National Income and Income Inequality, Family Affluence and Life Satisfaction Among 13 year Old Boys and Girls: A Multilevel Study in 35 Countries

Adolescence is a critical period where many patterns of health and health behaviour are formed. The objective of this study was to investigate cross-national variation in the relationship between family affluence and adolescent life satisfaction, and the impact of national income and income inequality on this relationship. Data from the 2006 Health Behaviour in School-aged Children: WHO collaborative Study (N = 58,352 across 35 countries) were analysed using multilevel linear and logistic regression analyses for outcome measures life satisfaction score and binary high/low life satisfaction. National income and income inequality were associated with aggregated life satisfaction score and prevalence of high life satisfaction. Within-country socioeconomic inequalities in life satisfaction existed even after adjustment for family structure. This relationship was curvilinear and varied cross-nationally. Socioeconomic inequalities were greatest in poor countries and in countries with unequal income distribution. GDP (PPP US$) and Gini did not explain between country variance in socioeconomic inequalities in life satisfaction. The existence of, and variation in, within-country socioeconomic inequalities in adolescent life satisfaction highlights the importance of identifying and addressing mediating factors during this life stage

Defensive coping and health-related quality of life in chronic kidney disease: a cross-sectional study

<p>Abstract</p> <p>Background</p> <p>Coping with the stresses of chronic disease is considered as a key factor in the perceived impairment of health related quality of life (HRQL). Little is known though about these associations in chronic kidney disease (CKD). The present study aimed to investigate the relationship of defensive coping and HRQL among patients in different CKD stages, after adjusting for psychological distress, sociodemographic and disease-related variables.</p> <p>Methods</p> <p>The sample consisted of 98 CKD patients, attending a university nephrology department. Seventy-nine (79) pre-dialysis patients of disease stages 3 to 4 and 19 dialysis patients were included. HRQL was assessed by the 36-item Short-Form health survey (SF-36), defensive coping by the Rationality/Emotional Defensiveness (R/ED) scale of the Lifestyle Defense Mechanism Inventory (LDMI) and psychological distress by the depression and anxiety scales of the revised Hopkins Symptom CheckList (SCL-90-R). Regression analyses were carried out to examine the association between SF-36 dimensions and defensive coping style.</p> <p>Results</p> <p>Patients on dialysis had worse scores on SF-36 scales measuring physical aspects of HRQL. In the fully adjusted analysis, a higher defensive coping score was significantly associated with a lower score on the mental component summary (MCS) scale of the SF-36 (worse mental health). In contrast, a higher defensive score showed a small positive association with the physical component summary (PCS) scale of the SF-36 (better health), but this was marginally significant.</p> <p>Conclusions</p> <p>The results provided evidence that emotional defensiveness as a coping style tends to differentially affect the mental and the physical component of HRQL in CKD. Clinicians should be aware of the effects of long-term denial and could examine the possibility of screening for defensive coping and depression in recently diagnosed CKD patients with the aim to improve both physical and mental health.</p

An Estimate of the Numbers and Density of Low-Energy Structures (or Decoys) in the Conformational Landscape of Proteins

The conformational energy landscape of a protein, as calculated by known potential energy functions, has several minima, and one of these corresponds to its native structure. It is however difficult to comprehensively estimate the actual numbers of low energy structures (or decoys), the relationships between them, and how the numbers scale with the size of the protein.We have developed an algorithm to rapidly and efficiently identify the low energy conformers of oligo peptides by using mutually orthogonal Latin squares to sample the potential energy hyper surface. Using this algorithm, and the ECEPP/3 potential function, we have made an exhaustive enumeration of the low-energy structures of peptides of different lengths, and have extrapolated these results to larger polypeptides.We show that the number of native-like structures for a polypeptide is, in general, an exponential function of its sequence length. The density of these structures in conformational space remains more or less constant and all the increase appears to come from an expansion in the volume of the space. These results are consistent with earlier reports that were based on other models and techniques

Climate-driven range extension of Amphistegina (protista, foraminiferida) : models of current and predicted future ranges

© The Author(s), 2013. This article is distributed under the terms of the Creative Commons Attribution License. The definitive version was published in PLoS ONE 8 (2013): e54443, doi:10.1371/journal.pone.0054443.Species-range expansions are a predicted and realized consequence of global climate change. Climate warming and the poleward widening of the tropical belt have induced range shifts in a variety of marine and terrestrial species. Range expansions may have broad implications on native biota and ecosystem functioning as shifting species may perturb recipient communities. Larger symbiont-bearing foraminifera constitute ubiquitous and prominent components of shallow water ecosystems, and range shifts of these important protists are likely to trigger changes in ecosystem functioning. We have used historical and newly acquired occurrence records to compute current range shifts of Amphistegina spp., a larger symbiont-bearing foraminifera, along the eastern coastline of Africa and compare them to analogous range shifts currently observed in the Mediterranean Sea. The study provides new evidence that amphisteginid foraminifera are rapidly progressing southwestward, closely approaching Port Edward (South Africa) at 31°S. To project future species distributions, we applied a species distribution model (SDM) based on ecological niche constraints of current distribution ranges. Our model indicates that further warming is likely to cause a continued range extension, and predicts dispersal along nearly the entire southeastern coast of Africa. The average rates of amphisteginid range shift were computed between 8 and 2.7 km year−1, and are projected to lead to a total southward range expansion of 267 km, or 2.4° latitude, in the year 2100. Our results corroborate findings from the fossil record that some larger symbiont-bearing foraminifera cope well with rising water temperatures and are beneficiaries of global climate change.This work was supported by grants from the German Science Foundation (DFG; www.dfg.de) to ML and SL (LA 884/10-1, LA 884/5-1)

Why we need easy access to all data from all clinical trials and how to accomplish it

International calls for registering all trials involving humans and for sharing the results, and sometimes also the raw data and the trial protocols, have increased in recent years. Such calls have come, for example, from the Organization for Economic Cooperation and Development (OECD), the World Health Organization (WHO), the US National Institutes of Heath, the US Congress, the European Commission, the European ombudsman, journal editors, The Cochrane Collaboration, and several funders, for example the UK Medical Research Council, the Wellcome Trust, the Bill and Melinda Gates Foundation and the Hewlett Foundation

45th Division

Photograph of Major General William S Key, and his 45th Division staff, at Camp Barkeley, TX, July 30, 1941. Photo by EO Goldbeck, Camp Barkeley Photo Service, Texas

Interview with Eugene O. Goldbeck, 1983

THE INSTITUTE OF TEXAN CULTURES ORAL HISTORY PROGRAM INTERVIEW WITH: Eugene O. Goldbeck INTERVIEWER: Ingrid Kokinda DATE: January 14, 1983 PLACE: Goldbeck living room, San Antonio, Texas K: Mr. Goldbeck, I would like to know when you were born and where. G: I was born on Guenther (5150) Street in the old Meerscheidt addition. As far as I know, I was told I was born, I was there but I don't quite remewber. I vaguely remember the doctor going out and telling my daddy that it was a boy. Anyway, I was supposed to have been born on the 4th day of November , 1 892 . Actually, I can also prove I was born in 1891. Probably the only person in San Antonio that has 2 birth certificates. K: How did that happen? G: Well, World War I, I was trying to get a commission as an officer and had to produce my birth certificate and they couldn't find it. So I got my mother and the old doctor that brought me into the world. They said I was born in 1891. Well, then they discovered the original birth certificate saying I was born in 1892. K: Were you the first child in your family? GOLDBECK G: No. An older brother, two years before I was born ; born in 1890. K: Did you have any sisters, also? G: I had a sister that was born in 1894 and another one born in 1900. K: But you grew up in San Antonio. You lived on Guenther Street. G: Yes. I've spent about half my life roaming around the globe. The rest of the time, I was right here in San Antonio. K: Do you remembe r to which grammar school you went? In San Antonio? G: There was only one at the time. The old German-English School which was converted into what they called Brackenridge Grammar School. K: On Alamo Street. G: Yes. Right across from Beethoven Hall . K: Do you remember any classmates that became famous in San Antonio or that you recollect? 2 G: Well, I remember quite a few. I'm the last one of the bunch. I graduated from Main Avenue High School after grammar school, Main Avenue High . that was the only high school we had in San Antonio, Main Avenue H.S. And as far as I know right now the only classmates, schoolmates, that's still alive is old Walter McAllister. K: Did you go to grammar school with him too, in the same, class? GOLDBECK 3 G: Not in the same class. He was ahead of me. Class ahead of me. The rest of 'em are dead. I can mention names. Huntress was Sheriff here; he has been dead for ten years; many of 'em, all dead. I'm the last one. The only reason I ' m still here , the old fellow downstairs doesn't want Hell polluted any worse than it is . Says, "Keep him up there; can't use him. 11 K: Mr. Goldbeck, we know that you have two initials. E. and o. What do they stand for? G: Eugene Omar. I was named after Omar the Tentmaker . K: Really? G: My father thought of that. . the old famous poem. (ed : The Rubaiyat). Anyway they named me Omar. K: And your family, Mr. Goldbeck your father was born in San Antonio? Fritz Goldbeck? G: My father was born, he was the first boy born in Comfort , Texas. K: From an immigrant family. G: Yes. Was born in Comfort. K: They came from . ? K: They came from Germany. K: The Goldbecks. G: Yes. Came from Germany. Landed at • I think they first came to Galveston and took a small boat from there to Indianola. From Indianola they came over to New Braunfels in ox carts. From there , they went to Comfort. My father's father started a store there in Comfort . GOLDBECK 4 G: His brother was an advocate. K: Advocate is a lawyer. Do you recollect what kind of a store it was? G: It was just a general store. He finally sold it to Faltin. K: And it's still standing. That old Fachwerk-Haus was built by your grandfather? G: Yes. The Faltin store, yes. K: That's a little, small store. Yeah, I remember that. And then your father was Fritz Goldbeck. G: My father was Benno T. K: Benno. G: Benno Theodore. B. T . Goldbeck. K: And he came to San Antonio after he married or? G: He came to San Antonio before he was married. As far as I know my father and my mother were married in about 1888, 1889. K: In San Antonio. G: 1888, I think, in San Antonio. My father was connected with his brother-in-law, George Koerner. George had a big commission store here in San Antonio. Wholesale grocery outfit. My father worked for him for a long time. And then he finally ... well he was auditor for the city for a while. They lived here in San Antonio fo r many years. K: Mr . Goldbeck, I also know that you are a very famous photographer. G: Infamous. GOLDBECK 5 K: We all have seen your photographs. When was the first time that you ever took a camera into your hand? Will you please tell that story? G: I imagine, 1901. William McKinley, who was President of the United States, came to San Antonio on a visit. If I remember right it was the fourth of May, 1901. A one-day visit. They lined all the school kids up at Travis Park all with little flags. All the schools were given a holiday to greet the President. My older brother had an old box camera and I borrowed this box cam­era from him, and when William McKinley drove by in a carriage I had to break ranks and went out into the street and take a pic­ture. That was the first picture I made in 1901. K: The film--you didn't develop it; you took it to someplace. Of course you took it to someplace else. G: I think I developed it myself. I'd been fooling around with . . at that time, you could buy what they called the M Q tubes; M Q tubes. All you had to do was put a certain amount of water with it and make your developer. And you had another little package there that made your hypo. I used to mess around myself. K: Did the photographs come out nicely? G: As far as I know; it's up at the University. They say they can't find 'em. I think I photographed every President since, either while they were President, or before they were President, or after they were President. Everyone of 'em. K: Do you have a photograph of Ronald Reagan? GOLDBECK 6 G: Oh, yes. He was here and made a talk to the Junior J C Convention here about six months ago . K: What did you do then with this photograph of president MCKinley? Did you keep it for yourself or did you . sell it? G: No. I just showed it around. I didn't have sense enough to try to sell it. Of course , later on, I sold my pictures to newspapers and magazines , anybody that would buy them. But I didn't have enough sense to try to sell them. K: You gave them away . G: Well, I gave a few, probably . At that time, I also made pictures of the kids in school , schools. Used to sell 'em for a nickel apiece; nickel per print. And then I'd go after the teachers after school sometimes. And I'd charge them ten cents per picture . K: And during high school, would you take pictures of your fellow students? G: I made quite a few. And I also made , after school, I did other work, too. I graduated in 1910. K: That was from Main High School, right? G: Yeah. That was the only high school we had. Now they've got about 25 of ' em. K: What was your favorite subject in school? G: I liked mathematics more than anything else , I think. These children nowadays , they come out of school and they know nothing about the world. They never heard of Afghanistan; they couldn't tell you what continent it was GOLDBECK 7 G: on even. They know nothing about history. They know nothing about geography. I don't know what in the world they learn. They can't add or subtract, or anything else. They've got to have a little computer or something. So I don't know; they don't learn very much. K: After you graduated from high school, did you go on to college or did you go into business? G: I put in just about one year is all, in college. K: In San Antonio? G: NO. Mainly in New York City. Columbia University. K: You didn't have a major, then; what you wanted to do? G: No. I'm dumb. I haven't got near the education I'd I ike to have. I may go back to school again one of these days. K: You can be a teacher. G: Be the oldest pupil in school. K: What would you like to take? What subject would you like to. .? G: Well, I'd like to brush up on my German; like to learn Spanish; and I'd like to take some more mathematics. Higher mathematics. K: We have a lot of choice tOday in universities in San Antonio. Mr. Goldbeck, what did you do then when you came back from New York City? You came back to San Antonio? G: Yes, I did. K: And you went to work in San Antonio? G: Well, most of the time I've always worked for myself. I GOLDBECK 8 G: haven't done too much for other people. I worked for the Fox Company years ago. Car l Newton started the Fox Company . Carl Newton III is now President of Fox Company. It was his grandfather who started the Fox Company. He bought out the old Fox studio on Alamo Plaza. K: And you went to work for him? G: Yes, I worked for him for. . Before I did that, I used to work for the Alamo Camera Company. It was also on Alamo Plaza. That was about 1907 or 08, along in there. K: This was while you were a high school student? G: I worked after school and on Saturdays. And also Sundays many times. I worked for Carl Newton twice. Once before World War I and after the war was over. Came back to San Antonio and worked for him again . Had charge of his finishing department one time and had charge of his Kodak department the second time. And I'm the oldest one. Everyone of the men that ever worked in there at the time I was working for Newton, are all dead. Everyone of 'em. Newton's brother is dead; old man W 's dead; old man Welch; al l dead. All had charge of different departments. They are all dead . K: There must be a reason why you are still with us. G: Yeah, I'm still here. K: Mr. Goldbeck , you're famous for your panoramic photos. I understand you have a patent on your camera. G: I have severa l patents built into my camera, yes. K: When did the thought come to you that you wanted to GOLDBECK 9 K: perfect on a camera? G: First, the regular circuit camera, take it up high. First, if you've got a group of men in front of you, couple of thousand men you want to photograph. You have to have a high tripod or if you tilt the normal circuit camera down on the opposite sid~build a high tower. You're shooting up at the moon. With my cameras, I can turn 'em any given number of degrees and maintain the same degree of declination for an entire arc. That's one of my patents . Another patent I have. I made a picture of Kurfuerstendamm Stras in Berlin , cars moving up and dm.,n street; no movement in the photo at all. You couldn't make a picture like that with a regular circuit camera. The fastest exposure you've got is 1/12th of a second. Well, I shot that picture in 125th of a second. That is another patent I have; very unusual. I can do things with my cameras no other circuit cameras can ~y do without~patents. K: But you built up that mechanism yourself. G: Yes. K: And then you patented it here in San Antonio . G: Patented in Washington. Patent Office. I had to get patent lawyers. It took me a couple of years to get the thing t hrough. K: What year was that? G: I don 't remember for sure. It's been a long time ago. I'd say it was about 19 . . oh, just off-hand, I'd say about 1921 or '2, somewhere a l ong there. K: You were pretty much a free-lancer most of your life. G: Oh, yes . GOLDBECK K: I know that you just returned from China. But before China and the Great Wall , which was the high point of your .•. what was the photograph that excited you the most? That you were after the most? 10 G: I think the photograph of Machu picchu. Another I'd say was getting all five pyramids and the Sphinx in one picture. K: It takes a lot of traveling to go to the points that you've been, around the world. You've probably covered the most interesting, or most famous places in the world. How often do you travel? Do you go at least once a year? G: I'd say at least once a year , yes. After I came back from China, I took another trip. Went from the Canadian Rockies . took quite a few pictures up in the Canadian Rockies; made pictures of Banff and the famous baronial-like castle hotel there; Lake Louise; stopped off in Calgary and made pictures in Calgary and Alberta. Also, made pictures in Denver. Before we came back, went down to Seattle and made a picture there and made a picture in Portland. And since then, I've made another trip. East. with Baltimore, Philadelphia, New York. made another picture of New York. Made a picture of the new gambling deal there in Atlantic City. So I never stay put for very long. K: You went to China in May , didn't you? G: I think it was April. Came back the latter part of May . GOLDBECK 11 K: And that was quite a trip, wasn't it? G: Oh, yes. I was greatly surprised at the terrific change that had taken place in China. K: You were there the last time in .? G: 45 ye ars ago, 1937. K: You were in mainland China? G: Yes. K: Shanghai, peking? G: I was allover at that time. Tsientsen, Peking, Shanghai . K: Did you take photographs then, too, to compare to tOday? G: I made a lot of photographs, yes. The official panoramic pictures I made then I made for the military. They had the 15th Infantry, one whole regiment up at Tsientsen. I went up there and made pictures of the 15th Infantry. Back in those days, I used to go up there every three years, '34 t o '37. I photographed for the military for 30 years or more . I was the only unofficial photographer, but they always invited me back. K: When was the first year that you photographed any military? G: 19. . oh, I'd say, when they had the first trouble down in Me xico. When Pancho Villa was raising Cain. I got the whole National Guard right here at Ft. Sam Houston. I used to go out there and photograph those fellows. That was in 1913, I guess. '12 or '13. K: Did you ever see Pancho Villa? GOLDBECK G: Yes. K: Did you photograph him, also? G: Yes. K: You knew Zapata, too? 12 G: Yeah. All of the bandits, I got 'em in one picture. There was Zapata, Pancho Villa, Orozco, and got some that were not bandits. same picture. Francisco Madero who l a ter became President he was in with these bandits. And I got Carranza who later became President. They were all in this group, down in Chihuahua. K: In Mexico. They had quite a few foreign correspondents there, too. Did you ever meet any of those? Foreign correspondents from Europe? They were sending newspaper people down there, too, in Chihuahua, photographers. G: Casually. Never. K: That was quite an excitement, wasn't it, with Pancho Villa? G: Well, I heard they were going to be together, I just went down there. It wasn't very exciting to me. K: One time you got the whole United States fleet in one photo, didn't you? G: Yes. They had maneuvers in Panama Bay. . . I think that was in 1936 if I remember right. They had the Atlantic fleet come through the Canal and join the Pacific fleet. The Pacific fleet came down mainly from Hawaii and San Diego. Had a rendezvous there in Panama Bay. K: And you heard about that and went or did you happen to GOLDBECK K: be there? G: As far as I know, there was no secret to it. Read about that it was going to take place. K: And you traveled down there . G: I used to go to Panama every three years, stay down there about three months every time . First time I went there when they opened the Canal in 1914. 13 K: You were down there. Did you take photos then, too? G: Yes. Didn't make a panoramic , though. Fact of the matter is, I think what got me started on panoramic was one of the fel lows down there made a picture of one of the big British battleships going through the Canal. And he had a 16 by 20, I think. not 16 by 20, he had an 8 by 20 banquet camera. And he was telling me how many pictures he sold. I thought, "My God. I'm going to hit this new stuff right now." K: And it's been good to you these years, haven't they? G: Yeah. I think so. K: Your name is carried on nOt., first your son and now your grandson has it . G: Well, he's got his own business. I don't want to detract from him. He's built up a wonderful business of his own. K: Yeah, but if his grandfather hadn't been in photography, he might now have done it. G: My son took over for 35 years and he's got more sense and he tells me, "You don't need the money, why don 0 t you quit it GOLDBECK 14 G: altogether." He just takes things easy . He's going to Nairobi the first of February . K: Shooting with his camera , I bet . G: Well, he ' ll take his camera. It's a p l easure trip for him. K: What drives you , Mr . Goldbeck? Why don't you retire and take it easy like your son? G: Well, I ' ve retired about 8 times, but I don't have sense to stay retired . K: Do you have the urge to just go and you just need this one perfect shot? G: I think the old photo bug must have bitten me awfully bad or awfully hard; it just got in my blood. I see things. I say , "My God, why didn't I make a picture of that?" What I want to do now, I don't know whether it will transpire or not, I want to go across Siberia. I want to take Marco Polo's o l d trail and follow Marco Polo through Siberia . I ' d like to go over to Canton , get on a train there, Peking, and go right straight across to Moscow. Stop off at all those main places in Siberia. I don't know whether it will work out or not. It's a dream, anyhow . K: Wonderful . But your camera equipment is quite cumbersome , isn't it? G: Oh, yes. My 2 Camera Cases weigh 92 pounds. Two cases weigh 92 pounds. K: When you go on a train trip like this, you keep the GOLDBECK K: camera equipment with you? Or do you put it on the baggage. .? 15 G: Unfortunately, every time I've put it in baggage to my sorrow. The camera itself, of course, one of these cases has a tripod in it and all that sort of thing. The camera itself, I don't risk it in the airplaneS anymore. Too many times, I've had to tear the thing apart and work it allover again. The way they throw the luggage around, it was terrible. You carry it on. K: What kind of negatives do you use in your camera? G: Well, now I generally use color film. Don't make many black and whites anymore. K: Is it only spool? How many shots do you ••. it must be a large spool then, isn't it? G: The spools are about 11 inches. The film itself is 10 inches. About 10 1/ 2 inch spool. The film is 10 inches wide and it's about 7 feet long. They say it's 6 feet but they generally give you an extra foot. K: And do you have to special order your film? G: Oh, yes. And you get one picture to a film. K: To one spool. G: And also it's $35.50 a roll. You've got to buy about 100 rolls or they won't even make 'em up for you. K: Are they a special order from Kodak? G: Yes. K: Has Kodak been your supplier all these years since you GOLDBECK K: started? G: Well, almost. Agfa for a while, but mainly Kodak. I don't buy 100 rolls at a time. My grandson, he's really busy. He buys 'em and I buy a dozen rolls off of him. K: This is for the color film, right? G: Yes. K: And black and white? 16 G: Black and white is less expensive. It runs about$22.00 a roll. $20.00, I think it is. K: All these negatives that you have from all • the military photos that you ever took, of the regiments that you took. You were out at Kelly, weren't you and at Brooks. Did you take. .? G: Yes. Brooks. Anyplace. K: Ft. Sam and so on? G: Not only here but wherever we had any military. I used to go to Puerto Rico every 3 years, Panama every 3 years, Philippines every three years, China every 3 years, go to Hawaii every 3 years. Go up to Alaska, Chilicoot Barracks. We had troops at Chilicoot. Wherever we had any troops. West Point, all of the various units in the United States. K: And your specialty was to assemble the men in the design of their insignia and did this only once in a while? G: Just once in a while was what it was. That was a real job. I worked it all out. Takes weeks to get one of those pictures. Just to work it out mathematically. It's all worked out mathematically, even to the spot on the ground. GOLDBECK G: For every man we put a physical spot , a little one inch square, white marker and nailed it into the ground, at a mathematically designated point. 17 There were 21,765 men photo. in the large Air Force insignia K: How many? G: 21 ,765. And there's not a face hidden in t he entire picture . Every face showed. K: And for this photo, you had to build the tower, didn't you? How high was that? G: The tower was 222 feet , I think. K: And you climbed the tower, didn't you , with your camera? You had to pos ition your camera up there. G: I used to climb every wireless tower in this country. The army posts all had wireless towers, that was before the days of TV. They had radio towers . I used to get up and get a bird's eye view of the whole Post. I used to think after I qot. up 40 feet it wouldn't hurt me any worse if I fell 400. K: And nothing ever happened to you? G: Well, I'm still here. I climbed one tower in Panama one time. It was a Navy wireless tower, 505 feet. Later, I got on top of the Tower of the Americas to take a picture of San Antonio. Had to get up on top of the roof. K: You had to get special permission, didn't you? G: Practically a special act of Congress. Had to get up on the roof . I can swing my camera up there to 300 degrees GOLDBECK G: of an arc. K: Did the City Council have to give you permission? G: A~ot of red tape with the thing. K: You actually took a picture in Paris one time. Was that at the time of the World's Fair? 18 G: It was the lOth anniversary of the signing of the Armistice. The National Convention of the American Legion was invited over there by the French government . K: What year was that? G: 1927. K: And at that time, you got permission to build a tower on top of the Grand Palais . How tall was that tower on the Grand Palais? G: Oh , about 45 feet. K: And the roof of the Grand Palais was . G: Glass, and taking it down (the tower) part of it f