“This model can reduce the chance of misdiagnosis and ensure that patients at risk of breast cancer will get the proper treatment,” said David. David and Evani worked on the project for one year, doing the bulk of the work mostly over the summer at a lab at Harvard Medical School in Boston. “I wanted to apply my knowledge of computers to a field that’s actively being explored and I thought since cancer research is a really hot topic right now, it’d be great to apply my knowledge to cancer and breast cancer,” said David.
I was not ready to tell my boyfriend or parents that actually, I may have been raped behind a dumpster, but I don’t know by who or when or how, If I told them, I would see the fear on their faces, and mine would multiply by tenfold, so instead I pretended the whole thing wasn’t real, I tried to push it out of my mind, but it was so heavy I didn’t talk, I didn’t eat, I didn’t sleep, I didn’t interact with anyone, After work, I would drive to a secluded place to scream, I didn’t talk, I didn’t eat, I didn’t sleep, I didn’t interact with anyone, and I became isolated from the ones I loved most, For one week after the incident, I didn’t get any calls size 3 ballet flats or updates about that night or what happened to me, The only symbol that proved that it hadn’t just been a bad dream, was the sweatshirt from the hospital in my drawer..
Twenty-five years seems like an eternity when you are young, but looking back from mid-life, it seems like yesterday. But instead of wondering how a quarter-century went by in a flash, two acclaimed Bay Area choreographers are celebrating their years in San Francisco with a dance program titled “On the Occasion of our 25th Anniversary (and eviction).” In a particular piece, the choreographers, longtime collaborators and former romantic partners Kathleen Hermesdorf and Scott Wells, ask: “Was That Good for You?” The piece makes its premiere as part of Scott Wells & Dancers’ new season being performed over the next two weekends.
The weekend’s three programs at the Palace of Fine Arts Theatre (2 and 8 p.m, June 6 and 4 p.m, June 7) showcase a typically global selection, including the hula dance of the Academy of Hawaiian Arts, the Oaxacan folkloric dance of Ensambles Ballet Folklórico de San Francisco, traditional Zulu and Xhosa dance of Jikelele Dance Theater, and the jazz, lindy hop and hip-hop of Starchild Dance, In researching the exposition’s impact on American culture, the Ethnic Dance Festival’s longtime executive director, Julie Mushet, was struck by the size 3 ballet flats intersection of art and technology, a convergence that has put many of today’s arts organizations in the Bay Area back on their heels..
Odabi also brings her working band to San Jose Jazz’s Summer Fest Blues Stage on Aug. 14, making her debut at the festival with guitarist Terry Hiatt, bassist Kirk Crumpler, drummer D’mar Martin, and pianist/keyboardist Ken Cook (the musicians featured throughout “My Blue Soul”). Aside from her magnificent voice, which can evoke a hundred different shades of hurt, longing and bliss, what sets Odabi apart from so many of her peers is the depth she brings to the music. She grew up singing in church and is steeped in Negro spirituals, the verdant red soil from which almost every subsequent African-American style sprouted, including blues, jazz, gospel and soul. She puts her own spin on the tradition with a slowly building version of “Wade in the Water,” a traditional song inextricably linked to Alvin Ailey’s modern dance masterpiece “Revelations.”.