July 16, 2019 // Archive

Date based archive
16 Jul




By Helen Gilbert

Published:  16 July, 2019

Broadland Wineries has seen sales jump 11.6% to £70.6m in the 12 months to the end of March 2019 helped by fruit flavoured blends and mini wine bottles.

Pre-tax profits also rose to £2m from £0.3m over the same period, according to the company’s annual report.

Three Mills Fruit Fusion and MINIVINO single serves were among the brands that helped drive growth with sales up 43% and 6000% respectively.

The Christmas Advent Calendar – a box of 24 small bottles of wine – and Proudly Vegan, a 100% vegan wine also performed well, the report showed.

Turnover outside the UK reached £4.6m in 2018, up 43.9% on the previous year with “particularly strong growth” reported in the US.

“Our team has made enormous strides forward over the last year,” said Mark Lansley, chief executive Broadland Wineries.

“The strong performance of our existing brands, the introduction of some exciting category game-changing brands and our sales growth in the USA have combined to allow us to deliver improved financial results. In a tough market, with significant challenges ahead, we believe we are making decent progress.”

The business said it was in a good position to take advantage of the recent surge in demand for fruit wine flavoured products and the no and low alcohol movement.

It recently launched two new lines under its Three Mills Botanicals label juniper, cucumber & lime and strawberry & elderflower, as well as Three Mills 0.05% alcohol-free wines.





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16 Jul

White Suede (Nordstrom)

Tom Ford Beauty White Suede (Nordstrom) Eye & Lip Set ($88.00 for 0.21 oz.) contains a full-sized eyeshadow quad (which are normally priced at $88 a pop), plus two miniature-sized lipsticks. The inclusion of the lipsticks feels a bit more like a gift with purchase than anything else, though the set is packaged in a larger, fairly sturdy cardboard box and presented with a velvet-lined interior. The two lipsticks were so-so; they were not the highlights of the brand’s range when I reviewed them in their full-sized editions (though Autoerotique did review better the first time around), and they aren’t here. The quad is similar–not particular stellar but for someone who likes sheerer coverage or finds the Tom Ford formula to work particularly well for them, it might still work well, but it’s more in the not-terrible, not-impressive category (and with the level of competition these days, not a good place to be).

White Suede (Nordstrom)

Tom Ford Beauty White Suede (Nordstrom) Eye Color Quad resembles the White Suede Eye Color Quad that was released previously as a Neiman Marcus exclusive palette. It’s strange that they’re name similarly, and while they appear similar at a glance, the Nordstrom variation is much warmer. The last shade–that muted, navy blue–is the closest between the two quads with the original White Suede shade being a bit brighter, cooler, and more pigmented.

White Suede (Nordstrom) #1

White Suede (Nordstrom) #1 is a soft pink with stronger, warmer undertones and a sparkling, metallic finish. It had good color coverage applied dry or wet with wet application yielding a more intense finish. The texture was smooth, lightly creamy, and had a good amount of binder, which allowed the eyeshadow to apply well without fallout and still retain its pigmentation. It wore well for eight hours with very minimal fallout over time.

White Suede (Nordstrom) #2

White Suede (Nordstrom) #2 is a soft brown with warm, golden undertones and a pearly sheen. It had opaque color payoff with a smooth, thin consistency that applied best with a slightly fluffier brush, which seemed to pick up product more evenly than a thinner, flatter brush would. This shade stayed on well for seven and a half hours on me before fading visibly.

White Suede (Nordstrom) #3

White Suede (Nordstrom) #3 is a medium, caramel brown with faint, gold shimmer. It had medium pigmentation that was buildable to mostly opaque coverage with two to three layers. The texture felt smooth and finely-milled to the touch, but it was a bit firmer and thinner., though it wasn’t difficult to work with and blended out easily on my lid. It lasted well for seven and a half hours on me before fading a bit.

White Suede (Nordstrom) #4

White Suede (Nordstrom) #4 is a muted, blackened blue with subtle, cool undertones and a faint, frosted sheen. It had medium pigmentation but had to be layered two or three times to get color and coverage that was true-to-pan. The texture was smooth to the touch, almost a bit emollient, but it was a bit thinner and took more effort to diffuse and soften around the edges. The color wore well for seven and a half hours on me before I noticed slight fading.

Autoerotique

Tom Ford Beauty Autoerotique Lip Color ($54.00 for 0.1 oz.) is a soft, peachy coral with warm undertones and a lightly glossy, cream finish. It had semi-opaque pigmentation that applied somewhat evenly, but it separated along my lip lines noticeably. The texture was creamy, lightweight, and comfortable to apply and to wear, but it was more prone to catching on any imperfections in texture on my lips. It wore well for three and a half hours and was lightly hydrating over time. This shade can be purchased individually as a full-sized Lip Color (so $55) as it was released previously. The version in the set under-performed compared to the full-sized, though.

Paper Doll

Tom Ford Beauty Paper Doll Lip Color is a light-medium pink with warm undertones and a soft, frosted finish. It had semi-opaque pigmentation in a single pass, which adhered fairly evenly but the texture was less forgiving as it sank a bit into my deeper lip lines and had subtle streaking along the edges of my lips. The consistency was lightly creamy and felt smooth as it glided across my lips fluidly. It wore well for three and a half hours and was lightly moisturizing over time. This shade was released previously but was limited edition, so it cannot be purchased individually at this time.

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16 Jul

The striking art on birchwood panels featuring Mike Trout, Bryce Harper and their home-run hammering brethren that landed Lauren Taylor certified artist status from Major League Baseball evolved from a painful-looking selfie.

It’s a messy mug shot of Taylor, a 32-year-old from Vancouver, after losing a duel with a line drive in May, 2017.

In the photo her face is swollen, bruised and so obviously aching. Taylor had been playing third base in a coed slo-pitch game and the guy at the plate turned on a juicy pitch. Taylor is talented enough on the diamond that she was once sponsored by Louisville. She just didn’t get enough glove on this slugger’s bullet.

She suffered broken bones in her face, a hemorrhaged retina and concussion. That head injury was the worst. She had battled anxiety and panic attacks for years and until that ball in the face she felt the problems were being properly managed. But the medication she had been taking stopped being as effective after that slo-pitch injury.

Taylor had initially turned to art to help deal with her mental health issues. She said art “felt safer than words.” She felt it was time to amp it up again.

She had experimented with using wood as a canvas after a buddy found a scrap piece lying around their apartment building basement. She created a stencil and went from there.


Vancouver artist Lauren Taylor created this image of former Seattle Mariners outfield Ichiro Suzuki using digital stencil, acrylic paint and ink on wood.

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She is a baseball fan of notable zest and zeal. Her first of these creations (digital stencil, acrylic paint and ink) was for Gibsons’ pitcher Ryan Dempster, in conjunction with the right-hander going into the B.C. Sports Hall of Fame in 2018 as part of the accolades for his lengthy Major League Baseball career.

On the back of the Dempster piece, Taylor wrote a note thanking him for his running feud with New York Yankees’ slugger Alex Rodriguez during a 2013 series with Dempster’s then-Boston Red Sox.

She had played slo-pitch with Chris Dempster — Ryan’s younger brother — who’s a Vancouver firefighter. Brother connected her with brother.

She then did a piece for James Paxton, the left-hander pitcher from Ladner who, at that point, was coming off no-hitting the Toronto Blue Jays for the Seattle Mariners. Taylor reached out on Instagram and one connection led to another and eventually to Paxton.

Since then she’s done artwork of almost every big leaguer you can imagine. If you plan to scroll down her list at laurentaylorillustrations.com, you’d better invest some time as she’s done more than 300.

There are noteworthy sluggers such as Trout, Harper and Giancarlo Stanton. There ace pitchers like Clayton Kershaw and Chris Sale.


Vancouver artist Lauren Taylor with former Seattle Mariners outfield Ichiro Suzuki when she presented him with the artwork of him that she had created.

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She was just in New York, taking a painting of CC Sabathia to the veteran Yankees’ hurler that had been commissioned by Mets’ second baseman Robinson Cano as a gift to celebrate Sabathia’s final MLB season.

It seems like Taylor has this all figured out, but some days she still struggles with anxiety and panic. The good thing is she’s open to talking about the challenges. Her pictures, as it were, are worth some important words.

“There are two parts. One part is that I want athletes to think of me when they want a piece of art,” Taylor said. “The other part is that I want to be an advocate for mental health. I find that the bigger platform I get, the more I’m able to speak about it and influence people.

“I’ll get messages from people saying they’re grateful about me being honest about struggling, about panic or anxiety or depression and those mean more to me than any of the big meetings.

“There’s the two parts. There’s the athlete part and the human part. There are plenty of people who influence through success, but I think it’s also important to influence through common struggle. I think there’s even more mental health stuff out there.”

Taylor maintains “the only C I ever got in college was art class.” In 2014, Telus had her help tell the stories of Vancouver’s Downtown Eastside by doing sketches of people who lived there. There’s a 10-minute documentary called Eastside Stories that covers the complex community issue.


Vancouver artist Lauren Taylor created this image using digital stencil, acrylic paint and ink on wood. 

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Taylor is originally from Friday Harbor, Wash. She played fastpitch at Wenatchee Valley College and then moved to the Lower Mainland for the Vancouver 2010 Winter Olympics, landing a job with Aramark Foods where she worked out of Hockey House.

She’s remained in Vancouver since, and was working at an investment company until October when she decided to try and make a living full time via art.

She’ll work on pieces for multiple players from one team and then travel to where they are playing to deliver them and get snapshots with them.

MLB requires her to use Getty Images for the photos she bases her art around. She also has to track down the players herself, admitting she leans heavily on social media, word of mouth and athlete networking.

She had done a Cano piece and presented it to him. He called a week before the Mets and Yankees were scheduled to start their series about doing something for Sabathia, his former Yankee teammate. She spent 16 to 20 hours on the stencil for the project, and then worked another 40 hours on the wood.

“There are some days I think I am never going to make it and some days I am standing next to CC Sabathia,” she said. “I’m a mess some days. And I think people forget to talk about that part of it.

“And then people like myself, who are Anxious Annies anyway, are like, ‘I’m a failure, because so-and-so never talked about this.’”

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16 Jul

The National Sleep Foundation has named Orfeu M. Buxton, PhD, as the next editor-in-chief for its journal Sleep Health. Buxton is professor of biobehavioral health and director of the Sleep, Health & Society Collaboratory at Pennsylvania State University. Buxton will succeed Lauren Hale, PhD, professor of family, population, and preventive medicine at Stony Brook University.

Buxton’s research focuses on the causes and consequences of sleep deficiency, particularly in the areas of sleep deficiency causes in the workplace, home, and society; health consequences of sleep deficiency, especially cardiometabolic outcomes; and use of biomarkers in field and intervention studies.

“I am honored to be named the next editor-in-chief of Sleep Health,” says Buxton in a release. “I look forward to engaging with the multidisciplinary community of authors, editors, reviewers, readers, and the press to advance the Journal, and, in effect, improve the public’s sleep health.”

David Cloud, CEO of the National Sleep Foundation, says, “As a distinguished leader in the sleep health research community, Dr Buxton will be an excellent steward for our journal.”

Sleep Health won the Best New Journal/SMT Award from the Association of American Publishers. The journal has a 2018 CiteScore of 3.44 and is ranked #9 out of 70 behavioral neuroscience journals. Sleep Health is published by Elsevier.

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16 Jul

Regardless of how long you’ve followed the Hallelujah Diet, you likely have dozens of questions about our supplements, best practices and other general insights we’ve shared over the years. In this series, we’ll be answering some of our most frequently asked questions to provide the information you need to live your healthiest, most fulfilling life while following the Hallelujah Diet lifestyle. Below, our health expert Olin Idol shares his answers to questions he’s often presented with:

1. Why doesn’t BarleyMax have fiber? Don’t we need fiber in our daily diet?
BarleyMax is made up of barley grass and alfalfa that is harvested and immediately transported to a facility for juicing. This process releases the nutrients from the fiber so that they are readily available at the cellular level for the body to immediately absorb.

“Our vegetable juices and BarleyMax powder should be free of fiber for maximum utilization of nutrients at cellular level,” said Idol. “We need fiber, but we get that from our whole food diet.”

Followers of the Hallelujah Diet can get fiber from eating whole foods.Followers of the Hallelujah Diet can get fiber from eating whole foods.Followers of the Hallelujah Diet can get fiber from eating whole foods.

2. Do I need the other juices if I use Hallelujah Diet Advanced Superfood?
According to Idol, the Superfood product was created for individuals seeking a broad range of whole food concentrates. Even though it is made up mostly of whole food ingredients, about 1.5 grams of the juice powder is made from barley, wheat, oats and alfalfa. Based on this information, Idol suggested supplementing Advanced Superfood with other juices if you feel it’s necessary.

“It just depends upon individual preference and needs,” he said.

3. My CarrotJuiceMax is still a year away from the expiration date. Why is it hard and clumping?
During production, organic brown rice syrup is added to CarrotJuiceMax and BeetMax to minimize clumping that is usually the result of being exposed to moisture. These powders should both be kept at room temperature to decrease condensation exposure in the containers. If your powders are clumping before expiration, fear not, Idol stated.

“In more humid environments and due to some exposure to temperature changes during shipping some clumping may occur,” he said. “The powder is not damaged but is a little more cumbersome to use.”

Next week, we’ll answer more of your frequently asked questions about our supplements and the Hallelujah Diet in general.


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16 Jul

This much-maligned vintage has some hidden gems that are real bargains, James Lawrence discovers.

“Licence my roving hands, and let them go – before, behind, between, above, below.” This is seduction, according to the English writer John Donne.

The Anglican cleric – odd choice, I know – came to mind when I initially slurped, sluiced and tasted my way through a collection of wines from the 2009 vintage in Bordeaux. It’s a vintage that demanded much financial investment, but the rewards, as far as I could see, were not just in heaven. What followed, of course, was another spectacular vintage for the region. Would this pleasure never end?

But then, oh dear, 2011 appeared on the scene and suddenly we no longer felt predisposed towards high-priced claret. Seduction had been replaced with indifference; the en primeur campaign started and ended with a whimper – not even discounts of around 30 per cent could get critics and buyers excited.

“Austere” was the word most heavily banded around, when the wine trade descended upon Bordeaux in the spring of 2012. Tasting my way through a selection of 2011s later that year, I understood what they meant. Mouthful after mouthful of dry tannin, but where was the fruit? The generosity? The joie de vivre? It appeared to be a vintage that would remain ever-closed, scarcely revealing its charms.

“I initially found the 2011s I tasted to be fairly austere,” agrees Jeroboams’ wine director Peter Mitchell MW. “When prices came out you knew it was going to be a poor campaign, as there was no rational reason to buy.”

Yet all Bordeaux vintages – 2013 apart – deserve a second chance. A recent visit to the Médoc and Saint-Émilion yielded a few pleasant surprises, not least the much-approved state of the 2011s. I came away with more positive feelings than many have about the vintage – the first time I’ve enjoyed any wines from this difficult year.

The key difference was that the bracing freshness – apparent from the start – has been accompanied by a purity of fruit expression that lacked the greenness I initially encountered in 2012. Overall, the tannins were still quite full at this point, but not inelegant. But most importantly, the best wines seemed to be shedding that infamous austerity and offering some real charm.

Of course, I also tasted 2011s which were less successful – the worst examples boast this stubborn herbaceous quality and a short, acerbic finish that may never fade. But let’s forget about them; the best wines of this maligned vintage may qualify as the Bordeaux bargain of this decade.

Bargains! Bargains! It’s such an easy (and often disingenuous) sales pitch, however, this time it could well be true.

According to trading-platform Liv-Ex, overall the current market prices for the 2011 vintage are just around half the price of those for the 2009/2010 vintages. That being said, they carry a lower Robert Parker score – does anyone care anymore? – but the best wines are by no means poor relations. It’s a vintage for drinking, not investing, which is just what Bordeaux needs.

“Tasting recently, I have again thought the vintage underrated (a problem 2001 also had following on from 2000 ) – not great by any means, but with some elegance and now beginning to reach maturity,” observes Mitchell MW.

“Currently 2011 can offer good value, but it is a vintage I would concentrate on the top wines rather than lesser properties, as selection and winemaking were key.”

So the following, at least in my summation, are the cream of the crop. (Disclaimer: I’ve only tasted classified estates – Château d’Angludet being the exception.)




© Goedehuis
| The vineyards of Angludet in Margaux produced a great wine by any standard.

Château Lagrange The 2011 Château Lagrange is a wine for the long-haul, as the estate’s directeur-général Matthieu Bordes readily concedes. “I remember very well the 2011 vintage which was the fourth earliest harvest over the past three decades. Hot and dry spring with a classic Bordeaux summer,” says Bordes. “It’s a vintage that offers much, but it requires patience. However, 2011 was not so pleasant to taste ‘en primeur’ – it’s a wine built to last.”

I was won over during a recent tasting – not a blockbuster, but a supremely elegant vintage of Lagrange, boasting a beautifully perfumed nose, bright red fruit and polished tannins in a difficult year. It showed very well. Moreover, the asking price is hardly extortionate – average £42 ($52.60) ex-tax.

Château Pichon-Longueville au Baron de Pichon-Longueville Can Pichon Baron produce a bad wine? I’ve never tasted one. In 2012, Neal Martin said of the 2011 Pichon Baron: “It sports a ripe, more extrovert nose than some of its neighbors, with lush blackberry, boysenberry, a touch of cherry liqueur and underneath, typical Pauillac traits of graphite and tobacco.” Indeed, AXA Millésimes MD Christian Seely has been a fan of the vintage from the outset.

“I always believed that the 2011 was a seriously good year for Pichon Baron. It had the misfortune, from a reputational point of view, to follow the two great years of 2009 and 2010. But had it not done so, I think it would have received greater attention and critical acclaim from the beginning,” argues Seely.

“It was very tannic and reserved at the beginning, but always very fine compact, intense, and balanced. What has changed, of course, since then is that those very powerful, yet reserved tannins have since aged in the bottle, softened up to a great degree (though they are still present) and this has enabled the wine to begin to express itself more openly.” I couldn’t agree more – with an average price of $126 for the 2011 vintage, it deserves to be snapped up.

Château Angélus Described by Angélus’ director Stephanie de Boüard as a “sleeping beauty”, I was mightily impressed with my second tasting of the 2011 Angélus in June this year. Lacking the price tags of the lauded 2009 and 2010 vintages – $309, against $428 and $451, respectively – it merits a closer inspection. My notes read: “Initially dismissed by me in 2016 as austere and closed, a second exploration of the 2011 Angélus has revealed hitherto unseen charms. Color is typically deep and opaque – a inviting nose of fresh black fruits gives way to a structured palate of medium-concentration and good length. Dense and extracted in the Angélus styles, freshness and elegance is kicked up a few extra notches due to the natural restraint of the 2011 vintage.”

Château Rauzan-Ségla With an average price of $100 ex-tax, the 2011 edition of Rauzan-Ségla is $70 cheaper than the much-lauded 2009. But is it necessarily inferior? A recent tasting would suggest not – the power and opulence of that vintage is, of course, lacking, but the 2011 is no feeble sibling. The wine I encountered was still fairly young, with aromas of black cherries, blackcurrant, toast, cedar and hints of leather. Quintessential Margaux; medium weight, subtlety over power, delightfully fresh and racy on the palate. The antidote to the 2003 vintage in this venerable appellation.

Château d’Angludet The ultimate, undisputed bargain of 2011 Bordeaux, this wonderful wine is available for $45 ex-tax. It offers so much, and asks for so little – and no, I’m not on the Sichel family’s payroll. Yet I will happily proselytize about this marvelous wine for free, as it contradicts the widely held notion that top-notch Bordeaux is unobtainable and unaffordable. Dark fruit, firm but accessible tannins, a come-hither nose – this is why I remain beguiled, and excited, by the best of Bordeaux’s affordable superstars.

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16 Jul

Burnish

Hourglass Burnish Scattered Light Glitter Eyeshadow ($29.00 for 0.12 oz.) is a light-medium, coppery brown with warm undertones and a sparkling, metallic finish. It was less metallic compared to most shades in the range, though it was still quite shimmery/sparkly. The texture was lightly creamy, denser in the pot but not too thick or heavy, so it applied evenly and didn’t emphasize my lid texture. It had opaque pigmentation that was easy to apply and diffuse for a softer level of coverage. This shade stayed on well for nine hours on me with very minimal fallout before fading noticeably.

  • Too Faced Old Money (LE, $16.00) is more shimmery, warmer (90% similar).
  • Juvia’s Place Nubian #6 (P, ) is warmer (90% similar).
  • Tarte Park Ave Princess (P, $22.00) is darker (90% similar).
  • Too Faced Gingersnap (LE, $16.00) is warmer (90% similar).
  • Morphe Zippy (PiP, ) is darker, warmer (90% similar).
  • Tarte Palm (LE, ) is darker, more muted (90% similar).
  • Dominique Cosmetics Bohemian (LE, ) is more shimmery, lighter (90% similar).
  • Juvia’s Place Casablanca (P, ) is darker (90% similar).
  • Make Up For Ever ME728 Copper Red (P, $17.00) is more shimmery, warmer (90% similar).
  • Smashbox 10000 Likes (PiP, ) is darker (90% similar).

Formula Overview

$29.00/0.12 oz. – $241.67 Per Ounce

The formula is supposed to have “buildable” coverage from “a sheer crystal-like shimmer to an opaque prismatic glitter finish.” It is a “hybrid cream formula” that “dries down.” Each pot has a plastic stopper that sits on top of the eyeshadow, which can be used to press the product together if it loosens over time. The texture was very dense, felt more like a creamy powder than a cream–like if someone hadn’t told me it was a hybrid, I would have just assumed it was a powder product. The brand recommends using fingertips for application, and that is the better way to apply for coverage and least fallout. I tried dry and dampened brushes to varying degrees of success (some shades were easier to work with than others). The pigmentation varied, too, from buildable to semi-opaque. They were fairly blendable and had slight fallout during initial application. They lasted between seven and eight hours on me with slight, additional fallout over time (but did not irritate my eyes).

Browse all of our Hourglass Scattered Light Glitter Eyeshadow swatches.

Ingredients

Rapture

Hourglass Rapture Scattered Light Glitter Eyeshadow ($29.00 for 0.12 oz.) is a medium-dark red with strong, warm undertones and a mix of gold and pink sparkle. It had rich color coverage in one layer, which applied evenly and smoothly to my lid without sheering out too readily nor having issues with fallout. The texture was smooth to the touch, lightly creamy but thin enough to pick up well with fluffier brushes. It wore nicely for nine hours on me before fading a bit, though it had almost no fallout that I could detect over time.

Ray

Hourglass Ray Scattered Light Glitter Eyeshadow ($29.00 for 0.12 oz.) is a bright, lighter bronzy brown with warm, slightly rosy undertones and cooler gold and teal sparkle. It had opaque pigmentation paired with a smooth, lightly creamy texture that was a bit thicker and denser compared to the other shades in the range, but it didn’t prove problematic for application as it went on evenly and didn’t emphasize my lid’s natural texture. It seemed to have a greater amount of sparkle in it, so I noticed that when I blended it out, there was more noticeable migration of sparkles along the edges in particular. This shade lasted well for nine hours on me before creasing faintly, and it had a touch of fallout over time.

Vivid

Hourglass Vivid Scattered Light Glitter Eyeshadow ($29.00 for 0.12 oz.) is a soft, medium olive green with warm undertones and a sparkling, metallic finish. It had rich color payoff that applied well to bare skin and blended out easily along the edges. The texture was lightly creamy, smooth to the touch, and thin without being difficult to work with. It stayed on well for nine hours on me before fading a bit and had very minimal fallout over time.

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16 Jul

A national study finds children without insurance who seek treatment for a mental health disorder in the emergency department (ED) are more likely than those with private insurance to be transferred to another hospital.

The study, conducted by researchers at UC Davis Children’s Hospital and the UC Davis Department of Psychiatry, showed differences in the decisions to admit or transfer children with mental health emergencies based on the patients’ insurance type.

More hospital transfers for children with no insurance

For the study, the researchers assessed a national sample of 9,081 acute mental health events among children in EDs. They looked at the patient’s insurance coverage and a hospital’s decision to admit or transfer patients with a mental health disorder.

“We found that children without insurance are 3.3 times more likely to be transferred than those with private insurance,” said Jamie Kissee Mouzoon, research manager for the Pediatric Telemedicine Program at UC Davis Children’s Hospital and first author on the study. “The rate was even higher for patients presenting with bipolar disorder, attention-deficit and conduct disorders and schizophrenia.”

Inequities in mental health emergencies

The study shows there may be gaps in providing equitable and quality care to pediatric patients with mental health emergencies based on their insurance coverage.

Transferring a child creates additional burdens for the patient, family and health care system as a whole. It can add to overcrowding in busy emergency departments, higher costs of care and higher out-of-pocket costs for the family.

According to James Marcin, senior author on the study, there are regulations in place to prevent EDs from making treatment decisions based on the patients’ insurance. Transferring a patient for any other reason than clinical necessity should be avoided

“Unfortunately, the financial incentives are sometimes hard to ignore and can be even unconscious,” Marcin said. “What we have found in this study is consistent with other research that demonstrates that patients without health insurance are more likely to get transferred from clinic to clinic or hospital to hospital.”

Marcin also is director for the UC Davis Center for Health and Technology and leads the telemedicine program at UC Davis Health. He is looking into ways that telemedicine – video visits delivered to the children who seek care in remote EDs – might be a solution to the tendency to transfer the patient to another hospital.

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The study published online July 1 in Pediatric Emergency Care.

Other UC Davis Health collaborators include Yunru Huang, Parul Dayal, Peter Yellowlees and Ilana Sigal.

Disclaimer: AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert system.

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16 Jul

David Geoffrey Chapman, BSc, PhD, of University of Technology in Sydney, Australia, has been awarded the new American Thoracic Society (ATS) Foundation/ResMed Research Fellowship in Sleep-disordered Breathing and PAP Therapy.

Chapman’s $100,000 award will support his research into how non-invasive ventilation (NIV) can help improve sleep for people with both obstructive sleep apnea (OSA) and chronic obstructive pulmonary disease (COPD), known as COPD/OSA Overlap Syndrome.

Specifically, Chapman will determine how effective various NIV settings are in addressing hyperinflation, the act of breathing at abnormally high lung volumes that is common in people with COPD. Hyperinflation reduces the function of the diaphragm, the predominant muscle for breathing during sleep, and is correlated to reduced sleep quality in a pilot study, also by Chapman.

David Geoffrey Chapman, BSc, PhD

One in four people with COPD also have moderate to severe OSA, according to a 2017 study.

Depending on which polysomnographic features predominate, patients may present with a variety of daytime symptoms and clinical outcomes, ranging from insomnia to hypersomnia with and without cardiopulmonary complications. The ATS strongly advocates for further research into people with COPD/OSA Overlap Syndrome to better understand the relationship between the two diseases, optimize the definitions and equipment used to assess patients, and determine which therapy options are best for them.

“Chronic obstructive pulmonary disease is one of the leading causes of death in the US and sleep-disordered breathing, which commonly occurs in patients with COPD, has been found to be a risk factor for premature death in this population,” says Sanjay Patel, MD, chair of the ATS Assembly on Sleep and Respiratory Neurobiology, in a release. “Through ResMed’s support, this new award will provide a much-needed source of funding for scientists such as Dr Chapman to determine how to best treat sleep-disordered breathing in patients with COPD in order to improve their lives.”

Carlos M. Nunez, MD, ResMed’s chief medical officer, says, “ResMed has sponsored rigorous scientific research for decades and is proud to support the ATS Foundation and Dr Chapman in this important new study. The more that researchers can confirm how sleep apnea and comorbid conditions interact to affect patients’ health, the more focused and motivated the medical community should be to identify those who are suffering and get them screened, diagnosed, and effectively treated as soon as possible.”

The application process for the next cycle of grant opportunities will open on July 24, 2019. Interested applicants should visit the ATS Foundation website to learn more.

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