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Can Admissions to the E.R. be Reduced by Tackling Loneliness?

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Publishers Note: Contemporary "Health care" in America is more about "Sick Care" than preventing the problems and outcomes that lead up to sickness and disease.  At Mobilized, we are focusing on constructive solutions for a healthier society, helping to raise the consciousness of our collective humanity one story at a time.
It could, if the results stand up, be one of the most dramatic medical breakthroughs of recent decades. It could transform treatment regimes, save lives, and save health services a fortune. Is it a drug? Is it a device? Is it a surgical procedure? No, it’s a newfangled intervention called community.

By George Monbiot

This week, the results from a trial in the Somerset town of Frome are published informally, in the magazine Resurgence & Ecologist. (A scientific paper has been submitted to a medical journal and is awaiting peer review). We should be cautious about embracing data before they are published in the academic press, and must always avoid treating correlation as causation. But this shouldn’t stop us feeling a shiver of excitement about the implications, if the figures turn out to be robust, and the experiment can be replicated.

What these provisional data appear to show is that when isolated people who have health problems are supported by community groups and volunteers, the number of emergency admissions to hospital falls spectacularly. While across the whole of Somerset, emergency hospital admissions rose during the three years of the study by 29%, in Frome they fell by 17%. Julian Abel, a consultant physician in palliative care and lead author of the draft paper, remarks that “no other interventions on record have reduced emergency admissions across a population.”

Frome is a remarkable place, run by an independent town council famous for its democratic innovation. There’s a buzz of sociability, a sense of common purpose and a creative, exciting atmosphere quite different from that of many English market towns, and, for that matter, quite different from the buttoned-down, dreary place I found when I first visited, 30 years ago.

The Compassionate Frome project was launched in 2013 by the town’s GP, Helen Kingston. She kept encountering patients who seemed defeated by the medicalisation of their lives: treated as if they were a cluster of symptoms rather than a human being who happened to have health problems. Staff at her practice were stressed and dejected by what she calls “silo working”.

So, with the help of the NHS group Health Connections Mendip and the town council, her practice set up a directory of agencies and community groups. This let them see where the gaps were, which they then filled with new groups, for people with particular conditions. They employed “health connectors” to help people plan their care and, most interestingly, trained voluntary “community connectors” to help their patients find the support they needed.

Sometimes this meant handling debt or housing problems, sometimes joining choirs or lunch clubs or exercise groups or writing workshops or men’s sheds (where men make and mend things together). The point was to break a familiar cycle of misery: illness reduces people’s ability to socialise, which leads in turn to isolation and loneliness, which then exacerbates illness.

This cycle is explained by some fascinating science, summarised in a recent paper in the journal Neuropsychopharmacology. Chemicals called cytokines, which function as messengers in the immune system and cause inflammation, also change our behaviour, encouraging us to withdraw from general social contact. This, the paper argues, is because sickness, during the more dangerous times in which our ancestral species evolved, made us vulnerable to attack. Inflammation is now believed to contribute to depression: people who are depressed tend to have higher cytokine levels.

 


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But, while separating us from society as a whole, inflammation also causes us to huddle closer to those we love. Which is fine – unless, like far too many people in this age of loneliness, you have no such person. One study suggests that the number of Americans who say they have no confidant has nearly tripled in two decades.

In turn, the paper continues, people without strong social connections, or who suffer from social stress (such as rejection and broken relationships) are more prone to inflammation. In the evolutionary past, social isolation exposed us to a higher risk of predation and sickness. So the immune system appears to have evolved to listen to the social environment, ramping up inflammation when we become isolated, in the hope of protecting us against wounding and disease. In other words, isolation causes inflammation, and inflammation can cause further isolation and depression.

Remarkable as Frome’s initial results appear to be, they shouldn’t be surprising. A famous paper published in PloS Medicine in 2010 reviewed 148 studies, involving 300,000 people, and discovered that those with strong social relationships had a 50% lower chance of death across the average study period (7.5 years) than those with weak connections. “The magnitude of this effect,” the paper reports, “is comparable with quitting smoking”. A celebrated study in 1945showed that children in orphanages died through lack of human contact. Now we know that the same thing can apply to all of us.

Dozens of subsequent papers reinforce these conclusions. For example, HIV patients with strong social support have lower levels of the virus than those without. Women have better chances of surviving colorectal cancer if they have strong connections. Young children who are socially isolated appear more likely to suffer from coronary heart disease and type II diabetes in adulthood. Most remarkably, older patients with either one or two chronic diseases have no greater death rates than those who are not suffering from chronic disease – as long as they have high levels of social support.

In other words, the evidence strongly suggests that social contact should be on prescription, as it is in Frome. But here and in other countries, health services have been slow to act on such findings. In the UK, we have a minister for loneliness, and social isolation is an official “health priority”. But the silo effect, budget cuts and an atmosphere of fear and entrenchment ensure that precious little has been done.

Helen Kingston reports that patients who once asked “what are you going to do about my problem?” now tell her, “this is what I’m thinking of doing next”. They are, in other words, no longer a set of symptoms, but people with agency. This might lead, as the preliminary results suggest, to fewer emergency admissions and major savings to the health budget. But even if it doesn’t, the benefits are obvious.

www.monbiot.com

Source: The Author, George Monbiot

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Editorials

Welcome to the New Powered by You: An Evolution in Media Whose Time is Now

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January 16, 2022

Hello,

Every day, I wake up and ask myself a question: How can we create the future when the world is upside down?

If we look at the “corporate” news, that is, the stories paid for by advertisers and large corporations, one would want to crawl back into bed.  But in reality, there is something brewing under the radar, that is, unless, one focuses on the next generation of systems and services that’s emerging.

Our world is changing. And with these changes, there is an increased demand for relevant knowledge to guide us towards optimal health and well-being for people and the planet.

But the ways of the past are not capable of bringing us to a healthier tomorrow.

While it seems that the world is turned upside down, in reality, we are going through the largest seismic shift in our lives.  

While some people are looking to fix potholes, there are those of us who are building better roads; better paths;   

As the corporate and political worlds try to maintain their stranglehold on public systems, services and policies, there is a whole new world being born, a world where systems are based on natural synergy, equilibrium—balance and integrity.   

As we are experiencing the end of a civilization based on greed and plundering natural resources, people have woken up to the reality that the greatest natural resource is a well-informed public, and the convergence of technologies and system change has opened up a rare one time ina lifetime world where we the people can come together and unite and consciously create the systems, services and policies that serve all life–including the health of our planet, with systems, services and polcies that are dedicated to prosperity without harming our beautiful blue planet.

The age of enlightened conscious creativity.

We have an important choice to make: 

We can continue as we have been going, putting our trust in failed leadership and their systems driving us off a cliff, 

Or we can come together, united in Solidarity for the health of all life.   

What if we can harness collective power and wisdom to create a healthier planetary co-existence?

Mobilized is a nationally broadcast Television series with weekly conversations and a collaborative website dedicated to overcoming our misunderstandings to work and co-exist better together.

Please join us as a collaborator in creation.

Thank you.

Steven Jay

 

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Editorials

As the Golden Globes lose their luster, can we create a better version of Hollywood?

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Something interesting is happening in Hollywood. People are walking away from the Golden Globe Awards.

And for good reason.

Anyone who has ever worked in the filthy abyss of Hollywood, New York, or any major entertainment city will know first hand how these systems work. Sycophants, parasites and moguls and talent agents willing to step all over each other just for the sake of another prize. Some will even kill for a shot at the brass ring.  And industry divided cannot succeed.

The only good thing I found in the Golden Globes was watching Ricky Gervais lampoon the stars and their handlers from the stage. Bravo to Gervais, it doesn’t make a difference what you think of him, afterall, he had something that most of Hollywood doesn’t have. Balls. Guts. And a way of delivering amusing reality dosed insults to their face only to find he’s been re-instated as the show host for the next years showing.

 

The annual Golden Globes ceremony has been unable to find a broadcasting partner or any celebrities willing to present or collect its awards after a Hollywood boycott over its diversity and ethics scandal, resulting in a pared-down event with the emphasis on philanthropy.

According to Variety, the Globes’ talent bookers have failed to persuade any big Hollywood figures to attend the 2022 edition of the awards ceremony, a hitherto glittering annual event that traditionally kicked off the lucrative awards season. In March 2021 more than 100 public relations firms announced they would withdraw cooperation with the Globes, a series of high-profile Hollywood figures, including Tom Cruise and Scarlett Johansson, made stinging public criticisms, and TV network NBC cancelled its broadcast of the 2022 edition. (-The Guardian)

 
eguardian.com/film/2022/jan/09/golden-globes-lose-their-shine-as-a-listers-shun-unethical-ceremony

But this years showing not only lacked the luster of Hollywood today, but doesn’t even have a Network or Livestream to cover it.  I guess we’ll have to rely on celeb Twitter Feeds.

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How The Pentagon and CIA Have Shaped Thousands of Hollywood Movies into Super Effective Propaganda

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By David Swanson, World BEYOND War, January 5, 2022

Propaganda is most impactful when people don’t think it’s propaganda, and most decisive when it’s censorship you never knew happened.

 

When we imagine that the U.S. military only occasionally and slightly influences U.S. movies, we are extremely badly deceived. The actual impact is on thousands of movies made, and thousands of others never made. And television shows of every variety.

The military guests and celebrations of the U.S. military on game shows and cooking shows are no more spontaneous or civilian in origin than the ceremonies glorifying members of the U.S. military at professional sports games — ceremonies that have been paid for and choreographed by U.S. tax dollars and the U.S. military. The “entertainment” content carefully shaped by the “entertainment” offices of the Pentagon and the CIA doesn’t just insidiously prepare people to react differently to news about war and peace in the world. To a huge extent it substitutes a different reality for people who learn very little actual news about the world at all.

The U.S. military knows that few people watch boring and non-credible news programs, much less read boring and non-credible newspapers, but that great masses will eagerly watch long movies and TV shows without too much worrying about whether anything makes sense. We know that the Pentagon knows this, and what military officials scheme and plot as a result of knowing this, because of the work of relentless researchers making use of the Freedom of Information Act. These researchers have obtained many thousands of pages of memos, notes, and script re-writes. I don’t know whether they’ve put all of these documents online — I certainly hope they do and that they make the link widely available. I wish such a link were in giant font at the end of a fantastic new film. The film is called Theaters of War: How the Pentagon and CIA Took Hollywood. The Director, Editor, and Narrator is Roger Stahl. The Co-Producers are Matthew Alford, Tom Secker, Sebastian Kaempf. They’ve provided an important public service.

In the film we see copies of and hear quotations from and analysis of much of what has been uncovered, and learn that thousands of pages exist that nobody has yet seen because the military has refused to produce them. Film producers sign contracts with the U.S. military or CIA. They agree to “weave in key talking points.” While unknown quantities of this sort of thing remain unknown, we do know that nearly 3,000 films and many thousands of TV episodes have been given the Pentagon treatment, and many others have been handled by the CIA. In many film productions, the military effectively becomes a co-producer with veto power, in exchange for allowing the use of military bases, weapons, experts, and troops. The alternative is the denial of those things.

But the military is not as passive as this might suggest. It actively pitches new story ideas to movie and TV producers. It seeks out new ideas and new collaborators who might bring them to a theater or laptop near you. Act of Valor actually began life as a recruitment advertisement.

Of course, many movies are made without military assistance. Many of the best never wanted it. Many that wanted it and were denied, managed to get made anyway, sometimes at much greater expense without the U.S. tax dollars paying for the props. But a huge number of movies are made with the military. Sometimes the initial movie in a series is made with the military, and the remaining episodes voluntarily follow the military’s line. Practices are normalized. The military sees huge value in this work, including for recruitment purposes.

The alliance between the military and Hollywood is the main reason that we have lots of big blockbuster movies on certain topics and few if any on others. Studios have written scripts and hired top actors for movies on things like Iran-Contra that have never seen the light of day because of a Pentagon rejection. So, nobody watches Iran-Contra movies for fun the way they might watch a Watergate movie for fun. So, very few people have any notions about Iran-Contra.

But with the reality of what the U.S. military does being so awful, what, you might wonder, are the good topics that do get lots of movies made about them? A lot are fantasy or distortion. Black Hawk Down turned reality (and a book it was “based on”) on its head, as did Clear and Present Danger. Some, like Argo, hunt for small stories within large ones. Scripts explicitly tell audiences that it doesn’t matter who started a war for what, that the only thing that matters is the heroism of troops trying to survive or to rescue a soldier.

Yet, actual U.S. military veterans are often shut out and not consulted They often find movies rejected by the Pentagon as “unrealistic” to be very realistic, and those created with Pentagon collaboration to be highly unrealistic. Of course, a huge number of military-influenced films are made about the U.S. military fighting space aliens and magical creatures — not, clearly, because it’s believable but because it avoids reality. On the other hand, other military-influenced films shape people’s views of targeted nations and dehumanize the humans living in certain places.

Don’t Look Up is not mentioned in Theaters of War, and presumably had no military involvement (who knows?, certainly not the movie-watching public), yet it uses a standard military-culture idea (the need to blow up something coming from outerspace, which in reality the U.S. government would simply love to do and you could hardly stop them) as an analogy for the need to stop destroying the planet’s climate (which you cannot easily get the U.S. government to remotely consider) and not one reviewer notices that the film is an equally good or bad analogy for the need to stop building nuclear weapons — because U.S. culture has had that need effectively excised.

The military has written policies on what it approves and disapproves. It disapproves depictions of failures and crimes, which eliminates much of reality. It rejects films about veteran suicide, racism in the military, sexual harassment and assault in the military. But it pretends to refuse to collaborate on films because they’re not “realistic.”

Yet, if you watch enough of what is produced with military involvement you’ll imagine that using and surviving nuclear war is perfectly plausible. This goes back to the original Pentagon-Hollywood invention of myths about Hiroshima and Nagasaki, and runs right up through military influence on The Day After, not to mention the transformation — paid for by people who throw a fit if their tax dollars help prevent someone freezing on the street — of Godzilla from a nuclear warning to the reverse. In the original script for the first Iron Man movie, the hero went up against the evil weapons dealers. The U.S. military rewrote it so that he was a heroic weapons dealer who explicitly argued for more military funding. Sequels stuck with that theme. The U.S. military advertised its weapons of choice in Hulk, Superman, Fast and Furious, and Transformers, the U.S. public effectively paying to push itself to support paying thousands of times more — for weapons it would otherwise have no interest in.

“Documentaries” on the Discovery, History, and National Geographic channels are military-made commercials for weapons. “Inside Combat Rescue” on National Geographic is recruitment propaganda. Captain Marvel exists to sell the Air Force to women. Actress Jennifer Garner has made recruitment ads to accompany movies she’s made that are themselves more effective recruitment ads. A movie called The Recruit was largely written by the head of the CIA’s entertainment office. Shows like NCIS push out the military’s line. But so do shows you wouldn’t expect: “reality” TV shows, game shows, talk shows (with endless reunifications of family members), cooking shows, competition shows, etc.

I’ve written before about how Eye in the Sky was openly and proudly both completely unrealistic nonsense and influenced by the U.S. military to shape people’s ideas about drone murders. A lot of people have some small idea of what goes on. But Theaters of War: How the Pentagon and CIA Took Hollywood helps us to grasp the scale of it. And once we’ve done that, we may gain some possible insights into why polling finds much of the world fearing the U.S. military as a threat to peace, but much of the U.S. public believing that U.S. wars benefit people who are grateful for them. We may begin to form some guesses as to how it is that people in the United States tolerate and even glorify endless mass-killing and destruction, support threatening to use or even using nuclear weapons, and suppose the U.S. to have major enemies out there threatening its “freedoms.” Viewers of Theaters of War may not all immediately react with “Holy shit! The world must think we’re lunatics!” But a few may ask themselves whether it’s possible that wars don’t look like they do in movies — and that would be a great start.

Theaters of War ends with a recommendation, that movies be required to disclose at the start any military or CIA collaboration. The film also notes that the United States has laws against propagandizing the U.S. public, which might make such a disclosure a confession of a crime. I would add that since 1976, the International Covenant on Civil and Political Rights has required that “Any propaganda for war shall be prohibited by law.”

To learn more about this film, view it, or host a screening of it, go here.

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Mobilized TV on Free Speech TV  takes a deep look at our world, the consequences of human activity on our planet, and how we can reverse and prevent existing and future crises from occurring. Mobilized reveals life on our planet as a system of systems which all work together for the optimal health of the whole. The show delves into deep conversations with change-makers so people can clearly take concerted actions.

Produced by Steven Jay and hosted by Jeff Van Treese.

Mobilized’s TV series Mobilized TV  premieres on Free Speech TV on Friday, October 15, 2021. All episodes appear:

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