Home-grown Talent Research Articles

Analysis of traditional Indian system of medicine (Ayush)

Even as equity but instead company worth of an innate prescription drugs would be going to expand enormously, verification after all safety, value but instead validity after all reparative crops but instead homegrown talent products are popping into such an essential factor. A need for significant significance would be to nurture of one specific research methods but very much started planning processes again for generalization after all homegrown talent naturally occurring substances but instead organic define. Bhasma is more or less named dusts which really is a ferromagnetic core fully prepared whilst also contemporary narcotic practices and so too plays a key component through intensifies, sub-intense, but also progression diseases. Its proposed will include its twist of fate as well as acceptance of selected Vedic describing in detail operatively rani lehyam (kl) whilst also going to decide various physicochemical as well as phytoconstituents limits. Kuantan had been revealed to specific flavonoid trying to separate proposal to find distinctive bioactive components current throughout Kuantan description.

Avant-Garde Nationalism at the Dublin Gate Theatre, 1928–1940 by Ruud van den Beuken

Reviewed by: Avant-Garde Nationalism at the Dublin Gate Theatre, 1928–1940 by Ruud van den Beuken Matthew Franks AVANT-GARDE NATIONALISM AT THE DUBLIN GATE THEATRE, 1928–1940. By Ruud van den Beuken. Irish Studies series. Syracuse, NY: Syracuse University Press, 2021; pp. 276. No cultural institution dominates Irish studies like the Abbey Theatre during the first decades of the twentieth century. In Avant-Garde Nationalism at the Dublin Gate Theatre, 1928–1940, Ruud van den Beuken refocuses the spotlight on an establishment and time period that, he argues, has been marginalized by comparison. The Abbey loomed large for the Gate's founders, too, who defined their venture against Ireland's newly subsidized national theatre. They took the Abbey to represent provincial folk dramas and cottage kitchen interiors rather than a more expressionist European and American repertoire, the staging of which, they believed, would shore up Dublin's credentials as a modern Western capital. That mission largely informs how the Gate has been remembered: as an adventurous director's theatre operating within an insular Free State. In his revisionist account, van den Beuken suggests that this is only half the story, and it must be balanced against the theatre's attempts to nurture homegrown talent by tracing out a native repertoire among lesser-known experimental playwrights such as Denis Johnston, Mary Manning, and Gate co-founder Micheál mac Liammóir. This combination of reflecting Irish themes onstage and articulating Irish identity in relation to cosmopolitanism, van den Beuken argues, gave the Gate its distinct avant-garde nationalism. Van den Beuken divides his study into two parts, with the first three chapters devoted to writings by the Gate's leadership and the latter three to different subsets of native plays produced by the theatre— [End Page 118] a structure that balances institutional history with close readings of plays where many theatre studies tend to favor one approach over the other. In the first part, he demonstrates that the Gate's Irishness reveled in contradiction. Fervently nationalist mac Liammóir was actually the invented persona of an Englishman from London who had over-romanticized the Easter Rising. The Gate itself was modeled on Peter Godfrey's London Gate Theatre, and mac Liammóir, along with co-founder (and genuine Irishman) Hilton Edwards, copied the London Gate in their staging style, suggesting that postcolonial parity might involve collaborating with and even emulating the metropole. While one flank of the Gate's leadership contrasted the theatre with the institutional, no-longer-revolutionary Abbey, its prime financier Lord Charles Longford called the Gate "the true National Theatre of Ireland" in an attempt to secure state subsidy (61). (The Gate finally began receiving subsidy in 1970, one of the many reasons it is still very much active today.) Such examples serve as the basis for van den Beuken's rigorously theorized meditations on postcolonial memory, modernity, and nationalism, setting up the thematic concerns of the plays discussed in the book's second part. If the Gate failed to discover any playwrights to rival Synge or Yeats, it was not for want of optimism. Manning suggested at the time that "material of sufficient merit was temporarily lacking" (64), while another critic speculated that "one of these days [Johnston] will write a play which will leave all the O'Caseys, the Eugene O'Neills and the like in the halfpenny place" (148). In practice, the Gate ended up at least in part a home for Abbey rejects. One play featuring prominently in van den Beuken's study, Johnston's Pirandellian The Old Lady Says "No!" (1929), earned its title from Lady Gregory's scrawled refusal on an early draft. But far less important than dramatic quality or canonicity are the nationalistic tropes that emerge across these post-revolutionary plays when read together. Van den Beuken fills in the contours of a Free State repertoire consisting of mythological, historical, and social plays and pageants. In his engaging analysis, unhappy marriages and father–daughter spats emerge as allegories for finally casting off British rule. Historical dramas about the conflict between Protestants and Catholics evoke more immediate threats posed by the paramilitary Anti-Treaty IRA, the rise of fascism...

IFST vision for a UK‐wide national food strategy

<scp>IFST</scp> vision for a <scp>UK</scp>‐wide national food strategy

The doctor drought

With nearly half of new doctors having trained abroad, what does the future hold for our homegrown medical talent?

Why nurturing homegrown talent is best for every nation

Why nurturing homegrown talent is best for every nation

Young Orson: The Years of Luck and Genius on the Path to Citizen Kane by Patrick McGilligan

Reviewed by: Young Orson: The Years of Luck and Genius on the Path to Citizen Kane by Patrick McGilligan Alyssa L. Reil Patrick McGilligan, Young Orson: The Years of Luck and Genius on the Path to Citizen Kane. New York: HarperCollins Publishers, 2015. 832 pp. $40.00. Young Orson: The Years of Luck and Genius on the Path to Citizen Kane, is a detailed account of Orson Welles' early life by prominent biographer, Patrick McGilligan. Published in 2015, the centennial anniversary year of Welles' birth, the text explores the people, places, and events that shaped Welles into an American icon. In his acknowledgements, McGilligan explains his aims of presenting a "more balanced … more sympathetic," Welles, and the "backstory of his life and early career" (749) that ultimately realized the man and his artistic products. General readers will appreciate McGilligan's humanization of Welles and the new light it sheds on his classic productions. For the midwesterner, McGilligan's exploration of Welles is a celebration of homegrown talent. McGilligan organized Young Orson chronologically, with the second to last chapter ending at the start of Welles' filming of Citizen Kane. The final [End Page 83] chapter of the biography documents the reception of Citizen Kane, Welles' death, and his legacy. This unique approach stresses Welles' early life as the key to greater understanding of his famous works. McGilligan exerts objectivity throughout the biography, interjecting notes and facts when necessary without disrupting the flow of the text. The book is dense with information, yet written in a way that reaches a broad audience. Selective photographs accompany the text and add dimension. For the scholar, McGilligan lists the many individuals and organizations that aided in his research and writing process, and provides extensive notations of his sources, both primary and secondary. Primary sources range from public items such as Kenosha newspaper articles and screenplays, to personal documents like memoirs and correspondence. The breadth and depth of McGilligan's research is impressive, with the final product of Young Orson as evidence of McGilligan's carefully honed craft. McGilligan offers an intricate portrait of Welles that is complex and sometimes stark, yet fluid in its development. His writing style mimics this portrayal in an unusual manner for a written history. Young Orson does not begin with a preface or introduction to announce its place within historiography, nor does it make any claims or arguments. Instead, McGilligan's organic approach begins with "The Backstory to 1905," the first of twenty-one detailed chapters. The reader is immediately introduced to Welles' Citizen Kane and common filming techniques of the period, then swiftly transitioned to his birth in Kenosha, Wisconsin, on May 6, 1915. Although Welles was born into a privileged family, his parents subscribed to a progressive agenda that embraced suffrage and lent a sympathetic ear to the issues of education and poverty within their midwestern city. Readers also learn of Welles' constant exposure to the arts by his mother, and their seemingly charmed relationship built upon music and literature. Welles' childhood did not remain picturesque for long, however, as his father's affairs separated the once adoring couple, followed closely by their deaths. McGilligan expends a significant amount of time painting these juxtapositions that colored Welles' youth. In McGilligan's interpretation, Welles was a product of both privilege and tragedy, and his art reflected those experiences. Throughout the text, McGilligan provides a sense of time and place to contextualize events in Welles' life. His emphasis on Welles' childhood purposefully includes elements of the Midwest. He asserts that Welles was "shaped by his roots, and no matter where he roamed he insisted in interviews [End Page 84] that he was a proud 'Middle Westerner'" (5). McGilligan draws connections between the places of Welles' upbringing, such as the Todd School, and his films. Welles also maintained ties with the people of his formative years, as McGilligan points out, both through collaborations and by creating characters out of their likeness. Readers living in the Midwest, or interested in midwestern culture, will appreciate McGilligan's inclusion of Welles' sense of place interspersed in this work. It is clear that Young Orson will be a cornerstone piece in its field as both...

‘A token of their love’: Queen Victoria Memorials in New Zealand

This article provides an overview of the four metropolitan sculptural memorials to Queen Victoria in late-colonial New Zealand, which all immediately precede the colony’s Dominion status (1907). In chronological order, they were erected in Auckland, Christchurch, Wellington, and Dunedin. While the Auckland memorial was unveiled within the Queen’s lifetime, her death in 1901 catalysed the commission of more ambitious counterparts in Wellington and Dunedin, and a degree of intercity rivalry was consciously articulated in advocacy for them. The memorials reflect a Pākeha (European) New Zealand sense of identity as a loyal, pro-monarchical, and imperial colony, but also as a ‘Better Britain’, with a proud sense of prosperity and achievement. Local content features prominently in two of them, notably the signing with Māori of the Treaty of Waitangi (1840) in one of the reliefs for the capital city memorial (Wellington), and an ambitious celebration of fifty years of provincial achievement in the pedestal sculpture for the Christchurch counterpart. Due to a dearth of home-grown talent, together with the belief in the artistic superiority of Britain (often known at the time as ‘Home’), British sculptors were invariably commissioned for these memorials. Cost-effectiveness, prestige, and the ability to render a realistic likeness were all criteria behind the choice of artists, with Francis John Williamson commissioned for two of them (Auckland and Christchurch). In researching this article, extensive use has been made of primary newspaper sources to document the political context of the memorials. In all of them, particularly that of Christchurch, New Zealand’s loyalty to Britain in the South African War (1899–1902) was a leading issue. Artistic and aesthetic issues and analysis were less prominent, although there was a widespread belief that the Queen should be honoured for purely symbolic and not utilitarian causes. While emphasis is given here to the early history of the memorials, from commissioning to unveiling, their afterlife is summarized, and an attempt is made to answer Miles Fairburn’s plea for ‘the minds of the people’ that created the built heritage of New Zealand to be accorded greater historical attention.

Getting things done—in the lab and beyond

Dr Geoff Watts has been talking to the Spring Meeting’s two keynote speakers, Sir Mark Walport, Chief Scientifi c Adviser to HM Government, London, UK, and Dr Nitzan Rosenfeld, Group Leader, Cancer Research UK Cambridge Institute, Cambridge, UK, winner of the 2015 Foulkes Foundation Medal. One of the keynote speakers at this year’s Spring Meeting for Clinician Scientists in Training is Sir Mark Walport, former Director of the Wellcome Trust and now the UK Government’s Chief Scientifi c Adviser. The other speaker is Nitzan Rosenfeld, Head of the Laboratory of Circulating DNA and Molecular Diagnostics at the Cancer Research UK Cambridge Institute. Walport has long been involved in helping to fashion a supportive framework for biomedical research; as an active research worker Rosenfeld is, indirectly, among the benefi ciaries of such a framework. A policy man and a practitioner— each contributing to the achievements of biomedical science in the UK. Walport took up the Chief Scientifi c Adviser post in 2013 and now advises not just on policy in biomedicine but throughout the whole of science, technology, and engineering. In the earlier part of his career he too was focussed, like Rosenfeld, not on the big picture but on the particular. In his case it was immunology. With a medical degree from Cambridge, Walport began specialising in rheumatology before consolidating his research skills with a PhD supervised by Prof Peter Lachman, a scientifi c mentor who also taught him, he says, that “careers can’t be planned”. With or without planning he joined the Royal Postgraduate Medical School at Hammersmith Hospital, becoming a professor of medicine and, by the time he moved to the Wellcome Trust in 2003, Chairman of the Division of Medicine of Imperial College, London. Taking on the directorship of the Trust refl ected his emerging taste for leadership, a taste developed during his time at Hammersmith. He had discovered that he enjoyed getting things done. “I’d sort of begun to categorise the world into two halves. There were people who got together and whinged, and then there are others who felt that if they wanted something sorted out they’d better do it themselves.” First hand experience of research is crucial in directing a body like the Wellcome Trust, says Walport. “It’s very diffi cult to be fair and humane in running a grant funding agency if you’ve never yourself applied for grants and, from time to time, been rejected. And the experience of having been a participant in the research process was absolutely critical.” This familiarity also played into another of his objectives: to promote biomedical research more generally and foster circumstances in which it can fl ourish. While the starting point of UK-based funding agencies is naturally enough to nurture home-grown talent, science is nothing if not international. Rosenfeld is one of countless foreign-born scientists who have thrived in the UK during recent decades. Born in Israel he studied physics at Technion in Haifa, but decided by his second year to move towards biology. He has what he describes as “an affi nity for more tangible things”. By that he means that whereas much cutting edge work in physics is directed at the very large (astrophysics) or the very small (particle physics), he feels more at home in the middle range: something the size of a cell. More specifi cally, in his case, a cancer cell. While working on cell lines as part of his PhD Rosenfeld realised, to his disappointment, how little he knew of practical value to the health of his father, at that time suff ering from lung cancer. “This drove me to do more applied things.” Looking beyond the academic world he joined an Israeli biotech company, Rosetta Genomics, and worked on microRNA-based molecular diagnostics. Although he became the company’s Head opportunities should be seized with both hands. The Academy’s Spring Meeting for Clinician Scientists in Training is a great opportunity to interact with investigators across a wide range of disciplines and to extend your network in a way that will benefi t your future career. Robert Lechler Academy of Medical Sciences, London W1B 1QH, UK; and University College London, London, UK Robert.lechler@acmedsci.ac.uk.

Made in Peru: Lima Film Festival comes of age

The Festival de Cine de Lima (Lima Film Festival) was launched in 1997 as ‘elcine’ with ten days of screenings composed of 21 features and 38 shorts from ten Latin American countries alongside a three-day event in the southern city of Arequipa. Over 15,000 spectators attended what was described by its organisers as an ‘unprecedented event’[1] – not just for its statistics but also for the way it encouraged private enterprise to support a major cultural activity, involved many young people in its organisation, included events designed to provoke debate about the value of cinema, sparked mass participation on the part of the public through its competition voting system, and caught the attention of the national and international press. In August 2015, the 19th edition introduced around 300 international films to audiences across the Peruvian capital and beyond, with more of those films than ever before made by Peruvian directors, including several selected for the feature competition. Indeed, while many of the original features of this resilient festival have been retained it has been intriguing to witness the gradual increase in profile granted by the event to home-grown talent. After years of tension and mistrust between the most prominent film critics in Peru and many local film-makers battling with a precarious set of cultural, political, and financial circumstances, this change signals a welcome recognition of national production by those that have tended to look beyond national borders for inspiration. Moreover, despite the relative paucity of co-ordinated film production activity in Peru compared with other Latin American nations, it would seem that this festival (and other smaller film events that have emerged around the city over the last two decades[2]) provides some evidence of a growing interest in cinema ‘made in Peru’. This article aims to shed some light on the development of this key cultural event, to unravel its role as instigator and mediator of national and regional cinema, and to consider its place as part of the film ecology of Peru.

Youth Training Programs and Their Impact on Career and Spell Duration of Professional Soccer Players

A unique data set of post-war English trained soccer players is used to study the impact of the youth training program they attended on their career and spell duration. Duration models in the spirit of Abbring and van den Berg are employed to estimate local treatment effects of different training programs on players — survival in the top European leagues. The results indicate that the duration patterns of players are dependent on the youth academy they attended. Certain clubs, with a well-established reputation in developing youth talent, outperform others in terms of producing and evaluating the ability of their youth players to succeed in top European leagues. The spell analysis outlines the nature of the competitive environment in which smaller clubs have a chance to keep up with the larger ones in terms of producing and holding on to homegrown talent. Finally, the results of both analyses addressed unobserved heterogeneity, allowed for nonlinearity of covariates using the cubic spline methodology, and were tested for endogeneity bias using a split sample test.

Celebrate at home: post-millennial Indian fiction in English and the reception of ‘Bharati Fantasy’ in global and domestic literary markets

This article examines a particular body of post-millennial fiction in English from India whose narratives draw significantly on Hindu epics and the historical contexts of early Bharat. This body of fiction includes works by Amish Tripathi, Nilanjan P. Choudhury, Ashwin Sanghi amongst others, and I refer to this writing as ‘Bharati Fantasy’ (my term). The article deals with how this new body of fiction might be received in the global literary market as well as how it is received in the domestic market given that some of these novels are ‘for sale in India only’. The article postulates how genre categorisation might affect an Indian writer's presence in the global literary market. Furthermore, it looks at how important it is to be present in such global markets, and considers how the domestic market of India provides a readership and marketing arena which are significantly self-sustaining and independent of the global literary markets. The popularity of ventures in India such as the Jaipur and Bangalore literature festivals, the recent launch of Doordarshan's ‘Kitaabnama' and hunger for ‘popular’ literature by a readership with enhanced disposable income suggest that home-grown talent is increasingly well celebrated and appreciated at home.

Poe and the Remapping of Antebellum Print Culture

Poe and the Remapping of Antebellum Print Culture

‘Mason's work in all its branches’: an introduction to the Earles and the Keyworths of Kingston-upon-Hull

Having settled in Hull in the 1770s, the Earles established a working network of carvers, gilders, stuccoists, builders, surveyors and builder-architects that them to provide ‘mason's work in all its branches’. Furthermore, while speculative building played its part in securing the business, they were further assisted when family members began importing Italian marble. The Earle workshop provided training and commissions for successive generations. Moreover, their workshop enabled rival sculptors - most notably Willliam Day Keyworth the Elder - to gain a foothold in the Town. However, opportunities were strictly limited and the more ambitious Thomas Earle and William Day Keyworth the Younger moved to London. Nevertheless, they both maintained strong working links with their hometown and capitalized on prevailing civic pride. Local dignitaries were eager to commission homegrown talent and were anxious that public sculpture should signal the town's distinctive medieval origins. While civic pride played its ...

The Gate Theatre: A translation powerhouse on the inter-war British stage

This article examines the members-only theatre club – the Gate Theatre Studio – that operated between 1925 and 1940 in Covent Garden. Led by only two successive artistic directors, this relatively small establishment has become one of the most daring institutions of the inter-war British theatre scene, by taking risks in introducing new work from continental Europe and America to British audiences, and thus, going against the grain of dominant indigenous cultural policy. Focusing on the clearly defined agenda to broaden the parameters of performance practice in Britain, the Gate made an effort to align its repertoire to those of European theatres and to nurture home-grown talent in terms of writing, translating and adapting for the stage. In this way, the Gate has irreversibly shaped the profile of stage translation in a culture where interlinguistic communication has had a relatively low status and consolidated the practice of adaptation as an endeavour appealing to British theatre makers and dramatists. Not subject to the Lord Chamberlain’s Examiner of Plays, due to its private club status, the Gate was also instrumental in revealing the obsolete nature of theatre censorship; successful Gate productions often led to the discovery of new plays by the theatre establishment and to the subsequent lifting of censorial bans for their staging in public theatres.

Mali Researcher Shows How to Reverse Brain Drain

Relying mainly on homegrown talent, Doumbo leads a network in Mali that does state-of-the-art studies of mosquito genetics, tracks drug resistance, and tests new vaccines.

Singapore applies itself to science

Despite its small size, the Lion City has become an influential exemplar of investing in science to promote industry.

UK Film: new directions in the glocal era

ABSTRACTAs the British Film Institute (BFI) takes over responsibility for film policy and lottery funding from the UK Film Council (UKFC) and the government announces the UK Film Policy Review, this article argues that film policy requires a fundamental change of direction for the twenty-first century. First, it proposes that the concept of a UK film ‘industry’ should be radically redefined in response to the complex and diverse digital production models developing both regionally and globally. Second, that the best way to nurture and promote home-grown talent is through an integrated approach to production, distribution, exhibition and education. Third, public funding for film (other than tax breaks and incentives for incoming production) should be directed away from the mainstream to support public-private sector creative partnerships in the regions, in line with an emerging politics of localism. In an age of cross-border media flows, the article proposes a holistic strategy for UK film based on dispersed creative hubs with global reach, with a much greater role for Creative England than is currently envisaged. Examples in the article are mainly drawn from activities in one of Creative England's newly designated regions (‘the Bristol hub’.

Developing Aussie home-grown talent in an international market

With the current skills shortage in the engineering profession and the need for more experienced engineers, it is important for Australian engineering companies to not only rely on importing skilled engineers from overseas to fulfil current day demands, but also to focus on developing young Australian engineers for the future. Aker Solutions Australia has implemented a training and development program for its employees by seconding them into the head office in Oslo, Norway for both technical and personal development. The program provides many positive outcomes for both the company and the employees including: knowledge transfer and alignment between the international offices, developing and improving the talent of Australian engineers, improving communications between the offices and providing the Oslo office with much needed resources. The program was initiated in 2006 and so far nine employees have been sent across the globe for training. In this time the employees have had the opportunity to work on new technological developments in gas processing, advanced concept development studies and large scale engineering, procurement and construction (EPC) projects. Working internationally has also provided Australian engineers with a chance to interact with a number of skilled people from diverse backgrounds, learn new languages and embrace different cultures. The program to date has had much success, with both clients and the Aker Solutions office in Norway requesting continuation of the Australian engineers’ services while one of the engineers—Jacqui Driver—won best paper at the 2007 APPEA conference for her work in Oslo on novel offshore LNG solutions.

Italy in the 2006 World Baseball Classic

Italy in the 2006 World Baseball Classic Lawrence Baldassaro (bio) Before boarding my flight from Milwaukee to Orlando, where I would serve as the interpreter for Team Italy in the World Baseball Classic, I purchased a copy of USA Today Sports Weekly. There on the cover—beneath a photo of Albert Pujols of the Dominican Republic team, his right arm resting on a globe—was the question: "Will it be a Classic or a Clunker?" That pretty much summed up the uncertainty that characterized the lead-up to this first-ever worldwide experiment in professional baseball competition. Numerous skeptics questioned everything about the Classic: its spring-training timing, the risk of injury, the level of fan interest, even the very concept itself. Italy's first game was scheduled for the evening of March 7. Earlier that day, I had the chance to see the match-up between Venezuela and the Dominican Republic in the opening game of the Orlando pool. If there were any skeptics in the stands or in the press box that day, at least some of their doubts about the Classic must have been exorcized. Two hours before the first pitch, more than ten thousand flag-wearing, horn-tooting fans of both teams crowded into The Ballpark at Disney's Wide World of Sports. It was World Cup fever breaking out on a baseball diamond; there was no doubt that this game was, to them, a matter of intense national pride. (Only four weeks earlier the Caracas Lions, representing Venezuela, had defeated the Licey Tigers of the Dominican Republic in the Caribbean Series.) But were the players as passionate about the rivalry as the fans? After the opening game—which the Dominicans, powered by 2 home runs each from David Ortiz and Adrian Beltre, won 11–5—I spoke with Bill Castro, the Milwaukee Brewers' bullpen coach who was serving as the Dominican pitching coach. He admitted to some skepticism of his own, wondering beforehand whether these highly paid superstars would be more concerned about how much playing time they would get or where they would hit in the order than about winning as a team. Those doubts disappeared, he told me, during the first team meeting [End Page 116] when Albert Pujols stood up and said that nobody should be concerned about individual stats or personal achievement; the only thing that mattered was the name on the front of their jersey. "At that point," said Castro, "I wasn't worried any more." He knew that the players were there not for money or for rings but for the chance to represent their respective countries. One of the pre-Classic skeptics, Hal Bodley of USA Today, recanted after watching that first game. "I was wrong," he wrote. "You had to be in this ballpark Tuesday to feel the electricity, the passion the fans for these two countries brought to the party." * * * The atmosphere was more subdued that evening when Italy faced Australia in its first contest, though the game did draw 8,099 fans. Some skeptics had also questioned the inclusion of Italy as one of the sixteen teams selected for the World Baseball Classic. To them, "Italian baseball" qualified as a sports oxymoron, something akin to the "Jamaican bobsled team." But the Italian national team had established its credentials in international competition, qualifying for all four of the Olympic games in which baseball has been a medal sport and dominating other countries in European competition. Nevertheless, officials of the Italian Baseball Federation believed that there was not yet enough homegrown talent to enable Italy to be competitive in the tournament, which included many of the greatest players in the game. They therefore put together a roster that included five native Italians and twenty-five Americans of Italian descent with Major or Minor League experience. (American-born players had to prove they were eligible to apply for Italian citizenship to qualify for the team.) Seven of the thirty players had spent at least some time in the Majors, including Frank Catalanotto, Frank Menechino, and Jason Grilli. Their marquee player, of course, was Mike Piazza, considered by many to be the greatest-hitting catcher in the history of...

Students must be treated better in clinical areas.

The UK is going through its worst nurse shortage crisis for some time. With nurse recruiters too preoccupied with attracting overseas nurses, there has been too little emphasis and focus on the need for developing home-grown talent. Autumn is traditionally the time of year when there are large intakes of nursing students on preregistration programmes. We should be doing whatever possible to make our profession welcoming and attractive to new learners. Unfortunately, there is often too much negativity and lack of respect for students when they enter clinical placements.