�A fresh study suggests that the great unwashed who ar obese with asthma crataegus laevigata carry a specific trait or phenotype that causes them to have poorer asthma restraint than masses who are not rotund with asthma.
Researchers from Quebec, Canada compared pulmonary function changes, methacholine challenge scores, phlegm induction cell counts, symptom perceptions, BMI/waist circumference, and waist-to-hip ratio of 44 obese subjects with asthma with 44 nonobese subjects with asthma.
Compared with those wHO were non obese, those who were obese had poorer asthma control, as well as lower come lung capacity, expiratory reserve volume, functional residual capacity, and residual volume.
Blood serum C-reactive protein and fibrinogen levels also were higher in obese subjects than nonobese subjects. Bronchial and systemic inflammatory characteristics and patterns of pneumonic function changes suggest that obese patients may have a different phenotype of asthma.
This study is published in the August issue of the journal CHEST.
About CHEST
CHEST is the official publication of the American College of Chest Physicians (ACCP). Each month it features cutting edge original research in the multidisciplinary specialties of chest music, such as pulmonology, critical care, nap medicine, cardiopulmonary interactions, thoracic surgery, transplanting, airways disease, and more. CHEST as well features Recent Advances, Topics in Practice Management, Medical Writing Tips, Pearls, Chest Imaging and Pathology for Clinicians, Contemporary Reviews, and much, a great deal more. Editorials and communication theory to the editor explore controversial issues and encourage further word by physicians dealing with chest medicinal drug. More than 30,000 readers world-wide turn to CHEST each month to keep up-to-date on the latest in chest-related medicine.
CHEST
More info
Wednesday 13 August 2008
Wednesday 6 August 2008
Sex and Death 101 - movie review
Daniel Waters has unitary of Hollywood's most challenging resumes. After writing his first
movie, Heathers, Waters trolled through the Hollywood meat mill, writing some of
the '90s worst big-budget movies: Demolition Man, The Adventures of Ford Fairline, and the
widely-razzed Hudson Hawk.
Waters dropped out of Hollywood for well-nigh a decade before restorative himself to write
and direct the largely disregarded Happy Campers. After some other six year hiatus he returned
again with Sex and Death 101, which has the distinction of reuniting Waters with He
athers star Winona Ryder... who's been through her own travails, as well.
Sex and Death 101 gives a man named Rod (Simon Baker) wHO receives an email that lists
non just every women he's ever slept with, but every fair sex he will sleep with. Turns
taboo there's hundred and one names on the list, which is disconcerting, since Rod is set to be
married to #29 on the list in a matter of weeks. He dismisses it as a jest but ends
up "unintentionally" doing a stripper at his unmarried man party. The marriage is soon terminated,
and Rod ends up with #31 on the list (a centerfold wHO loves pudding), and it's downhill
from there.
Rod is roped into a pristine white sleeping room where holy types explain that this is
all a goof-up on behalf of "the machine," urging Rod to destroy the list. Think he
does? Well, would you? Naturally, the list begins to take control Rod's sprightliness. He
can't meet a woman without checking to see if her name's on the list. When he tries to
"bitchiness" the list and germinate a relationship with a lovely veterinary (Leslie Bibb),
it doesn't work out. The list can't be beat.
As for the death side of the title, that comes into play when #101 approaches, and
it's revealed the diagnose is the real nickname of a serial cause of death nicknamed "Death Nell"
(Ryder), who sleeps with hands then offs them. Somehow these two fates ar intetwrined,
and we'll chance out how in the end.
It all sounds better on paper than it really is, as Sex and Death 101 presently devolves
into the adolescent fantasy that any flick based on a hombre sleeping with 101 girls
inevitably becomes. It all plays out like an excuse for Waters to put his pecadilloes
on film (which, in a making-of documentary, he essentially admits).
Maybe the biggest trouble is that it's simply not possible to feel sorry for the poor,
poor hero, who stumbles through see after encounter with beautiful women, then
discards them and crosses them off his list. The whole Death Nell subplot is underdone,
and the whole affair precisely feels genial of slapped together with tape and spit. Waters'
ham-fisted naming of his characters -- there's a pair of lesbians named Miss Kidd and Miss
Wint -- is around as learned as the movie gets, and the monologues near the sincerely
odd termination make you wonder whether Waters had an extreme fever when he was finishing
up the script. If I didn't know better, I'd wonder if this exercise in sexual perversion hadn't
been made by another Waters. John, I mean.
That aforesaid, it's perpetually fun to see Winona Ryder in a motion picture again.
The DVD includes comment from Waters and a making-of featurette.
You get my meaning.
More information
Thursday 26 June 2008
Telepherique
Artist: Telepherique
Genre(s):
Other
Metal: Industrial
Industrial
Discography:
Bionik
Year: 2004
Tracks: 7
Stahl Und Strahl
Year: 2003
Tracks: 5
Transzendenz
Year: 1997
Tracks: 8
Wednesday 18 June 2008
OMD
Artist: OMD
Genre(s):
Other
Discography:
Organisation
Year: 2003
Tracks: 9
Navigation
Year: 2001
Tracks: 19
Peel Sessions
Year: 2000
Tracks: 15
The OMD Singles
Year: 1998
Tracks: 18
Orchestral Manoeuvres In The Dark
Year: 1998
Tracks: 10
Liberator
Year: 1998
Tracks: 12
Architecture and Morality
Year: 1995
Tracks: 9
Sugar Tax
Year: 1991
Tracks: 12
The Pacific Age
Year: 1989
Tracks: 10
Dazzle Ships
Year: 1985
Tracks: 12
Crash
Year: 1985
Tracks: 10
Junk Culture
Year: 1984
Tracks: 10
Tuesday 27 May 2008
Williams arrives in Perth for Ledger funeral
Michelle Williams and her two-year-old daughter Matilda have arrived in Perth, Australia for Heath Ledger's funeral, according to People magazine.
The magazine's website reports that Williams and her daughter arrived in the city earlier today under heavy security with more than five police officers and airport security helping to escort them through the airport.
Williams' arrival comes one day after Ledger's father, Kim, mother Sally and sister Kate all returned home from the US.
In a statement released earlier this week on Ledger's death, Williams said: "My heart is broken."
A private funeral for the 28-year-old actor - who was found dead in New York last month - is expected in the coming days.
The magazine's website reports that Williams and her daughter arrived in the city earlier today under heavy security with more than five police officers and airport security helping to escort them through the airport.
Williams' arrival comes one day after Ledger's father, Kim, mother Sally and sister Kate all returned home from the US.
In a statement released earlier this week on Ledger's death, Williams said: "My heart is broken."
A private funeral for the 28-year-old actor - who was found dead in New York last month - is expected in the coming days.
Monday 19 May 2008
Roll over, Beethoven
Roll over, Beethoven
Flights of colorful fancy and heroic struggles characterized the Los Angeles Philharmonic concert Thursday at Walt Disney Concert Charles Francis Hall when Christoph von Dohnányi lED a program of Messiaen and Beethoven, with piano player Peter Serkin as the soloist. Messiaen, as it turned out, proved more captivating than Beethoven.
Serkin was filling in for Pierre-Laurent Aimard, wHO withdrew on doctor's advice because of back strain. Aimard was praised by Messiaen for performances of his music. But Serkin brings bona fides to the table overly.
He was i of the founders of Tashi, an tout ensemble formed in 1973 specifically to play Messiaen's "Quartet for the End of Time." Sooner this year, which is too the Messiaen centennial, Tashi performed for the number one time in 30 old age, and a highlight of the concerts that the chemical group played across the country was that Messiaen quartette, composed in a Nazi prisoner of war refugee camp in 1940-41.
Rudolf Serkin was besides the piano player at the first Symphony orchestra performance, in 1973, of Messiaen's "Oiseaux exotiques" (Exotic Birds), too on the program.
In the only program change resulting from Aimard's secession, Janácek's "Capriccio for Pianoforte Left Hand and Winds" was dropped. Instead, Serkin played Messaien's last solo work for piano, "Petites esquisses d'oiseaux" (Little Sketches for Birds), to open the concert.
The work consists of half a dozen short pieces, with the first, third and fifth devoted to the robin, and the others to the new World blackbird, song thrush and alauda arvensis. Serkin was deeply focused on the music and executed its chatter, colorful flourishes and velvety excursions around the keyboard with consummate commitment and skill.
There was a common sense of the old World robin being more and more subdued by its louder-voiced bird-fellows, merely this crataegus laevigata have been only 1 listener's reactions to this evocative, freewheeling music.
"Exotic Birds," for pianoforte and 18 confidential information and percussion instruments, which followed, has been described as the closest the composer came to composition a piano concerto. It has strikingly difficult piano passages that might easily qualify as cadenzas were they not so tightly integrated into the remain of the bit. Dohnányi allow Serkin moderately much have his dazzling way with these solo moments. Differently, the conductor executed strict controls.
At that place ar supposed to be references in the piece to around 60 birdcalls. But it sounded less like an ornithological catalogue than a fantastic, beguiling sound painting in delicate and boldface colours and liberate rhythms. Time was suspended and space was enlarged.
A twelve string basses onstage after intermission suggested that Beethoven's "Eroica" Symphonic music, which closed the broadcast, was non departure to receive a scaled-down, period-practice performance. In fact, there were about 75 musicians. But a large sound did non be big belief. Dohnányi light-emitting diode an well-nigh antiheroic functioning.
The ground wasn't simply his tendency toward speedy tempos. His leaning for larder attacks, long, inwardly unarticulated phrases and blended textures tamped pour down dramatic contrasts and stifled soul voices.
The main theme of the first movement lacked importunity and a sense of onward pains. The funeral march was a homogenized affair.
The galloping rhythms of the scherzo were taken with astonishing agility -- here, as elsewhere, the orchestra gave the conductor everything he wanted -- but they lacked the tension of off-centered jostle against for each one other. Even the andante in the closing curtain, a form of anamnesis of the departed, was wanting in intuitive feeling.
Dohnányi tamed the Beethoven wildcat, just at a huge price to the music and the composer.
chris.pasles@latimes.com
Lionel gushes about Nicole's new baby
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