order Terra Firma and for more album information.last_img read more

British Cat Gets World’s First Bionic Paws

first_imgAddThis Sharing ButtonsShare to FacebookFacebookFacebookShare to TwitterTwitterTwitterShare to EmailEmailEmailShare to RedditRedditRedditShare to MoreAddThisMoreA cat that had its back feet severed by a combine harvester has been given two prosthetic limbs in a pioneering operation by a UK vet. His work is explored in a BBC documentary called The Bionic Vet. The cat, named Oscar, was referred by his local vet in Jersey, following the accident last October. Oscar was struck by the combine harvester whilst dozing in the sun. The prosthetic devices were an instant success with Oscar. (WATCH the video or read the story from the BBC) Thanks to Pam Guthrie for sending the link!AddThis Sharing ButtonsShare to FacebookFacebookFacebookShare to TwitterTwitterTwitterShare to EmailEmailEmailShare to RedditRedditRedditShare to MoreAddThisMorelast_img read more

Watch This Friendly Encounter Between a Polar Bear and Sled Dog

first_imgAddThis Sharing ButtonsShare to FacebookFacebookFacebookShare to TwitterTwitterTwitterShare to EmailEmailEmailShare to RedditRedditRedditShare to MoreAddThisMoreWhen two wildlife photographers saw a polar bear approaching a chained up sled dog, they were frozen stiff with horror – but the encounter actually turned out to be more heartwarming than anticipated.The photographers had been exploring the Churchill region of Canada’s Hudson Bay, which is known to be the polar bear capital of the world.RELATED: When Man Discovers Sea Lion Loves to Fetch, He Plays With the Critter For Two HoursPolar bears are also renowned for being aggressive predators. So when they saw one of the massive mammals meandering up to a the sled dog, they expected the worst.The bear, however, was apparently only looking for a playmate – and the dog was more than happy to oblige.(WATCH the video below)We Can’t Bear How Sweet This Is: Click To Share The Pawesome Video With Your Friends – Photo by Nat GeoAddThis Sharing ButtonsShare to FacebookFacebookFacebookShare to TwitterTwitterTwitterShare to EmailEmailEmailShare to RedditRedditRedditShare to MoreAddThisMorelast_img read more

University announces speakers for Fr. Hesburgh’s memorial

first_imgFormer President of the United States Jimmy Carter and former Secretary of State Condoleezza Rice, M.A. class of 1975, top a long list of dignitaries who will offer reflections at the memorial service for University President Emeritus Fr. Theodore “Ted” Hesburgh on Wednesday evening, the University announced in a press release Monday.According to the statement, other speakers will include Carter’s wife, former First Lady Rosalynn Carter; former president of Princeton University William Bowen; Indiana Sen. Joe Donnelly, class of 1977 and Law School class of 1981; Dillon Hall rector Fr. Paul Doyle; former football head coach Lou Holtz; archbishop emeritus of Washington Cardinal Theodore McCarrick; Indiana Gov. Mike Pence; Board of Trustees member Martin W. Rogers, class of 1988; former Wyoming Sen. Alan Simpson and former Pennsylvania Sen. Harris Wofford.University President Fr. John Jenkins will also offer a tribute, the release stated.“We are honored that the Carters, Dr. Rice and our other distinguished guests will join to pay tribute to Fr. Ted and his many contributions to national and international affairs, the Catholic Church and higher education,” Jenkins said in the statement. “This tribute will be a special opportunity to celebrate Fr. Ted’s remarkable life and career.”The tribute will begin at 7:30 p.m. Wednesday at Purcell Pavilion and will also include music from Notre Dame student choirs and instrumentalists, the release stated.Members of the general public can obtain a limited number of tickets to the service beginning at 3 p.m. Tuesday at the Murnane Family Ticket Office at Purcell Pavilion.According to the release, both the Carters and Rice knew Hesburgh for nearly 40 years. Hesburgh served on the Select Commission on Immigration and Refugee Policy in the Carter administration and as University president while Rice was a graduate student.Tags: Alan Simpson, Cardinal Theodore McCarrick, Condoleezza Rice, Fr. Paul Doyle, Harris Wofford, Hesburgh, Jimmy Carter, Joe Donnelly, Lou Holtz, Martin W. Rogers, Memorial Service, Mike Pence, Rosalynn Carter, tribute, William Bowenlast_img read more

London Star Sophie Thompson on Tackling Lady Bracknell in The Importance of Being Earnest & Her Two Other Careers

first_img View Comments Pippa Nixon & Sophie Thompson in “The Importance of Being Earnest” (Photo: Marc Brenner) Sophie Thompson has a diverse and distinguished list of credits ranging from the Harry Potter screen franchise to Celebrity MasterChef and the popular U.K. TV soaps, EastEnders and Coronation Street. But it’s on stage where the Olivier Award-winning performer has really shone, whether in musicals (Company, Guys and Dolls) or in her current gig as a swooping-voiced Lady Bracknell in Oscar Wilde’s immortal comedy The Importance of Being Earnest at the Vaudeville Theatre. Thompson arrived early one recent evening to the theater in time for a lively and engaging chat with Broadway.com.How does it feel to be playing one of the most iconic roles in the female repertoire—the redoubtable Lady Bracknell?It really surprised me, but then most things do. Most jobs that come up are surprising and also, if you’re lucky, they’re delighting as well. This is one of those roles, and one of those plays, that you’ve got to have a bash at and get inside the words and get the words inside oneself; it’s such an extraordinary piece of writing.Are you a Wilde veteran? Not at all! I’d never done any Oscar Wilde, so when [Earnest] came up, I thought, I’ve got to have a go at it because it’s such fantastically challenging material. It’s almost classical in its rhythm and structure, which makes it very exacting; I’ve never experienced that in the same way, except with Shakespeare.Presumably you’d seen it before?Yes, I had. My mum [actress Phyllida Law] played Miss Prism in a production many years ago [Dame Wendy Hiller was Lady Bracknell in that one], and I’d been to see a mate in it a couple of years ago out of town—and I knew the [1952] film, with Edith Evans. So, yes, I was familiar with it in that way that you are when you’re on the beach but haven’t yet picked up that stone.Were people full of advice and thoughts about the formidable character you are playing?Everyone rushed up and said you know what to me—[Lady Bracknell’s defining words “a handbag,” which is one of the signature phrases from the play]—and one thinks, “Oh, God!” There are so many wonderful things spoken by this mad confection of a woman and it’s just funny that she’s defined by those words. That’s hats off to Edith Evans, obviously. [Dame Edith remains a legendary Bracknell.]Is it difficult to gauge this so-called “gorgon” who bustles into the play in the first act, in full comic throttle?The thing with Lady Bracknell is that you have to take heed before anything else not of what you are saying but of what others say about the character, and that’s always very helpful as a way into who the true lady is behind all the witticisms.What, then, is your take on her?Here’s a woman who comes from a lowly background and married Lord Bracknell and became a part of this new world, much in the same way that people who convert to a particular religion are often much more passionate than those who are born into it. In that same way, Lady Bracknell is desperate to hang on to all the laws and the manners and to the remnants of Victorian society.Was the intention here to deliver up an Earnest with a bit of a difference? [There have been some textual tweaks, and the production plays up the homoerotic subtext.]One has seen productions [of Earnest] where the language is very clever, but it can sound a bit glib if you don’t put the thought behind it. I’m not interested in watching posh people drink tea and spout clever words: we kind of see that in life. I’m interested, and so is our maverick director Michael Fentiman, in exploring the kind of underbelly of things, so I hope we’ve done that to a degree while maintaining a show that is fantastically amusing.So, the goal is to be more than merely funny? I think all of us in the company agree that Wilde of course is funny but you can have dark and funny and sexy and funny and awkward and funny, but if it’s just funny, you miss out on a load of other stuff. I sense that some people have minded some of the choices we’ve made, but you have to be brave when you do a play. It’s like with cooking: you want to make a dish with all these condiments and serve it up to all these people.Ah, food, which is your recent and flourishing life, following Celebrity MasterChef and the publication of your cookbook, My Family Kitchen. How are you marrying this newer career with your established acting career?I think I’ve come to realize that what we as actors do is so intangible as a job, which is why some people come to hate it: it’s not a tangible thing. But cooking is quite tangible, and it can be very nice amid this very strange and nebulous profession to do something tangible and say, for instance, “Here is some hummus that I can share.”Are you the resident cook, then, of the company?[Laughs] I am a bit of a one for bunging a few bits on the table in the green room. I just do it because I like doing it.What about your two children’s books, Zoo Boy and Zoo Boy and the Jewel Thieves?You know what our jobs are like [as actors]: there are great areas of time when you’re not required and you really want to put your juices elsewhere. I’d always wanted to do a children’s book and still can’t believe that I’ve got two out there. Sometimes, I nip into bookstores and move them to the spangly tables next to David Walliams [another British actor-turned-children’s-book-author].Casting an eye back, what do you make of an amazing stage run that includes two Sondheim musicals—Amy in Company and your Olivier Award-winning turn as the Baker’s Wife in Into the Woods—and, later, the U.K. premiere of Bruce Norris’ Clybourne Park?Clybourne Park was the most amazing play I think I’d ever read; I just couldn’t believe it. I thought it was breathtaking, and playing it was actually breathtaking! I’d never felt that feeling before from an audience and that sense of listening. It was an experience I’ll never forget.Do you see more Sondheim in your future?Golly, if it was ever to come up! I was so lucky to do those two shows and, you never know, I might get a crack at something else. But you know, you’re talking possibly to the vaguest actor: I belong in a very vague meadow and have always just been delighted to be considered and involved. I’ve never had a game plan and can only sort of try to be me.last_img read more

Squigs Picks His 10 Favorite Broadway.com Illustrations of the Past Decade

first_imgGroundhog Day (2017)I love Groundhog Day; I’m a big fan of the movie and an even bigger fan of the musical. As is the case with many shows I’m passionate about, I may have overstuffed this one. But I think it works. There’s Andy Karl’s Phil Connors in an endless loop with various versions of himself, and the people of Punxsutawney peeking out from varied fractals in the cycle. There’s also the cozy windows of the town set, the sun, Gobbler’s Knob, Phil the Groundhog…well, I did overstuff this one, but it makes me happy.  Once on This Island (2017) One of my favorite things to represent in any illustration is the point of connection between two contrasting worlds. What better example of this than Once on This Island, where we see divisions between class and race, mortals and gods. I did my best to represent this concept in the dual color palettes, which come together visually to form a tree—a central symbol of the story. You can also see another stylistic evolution with my use of varied line colors for the central characters. Cabaret (2014)I often push the scale in my compositions, drawing some characters abnormally larger to symbolize their oversized presence in the story. Here’s an example featuring Alan Cumming’s Emcee beckoning us into the Kit Kat Club. I also represented the club portions of the story in bold color and the outside events in more subdued tones. I typically have a rule of not revealing plot twists that happen after intermission, but with a story as well-known as Cabaret, I thought a glimpse of the Nazism that comes later in the story was fair game. Howdy, folks! Justin Robertson, a.k.a. Squigs, here! December 29 will mark the 10th anniversary of my very first Broadway.com illustration. Plus Tony night 2020 will mark the decennial of our regular Broadway Ink feature. It’s astounding to think that my collaboration with Broadway.com is still going strong. To celebrate, I’ve been asked to choose 10 favorites from the nearly 500 illustrations I’ve created. It’s a daunting task. But I think these choices fall at the crossroads between the overall quality of the artwork and how accurately I feel my piece captured the art on stage. Here’s a walk down memory lane. Twelfth Night/Richard III (2013)I sometimes get asked to combine two different plays into one illustration. This is perhaps my favorite example of that kind of work: The thrilling Mark Rylance and company in two very different Shakespeare plays. It’s an early example of me representing various supporting players using color lines (instead of stark black) to anchor them more into the overall composition. This production felt like gold so that’s the palette I chose. Porgy and Bess (2012)Sometimes the most memorable moments of an epic show can hinge on a single, simple gesture which can then inspire the whole layout of my illustration. When illustrating Porgy and Bess, I hoped to convey the power of Norm Lewis’s Porgy with his hand outstretched to Audra McDonald’s Bess across the stage.  The Visit (2015)In an otherwise drab black and white composition, the reds here represent the past connection between Roger Rees’ Anton and Chita Rivera’s Claire, while the yellows proclaim Claire’s return to town and her effect on the residents. I draw so much inspiration from the design team of each show, and here is a good example of their color choices making a big impact on my sketch. Also, in remembering this show, I’m reminded of the passage of time, of dearly missing what once was and appreciating what we still have.center_img Gary: A Sequel to Titus Andronicus (2019)Taylor Mac’s play was one of my favorites last season. The brilliant design team created a gilded world now besmirched by dead bodies and lots of blood (represented here by my collection of spatter templates). I contrasted the red and gold of death with the optimistic teal in Nathan Lane’s Gary. If I overstuffed this illustration, the overstuffing is necessary. Like Gary itself, there’s a lot of visual treasures to be found if you look closely. Reflecting the treasures that amazing collaborative artists regularly create in theater is hopefully a strength of mine; it’s definitely my calling. Peter and the Starcatcher (2012)My illustration vocation sprang from drawing the casts of shows I’d performed in, so I always enjoy capturing ensembles of actors. In the case of this piece, it shows a swoop of personalities anchored by Christian Borle’s Black Stache (a bit shark-like here) sailing through Celia Keenan-Bolger’s wise Molly and Adam Chanler-Berat’s naive Boy. Here, the blue color palette only gives way to the gold of the star stuff. Follies (2011)I’m a Sondheim nut. I was falling in love with his work around the time that I was discovering the world of theatrical caricature, including the illustrations of the legendary Al Hirschfeld. Here, I think I was successful at representing the vast cast while emphasizing the central relationships of Follies. And the color experimentation here was surprising yet satisfying. Sunday in the Park with George (2017)Being a big ol’ Sondheim nerd and a visual artist, the lines crossed beautifully for me in Sunday in the Park with George. This piece is an early example of me representing a broad, somewhat-realistic range of skin tones. While a full-color approach makes the central couple pop, the blue background composition celebrates the full cast. The blue may be a departure from the original Seurat painting, but my stylistic motif of manipulated ink splatters was a somewhat effective surrogate for Seurat’s calculated pointillistic strokes. View Commentslast_img read more

Communications Committee works on plan to get post disciplinary history

first_imgCommunications Committee works on plan to get post disciplinary history Communications Committee works on plan to get post disciplinary history November 1, 2006 Regular Newscenter_img The Bar’s Communications Committee is continuing with its plan to publish member disciplinary information on the Bar’s Web site as a way to assist legal consumers.Committee Chair Tim Sullivan of Tampa, reporting to the Board of Governors at its recent Ponte Vedra meeting, said the panel has agreed that suspensions and disbarments should be listed on a member’s bio page on the Web site, while minor misconduct — such as admonishments and letters of advice — would not be included.Also, membership fee and CLE delinquencies which result in a member being ineligible to practice would be shown.The panel concluded that 10 years worth of disciplinary history should be available on a member’s bio page, but consumers would have to click on a disciplinary history link to access this information. That way, Sullivan said, the information would not be “in somebody’s face” every time they go to look up a lawyer’s phone number.Sullivan said the committee also is recommending leaving the biographies of suspended and disbarred attorneys on the Web site with an explanation as to why they are not eligible to practice law in Florida, either temporarily or permanently. Current policy is to remove the data page for lawyers who are suspended or disbarred.In other action, the committee is still working on a plan to make it easier for Bar members to obtain a password to access secure areas of the Bar’s Web site and the possibility of creating a short CD that could be distributed to Bar members to educate them about how the Bar’s grievance system works.last_img read more

Kuhlman’s weight gain could mean gain for Gophers at 197

first_imgGophers’ 133-pound wrestler Mack Reiter thought about it for a moment, but said he couldn’t come near empathizing with the kind of adjustment Kuhlman has gone through lately.“That’s like me wrestling at 165,” Reiter said. “I don’t think I could hang with (Matt) Nagel.”But that adjustment has been a good one so far for Kuhlman. Not only is he getting a chance to wrestle, but he said he also feels better and healthier and more focused on wrestling than ever before.In fact, it’s been an even easier adjustment than constantly trying to make weight.“When I was at 157 last year, it was a tough cut for me,” Kuhlman said. “I was going down to 165 early on this year, and that was a little tough. It’s just kind of weird from going down, down, down, down to going all the way back up. My body feels a lot better and I can concentrate more on wrestling than just thinking about my weight all the time.”And his porridge portions have been a lot more manageable. You could say they’re now “just right.”“I’ve just been eating and drinking what I want and just staying healthy; that’s about it. I’m still lifting and doing the same as I was last year; I’m just consuming more food and feeling a lot better.”Reiter said the move has benefited Kuhlman mentally as well.“I actually have been really surprised with the way he’s kind of matured lately,” Reiter said. “Nothing against Mitch, but ever since he moved up to 197 he’s had a different attitude and he seems to be working a lot harder.”Reiter said Kuhlman’s performance so far this season has given the team a sense of relief about the loss of Koz.But Kuhlman isn’t allowed to share that relief. As the competition gets tougher starting this weekend, Kuhlman will not only need to get tougher as well, but smarter also, Russell said.“He can’t try and overpower guys,” Russell said. “He’s got to try to slick ’em a little bit more. Don’t get stuck underneath him. Don’t try and wrestle the whole person. That guy’s a lot bigger than you. But if you can control one leg or one arm, you can still control the whole person.”Kuhlman, who said he weighs in at about 180 now, said he knows his only hope is to try to use his size ” or lack thereof ” to his advantage.“I wrestled lower weights and I haven’t fared quite as well,” Kuhlman said. “I knew it was going to be a little bit of a test for me. But I knew that I could use some of the speed and everything and that it would help out a lot. You’ve got to figure I’m probably a little quicker and can get out of certain situations.”And now that very situation that the Gophers found themselves in at the beginning of the season is looking a whole lot more bearable.“It just shows what (Kuhlman) is willing to do for the team,” Reiter said. “It sucked to see (Koz) leave; he was a big part of the team, an NCAA qualifier from last year. And no team wants to lose an NCAA qualifier, but it’s great to see that we have guys waiting in the wings ready to step in.” Kuhlman’s weight gain could mean gain for Gophers at 197 David McCoyDecember 7, 2005Jump to CommentsShare on FacebookShare on TwitterShare via EmailPrintMitch Kuhlman is an avid hunter.The Minnesota wrestler has taken down his fair share of big game in his day, including bears.Perhaps that’s fitting. Because Kuhlman’s situation wrestling at 197 pounds is a lot like a very twisted version of the story of “Goldilocks and the Three Bears” ” except with a very butch Goldilocks who has short, dark hair, a deep, manly voice and a muscular wrestler’s physique.Like Goldilocks, try as he might, he couldn’t seem to find what was “just right.” And he’s certainly tried plenty.But all joking aside, it now appears Kuhlman, who wrestled as small as 157 pounds last season, then moved to 165 pounds and entered this year at 174 pounds, has finally found his place.And at the same time, he’s filling a need on the Gophers wrestling team he said even he would have never guessed he’d be filling.“I never really imagined going up that many weight classes in wrestling,” Kuhlman said. “I just figured I’m wrestling 174 and 165 and trying to be competitive there. When I got asked to go at 197 I was a little surprised. But it’s worked out pretty good so far.”Kuhlman is 3-0 so far this season in his new role at 197 pounds, after Minnesota was forced to scramble to find a replacement for Matt Koz, who started all of last season at 197 but left the team in mid-November, citing family reasons.Kuhlman and redshirt freshman Justin Bronson split the team’s four opening season matches at Northeast Duals on Nov. 26, with Bronson losing both of his matches and Kuhlman winning both of his.Minnesota’s coaching staff then elected to go with Kuhlman last weekend at Northern Iowa. The sophomore did not disappoint, winning a 4-2 match against Andrew Anderson.Logic would predict that Kuhlman would get the nod when No. 5 Minnesota (5-0) plays host to No. 7 Iowa State (3-1) and No. 19 Nebraska (2-0) on Friday and Sunday, respectively.But assistant coach Joe Russell said the coaching staff hasn’t made the decision yet and will wait until later in the week to make its choice for the duals.“That weight’s still open,” Russell said. “It hasn’t been fully decided yet. But he’s been wrestling real well at this point. He’s going to have more opportunities to prove that he’s the guy.”But at the same time, Kuhlman seemed like one of the last guys you’d think would be given the chance. He said even he didn’t think of himself as an option after Koz left.Asked what gave Minnesota’s coaching staff the idea that a guy who wrestled at 157 pounds could bump up 40 pounds and still be competitive, Russell said it was actually more of a crapshoot than anything ultra-intuitive.“It doesn’t hurt the coaches,” Russell said with a grin. “It might hurt him, but we’ll be all right. We’re not the brightest guys in the world and we’re not too worried about his health, so we wanted to see how it went. Turns out he’s pretty good there.”last_img read more

Minnesota softball splits series with Michigan State

first_imgMinnesota turns on offense In their second game, the Gophers’ offense came alive earlier.Outfielders Dani Wagner and Maddie Houlihan each collected an RBI in the first inning to give Minnesota a 2-0 lead. Michigan State came back to tie the game 2-2 in the third inning.Wagner came back to the plate in the seventh inning and blasted a two-run home run to increase Minnesota’s lead to 6-2.“I think I just made adjustments and was attacking strikes in the box,” Wagner said. “Working through my at-bats so it felt really good to get that there in the end.”Pitcher Carlie Brandt came in to start the second game after Fiser started the first game. Brandt pitched five innings, allowed six hits and gave up two runs, one of which was earned.Fiser came back into the second game in relief. She pitched the sixth and seventh innings with a bang, recording two strikeouts in each frame.Despite Lindaman getting on the board with a home run in the first game, she only got credit for two at-bats in the doubleheader. She went 2-2 with an RBI. She was walked five times between the two games, with three intentional and one hit-by-pitch.“I’ll get on base any way I can,” Lindaman said. “If it is an intentional walk, I’m just as excited as if it’s a home run.” Minnesota softball splits series with Michigan StateGophers take the second game but drop the first in the doubleheader.Carter Jones, Daily File PhotoDanielle Parlich watches the ball fly off her bat during a game against Northwestern on April 15, 2017 at Jane Sage Cowles Stadium. Drew CoveApril 9, 2018Jump to CommentsShare on FacebookShare on TwitterShare via EmailPrintMinnesota had another weekend of weather-related changes.The Gophers (21-14, 4-3 Big Ten) went to East Lansing, Michigan to face off against Michigan State (14-19, 2-6 Big Ten) for a three-day, three-game series. By the end of the weekend, it turned into a one-day doubleheader. Minnesota split the shortened series with a 3-2 loss in the first game and a 6-2 victory in the second.“I think they handled the results of the first game really well,” head coach Jamie Trachsel said. “We came out right away. We battled even better the second game than probably the first game.”Minnesota’s first game of the day began early in the morning Sunday, but the Gophers could not score runs until late in the game.Michigan State went ahead 2-0 with runs in the second and fifth innings. Spartans starting pitcher Bridgette Rainey threw a no-hitter against the Gophers through the fifth inning. That no-hitter was broken up in the sixth with two-consecutive home runs off the bats of catcher Kendyl Lindaman and first baseman Sydney Dwyer. Lindaman hit her solo shot to get the Gophers on the board for the first time Sunday. The home run was her team-leading 13th of the season. “I’m feeling very comfortable in the box right now,” Lindaman said. “When I see [the pitch], I’m not afraid to go after it.”Besides the two home runs to tie the game 2-2, the Gophers couldn’t hold the Spartans off the board in the bottom of the sixth inning. First baseman Kelcey Carrasco hit a solo home run to give Michigan State a 3-2 lead, which would hold be the final score.Minnesota pitcher Amber Fiser started in game one, but collected her eighth loss of the season.last_img read more

Researcher explains why PTSD is more like a physical illness than an ‘invisible injury’

first_imgLinkedIn Pinterest Share Share on Facebook Share on Twittercenter_img Email Post-traumatic stress disorder is associated with physical changes to the brain, according to neuroimaging research published in the journal BMC Neuroscience.The study used magnetic resonance imaging technology to compare the brains of 24 soldiers with PTSD and 23 soldiers without PTSD. The researchers uncovered that soldiers with PTSD had reduced cortical thickness, primarily in the frontal and temporal lobes, while also having enlargement in several areas in the cerebellum.PsyPost interviewed the study’s corresponding author, B. T. Dunkley of The Hospital for Sick Children in Toronto. Read his responses below: PsyPost: Why were you interested in this topic?Dunkley: We were interested in this topic because PTSD is still very much seen as an ‘invisible injury’ and a huge burden on the sufferer and military healthcare system (as well, of course, all healthcare systems). By ‘invisible injury’, I mean that there is often no overt sign that someone has this disorder, and many people with the illness suffer in silence, and feel like they are to blame for their symptoms and some of the problems that come with them. We wanted to show that the disorder has a physical, biological basis, much like any other physical illness we might think of. There has been a lot of work in this area over the past 10-15 years, and we wanted to contribute to that area of research.What should the average person take away from your study?That this disorder has an underlying basis in the brain, and that this is perhaps one of the reasons why PTSD can develop after suffering a traumatic event or being under constant stress in a hostile environment (in this case, a war zone). We hope to shine a light on the illness, and show that someone who suffers from PTSD isn’t responsible for the illness or their symptoms, but that a difference in brain structure is partly (along with other factors) to blame. Are there any major caveats? What questions still need to be addressed?Caveats that should be understood are related to ‘cause or consequence’ – with this type of study, we are unable to say whether these brain structure differences made it more likely for someone to develop PTSD after suffering a traumatic event, or whether the trauma induced the brain to change following the event. All we can say if that after the fact, there are observable differences in the physical structure of the brain that we can image using this type of technology.In the future, we hope to run a pre-post study, and categorically say whether or not these markers exist before someone could potentially develop PTSD after trauma – thinking further ahead, this could hold promise in the diagnoses of the disorder, as well as predict the likely outcome of treatment, potentially expediting recovering and saving the healthcare system time and money.In addition to Dunkley, the study “Neuroanatomical features in soldiers with post‑traumatic stress disorder” was co-authored by D. Sussman, E. W. Pang, R. Jetly and M. J. Taylor.last_img read more