�Leading ovarian cancer researchers and clinicians from around the populace will fit in Seattle September forty-five to talk over exciting new discoveries and recent scientific findings to fight ovarian cancer, which kills more than 15,000 women every year. The news media will get a sneak peep at these discoveries during a good morning news conference on September 4.
"Early detection of ovarian genus Cancer is i of the most critical factors to improving the prognosis for women diagnosed with this disease," aforementioned Nancy Sclater, Executive Director of the Marsha Rivkin Center for Ovarian Cancer Research. "This symposium will reveal advances being made in early detection which will be critical while we search for a cure."
The two-day symposium will be held at the Pigott Auditorium on the campus of Seattle University and marks the beginning of Ovarian Cancer Awareness Month. More than 50 researchers will share their findings including the fact that ovarian malignant neoplastic disease may non even begin in the ovaries, novel research to use urine tests for early detecting, and modern strategies for improving dose penetration for patients diagnosed with ovarian cancer.
The symposium testament also feature four keynote addresses from some of the brightest names in ovarian cancer research. On Thursday, Christopher Crum, MD, from Harvard Medical School, will discuss the origins of ovarian cancer, and Anil K. Sood, MD, from University of Texas, MD Anderson Cancer Center, will present on the development of therapeutics.
Friday's keynote presentations will feature Maurie Markman, MD, as well from University of Texas, MD Anderson Cancer Center, who volition present his research on therapeutics. The last keynote address volition cover inquiry on familial ovarian cancer, presented by local and well-renowned researcher Mary-Claire King, PhD, from the University of Washington.
A news conference with the keynote speakers, Sclater and Dr. Saul Rivkin is scheduled to beginning the symposium at 9:30 a.m. on Thursday, Sept. 4. Details are below.
The Marsha Rivkin Center for Ovarian Cancer Research was founded in 1996 by Saul Rivkin, M.D., in memory of his wife world Health Organization succumbed to ovarian cancer. It has been the catalyst for national and international enquiry efforts aimed at finding solutions to ovarian cancer. The Center is consecrate to preservation lives and reducing woe through improved treatment, early detection and prevention of ovarian genus Cancer.
Marsha Rivkin Center for Ovarian Cancer Research
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Monday 1 September 2008
Tuesday 12 August 2008
Sharon Drury
Artist: Sharon Drury
Genre(s):
New Age
Discography:
Tranquility Collection
Year: 2002
Tracks: 6
A North Country Christmas
Year: 2002
Tracks: 6
Wednesday 6 August 2008
Cornel Fugaru
Artist: Cornel Fugaru
Genre(s):
Pop
Discography:
Fugaru prin lumea muzicii CD4
Year: 2004
Tracks: 19
Fugaru prin lumea muzicii CD3
Year: 2004
Tracks: 20
Fugaru prin lumea muzicii CD2
Year: 2004
Tracks: 23
Fugaru prin lumea muzicii CD1
Year: 2004
Tracks: 25
New CDs: Conor Oberst, Brazilian Girls, The Enemy UK
Conor Oberst "Conor Oberst" (Merge)
****
Conor Oberst hasn't through an album under his own discover since the dawn of his vocation in the early '90s, establishing his reputation as the defining songwriter of his generation since then mainly under the Bright Eyes banner.
This return to his original billing doesn't signal a radical reinvention. The mention tag and most of the supporting team (bassist Macey Taylor, guitarist Nik Freitas and Rilo Kiley drummer Jason Boesel ar the core band) ar different on "Conor Oberst," but the record, which comes proscribed today, mingles folk rock, country, pop and rootsy rock to land not too far from Bright Eyes' broad turf.
It's a little looser, which means pretty loose indeed, and sometimes a lot looser. A minute into the anthem-like rock song "Souled Out!!!," there's a sudden interruption followed by laughter, and then a quick question to the musicians: "Chorus once more or another one?"
This is flying by the seat of the pants in the look of the Replacements, and by using this take away rather than a proper performance, Oberst helps set the record's freewheeling tone.
In its spontaneousness and simplicity, the album comes off as Bright Eyes after hours, simply while the musical ambitions are scaly back, it's not slight or a throwaway in any sense. There's overly much decease on its mind for that, and Oberst, 28, remains engaged in his quest to make sentience of a world that he describes in one song as "a savage and complicate hoax."
As he did on the last Bright Eyes album, "Cassadaga," Oberst generates a sense of invariant physical and psychic motion, plotting his journey with geographical detail. "There's nil that the road cannot heal," he sings, proposing propulsion as a precondition of enlightenment.
He cruises through pockets of melancholy and mayhem, tenderness and tragedy. His melodies curl to drive the stories, while his lyrics illuminate the road with a sometimes dazzling faint. Oberst's debt to Texas troubadours such as Townes Van Zandt has never been more evident.
As he examines big themes -- loss of innocence, hungriness for security department, a starve to understand his fate -- Oberst considers scientific tables and the astral plane merely ultimately realizes that "there's no organisation, there's no guarantee."
A kid who's anxious of crab -- "unsound blood bone marrow, bald little boy" -- inspires that conclusion, just Oberst likewise sees redemption in the child's will to cause a connecter, and he follows that song, "Danny Callahan," with "I Don't Want to Die (In the Hospital)," a slapstick escape story set to piano-pounding, boogie-rock.
"Alone" might be the ultimate and inevitable condition, just until and then, this defiant affirmation insists, get your boots on and party.
--Richard Cromelin
A rooftop party
Brazilian Girls "New York City" (Verve Forecast)
***
The Brazilian Girls, quaternity non-Brazilians from New York City, take always made fizzy, smart music for a certain kind of Manhattan party girl. With their third album, "New York City," an obvious title for a band that synthesizes the metropolis' glamorous clamor, they've caught that art school tart in a few more moods than usual.
Not that the album skimps on the tracks intentional for Prosecco-soaked rooftop soirees. "Losing Myself" staggers about a aphrodisiacal organ stomp, and "Good Time" is a fashionable bon vivant that pushes singer Sabina Sciubba's multilingualism into playful nonsense. "Some people go booo they go qua qua they go peeep," she casually intones. The Brazilian Girls know that party intellectuals shouldn't take on themselves as well seriously.
The foundation garment of the band's boutique pop isn't its ethnical fluency only its hardiness to be substantially gonzo, which is often realized on "New York City." On "Internacional," already elevated by singer's Baaba Maal's soaring vocals, drummer Aaron Johnston revitalizes the city shout-out with roving, Pan-African percussion.
Although the Brazilian Girls know that style is timeless, they're not afraid to update. "Ricardo" could be the climactic song from a long-lost French New Wave film or featured on the soundtrack to �Quantum of Solace,� the next James Bond movie. Are you hearing, Hollywood?
--Margaret Wappler
Not working stiffs
The Enemy UK "We'll Live and Die in These Towns" (Warner Bros.)
***1/2
This willful young triad is a genuine sense in its native UK, where "We'll Live and Die in These Towns" debuted atop the album-sales chart upon its release there more than a year ago. "This volition be the genesis of 1,000 bands in Britain," raved NME with characteristic restraint.
Like the Arctic Monkeys, the Enemy UK -- which plays its first area show at the Troubadour Wednesday night -- builds bitter pop-punk bombs about the travails of the average earnings slave: In "Away From Here" singer-guitarist Tom Clarke admits, "I'm so sickish sick disgusted and tired of working just to be retired," while "It's Not OK" cautions against "living your life by the warning signal that wakes you up every day at eight."
Yet thanks to Clarke's well-developed tune sense and his bandmates' primal need for speed, "We'll Live and Die in These Towns" doesn't sound the way life in a cubicle feels; if anything, it replicates the adrenaline haste of one of those YouTube videos in which a stir-crazy office proletarian decimates a copy machine.
Even hope rears its head in "You're Not Alone," where Clarke insists, "There's just overly many dreams in this wasteland for you to leave us all behind."
--Mikael Wood
More information
****
Conor Oberst hasn't through an album under his own discover since the dawn of his vocation in the early '90s, establishing his reputation as the defining songwriter of his generation since then mainly under the Bright Eyes banner.
This return to his original billing doesn't signal a radical reinvention. The mention tag and most of the supporting team (bassist Macey Taylor, guitarist Nik Freitas and Rilo Kiley drummer Jason Boesel ar the core band) ar different on "Conor Oberst," but the record, which comes proscribed today, mingles folk rock, country, pop and rootsy rock to land not too far from Bright Eyes' broad turf.
It's a little looser, which means pretty loose indeed, and sometimes a lot looser. A minute into the anthem-like rock song "Souled Out!!!," there's a sudden interruption followed by laughter, and then a quick question to the musicians: "Chorus once more or another one?"
This is flying by the seat of the pants in the look of the Replacements, and by using this take away rather than a proper performance, Oberst helps set the record's freewheeling tone.
In its spontaneousness and simplicity, the album comes off as Bright Eyes after hours, simply while the musical ambitions are scaly back, it's not slight or a throwaway in any sense. There's overly much decease on its mind for that, and Oberst, 28, remains engaged in his quest to make sentience of a world that he describes in one song as "a savage and complicate hoax."
As he did on the last Bright Eyes album, "Cassadaga," Oberst generates a sense of invariant physical and psychic motion, plotting his journey with geographical detail. "There's nil that the road cannot heal," he sings, proposing propulsion as a precondition of enlightenment.
He cruises through pockets of melancholy and mayhem, tenderness and tragedy. His melodies curl to drive the stories, while his lyrics illuminate the road with a sometimes dazzling faint. Oberst's debt to Texas troubadours such as Townes Van Zandt has never been more evident.
As he examines big themes -- loss of innocence, hungriness for security department, a starve to understand his fate -- Oberst considers scientific tables and the astral plane merely ultimately realizes that "there's no organisation, there's no guarantee."
A kid who's anxious of crab -- "unsound blood bone marrow, bald little boy" -- inspires that conclusion, just Oberst likewise sees redemption in the child's will to cause a connecter, and he follows that song, "Danny Callahan," with "I Don't Want to Die (In the Hospital)," a slapstick escape story set to piano-pounding, boogie-rock.
"Alone" might be the ultimate and inevitable condition, just until and then, this defiant affirmation insists, get your boots on and party.
--Richard Cromelin
A rooftop party
Brazilian Girls "New York City" (Verve Forecast)
***
The Brazilian Girls, quaternity non-Brazilians from New York City, take always made fizzy, smart music for a certain kind of Manhattan party girl. With their third album, "New York City," an obvious title for a band that synthesizes the metropolis' glamorous clamor, they've caught that art school tart in a few more moods than usual.
Not that the album skimps on the tracks intentional for Prosecco-soaked rooftop soirees. "Losing Myself" staggers about a aphrodisiacal organ stomp, and "Good Time" is a fashionable bon vivant that pushes singer Sabina Sciubba's multilingualism into playful nonsense. "Some people go booo they go qua qua they go peeep," she casually intones. The Brazilian Girls know that party intellectuals shouldn't take on themselves as well seriously.
The foundation garment of the band's boutique pop isn't its ethnical fluency only its hardiness to be substantially gonzo, which is often realized on "New York City." On "Internacional," already elevated by singer's Baaba Maal's soaring vocals, drummer Aaron Johnston revitalizes the city shout-out with roving, Pan-African percussion.
Although the Brazilian Girls know that style is timeless, they're not afraid to update. "Ricardo" could be the climactic song from a long-lost French New Wave film or featured on the soundtrack to �Quantum of Solace,� the next James Bond movie. Are you hearing, Hollywood?
--Margaret Wappler
Not working stiffs
The Enemy UK "We'll Live and Die in These Towns" (Warner Bros.)
***1/2
This willful young triad is a genuine sense in its native UK, where "We'll Live and Die in These Towns" debuted atop the album-sales chart upon its release there more than a year ago. "This volition be the genesis of 1,000 bands in Britain," raved NME with characteristic restraint.
Like the Arctic Monkeys, the Enemy UK -- which plays its first area show at the Troubadour Wednesday night -- builds bitter pop-punk bombs about the travails of the average earnings slave: In "Away From Here" singer-guitarist Tom Clarke admits, "I'm so sickish sick disgusted and tired of working just to be retired," while "It's Not OK" cautions against "living your life by the warning signal that wakes you up every day at eight."
Yet thanks to Clarke's well-developed tune sense and his bandmates' primal need for speed, "We'll Live and Die in These Towns" doesn't sound the way life in a cubicle feels; if anything, it replicates the adrenaline haste of one of those YouTube videos in which a stir-crazy office proletarian decimates a copy machine.
Even hope rears its head in "You're Not Alone," where Clarke insists, "There's just overly many dreams in this wasteland for you to leave us all behind."
--Mikael Wood
More information
Renal Involvement In Children With Vesicoureteral Reflux: Are Prenatal Detection And Surgical Approaches Preventive?
�UroToday.com - A cogitation out of Italy investigated the personal effects of antenatal detection and different treatment methods on the outcome of unilateral vesicoureteral reflux. There was a retrospective study that enrolled 119 children with a mean age of 2.8 years with primary vesicoureteral reflux. Kidney growth and renal function were measured with ultrasound and DMSA scan, severally. In society to compare the ultrasound readings among patients of different ages, the comparative length index was measured as a percentage of the ratio of unilateral and the sum of bilateral nephritic length.
The group establish that in unilateral refluxing units, there was a reduction in both forefinger and office whereas the non-refluxing was increased. In the followup of these patients, they observed that the refluxing renal units had a worse index than those that were not refluxing. They saw that operative therapy of the refluxing renal unit led to a simplification in the index, merely its function always was low just stable. They also found that the outcome of the severely refluxing renal units was similar afterward both interventions. Whether the patient was diagnosed prenatally or postnatally, it did not seem to modify any renal result.
The group over that surgery showed similar renal outcomes to medical treatment in their long-term follow-up. They also over what we already know - which is a kidney that has senior high grade ebb does non respond to any therapy. In their patient population there seemed to be no difference in the outcome of these kidneys, whether they were diagnosed prenatally or postnatally.
Zaffanello M, Brugnara M, Cocchetto M, Fedrizzi M, Fanos V
Scand J Urol Nephrol. 2008 May 8:seventeen. Epub in the lead of print.
10.1080/00365590802092006
Reported by UroToday.com Medical Editor Pasquale Casale, MD
UroToday - the solely urology website with original content written by orbicular urology key opinion leaders actively engaged in clinical practice.
To access the up-to-the-minute urology news releases from UroToday, go to:
www.urotoday.com
Copyright � 2008 - UroToday
More info
The group establish that in unilateral refluxing units, there was a reduction in both forefinger and office whereas the non-refluxing was increased. In the followup of these patients, they observed that the refluxing renal units had a worse index than those that were not refluxing. They saw that operative therapy of the refluxing renal unit led to a simplification in the index, merely its function always was low just stable. They also found that the outcome of the severely refluxing renal units was similar afterward both interventions. Whether the patient was diagnosed prenatally or postnatally, it did not seem to modify any renal result.
The group over that surgery showed similar renal outcomes to medical treatment in their long-term follow-up. They also over what we already know - which is a kidney that has senior high grade ebb does non respond to any therapy. In their patient population there seemed to be no difference in the outcome of these kidneys, whether they were diagnosed prenatally or postnatally.
Zaffanello M, Brugnara M, Cocchetto M, Fedrizzi M, Fanos V
Scand J Urol Nephrol. 2008 May 8:seventeen. Epub in the lead of print.
10.1080/00365590802092006
Reported by UroToday.com Medical Editor Pasquale Casale, MD
UroToday - the solely urology website with original content written by orbicular urology key opinion leaders actively engaged in clinical practice.
To access the up-to-the-minute urology news releases from UroToday, go to:
www.urotoday.com
Copyright � 2008 - UroToday
More info
- Treatment Costs Nearly Double For Hay Fever And Other Allergies
- Do Obese People Worsen Global Warming?
- ‘Wrong bras’ can damage breasts
- Fourth International Consultation On Incontinence (ICI) - Vesicovaginal Fistula In The Developing World Committee Highlights
- Swiss HIV/AIDS Statement Could Have Serious Ramifications
Diatribe
Artist: Diatribe
Genre(s):
Metal
Discography:
In Memory Of Tomorrow
Year: 2004
Tracks: 10
Demo
Year: 2002
Tracks: 4
Wednesday 9 July 2008
Daniel Band
Artist: Daniel Band
Genre(s):
Other
Discography:
Rise Up - Running Out of Time
Year: 2003
Tracks: 19
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