Swab‚ swirl‚ drop – then pray there’s only one line. Nearly four long years after COVID-19 was officially declared a pandemic‚ many of us are familiar with the routine of lateral flow tests (LFTs)…

[unable to retrieve full-text content]Inflation held steady at a 2.6% annual rate in December‚ as measured by the gauge favored by the Federal Reserve. The new personal consumption expenditures…

All modern life shares a robust‚ hardy‚ efficient system of intertwined chemicals that propagate themselves. This system must have emerged from a simpler‚ less efficient‚ more delicate one. But what was…

Twenty-five GOP governors issued a joint statement Thursday defending Texas’s right to defend itself amid the illegal immigration crisis at the southern border.   Advertisement The governors said…

Despite coming in second to former and potentially future President Donald Trump in New Hampshire earlier this week and coming in third last week in Iowa‚ former South Carolina Gov. Nikki Haley is determined…

There’s an element of truth to the maxim “the hat makes the man.” In the 19th century West‚ for example‚ certain headgear served to identify their wearers at a glance. Soldiers had the shako‚ firefighters the leatherhead‚ Indians the warbonnet and vaqueros the sombrero. But perhaps no other topper in history has symbolized a people and their region in such a defining way as the cowboy hat. See it stamped on a box‚ in neon outside a storefront or in a popular present-day email “emoji‚” and one immediately thinks of the American West. Yet‚ the cowboy hat wasn’t the most prolific lid of its time or place. In a 1957 editorial headlined The Hat That Won the West‚ in Salt Lake City’s Deseret News‚ writer-historian Lucius Beebe disputed that the cowboy hat was ubiquitous out West‚ a notion he deemed an invention of artist Frederic Remington. “The authentic hat of the Old West‚” Beebe wrote‚ “was the cast-iron derby‚ the bowler of Old Bond Street and the chapeau melon of French usage.” He then pointed to such derby wearers as lawman Bat Masterson‚ stagecoach robber Charles E. “Black Bart” Boles‚ Wells Fargo chief detective James B. Hume and‚ tellingly‚ “Remington and his imitators” as proof of his assertion. Regardless‚ the cowboy hat remains the iconic symbol of the West. And the name that has become synonymous with it is Stetson. Ironically‚ John B. Stetson was an Easterner‚ and the factory that initially steamed‚ shaped and shipped tens of millions of hats bearing his name was in Philadelphia‚ though the company that produces them under license today is‚ fittingly‚ in Texas. John B. Stetson Stetson (1830–1906)‚ the son of a New Jersey hatmaker‚ was diagnosed with tuberculosis as a young man and resolved to close up the family shop and venture West for the climate and to see its vaunted beauty before dying. In 1861 news of the Pikes Peak Gold Rush drew him and fellow hopefuls to the Colorado goldfields. Stetson arrived‚ so the story goes‚ amid heavy downpours and so crafted a beaver felt hat of his own design to keep dry. It featured the trademark wide brim‚ high crown and waterproof lining since associated with his name. The style proved so popular among the Western outdoorsmen Stetson encountered that the emboldened entrepreneur returned East in 1865 to resume hatmaking. The first design off the line in his Philadelphia factory was the “Boss of the Plains” (see above). It proved instantly popular and dominated the market for the next couple of decades. As Stetson owners took to adding personalized touches—a dent here or a curved brim there—the company took note and rolled out additional styles. Stetson got a big boost in the 1880s with the advent of international celebrity in the person of William Frederick Cody. Cody was already a fan of Stetsons‚ custom versions of which he wore onstage in the early 1870s in touring productions organized by dime novelist Ned Buntline. Within a few years of launching his own Wild West arena shows in 1883‚ Buffalo Bill was plastering his Stetson-capped image on signboards from San Francisco to Saxony. The hatmaker couldn’t buy better advertising. The birth of the silver screen and its Western stars further amplified the popularity of the Stetson‚ one of which the company named for the actor who made it popular—the Tom Mix. Today the cowboy hat endures‚ and scores of hatmakers big and small continue to craft styles that symbolize the Old and New West. We trace its history below. Every owner of a classic Stetson will immediately recognize ‘The Last Drop From His Stetson‚’ by Lon Megargee. Born in Pennsylvania in 1883‚ Megargee lost his father at age 13 and was raised by an uncle on an Arizona ranch. By the early 20th century he’d become an established painter of Southwestern landscapes‚ cowboys and Indians. He rendered The Last Drop in 1912. In 1923‚ after Western Story Magazine ran Megargee’s work on its cover‚ Stetson purchased the painting and its rights. It became the company’s familiar logo‚ appearing in ads‚ on hatboxes and‚ most famously‚ on the crown liner of every Stetson hat. As popular as the Stetson became‚ the best-selling hat of the late 19th century‚ both east and west of the Mississippi‚ remained the derby‚ pictured here and on the head of one of its more famous Western proponents‚ lawman and sometime gambler turned journalist Bat Masterson. Designed in 1849 by London hatmakers Thomas and William Bowler (the other name by which it is known)‚ the derby became the ubiquitous “city gent” (or “dude”) hat of its day‚ outselling even the Stetson. The dude abides‚ indeed. This circa-1910s postcard view shows the inner workings of the John B. Stetson Co. main hat factory in Philadelphia. Incorporated in 1891‚ the factory employed some 5‚000 workers at its zenith‚ offering them such incentives as annual earnings bonuses and English classes for immigrant workers. Each man and woman on the Stetson line was a specialist‚ honing his or her skills at blocking‚ sanding‚ burning‚ steaming‚ shaping and finishing. By the 1920s they were turning out some 2 million hats a year. A pair of nattily dressed Westerners pose proudly with their Stetsons in this circa 1870 tintype. The crude cloth backdrop and grassy ground at their feet suggest their portrait sitting was a spur-of-the-moment decision‚ perhaps occasioned by the arrival of an itinerant photographer. Though Stetson had been in business only a handful of years by this time‚ already in evidence is the tendency of owners to shape their hats to their individual whims. The cowboy at right‚ for example‚ has opted to pinch his crown into what is known alternately today as a peak‚ campaign or Russell crease. Of all the performers to don a Stetson‚ Buffalo Bill Cody remains the most celebrated. Here he poses in signature theatrical garb and an upswept Stetson during the 1890s heyday of his internationally touring Wild West arena show. Perhaps no other figure on stage or screen did more to spread Stetson’s fame. Cowgirls also took to the Stetson‚ as evinced in this autographed 1916 publicity photo of Miller Brothers’ 101 Ranch Real Wild West performer “Buckskin Bessie” Herberg. Bessie joined the Oklahoma-based show at age 16 in 1911 and did tricks with her horse‚ Happy. Rivaling her sometime boss Buffalo Bill in popularity and billing was “Little Sure Shot” Annie Oakley‚ posing here circa 1890 in her own upswept Stetson affixed with a metal star—perhaps one of the many shooting competition awards Oakley garnered in her lifetime. Silent screen film star Tom Mix was so inseparable in theatergoers’ minds from his trademark high-peaked‚ wide-brimmed elegant white Stetson that the company named that style hat (pictured at left) after him. Hollywood’s first Western star wore it well in 291 films. Hollywood breathed new life into the cult of cowboy hat aficionados‚ as Stetson and other makers raced to outshine one another. In this publicity still for the 1950 Western musical comedy ‘Annie Get Your Gun‚’ star Betty Hutton is slightly off target in a rhinestoned getup and hat the more modest Oakley would likely have eschewed. Renowned for his accurate portrayals of Western characters was silent film star William S. Hart‚ who was born in 1864 (the year before Stetson opened for business) and counted among his friends real-life lawmen Wyatt Earp and Bat Masterson. Here he wears one of his trademark authentic hats as gunman turned sheriff Careless Carmody in ‘Breed of Men’ (1919). Among the top box office draws for three decades‚ Western movie icon John Wayne was a man of many hats‚ often Stetsons. Above is the distressed hat he wore in the Westerns ‘Hondo’ (1953)‚ ‘Rio Bravo’ (1959) and ‘The Train Robbers’ (1973). Wayne poses in the hat in this publicity still for the latter film. Many of his hats are on display at the museum John Wayne: An American Experience‚ in the Fort Worth Stockyards. Not to be outdone in expressions of millinery individualism were the artists of the American West. Modernist painter Georgia O’Keeffe—posing here for Bruce Weber in 1984‚ two years before her death—was especially fond of this black Stetson‚ which she wore on many camping‚ rafting and‚ presumably‚ painting excursions. It appears in many portraits of the artist‚ some taken by husband Alfred Stieglitz. “Cowboy Artist” Charles Marion “Charlie” Russell was more of a traditionalist with regard to the cut of his Stetson‚ which takes center stage in many of the drawings‚ paintings and sculptures he rendered of himself. In this 1907 studio portrait he wears what appears to be a Boss of the Plains canted back on his head like a halo. Known for obsessively sketching Western scenes and figures on any available surface‚ Russell often used his hats as canvases. Championing the centuries-old slouch hat in this circa-1890s self-portrait is photographer Edward S. Curtis‚ who was known for his signature sepia-toned images of American Indians‚ often posing in the even older warbonnet. Among Curtis’ subjects was President Theodore Roosevelt‚ who on July 1‚ 1898‚ rode to victory and fame up Cuba’s San Juan Heights wearing a slouch hat of the First U.S. Volunteer Cavalry Regiment (aka “Rough Riders”). Had the president inspired the artist or vice versa? this article first appeared in wild west magazine See more stories SubscriBE NOW!  

How About a Ceasefire for Chicago‚ Mayor Johnson?

A new COVID-19 variant‚ JN.1‚ has taken the title of the most prevalent variant of the virus in the US‚ and also worldwide‚ according to the Centers for Disease Control and Prevention (CDC).“JN.1 remains the most widely circulating variant of SARS-CoV-2 in the United States and globally‚” states their latest report. In fact‚ as of January 20‚ the variant makes up almost 86 percent of all COVID-19 cases in the US‚ per the latest CDC figures.The highly mutated strain is a descendant of Omicron – specifically the “Pirola” variant‚ BA.2.86 – and was first detected in the States back in September. By the end of October‚ it was responsible for less than 0.1 percent of SARS-CoV-2 viruses but has been on the rise ever since."Most likely‚ if you're getting COVID right now‚ you're getting this particular variant mutation‚" Eyal Oren‚ a director and professor of epidemiology at the School of Public Health at San Diego State University‚ told NPR.Among the reasons for this latest surge of JN.1‚ Oren added‚ is the virus's rapid evolution: "our immune systems have not been able to keep up."What are the symptoms of JN.1?It’s thought that JN.1 presents similarly to previous variants. According to the CDC‚ these symptoms include:Fever or chillsCoughShortness of breath or difficulty breathingFatigueMuscle or body achesHeadacheLoss of taste or smellSore throatCongestion or runny noseNausea or vomitingDiarrheaHowever‚ there has been some evidence that people are reporting slightly different COVID symptoms this season‚ including trouble sleeping and anxiety.  Should we be concerned?The fact that JN.1 has become so dominant could be taken as evidence that it’s more transmissible than previous variants‚ or better at evading the immune system. However‚ the CDC assures that “currently there is no evidence that it causes more severe disease.”Still‚ COVID-19 infections‚ hospitalizations‚ and deaths have been elevated in recent weeks‚ especially in the eastern half of the country. People are advised to take the usual precautions by wearing masks‚ avoiding crowds‚ staying in when sick‚ and washing their hands.The CDC recommends staying up to date with this season’s vaccinations for both COVID-19 and flu‚ which they say are “well-matched to the viruses that are most common and should offer good protection”.“Current COVID-19 vaccines are expected to increase protection against JN.1‚ as they do against other variants‚ by helping prevent severe illness.”The content of this article is not intended to be a substitute for professional medical advice‚ diagnosis‚ or treatment. Always seek the advice of qualified health providers with questions you may have regarding medical conditions.

Swab‚ swirl‚ drop – then pray there’s only one line. Nearly four long years after COVID-19 was officially declared a pandemic‚ many of us are familiar with the routine of lateral flow tests (LFTs) for the virus. But that time has also seen new variants pop up‚ including JN.1‚ which is now the most prevalent in the US and worldwide. Knowing whether or not you have the virus can still come in pretty handy‚ which begs the question: are existing LFTs still able to pick such new variants up?How lateral flow tests workShort answer – yes. The longer answer involves which part of the virus is actually being detected by the LFT and how SARS-CoV-2 mutates.With environmental pressures‚ the virus that causes COVID-19 is constantly mutating over time in order to continue thriving in the population. Many variants of the virus have emerged from mutations in the spike protein‚ the part of a virus that mediates its entry into host cells‚ where it then begins to replicate.But it’s not the spike protein that the vast majority of LFTs are looking for; it’s another type of structural protein called a nucleocapsid‚ or N-protein‚ which makes up the protective capsule that surrounds the viral genome. N-proteins don’t tend to mutate as much as spike proteins do‚ meaning that tests should still be able to pick them up.“There’s always this fear that we’re going to have some mutation that’s now going to make the tests not work‚ but so far that’s not really the case‚” said Dr Susan Butler-Wu‚ a clinical pathologist at Keck School of Medicine at the University of Southern California‚ speaking to NBC News.Why might a test be negative?Though that may well change in the future‚ in the meantime‚ there are a number of reasons why a test might not work even if someone does have COVID-19. One of them is testing before the virus has replicated enough to be detected. “If you look at viral kinetics … on average‚ it usually takes three‚ four or five days for the virus to go from being very low levels to getting high enough for any test to pick up‚” immunologist and epidemiologist Dr Michael Mina explained to CNN‚ adding that this hasn’t changed much with newer variants.The CDC currently recommends that if you’ve been exposed to COVID-19‚ but don’t have any symptoms‚ to wait for at least five full days after exposure before taking a test. If you have symptoms‚ it’s suggested to take a test immediately. In both circumstances‚ if that test comes back negative‚ it’s advised to take another LFT after 48 hours‚ or get a PCR test.All “explainer” articles are confirmed by fact checkers to be correct at time of publishing. Text‚ images‚ and links may be edited‚ removed‚ or added to at a later date to keep information current.The content of this article is not intended to be a substitute for professional medical advice‚ diagnosis‚ or treatment. Always seek the advice of qualified health providers with questions you may have regarding medical conditions.

In Argentina‚ 44-year-old Leda Bergonzi‚ known as the Healer of Rosario‚ is gaining popularity. Having become a well-known healer in the country‚ the former seamstress and mother of five children won the attention not only of her compatriots‚ but also of the Catholic Church in Argentina. Argentina’s history is rich in religious healers‚ but none have achieved such heights as Leda Bergonzi. As an ordinary woman‚ she realized that she had the gift of healing from God and decided to use it for charitable purposes. The Catholic Church supports her‚ calling the Healer Rosario phenomenon part of an internal movement within the church. Leda stands out not only for her unusual gift‚ but also for her informal clothing style – skinny jeans‚ T-shirts and high-top sneakers make her recognizable. She attracts crowds‚ spending her days in her hometown of Rosario healing people from ailments ranging from paralysis to cancer. Her meetings resemble evangelistic services with music‚ blessings and miracles. However‚ this is not just a show – hundreds of testimonies of people she has healed and the support of the Catholic Church give Leda credibility. It attracts not only practicing Catholics‚ but also those who have long departed from the faith. Every week‚ up to 20‚000 people flock to Rosario to receive Leda’s blessing. Lines for her events sometimes exceed a mile‚ and people are willing to wait more than 12 hours to see Healer Rosario. In addition to her singing‚ which is rumored to have a healing effect‚ Leda touches the forehead of the afflicted‚ saying something mysterious. The consequences of this are varied – from inner peace to fainting. There was the 21-year-old woman who was paralyzed and intubated. The 66-year-old former truck driver who lost his voice two years ago. A 56-year-old who gradually lost his vision. They rode buses from across the country‚ camped out overnight and waited in line for hours. Then‚ one by one‚ on crutches and in wheelchairs‚ holding babies and carrying photographs of relatives far away‚ they approached the woman they hoped would heal them. And one by one‚ they started to faint. At the front of a packed warehouse‚ 44-year-old Leda Bergonzi placed her hand on each of their foreheads and whispered into their ears. As she blessed them‚ some grabbed onto her‚ sobbing uncontrollably. Others collapsed into her arms or dropped onto the concrete floor. Members of her team stood by‚ ready to catch people as they fell. “I told myself‚ I’ll go with all my faith and give it a try‚” said Jorge Fernández‚ a 56-year-old former bricklayer who lost his vision after a traffic accident in 2019 and had traveled to Bergonzi’s ceremony for the sixth time. “Thanks to God and Leda’s touch‚ I started seeing again‚” reports washingtonpost.com. Leda Bergonzi travels through the countries of South America‚ attracting the attention of not only believers‚ but also the curious. She is frugal with her finances and donates food to those in need. Leda says she is simply following God’s call. Some see it as salvation and an opportunity to bring millions of people back to the church‚ while others fear that a focus on miracles could harm the interests of the church. The post An Argentinian woman claims to have the gift of healing appeared first on Anomalien.com.