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  • Stephanie Golik Wins Award for AI Real Estate Platform

    Stephanie Golik Wins Award for AI Real Estate Platform

    Stephanie Golik remembers questioning whether she would succeed. Today, she tells her mentees to pursue what feels “truly energizing” and give themselves “permission to figure it out.”

    Golik, who graduated from Northeastern University in 2015, has since pivoted her career from architecture to product design and serial entrepreneurship. She previously led a product design team at Cruise, a self-driving car company, and raised $3.5 million for her own startup, Huddle, which she sold in 2024.

    Recently, Golik won first prize in the “AI and Technology” category at the 2025 Women Who Empower Innovator Awards for her latest venture, Frontflip — an AI companion for real estate investors.

    “We’ve spent the past six or so months really building this product that we’re super proud of,” Golik says. “We’re really trying to build a solid business and product on our own, so getting visibility and a grant is kind of the dream. It helps us get off the ground. It helps us through this next phase without having to get distracted with trying to fundraise right now.”

    Frontflip, designed for individual investors interested in real estate, lets users search any U.S. address to instantly see value-creation opportunities. Courtesy photo

    The Innovator Awards recognize Northeastern students, graduates and affiliated entrepreneurs seeking to make an impact in fields such as health, technology, sustainability and social innovation. Over the past five years, Women Who Empower has invested more than $1.8 million in the winners as they build and grow their ventures.

    Frontflip is designed for individual investors, Golik says, interested in the real estate market. Users can search properties by address across the U.S. and instantly see an at-a-glance report on value creation opportunities.

    The AI component pulls unstructured data from multiple sources, Golik says, and turns it into a digestible summary of investment scenarios, including investment advice based on home details and neighborhood trends.

    “There’s a million stock tools,” Golik says. “There’s a lot of real estate apps that just help you think about finding properties. But there is none when it comes to accessing the potential return as an investor, without digging for a lot of information.” 

    Currently available through a website and iOS app, Frontflip offers a free version for checking a limited number of properties and a low-fee subscription that unlocks unlimited reports. Golik says the platform is ideal for investors with between zero and about 50 properties. 

    Golik’s entrepreneurial spirit has roots in her upbringing. She grew up in Miami in a highly entrepreneurial family — her father founded businesses, she says, and her siblings started ventures from their home.

    “I loved all of the creative energy of starting things, but never felt like I was a business person,” Golik says about herself. “I had this disconnect because I was always creative. I was always designing and painting, and felt that my identity was creative, and it took me some time to merge those two things.”

    In 2010, she came to Northeastern to study architecture.

    “Architecture helped me navigate that also, because architecture is such a creative profession that meets a lot of business constraints,” Golik says. “That’s the intersection that I really enjoy.”

    However, doing co-ops in architectural firms revealed she didn’t enjoy the work. 

    “I found myself not really loving it,” she says. “The Northeastern co-op program helped me figure out for myself that I wasn’t on the exact right career path while I was still in school.”

    After graduating, Golik moved to New York City and gave herself six months to either start her own architecture firm or pursue entrepreneurship, which she felt more excited about.

    “Part of having the confidence to go and change paths was me coming around to who I am and what I actually like and being confident in that this is what I like, and it’s also what I’m best at,” Golik says. “I’m not the best building designer, but I think I’m really good at figuring out a solution with creative constraints. So that reflection helped me take those six months really seriously.” 

    She decided she could work at startups to gain experience before starting a company of her own. She found internships and entered her idea into the NYC BigApps contest, a web and mobile applications competition sponsored by the New York City Economic Development Corp. Through the contest, she met a developer who helped her build her first app and launch it in the App store.

    “I had to create my own portfolio, because no one was going to pay me to design something for them [because] I had no experience,” Golik says.

    By the end of the six months, she had landed her first job as a product designer at a startup studio.   

    Over the next several years, she rose to leadership roles in product and design at companies including Mapfit, a mapping technology firm, and moved to San Francisco in 2018.

    In 2021, Golik left her role as product design manager for fleet at Cruise to start Huddle, a fractional talent marketplace connecting companies with part-time or project-based creative and product leaders. She grew the company from the ground up, raising more than $3.5 million in capital before selling it in 2024.

    Ten years after graduation, she is still building design-driven businesses and sharing her journey with others. She even developed an online course, “Go from Designer to Founder,” to help aspiring entrepreneurs make the leap from design roles to company building.

    “When you find something that’s actually, truly energizing, — you’re excited to go to work, excited to work on it — you should just figure out how to do that,” she says.

    Looking back, Golik sees her Northeastern experience as a turning point.

    “During my time in Northeastern I was very unsure if I was going to be successful,” she says. “And so to have it [come] full circle, where Northeastern is telling me, ‘You’re successful,’ was really cool.”

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  • Emily Kam Kngwarray’s Language of Country 

    Emily Kam Kngwarray’s Language of Country 

    LONDON — An exquisite rhythm rolls across the sheer mass of Emily Kam Kngwarray’s paintings, produced in prolific bursts of creativity between 1980 and 1996, the last decade and a half of her life. As she worked at the forefront of a movement that sought to translate millennia-old Aboriginal cultural traditions onto media such as acrylic, canvas, and batik, much of her oeuvre is marked by a strong visual cohesion. Colorful fields of dots and linear motifs in earthy tones proliferate across the entirety of each picture plane, often covering the edges of the canvases, creating an impression of an expansiveness that seems to incorporate both microcosm and macrocosm, landscape and human, ancestral time and contemporary pressures. 

    Kngwarray was an Anmatyerr woman born in Alhalker, in what is now known as the Northern Territory of Australia. An important Elder within her community, she is credited with breaking down the distinctions between fine art, craft, and cultural practice, gaining international recognition for her contribution to contemporary art. Her paintings and batik silks are inextricably rooted in the lands on which she was born, which in her earliest years were untouched by White settlers. However, when she was a child, they colonized Alhalker, and their introduction of sheep, cattle, and fences irrevocably changed her people’s Country.

    This concept of “Country” is key to understanding Kngwarray’s work and the culture in which she developed her practice. As an explanatory wall text puts it, “For Aboriginal and Torres Strait Islander Peoples, the concept … encompasses the lands, skies and waters to which they are deeply connected, over countless generations. Country is a shared place of spiritual, social and geographical origins.” In Kngwarray’s paintings, such as “Ankerr (Emu)” (1989), this manifests as a map-like depiction of emu footprints emerging from a web of patterns and dots, charting the routes taken by the birds between underground water sources. 

    Kngwarray’s work also draws closely on Dreamings: ancestral beings who manifest in the plants, animals, and natural phenomena of Country. Dreamings are intrinsic to Kngwarray’s worldview and practice, with a focus on animals and plants which are special to her, including the ankerr (emu) and anwerlarr (pencil yam). Yet in Western contexts, such traditions have too often been exoticized, flattening their complexity and cultural significance. The Tate show doesn’t openly refer to previous Western cultural or curatorial practices in relation to art by Aboriginal peoples, but it does take pains to explicate the respectful approach used throughout this show, using terms like Country and Dreaming without romanticization, and applying spellings of Anmatyerr words deemed appropriate by Kngwarray’s family and community. In addition, the exhibition texts use Aboriginal place names alongside English ones, as well as Anmatyerr words for the plants and animals Kngwarray depicts. 

    Some of Kngwarray’s paintings relate to Awely, women’s ceremonies celebrating certain animals or plants, in which they grind pigments to paint dots and patterns on each other’s bodies. Included in the exhibition is a video in which Kngwarray’s family members perform one such ceremony; they also contributed to the curating and textual interpretation of the exhibition. The show draws convincing parallels between these rituals and the texture, techniques, and patterning of some of the large-scale works displayed nearby, such as “Alhalker – My Country” (1992), a heavily layered tall panel dotted with shades of rust and ocher. Swirling patterns emerge and fade before the viewer’s eyes, recalling the cyclical verses of ceremonial songs, or the tradition of temporary sand drawings made by women to tell stories. 

    The corridor connecting Kngwarray’s earlier works with some of her later experiments is wallpapered with an aerial photograph of Alhalker Country, which at first glance could be a blown-up reproduction of one of Kngwarray’s paintings. The next gallery features “The Alhalker Suite” (1993), a huge composition made up of 22 panels offering a similar aerial perspective on the landscape. This work moves away from her previous characteristic earthy palette, instead embracing a collection of red, purple, and blue tones to capture changing light and seasonal transformation. Rejecting the Western art historical (and implicitly colonial) tenet of the single viewpoint, this work uses iteration and patterning to explore the multiplicitous identities of a place, drawing on a notion of layering that is key to her entire oeuvre. 

    While many Western viewers might dismiss subjects like emus, yams, or seeds as trivial, Kngwarray and her kinswomen approach these beings with profound seriousness. Through the dedication with which she meticulously renders layer upon layer of these motifs, she reveals an alternative vision of art that centers the nonhuman ecologies at the heart of Aboriginal life, spiritual practice, and creative culture. An intimate knowledge of the growth cycles of plants and the movements of animals is essential for survival on Country, while the concept of the Dreaming suggests an essential ongoing continuum between human and nonhuman inhabitants of these places. Kngwarray’s work encourages us to take these worldviews and ecologies seriously too; in an era of climate breakdown and extinction, our future may depend on it. 

    Emily Kam Kngwarray continues at Tate Modern (Bankside, London), through January 11, 2026. The exhibition was curated by Kelli Cole.

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  • Biomaterial Alleviates Negative Vaginal Changes in Menopause

    Biomaterial Alleviates Negative Vaginal Changes in Menopause

    new hydrogel applied directly to vaginal tissues may help alleviate the negative impacts of menopause, according to a new study from scientists at the University of California San Diego. The results, published in Advanced Materials, could pave the way for a hormone-free treatment that alleviates vaginal dryness and pain caused by genitourinary syndrome of menopause (GSM), which negatively impacts quality of life for millions of women.


    “We have developed a new material, which was designed specifically for the vagina,” said Karen Christman, a professor in the Shu Chien-Gene Lay Department of Bioengineering and the Sanford Stem Cell Institute at UC San Diego and one of the senior authors on the paper.

    Genitourinary syndrome of menopause, or GSM, affects up to 85% of women over 40 years of age, with 30% to 60% suffering from vaginal dryness and pain. Women suffering from the condition report that it interferes with their sleep, sex life and ability to travel, work out and socialize. Importantly, 65% of women suffering from GSM report that they are not satisfied with the currently available prescription and over-the-counter treatments.

    “An estimated 47 million women in the U.S. become menopausal every year, thus GSM represents a major public health issue that urgently needs investment,” said one of the senior authors of the paper, Dr. Marianna Alperin, a professor and vice chair for Translational Research in the Department of Obstetrics, Gynecology, and Reproductive Sciences and a co-director of the Center for Women’s Health Innovations through Scientific Discoveries, Engineering, and Medicine (WHISDEM) in the UC San Diego Institute of Engineering in Medicine.

    The hormonal changes after menopause have a wide range of impacts on women’s health, including vaginal and lower urinary tract tissues. Vaginal tissues thin out. Blood vessels shrink, as do the connective tissue and smooth muscle layers that help the vagina expand during sexual activity and provide support for pelvic organs, such as the bladder, uterus and rectum. In addition, immune cells in the female reproductive tract change and start producing inflammatory proteins.

    The current gold-standard treatment for GSM is low-dose vaginal estrogen therapy, which has been shown to be highly effective at thickening the lining of the vagina, which will thin in menopause. But this treatment doesn’t affect the deeper smooth muscle tissue in the vaginal wall that is responsible for the organ’s structure and function. In addition, a number of patients and even some clinicians still reject this treatment because of concerns that it might increase the risk of hormone-sensitive cancers–a concern that studies have shown is not warranted. The treatment is also costly and not always covered by insurance.

    Bioengineers in Christman’s laboratory make hydrogels from the natural scaffolding of tissue, also known as the extracellular matrix. They have shown that these types of biomaterials help heal cardiac muscle tissue after a heart attack, among several other applications. These hydrogels for cardiac applications also have successfully been tested during a Phase 1 FDA-approved clinical trial.

    Christman and colleagues partnered with the Alperin research group to see if hydrogels would constitute a good treatment for GSM.

    “We are not looking to replace estrogen treatments,” said Emma Zelus, the first author of the Advanced Materials study, who is currently working as a preclinical research manager at the Sanford Stem Cell Institute. “We want to provide an alternative for patients and physicians who either do not want to use hormone-based therapy or for women for whom vaginal estrogen alone is insufficient.”

    How the study was conducted

    Researchers randomly assigned 24 menopausal rats to receive as a topical intravaginal application a daily dose of a solution containing either hydrogel at two different concentrations–6 or 8 milligrams per milliliter–or collagen or saline. After 14 days of treatment, researchers took samples of vaginal tissues and analyzed them.

    They found that in rats that had received the hydrogel treatment, vaginal tissues appeared closer to those of pre-menopausal animals. In addition, treatment with the hydrogel led to an increase in smooth muscle thickness. Researchers also found that the 8 milligram dose seemed to be more effective, likely due to a higher concentration of extracellular matrix proteins.

    Researchers sampled tissues from the animals in the first three days of treatment and found that the hydrogel was present not only in the surface layer but also in the muscular layer of the vaginal wall. They found that macrophages, which are part of the immune system, in particular responded to the hydrogel with increases in the kind of macrophage that helps with tissue repair.

    Researchers also didn’t find any safety concerns or adverse effects on the rats during the study.

    Next steps

    Next steps include testing various concentrations of the hydrogel in a larger preclinical study over a longer period of time. The researchers also need to test whether the hydrogel can be administered less frequently–twice or three times a week rather than daily.

    “We need a multidisciplinary approach to solving women’s health issues,” said Dr. Alperin, urogynecology and reconstructive pelvic surgery specialist at UC San Diego Health.

    The research was supported in that part by the NIH National Institute on Aging and the NIH National Institute of Child Health and Human Development.

    Christman is a cofounder of Ventrix Bio. Inc., which is commercializing a similar hydrogel technology for treating heart disease.

    Reference: Zelus EI, Grime J, Saviola A, et al. Development of a vaginal extracellular matrix hydrogel for combating genitourinary syndrome of menopause. Adv Mater. 2025:2419977. doi: 10.1002/adma.202419977

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  • Team Cherry is “working to improve” Hollow Knight: Silksong’s Chinese translation following player complaints

    Team Cherry is “working to improve” Hollow Knight: Silksong’s Chinese translation following player complaints

    Team Cherry said it is “working to improve” the simplified Chinese translation of Hollow Knight: Silksong.

    While the highly anticipated sequel holds a Mostly Positive score on Steam, tens of thousands of Chinese players have left negative reviews, criticizing the Chinese localization for its lack of nuance and accuracy.

    On X/Twitter, Team Cherry’s Matthew Griffin thanked players for their “feedback and support,” and said work on the translation would be ongoing “over the coming weeks.”

    “To our Chinese speaking fans: We appreciate you letting us know about quality issues with the current Simplified Chinese translation of Hollow Knight: Silksong,” Griffin wrote.

    “We’ll be working to improve the translation over the coming weeks. Thanks for your feedback and support.”

    So far, just 38% of players who have left a review of the simplified Chinese version of the Silksong have left a positive review. Overall, the game sits at a Mostly Positive rating.

    Hollow Knight: Silksong reached over half a million concurrent players a day after its release on September 4, 2025.

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  • Independent 20th Century Heads to Breuer in 2026

    Independent 20th Century Heads to Breuer in 2026

    Just hours after Independent 20th Century art fair closed its doors to the public, the fair announced that Sotheby’s will host its 2026 edition in the auction house’s soon-to-be flagship headquarters in Manhattan’s historic Breuer building. The move, first reported by the New York Times, will be a significant expansion for the fair and a first-of-its-kind collaboration between an art fair and an auction house in the art market’s modern era.

    Founded in 2022, Independent 20th Century spotlights overlooked and celebrated artists of the last century, with curatorial programming that reframes movements from women in Surrealism to Arab Modernism. Its move to the Breuer—a landmark of Modernist architecture designed by Marcel Breuer and recently renovated by Herzog & de Meuron with PBDW Architects—will allow the fair to considerably enlarge its footprint to more than 50 galleries.

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    “This is more than a new venue location, it’s a symbol of how we wish to imagine unforgettable exhibitions of the 20th Century for a well-informed audience and for a new generation of collectors,” Independent’s founder Elizabeth Dee, said in a statement. “Independent 20th Century will create a museum-caliber exhibition experience that supports extraordinary galleries and brings their curatorial and market expertise to light in new ways.”

    The Breuer, once home to the Whitney Museum of American Art and later host to the Met Breuer and the Frick Madison, will now serve as the setting for Independent’s intimate, non-trade-fair format. Matthew Higgs, the fair’s founding curatorial advisor, said the aim remains “to create environments that allow art to be seen in its best light” rather than replicate the “trade fair-like aesthetics” of larger events.

    While the alliance with Sotheby’s underscores a changing art landscape, Independent stressed its autonomy. “Sotheby’s will not have any curatorial voice within our exhibition,” Dee said, noting that the partnership is “mission driven” and designed to broaden the audience for 20th-century art through shared programming and new public initiatives.

    For Sotheby’s, which will formally occupy the Breuer later this year, the collaboration aligns with its push to reposition its buildings as cultural venues rather than auction-only sites. “Together with Independent 20th Century, we hope to create a dynamic environment for discovery, dialogue, and exchange at the Breuer,” said Madeline Lissner, Sotheby’s global head of fine art.

    The fair will run September 24–27, 2026, with a roster expected to exceed 50 exhibitors, up from 31 at its most recent edition at Casa Cipriani.

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  • Gigi Hadid Reveals Tangled Audition for Rapunzel in Live-Action Movie

    Gigi Hadid Reveals Tangled Audition for Rapunzel in Live-Action Movie

    Gigi Hadid revealed in a new Vogue magazine cover story that she auditioned for the lead role of Rapunzel in Disney’s live-action “Tangled” remake before the project was put on hold indefinitely. The supermodel is considering a more robust pivot into acting after various voice roles and cameos over the years in films such as “Ocean’s 8.” She even took singing lessons to prepare for her Rapunzel audition.

    “What do we do in this job anymore that scares us?” Hadid asked cover co-star and longtime friend Kendall Jenner before expressing satisfaction with her “Tangled” audition process.

    “I was really proud of my scene. The singing… I knew they were going to go with a real singer, but I’ll show you my audition scene later,” Hadid added to Jenner.

    News broke in December 2024 that Disney was developing a live-action “Tangled” movie with “The Greatest Showman” and “Better Man” filmmaker Michael Gracey in talks to direct the film from a script by Jennifer Kaytin Robinson (who recently helmed the “I Know What You Did Last Summer” reboot). Casting was never announced.

    Variety reported in April the remake was being put on an indefinite hold in the aftermath of the live-action “Snow White” movie collapsing at the box office. That remake, headlined by Rachel Zegler and Gal Gadot, did not even cross $90 million at the domestic box office. Disney had far better success this summer with its live-action “Lilo & Stitch” remake, which remains the only $1 billion grosser of the year so far.

    “Tangled” tells the tale of Rapunzel, a princess (voiced by Mandy Moore) who is eventually rescued from her secluded tower by an outlaw named Flynn Rider (Zachary Levi). The well-reviewed film opened 14 around Thanksgiving 2010 and generated $592 million at the global box office. The movie spawned the Oscar-nominated song “When Will My Life Begin” and led to spinoffs as the 2012 short film “Tangled Ever After” and the 2017 TV series “Rapunzel’s Tangled Adventure.”

    “Queen Charlotte” and “My Oxford Year” star Corey Mylchreest told Seventeen Magazine over the summer that he auditioned for the role of Flynn Rider, although he was far less confident in his singing abilities than Hadid was during her audition.

    “I think I can say this now because I don’t think it’s happening anymore, but I auditioned for ‘Tangled,’” Mylchreest said. “We don’t have the footage anymore. I deleted it and then I burnt it and then I burnt the phone that I filmed on. And then I burnt the room that I did it in. And then I burnt myself… No, it wasn’t very good. They then told me that they wanted someone with singing experience.”

    Next up in the live-action remake department for Disney is “Moana,” opening July 10. 

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  • Flood situation ‘under control’ at Sindh barrages: Sharjeel Memon

    Flood situation ‘under control’ at Sindh barrages: Sharjeel Memon

    Sindh Senior Minister Sharjeel Inam Memon on Monday said the flood situation at Guddu, Sukkur, and Kotri barrages remains under control while Panjnad and Trimmu barrages are witnessing the most critical flood situation, Express News reported.

    Sharing the official data, the senior minister said Panjnad recorded an inflow and outflow of 524,762 cusecs, and Trimmu registered 531,993 cusecs. At Guddu Barrage, inflow stood at 425,813 cusecs and outflow at 416,763 cusecs. Sukkur Barrage reported 352,010 cusecs inflow and 329,310 cusecs outflow, while Kotri Barrage recorded 235,243 cusecs inflow and 231,763 cusecs outflow.

    In a statement, the minister said that rescue teams were actively working around the clock in affected regions, relocating people to safer locations.

    Rescue 1122 teams not only saved human lives but also secured livestock, food supplies, and household items and made efforts to minimise losses, he noted, adding “This is not just an operation, it is a service to humanity. The Sindh government stands with its people in every difficult time.”

    Memon said the government is closely monitoring water levels to respond promptly to any emergency. He lauded Rescue 1122 for its professionalism in assisting thousands of affected families.

    Rescue 1122, between August 31 and September 7, carried out operations across several districts, relocating 380 people to safety. The most significant activity occurred in Sukkur, where 69 people were rescued from villages, including Imam Bakhsh Jatoi, Bashirabad, and Haji Fakir Muhammad Jatoi.

    In Shaheed Benazirabad, 147 people were moved to safer places, along with 30 cattle, 40 solar panels, and wheat sacks. In Naushahro Feroze, another 147 individuals were rescued over six days, with their household goods secured. In Khairpur Mirs, five people were evacuated from Gul Hassan village.

    Memon assured that, with the support of local administration and the provincial government, all possible assistance will continue for flood victims.


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  • Conan Gray, Demi Lovato, Lewis Capaldi headline BBC Radio 1’s Live Lounge Month 2025

    Conan Gray, Demi Lovato, Lewis Capaldi headline BBC Radio 1’s Live Lounge Month 2025

    BBC Radio 1 has unveiled the star-studded lineup for Live Lounge Month 2025, bringing some of the biggest global acts and breakthrough artists to its iconic stage this October.

    The event begins on Monday, September 29, on Rickie, Melvin and Charlie’s Radio 1 show (10:30 a.m. – 1 p.m.), with performances airing at 12 p.m. every Monday, Wednesday and Friday throughout the month.

    This year’s lineup includes major names such as Lewis Capaldi, Demi Lovato, Conan Gray, mgk, Robbie Williams, Reneé Rapp, Wet Leg, Mumford & Sons and Florence + The Machine. Each act will perform live versions of their biggest hits alongside unique cover tracks.

    The 2025 edition also introduces the first-ever Radio 1 Anthems Live Lounge, with Robbie Williams performing on Friday, October 10, to celebrate the launch of the station’s new Radio 1 Anthems channel.

    Highlights of the schedule include Conan Gray (Oct. 1), mgk (Oct. 6), Reneé Rapp (Oct. 17), Lewis Capaldi (Oct. 20), Demi Lovato (Oct. 22), Louis Tomlinson (Oct. 29) and Florence + The Machine (Nov. 3). Fans will also get a special Live Lounge Late from Capaldi on October 20, broadcast during Jack Saunders’ New Music Show.

    Radio 1 head Aled Haydn Jones described the series as “intimate, unforgettable performances that fans can’t experience anywhere else.” Past Live Lounge sessions have featured Taylor Swift, Ariana Grande, Olivia Rodrigo and Ed Sheeran, attracting millions of views worldwide.

    All Live Lounge Month 2025 performances will be available on Radio 1, BBC Sounds, BBC iPlayer and YouTube, ensuring fans don’t miss a moment of the exclusive music event.

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  • Trump’s strongman image got boos at the US Open, and perhaps that was the point | US Open Tennis 2025

    Trump’s strongman image got boos at the US Open, and perhaps that was the point | US Open Tennis 2025

    It was just the authoritarian image Donald Trump hoped to project at the US Open: the president himself, looming from Arthur Ashe Stadium’s giant screens like Chairman Mao at Tiananmen Gate, as he stood at attention for the national anthem. But there was no denying that, while the picture was there, the sound clashed. The burst of cheers that went up for his stiff salute on Sunday was quickly drowned out by a chorus of boos made louder from the Ashe roof being closed for rain – perhaps fitting given that many fans had been left to stand in the wet and endure the long security lines that resulted from his attendance. In that awkward five-second moment, as the Stars and Stripes was unfurled on center court, the president smirked at the negative reaction. It surely rang so familiar.

    Trump’s presence at the US Open men’s final wasn’t just intended as a soft power grab, the kind of routine stunt Vladimir Putin, Kim Jong-un and the other despots he admires pull all the time at sports events – except with recruitment ads for Ice playing across the US. No, Trump’s presence was intended as a distraction. Not a distraction for him; lord knows, he couldn’t care less about the actual match, a fact that was reinforced when Trump left his luxury box seat to step inside and kibitz with a phalanx of suck-ups. No, Trump’s visit was dropped like a flash bang to divert attention from klaxoning recession indicators, rumbling speculation about his health and, naturally, those files about that guy whose name must not be mentioned.

    If Trump was motivated by a patriotic love for tennis, he would have rocked up a day earlier for the women’s final. But for Trump the prospect of cheering on Jersey girl Amanda Anisimova and her epic comeback story clearly wasn’t juicy enough, much less the idea of actually sharing the spotlight with an American player. So Sunday’s match-up between Jannik Sinner and Carlos Alcaraz was retrofitted for Trump’s calliope Maga stage. Before the tilt Alcaraz, a Spaniard, was asked about playing in front of the president, and stepped right into the trap. “For me, playing in front of him, I don’t want myself to be nervous,” he said, not realizing his words would soon become fodder for Fox and Friends. “I think it’s great for tennis to have the president into the final.”

    Former presidents have shown that you can appear at a US Open without making it about ego: the Obamas were clearly caught up in supporting a US player when they watched Frances Tiafoe battle Alcaraz in the 2022 semi-final. Bill Clinton was proudly Team USA, too. In 2000, in his final weeks as president, he broke away from the UN Millennium Summit for Pete Sampras’s semi-final against Lleyton Hewitt, joining John McEnroe in the commentary box and signing balls fans lobbed up to him as Secret Service minders looked on and snipers lined the stadium upper deck. Clinton also visited Sampras in the locker room after the loss to Hewitt, which postponed the American’s epic quest for a then-record 14th grand slam. In 2009 Clinton returned and gave the keynote speech for Arthur Ashe’s induction into the US Open’s Court of Champions. He remembered Ashe’s triumphs over segregation, apartheid and his efforts to open his sport up to under-resourced and represented communities.

    Trump’s presence on Sunday – under the Ashe stadium marquee, on grounds named for gender and LGBTQ+ pioneer Billie Jean King, at a tournament that makes a point of touting its unwavering commitment to diversity, equity and inclusion – didn’t just strike a marked contrast. It broke from the markedly lower profiles of past presidents and was over-the-top, even for a sport that regularly hosts royal families. But Trump simply couldn’t pass up the optics. Getting booed by a multicultural east coast crowd that laps up $23 cocktails and $100 caviar-dolloped chicken nuggets without irony is red meat his base would devour. And getting that last laugh would make for satisfying personal revenge, an urgent second-term theme.

    For 40 years Trump exploited the US Open for clout, calling attention to himself, his luxury box perch and all the bold-faced names who joined him inside. But the New York crowd – the heart of the Open – never cottoned to his faux-gold flash and didn’t hesitate to jeer his big screen pop-ups even then. After the golden escalator ride to kick off his 2015 presidential campaign and the fiery announcement speech hitting out at immigrants and foreigners, he effectively became spectator non-grata in Flushing. Months later he attended the US Open quarter-final between Venus and Serena Williams and heard more boos as he slunk away with Melania, out of the stadium’s “President’s Gate”. So it meant something for him on Sunday to be back 10 years later, at the same event that was once the crown jewel of CBS and a lead-in for 60 Minutes – two more institutions he is determined to get even with – and back in the hometown he has repeatedly threatened to invade. That is, when he’s not outright declaring war on Chicago.

    Donald Trump appears on the jumbotron during the US Open final. Photograph: Timothy A Clary/AFP/Getty Images

    Before Trump’s arrival in his native borough of Queens, as foot soldiers from homeland security and other federal agencies swept the US Open campus, the USTA seemed as if it might do more to accommodate him than Rolex CEO Jean-Frederic Dufour – who had reportedly invited the president to the company’s luxury suite in hopes of catching a break on US tariffs imposed on Switzerland. No doubt Trump would have sat in the umpire’s chair if that were an option. The day before the men’s final, news broke that the USTA had issued a memo to broadcasters urging them to avoid showing any dissent against Trump in a craven display of anticipatory obedience that the federation cowardly justified in an 11-word statement. (We thought the former reality show host was supposed to be against unfair editing …) In the moments Trump actually seemed to be paying attention to Sunday’s match, he didn’t really cheer or applaud – which is weird but not surprising. He had made the day about himself, after all.

    And yet: just when it seemed as if the USTA couldn’t bow down any lower, intentionally or not, it may have pulled off a canny rope-a-dope. Perhaps mindful of the president’s avarice for stolen valor, they set the US Open men’s trophy inside the Rolex box for Trump’s arrival, and then switched it for a doubles cup after the anthem. Breaking with its own edict, the USTA not only showed Trump on the big screen again during the changeover between the first and second sets, it pushed in and held the shot for 20 seconds. The crowd, much larger this time, booed him so long and lustily that it was hard not to be reminded of the harsh reception to Trump at the 2019 World Series. Later on Sunday, the camera cut to noted Trump bugbear Bruce Springsteen – triggering a roar of approval that nearly blew the Ashe roof off.

    Unlike Fifa at July’s Club World Cup final, the USTA ensured Trump’s Rolex perch became a prison by the end of the match, so Alcaraz could keep up the winner’s tradition of climbing into the crowd to embrace their support team. Trump could only watch, like a kid on punishment seeing his friends play outside, as someone other than him presented the trophy to Alcaraz – because, well, he’s no competition for Ivan Lendl and much better men than Trump have tried taking trophies from the former No 1. After the pomp and circumstance, Trump was gone – back on the road within minutes of match point and in the air not long thereafter, according to the White House pool report. The outsized security presence that turned Sunday’s showcase into an authoritarian spectacle disappeared in his wake, too. For many fans who had suffered through it all, his departure was more cause for celebration.

    Theodore Roosevelt’s daughter, Alice, once said of her father that “he wants to be the bride at every wedding, the corpse at every funeral, and the baby at every christening.” But the line fits Trump even better. As long as there is attention to be had, you can bet he’ll find a way to make himself the center of it and make sport of self-aggrandizement, regardless of who, or what, he may trample over on his march.

    This article was amended on 8 September 2025. We originally identified Alice Roosevelt Longworth’s father as Franklin Delano Roosevelt. She was, in fact, the daughter of Theodore Roosevelt.

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  • Few Online Images Show Correct Blood Pressure Technique

    Few Online Images Show Correct Blood Pressure Technique

    Research Highlights:

    • Only 1 in 7 online stock images of blood pressure monitoring aligned with the procedures recommended by clinical guidelines.
    • Online stock images depicting blood pressure monitoring in the home were approximately three times more accurate than images depicting blood pressure monitoring in a physician’s office, health care facility or hospital.
    • This study is among the first to review online images of people having their blood pressure measured from major stock photo websites.

    DALLAS, September 8, 2025 — Only 1 in 7 online stock photo images of blood pressure monitoring correctly show how blood pressure should be measured, contributing to potentially inaccurate readings at home and in physicians’ offices, health care facilities or hospitals, according to new research published today in Hypertension, an American Heart Association journal.

    The study is one of the first to systematically evaluate the accuracy of online images depicting blood pressure measurements on major stock photo websites based on the 2023 International Consensus on Standardized Clinic Blood Pressure Measurement.

    “We expected that about 50% of images would be accurate, however, our findings were worse than expected,” said lead author Alta Schutte, Ph.D., a professor of cardiovascular medicine at the University of New South Wales Sydney, and co-lead of the cardiovascular program at The George Institute for Global Health in Australia. “Because people tend to remember images better than words — a phenomenon known as the picture-superiority effect — inaccurate visuals could have serious public health consequences.”

    Nearly half of all adults in the U.S. have high blood pressure, according to the American Heart Association. (From 2017 to 2020, 122.4 million adults in the U.S., or 46.7%, had high blood pressure; source: American Heart Association’s 2025 Heart Disease and Stroke Statistics)

    “More people are checking their blood pressure at home. But because of the inaccurate depictions online – even on reputable websites – it is very likely that people who look for information on the internet about blood pressure will see these images and may use the incorrect technique at home. If this happens, people will get blood pressure readings that are either too high or too low, which can lead to wrong conclusions about their blood pressure and possibly too much or too little treatment when these blood pressure measures are shared with their health care team,” Schutte said.

    The analysis found:

    • Only 14% of more than 1,000 images depicting adults having their blood pressure measured were accurate.
    • Deviations from clinical guidelines that contributed to photo inaccuracy included:
      • the individual’s back was not supported (73%);
      • the whole forearm was not resting on a flat surface or table (55%);
      • using a manual self-pumping device instead of an electronic or battery-operated upper-arm device (52%);
      • feet were dangling rather than flat on the floor (36%);
      • the health care professional (23%) and patient (18%) were talking while taking the measurement;
      • mid-arm was not at heart level (19%);
      • people had their legs crossed (13%);
      • the patient was not sitting (5%); and
      • the blood pressure cuff was placed over clothing (12%) rather than the bare arm.
    • 25% of images showing self-measurement of blood pressure at home were accurate compared to only 8% of images depicting blood pressure measurements in a physician’s office, health care facility or hospital.
    • Images depicting blood pressure measurements taken by the patient themselves or another person were 6 times more likely to show accurate techniques compared to images showing blood pressure measured by a health care professional.

    “There have been many interesting studies about errors in blood pressure measurement and the blood pressure effect of such errors, for example, if the cuff on the upper arm is not held at heart level. This is the first evaluation of publicly available images of blood pressure measurement to highlight the problem with inaccurate images,” Schutte said.

    “It is important for people to understand how to measure their blood pressure correctly. Inaccurate readings in clinics are also a very common problem. We want everyone to know how health care professionals should take blood pressure measurements so they can identify any mistakes if the procedure is not followed correctly,” she said.

    Chair of the American Heart Association’s 2025 high blood pressure guideline writing committee released last month, Daniel Jones, M.D., FAHA, said, “This study highlights the importance of using accurate images to demonstrate the proper technique for measuring blood pressure. Home blood pressure monitoring is recommended for patients to help confirm an office diagnosis of high blood pressure and to monitor, track progress and tailor care as part of an integrated care plan.” Jones, who was not involved in this study, is also a past volunteer president of the American Heart Association (2007-2008) and currently dean and professor emeritus of the University of Mississippi School of Medicine.

    The American Heart Association has resources to help people learn proper blood pressure measurement techniques.

    The study has several limitations. Some images were incomplete; for instance, less than a quarter of them showed whether the person had their feet crossed or flat on the floor. If these details were clear, it might affect accuracy levels. Although the included photos were not penalized based on features that were not visually assessable, the findings may be affected. Additionally, the stock images used in this study were probably not created with the International Consensus Guidelines in mind. So, any errors found likely do not stem from an intentional misrepresentation of proper technique, yet these are the images that are typically used by the media and website developers.

    Study background and details:

    • The analysis used a Google search conducted on July 22, 2024, to identify a comprehensive list of 11 major online stock photo sites (123rf, Adobe Stock, Alamy, Bigstockphoto, Dreamstime, Flickr, Freepik, Getty Images, iStock, Pikwizard and Shutterstock).
    • The first 100 photos from each online stock photo site were downloaded for further screening. Stock photo sites with more than 10% duplicate images were excluded. Cartoon or fictional images, AI-generated images or photos without people were also excluded.
    • Of 121,000 images, 1,106 photos identified with the search term “blood pressure check” in adults were each reviewed by two reviewers. Overall, about 63% of the images were in a physician’s office or hospital, while about 37% showed home blood pressure monitoring in a home setting.
    • Blood pressure measurements were performed by a health care professional in 72.8% of the photos, 24.5% were done by the patient and 2.7% were taken by other people.
    • Conflicts (reviewers not agreeing) of each online image were resolved in two stages. First, two reviewers independently examined the stock photos, then met as a group to discuss the screening criteria and determine if the image accurately depicted correct blood pressure measuring techniques. Blood pressure measurements depicted in the images were checked for accuracy based on: whether the patient or the person taking the measurement was talking or laughing; the patient’s position: sitting, whether their whole forearm was resting on the table, mid-arm at heart level, back supported by a chair, legs uncrossed, and feet flat on the floor; the type of blood pressure measurement device: an electronic upper-arm device instead of a manual device; and the blood pressure cuff: placed on a bare arm.

    “We have noted photos with wrong techniques on the websites of major health organizations and universities. We urge these organizations, media outlets, stock photo creators, web developers, medical journalists, and researchers to take a closer look at their online images. They should check that all images show how to measure blood pressure accurately and represent the proper techniques to reduce the likelihood of incorrect blood pressure readings at home and in clinical settings,” Schutte said.

    Co-authors, disclosures and funding sources are listed in the manuscript.

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