Latest news with #Failure
Entrepreneur
11-07-2025
- Business
- Entrepreneur
Want to Win? Lace Up. It's a Long Climb
Success takes time, failure and a brutal climb. There isn't a shortcut — it's a long, brutal climb that tests your grit, not your speed. Opinions expressed by Entrepreneur contributors are their own. When AC/DC screamed, "It's a long way to the top if you wanna rock 'n' roll," they weren't just talking about music. They were talking about life. About business. About anything that actually matters. Building something like a career, a company or a life you're proud of is not a straight shot. It's a climb. Most people quit before they even lace up their boots. I've lived this. I can tell you there is no elevator - only some steep stairs. The grind will gut-check you When I started in real estate, I thought I was going to take off like a rocket. I thought I was going to crush it because I was hungry. Nope. I was begging people to give me a shot. I was making cold calls, but no one answered. I was burning through my savings, wondering if I was just the punchline in someone else's story. It's not just hard. It's humiliating. That's the climb (I think Miley Cyrus knows what I'm talking about here). The grind isn't supposed to reward you right away. It's supposed to test you. To see if you're serious. There were nights I would sit in my car after another failed showing and ask myself, "Are you done? Or are you gonna keep swinging?" Nobody talks about this part. The grind is where most people quietly disappear. Everybody loves you at the finish line. Nobody cares at mile one. When you're winning, people line up to cheer. They want to high-five you when you cross the tape. They want to be in the photo. When you're losing? When you're figuring it out? When you're working for tips? Crickets. Nobody's watching when you're rehearsing in the garage. Nobody's calling when you're cold and broke and doubting everything. I remember hosting open houses where literally nobody showed up. Just me and the smell of fresh cookies, hoping the scent would sell the house. Those moments? They're lonely. But they're necessary. That's where most people tap out. They didn't realize how long the road really is. Related: How Failing 22 Times Paved the Way to My Success The road is the reward The win isn't what changes you. The road does. You can't microwave success. You can't DoorDash resilience. You have to live it. You have to get up when you're embarrassed. You have to keep going when you're wildly behind. As you might know, I'm a big music collector. I've always loved how music paints a picture, brings emotion, and — most importantly — brings people together. There's a reason AC/DC didn't write, "It's a short way to the top." It's long. It's brutal. It's personal. And it's worth it. The stories are what stick. The deals you chased for years. The connections you built that finally paid off. The nights you went to bed completely drained, and still showed up the next morning. Side note: I have a lot of energy and never drank caffeine. Once I became a dad, I met the most tired version of myself to ever exist. Ever. Still getting to know him to this day, and typically that's over a cup of joe (or three) these days. I used to think the destination would feel better than the process. I learned quickly: The process is where the gold is. Learn to love getting hit Here's a lesson I wish I had learned sooner. You've got to fall in love with the hits. Rejection. Failure. Starting over. That's the currency of growth. Life can often feel like we're more of a punching bag than a human. I know I'm not the only one who understands what that feels like. If you're not getting rejected, you're not in the game. It's a long way to the top. I've been laughed at. I've been told I wasn't good enough. I've been told no so many times I stopped years ago. And that's how I knew I was actually doing something. Related: 5 Lessons I Wish I Didn't Learn the Hard Way During My 20 Years in Business Speed won't always save you I love moving fast. But I build systems that make speed sustainable. Fast without a foundation will collapse. I've built businesses that took years before anyone noticed. I've seen people flame out in six months chasing the shortcut. Speed is exciting. Speed makes you feel like you're winning. But most of the time, you're just building something that can't hold the weight. The long road builds muscle. The long road builds reputation. The long road builds something that can actually hold the weight of success. I don't want fast wins that fall apart. I want to build things that last longer than me. Related: 5 Ways to Spot Trends Before They Explode — and Turn Them Into Growth If you're climbing, you're winning You don't need to be perfect. You just need to keep moving. It doesn't matter if you're on step two or step two thousand. If you're still climbing, you're still in it. You don't have to have it all figured out. You don't have to be the loudest (I recently wrote more on that topic). You just have to keep showing up. Success isn't a party bus. It's a back-alley van you have to push uphill yourself. While walking through quicksand. While juggling. The more ridiculous that sounds, the more accurately I'm describing what the journey feels like. If you're sweating, struggling, still standing? You're already winning. The top isn't some magical place. It's the next step. It's the decision to keep going. Remember, if you're on the long road, good. That means you're exactly where you're supposed to be. Keep going. The top isn't going anywhere.
Yahoo
04-07-2025
- Entertainment
- Yahoo
‘Every Time You Lose Your Mind': '90s Alt-Rockers Failure Talk Their Long-Awaited Documentary and Rewriting Their 'Tumultuous' Legacy
It's rare for a band's second bite of the apple to taste better than the first, but '90s alt-rock outfit Failure continues to be one of the few exceptions. The Los Angeles-based space rockers' decade-in-the-making documentary, Every Time You Lose Your Mind: A Documentary About Failure, chronicles their early '90s origin story, beginning with the fated duo of frontman Ken Andrews and multi-instrumentalist Greg Edwards meeting each other through The Recycler's music classifieds. More from The Hollywood Reporter Universal Music Group, UCLA Launch Berry Gordy Music Industry Scholarship Bob Vylan Lose Visas, Dropped by UTA Following "Death to IDF" Chant at Glastonbury Apple Music Unveils New Culver City Studio Space Andrews, who took over directorial responsibilities for the doc in the middle of the pandemic, then focuses on the band's many ups and downs throughout the production of their first three studio LPs, primarily their third record, Fantastic Planet (1996), which would go on to be widely regarded as a masterwork. Butch Vig, who produced Nirvana's Nevermind, counts it among his top albums of all time. During Fantastic Planet's 1995 recording sessions, heroin invaded the band like it did to so many other groups of that era. Andrews and newly solidified drummer Kellii Scott had formed what could be described as more sociable habits, but the opioid really sunk its teeth into Edwards and refused to release its bite. A watershed moment for the documentary occurred when Andrews discovered chilling footage from 1991 of 20-year-old Edwards expressing interest in trying the drug, while also foretelling just how easy it would be for him to form a heroin addiction. 'When Ken found that first clip that starts the film, I was shocked at just how much insight I had at that age about exactly what ended up happening. It's uncanny to me,' Edwards tells The Hollywood Reporter in support of Every Time You Lose Your Mind's Hulu release. Amid their collective haze in 1995, the band knew that they were crafting the finest work of their young career, but one of several impending death knells happened toward the end of their Fantastic Planet sessions. Their record label, Slash Records, shelved the album's release indefinitely amid an effort to sell itself. This unwelcome news sent the band spiraling further into the throes of depression and addiction, and they spent 18 months questioning whether their magnum opus would ever see the light of day. In August 1996, Slash's then-distribution partner, Warner Bros. Records, finally put the album out themselves, and despite being received with critical acclaim, Fantastic Planet wasn't pushed to the degree that it should have been, resulting in unimpressive chart and sales figures. Meanwhile, Edwards was now a shell of his former self, raising major concerns about whether he'd be able to sustain himself as the band toured in support of their much-delayed record. (Andrews has stated many times since then that Edwards still managed to deliver strong live performances.) In hindsight, Andrews, Edwards and Scott are relieved that Fantastic Planet didn't receive a more robust commercial response. 'I've always thought that if we had gotten more radio airplay or more success [in '96 and '97], it might not have been a good thing,' Andrews says, with Edwards adding, 'Yeah, I probably wouldn't be here.' In late 1997, Andrews disbanded Failure. The straw that broke the camel's back was when Edwards missed a second consecutive writing session due to falling asleep at the wheel and crashing his car into a series of parked cars at an L.A. Nissan dealership. Each member had their own crosses to bear in the following years, but they all went on to have productive music careers. Scott joined some notable bands before becoming a successful session drummer. Edwards gradually got clean and co-founded the alt-rock band Autolux in 2001. And Andrews launched several musical projects until making a name for himself as one of the industry's most in-demand mixers, engineers and producers. During their absence, the band's legacy quickly began to evolve, especially as the internet and file sharing took off. They soon achieved cult status, underscoring their existing reputation as 'your favorite band's favorite band.' Failure was previously one of the only bands that L.A. alt-metal band Tool championed and took under their wing. Tool and A Perfect Circle frontman Maynard James Keenan reinforced his support when he helped cover Failure's 'The Nurse Who Loved Me' on A Perfect Circle's platinum-selling second album, Thirteenth Step, in 2003. The Hayley Williams-led Paramore would also follow suit with a cover of Failure's 'Stuck on You' in 2006. (Williams and Andrews recently performed Failure's 'Daylight' at a benefit for L.A. wildfire relief.) The tide ultimately turned in 2010 when Andrews and Edwards both became fathers at roughly the same time. Various social engagements involving their families eventually led them to pick up instruments, and by 2013, they knew full well that they could still write music that's worthy of the Failure name. That's when they called Scott with the good news, and the trio first set out to book an L.A. reunion show in 2014. The event sold out in minutes, something their '90s iteration could never boast. In 2015, after 19 years between LP releases, the band released their comeback album, The Heart Is a Monster, to even more critical praise. Currently, they're putting the finishing touches on their seventh studio record and fourth, post-revival, topping their '90s output. Andrews admits that even he's a bit amazed that Failure has been able to pick up where they left off, musically, but above all, he's most grateful for their live audiences consisting of younger generations and varied demographics. 'To walk out on stage and see those young faces is a gift that I was not expecting,' Andrews says. Below, during a recent conversation with THR, each member of Failure offers their unique perspective on the demise and rebirth of the band, before adding context to some key moments from Every Time You Lose Your Mind. *** Every time I talk to David Dastmalchian, I ask him for updates on Failure, and in March of 2024, he told me that he introduced you guys to Hulu's head of scripted content, Jordan Helman. Is David's matchmaking a big reason why we're now talking about a Hulu/Disney+ release of your long-awaited documentary? KEN ANDREWS (Vocals, Multi-instrumentalist, Co-Lyricist) Absolutely. It was a very fortuitous thing. I had David over to help me with the edit, and he was like, 'To be honest, Ken, I don't really have that much time in my schedule right now to help you because I'm shooting all these movies simultaneously. But I want to introduce you to a guy who knows a lot about your band, and he knows a lot about story.' So Jordan and I just hit it off, and he was instrumental in crafting the story of the movie. He helped me get a three-plus-hour cut down to two hours that really flowed. Ken, you took over the director's chair during the pandemic, and whenever an artist is in charge of their own doc or biopic, there's usually a concern that they will sanitize their story. But that's really not an issue here because you guys have always been brutally honest about the gory details of Failure. Did you have a similar rationale when you took the reins? ANDREWS Yeah, and I had seen YouTube videos about our band being tumultuous, so it wasn't that big of a secret that we've had our issues. When I saw the interviews that were already shot [by the previous directors] — including Margaret Cho's interview where she went into detail about her opinions on the connection between addiction and creativity — that's when a lightbulb went off in my head. We've had a lot of problems with addiction, but we've also been creative through those problems. So it's just an interesting, complicated topic, and I basically just wanted to present the situation for people to take it in on their own. Some interviews go all the way back to 2016? ANDREWS Yeah, the first directors picked away at it over the course of five years. They'd grab interviews when they could, but once the pandemic hit, it just became impossible for them to finish the movie. So that's when we first got to see the footage that they had already captured. To be honest, I probably wouldn't have started a documentary on my own, but once I saw some of that footage, I knew that there were a bunch of other interesting people that might have something to say about the band and the topics that course through the band. So that's when I realized, 'Yeah, we probably have a movie here.' But it basically took ten years to shoot all the interviews. We had an album interruption and a concert film, but then we finally started editing the film two years ago. Greg, the opening reel of your 20-year-old self sent a chill down my spine. When you first saw that footage, did you try to reach through the screen to deter your young self from ever considering heroin? GREG EDWARDS (Multi-instrumentalist, Vocals, Co-Lyricist) Yeah, part of me would like to do that, but the larger part of me just accepts that it is my story. It is what happened. When Ken found that first clip that starts the film, I was shocked at just how much insight I had at that age about exactly what ended up happening. It's unreal. It's uncanny to me. ANDREWS I had gone through that footage twice before, but I had not picked up on that conversation. I skimmed it and was maybe writing some emails at the same time or something. But then I went through it again, and I heard [former Failure drummer] Robert [Gauss] go, 'So what are you thinking about heroin these days?' And I was like … (Andrews mimics how he sat straight up with eyes widened.) That's when I finally decoded everything that was being said, and it became a turning point in the documentary. Was this footage part of a more recent discovery? ANDREWS Yeah, I had a Sony Handycam that I had basically taken from my parents, and I was just randomly shooting stuff during that period [in the early '90s]. I wasn't even thinking about what we were going to use it for, but we thought that it would be fun to just shoot stuff and look at it later. But I never really looked at it later. And then, when we were editing the documentary, I went through some closets and found some old videotapes. Of course, they were in formats that don't really exist anymore, so I had to go on eBay and buy some old tape machines that could play them back. But that's when I started finding all this interesting stuff. Robert actually filmed that shot. EDWARDS He filmed me while he asked me that question? ANDREWS Yeah, he was interviewing you. You can hear my voice as I'm talking to a friend in another part of the room, but I didn't know that your conversation had gone down at all until 30 years later. Greg, when you hear all these stories about yourself in the doc, does it sometimes feel like they're describing a stranger? Or do you still feel connected to that version of yourself? EDWARDS In certain ways, I still feel very connected. It's also really difficult for me to get in touch with how dangerously and carelessly I was living every day for a stretch of time. It just stresses me out to even think about it now. So that part of it I don't understand, but as Ken was saying, when Margaret speaks so eloquently about the connection between being creative and being an addict, I don't reject that at all. There's an obsessiveness to the creative process that is exactly the same energy that goes into an addiction and the lifestyle of keeping up an addiction. Sometimes, they converge in a way that can create beautiful things, and sometimes, they can disentangle where one takes over. Kellii, the upbeat energy you brought to the band on and off your drum kit seems to be incredibly valuable. When things got heavy between Ken and Greg back in the day, did you view yourself as the person who needed to break the tension or mediate? KELLII SCOTT (Drummer) No, not with that type of clarity. That's just my personality, and I act that way in every landscape. It just so happens that that is where I fit in with this group of people. But I don't think I was consciously walking around, going, 'Oh, I've got to do this again.' That's just how my personality fit within the band, and it was definitely very necessary. You don't really even know that you necessarily need both of those things until they're there. All three of you are older and more equipped to handle conflict now. Do you encounter present-day situations where you know they would've been much a bigger ordeal in the '90s? SCOTT We still have arguments. We're people. But as you touched on, we certainly had a lot less tools as individuals back in the day. Some of the things we argued about were probably a bit sillier or really didn't matter all that much. But we've talked about our relationship going forward, and the only thing that's changed is we've all had major experiences in our lives. So, for the most part, we understand how precious it is that we're able to make music again after all these years. Your partner, Priscilla Chavez Scott, is another unsung hero behind this documentary. She captured a lot of the materials throughout the piece? SCOTT Yeah, she did a lot of shooting. There's also a bunch of fan stuff that she captured when we were on the road doing the concert film [in 2022]. As soon as we would finish the shows, she would run outside and interact with the fans. But, yeah, she really stepped up. Before this, she was doing still photography. So she and Ken worked great together, and she learned a lot of new stuff doing this. There's a moment where you deliver a very pointed message to some people, and then you flip off the camera. It was in regard to Ken having to be the band's first line of defense. Are you able to shed a little more light on what you were referencing there? SCOTT Not specifically, but there are definitely moments riddled through our career where he needed to push back on something dumb being said by someone, usually business people or people trying to get a better deal than the band. He was usually just sticking up for the band and making sure we got the best shake possible. Your former guitar player, Troy Van Leeuwen, tells a story involving Stone Temple Pilots that knocked me sideways, to say the least. I won't specify so the readers can have the same experience upon watching, but did that account make some executives pretty nervous? ANDREWS There was a little bit of concern. We had to go through a whole process of vetting the film for legal stuff, and that definitely came up. But we spoke to some people in that world who were like, 'No, you're fine. You're good.' I'm friends with the existing members of Stone Temple Pilots. It didn't really happen for us together in the '90s; they soared ahead of us in terms of crowd size and popularity and whatnot. But there was always this connection between the two bands, and just the other day, [STP guitarist] Dean [DeLeo] sent me a video of him and Scott [Weiland] doing a TV interview before an [STP] show in '93. And they were asked about what bands to listen to, and Scott just went off about Failure for five minutes. So I think [the story] just points to a little bit of the craziness that was going on during those years for both bands. When record producer/engineer Steve Albini passed away last year, did you review his footage again just to make sure you left no stone unturned? (Note: In 1992, Albini produced Failure's debut record, , shortly before he did the same for Nirvana's third LP, .) ANDREWS Yeah, I did. We're doing another version of the film that is more extended, and there's a lot more extended stuff of Steve. Most of his headier stuff about the music business is actually in the [current] film. He was so entertaining to listen to when he'd start waxing on about that stuff, but there's tons of other stuff. His memory was way better than mine about the recording techniques that he offered up during the making of Comfort. But that was a crazy moment because he passed right after we interviewed him. Greg, one of the most tragicomic stories I've ever heard is your 'bread mix' story from 2004'sdocumentary, which I now consider to be a proof of concept for this doc. In 1997, your mailing system failed you at a particular tour stop, and so you sent a crew member out to find opioids of some kind, only he came back with bread mix that you still ingested. EDWARDS Yeah, I don't know what it was exactly, but I'm hoping it was bread mix at this point. (Laughs.) Was that story ever going to be retold for this doc? Or would that have been overkill given all the other related stories? EDWARDS Yeah, it didn't come up, maybe because it had already been told. I haven't thought of that story in a while. I knew a hundred percent that it was not a drug that was going to get me high, and yet it was like Russian roulette. Carson Daly introduced me to you guys via KROQ, and oddly enough, I also heard about the break-up from him when he was brand new to MTV in 1997. Did anyone reach out to him for the sake of the doc? ANDREWS He hung around back then. He was at a lot of our shows, and he introduced us a few times when we played live. But then his career took a different path and we lost touch with him. SCOTT I've tried to reach out to him a couple times and had no luck. I'm still really good friends with Zeke Piestrup from KROQ. We used to hang out with Carson a lot at the old Opium Den, and that's kind of where we first met him. Speaking of KROQ, I also remember hearing your appearance on . (Note: Spanning nearly four decades, was a popular call-in radio program that offered relationship and medical advice.) EDWARDS The Loveline thing is funny. I was home alone at my house in whatever [mental] state I was in, and I was listening to KROQ. All of a sudden, Loveline came on, and it was with Failure. ANDREWS & EDWARDS & SCOTT (Laugh.) EDWARDS It was you guys [and guitarist Troy Van Leeuwen]. You hadn't even told me about it. SCOTT We were in the midst of breaking up. ANDREWS Yeah, it was the peak. EDWARDS Yeah, I had no sense of anything. I was just shocked. I couldn't understand why I hadn't been told about it. I guess you just didn't want to deal with me. ANDREWS Well, it was actually the manager [Warren Entner]. SCOTT We had also just done the 'Enjoy the Silence' cover, and that was a big clusterfuck. So we were meeting our last few obligations. ANDREWS There was discussion of not doing it. SCOTT Yes, there was, and I think we were told, 'You have to do it. It's Loveline.' ANDREWS Yeah, Warren was pretty concerned. EDWARDS I was just so unaware of the state of things, and I was just shocked that you guys would do it. SCOTT It's surprising that we did it, because, in the background, things were already coming off the tracks. EDWARDS But I was completely unaware of that too. You reunited in 2013 after 16 years away, and overall, you guys have now been able to rewrite your legacy in a way that so many of your contemporaries were unable to do because of tragedy. Is it a relief to no longer ask yourselves, 'What could have been?' ANDREWS Yeah, that's part of the reason why we put so much effort into this documentary. It was to clarify our story and maybe get some closure on some of the regrets and mistakes. EDWARDS I've never really asked myself that. SCOTT After the band broke up, I had a pretty thorough descent into hell. And part of what I needed to do to get out of that and become at peace with everything was by reconciling the past. So when Ken called me [in 2013] and was like, 'Greg and I have been hanging out and writing music,' I didn't really have to struggle with that kind of stuff. It almost seemed like it should have happened that way. I had literally just dropped the proverbial rock on having such strong feelings about what could have been or what if and all of that garbage. Those questions do nothing but hold you back. You can't move forward if you're living in those questions. So it was something that I had to deal with long before the band even got back together, and it definitely made getting back together a lot more free and enjoyable, without having to be constantly dragged around in this new relationship by the baggage of the past. ANDREWS I've always thought that if we had gotten more radio airplay or more success [in '96 and '97], it might not have been a good thing. SCOTT Be careful what you wish for. EDWARDS Yeah, I probably wouldn't be here. In terms of the work that we created [in the '90s] and the work we've continued to create and the way it's been received by the fans, there's just no regret there. It's done everything I could ever hope for. There could be more people that are aware of it, but the actual art that we've created has even outperformed what I could ever hope for. Yeah, you're one of the few revivals that isn't resting on laurels and operating as a legacy act. Your new music is a logical next step from where you left off in '96, and I probably listen to the new stuff more than the old stuff now, granted I had 20 years with the '90s material. Are you surprised at all that you've been able to make music that's just as vital? ANDREWS I'm surprised. What I'm the most surprised by and the most inspired by is the whole different generation of kids who discovered Fantastic Planet and the newer albums simultaneously. They didn't really know anything about the band breaking up; they just thought it was a band. So to be older now and see younger versions of ourselves discovering our music is so gratifying. And to walk out on stage and see those young faces is a gift that I was not expecting. I've been reading the tea leaves for the last six or seven months, and it appears you're on the verge of finishing your seventh record. The second era of the band will officially have more output than Failure 1.0. What can you say at this juncture? ANDREWS We're finishing it. That's definitely true. We've got a good solid album worth of songs, and we're mixing. When I'm at this point in the process, I don't have a ton of objectivity on where the album fits in the timeline of the band. I just know it feels good, and I know I like the songs. But it's hard to know how it's going to land for people. Are the segues between songs back? ANDREWS There's some extended intros, but they're not defined as 'segues.' SCOTT We don't actually use that word on the record. EDWARDS When we made our first three records, there was zero concern to the running time because vinyl was gone. Nobody bought vinyl, nobody pressed vinyl, and a CD could handle 74 minutes. But now, vinyl is a real thing again. It's a real thing that we think about when we're making a record. All the classic Beatles records are right around 38 or 40 minutes, and that's what vinyl can handle before you start losing frequency response. So segues can really eat up that time on vinyl. Do you want to have a few nice segues? Or do you want the songs to sound full and big? ANDREWS I like the challenge of making a concise record that fits on one vinyl disc. I guess it's because so many of my favorite albums did that, and while it is an arbitrary technological number, it influenced the creativity and how people thought about records: 'What are you going to start side B with?' That was a big consideration. And because we've had so much success with vinyl in the rebooted version of the band, it's just something that's on our minds. Are you done reinterpreting the b-sides à la 'Petting the Carpet' and 'Pennies'? ANDREWS I don't know if we're done, but I feel like we've maybe picked some of the best ones. So we're not revisiting the past on this record, although we are actually rehearsing some of those older songs right now and reinterpreting them for an acoustic set [at 6/26's documentary premiere]. Lastly, Greg's sister, Julie Edwards, commented in the doc about the one-two punch of 'Heliotropic' and 'Daylight' to conclude (1996). What's your favorite run from the newer material? EDWARDS 'Long Division' into 'Bad Translation' into 'Half Moon,' those three [from Wild Type Droid] transition really nicely. ANDREWS We really spend time on sequence. In fact, we're still haggling over sequence on the new record. It's like songwriting for us. We really listen to the transitions and feel the pacing. It's very important to us. SCOTT In the Future's 'Force Fed Rainbow' and 'The Pineal Electorate' would be mine. 'Force Fed Rainbow' is one of my favorite songs of all the new stuff, and I believed that even more when we played it live for the first time on our last tour. It just crushed me every night. I actually think the last four songs on In the Future … are equal to the last four songs on Fantastic Planet. Besides those two, I also appreciate transition of 'A.M. Amnesia' into 'Snow Angel.' ANDREWS Yeah, I love the intro to 'A.M. Amnesia' and the beginning of that album. Dean from STP was just telling me that every time he gets into his car, it [alphabetically] programs 'A.M. Amnesia' to play first [because it's paired to his phone's library]. And [the loud intro] kills him because he always has his stereo volume set loud from the previous drive. ANDREWS & EDWARDS & SCOTT (Laugh.) EDWARDS The first thing that plays every time I get in the car is the soundtrack from Amélie. ***Every Time You Lose Your Mind: A Documentary About Failure is now streaming on Hulu and Hulu on Disney+. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts
Business Wire
25-06-2025
- Health
- Business Wire
Cardiosense Announces Publication of SEISMIC-HF I Study Results in the Journal of the American College of Cardiology: Heart Failure
CHICAGO--(BUSINESS WIRE)-- Cardiosense, a medical AI company transforming the management of cardiovascular disease, today announced the publication of results from its SEISMIC-HF I study in the Journal of the American College of Cardiology: Heart Failure (JACC: Heart Failure). The study demonstrates the ability of Cardiosense's novel machine learning (ML) algorithm to noninvasively estimate pulmonary capillary wedge pressure (PCWP) in patients with heart failure with reduced ejection fraction (HFrEF). The prospective, multi-center SEISMIC-HF I study enabled the development and evaluation of Cardiosense's ML algorithm in 310 patients with HFrEF undergoing right heart catheterization (RHC). The study population enrolled a diverse set of participants with demographics and clinical characteristics reflective of the broader population with HFrEF to ensure ML models generalize across all patients. Patients enrolled in the study wore the CardioTag device–a multi-modal sensor that captures seismocardiogram (SCG), electrocardiogram (ECG), and photoplethysmogram (PPG) signals–on their sternum during the RHC procedure used to provide gold standard assessment of an individual's PCWP. Key findings from the 15-site study show that the device: Estimated absolute PCWP values with accuracy on par with implantable hemodynamic sensors, suggesting that Cardiosense's noninvasive, AI-enabled technology has the potential to increase access to hemodynamic-guided care. Demonstrated a consistent performance across sex, race, ethnicity, and body mass index. Additional analysis available in the full manuscript, titled 'Noninvasive Pulmonary Capillary Wedge Pressure Estimation in Heart Failure Patients With the Use of Wearable Sensing and AI,' available now in JACC: Heart F ailure. "Heart failure management remains one of our most significant clinical challenges and most promising opportunities to directly impact patient outcomes," said Liviu Klein, MD, MS, Section Chief of Advanced Heart Failure, Mechanical Circulatory Support, Pulmonary Hypertension, and Heart Transplant at UCSF, lead author on the study and lead clinical advisor for Cardiosense. "We know that hemodynamic-guided care reduces hospital readmissions and mortality, yet routine cardiac pressure measurements remain inaccessible due to cost and risk. SEISMIC-HF I is a critical advancement toward the quest for noninvasive technology delivering on the promise of fast, safe, and accessible pressure-guided heart failure management.' Initial results from Cardiosense's SEISMIC-HF I study were presented as Late-Breaking Science at the American Heart Association's 2024 Scientific Sessions. 'This analysis marks a real milestone in our journey to revolutionize heart failure management with our proprietary AI technology that leverages noninvasive sensor data to deliver critical information on cardiac function,' said Omer Inan, PhD, Cardiosense Co-founder and Chief Scientific Officer. 'The results are a culmination of more than a decade of research and a testament to the cross-disciplinary collaboration from our team of medical and clinical experts, data scientists, and engineers.' For the latest news and information, follow Cardiosense on X and LinkedIn, or visit: About Cardiosense Cardiosense is a leading medical AI company redefining how we detect, monitor, and manage cardiac disease. Built on over a decade of clinical and scientific research, the company is developing novel wearable sensors and machine learning algorithms that translate raw physiological signals into clinically actionable parameters to detect early signs of cardiac disease, guide personalized therapy, and improve patient outcomes. The CardioTag device is an investigational device limited by federal law to investigational use. The CardioTag device is not available for commercial distribution. PCWP Analysis Software is an investigational device limited by federal law to investigational use. PCWP Analysis Software is not available for commercial distribution.
Associated Press
22-05-2025
- Health
- Associated Press
Two decades of progress in heart failure care
( NewMediaWire ) - May 22, 2025 - DALLAS — Hospitalized heart failure patients in the United States are living longer and receiving more optimized evidence-based care, according to new research drawn from nearly two decades of data in the American Heart Association's Get With The Guidelines(R) - Heart Failure registry. Launched in 2005, the Get With The Guidelines - Heart Failure program was created to improve care for people hospitalized with heart failure, a condition that led to the death of about one in three patients within a year. Today, more than 600 hospitals across the country are part of this effort to save lives. The program has helped close persistent care gaps through data-driven benchmarking, hospital toolkits, workshops, webinars and recognition programs, all aimed at accelerating adoption of evidence-based guideline-recommended therapies. 'The Get With The Guidelines program continues to be a cornerstone for improving heart failure care,' said Sabra Lewsey, M.D., MPH, volunteer chair of the American Heart Association's Heart Failure Systems of Care Committee and assistant professor of medicine at Johns Hopkins Medicine. 'Its impact on long-term survival demonstrates how quality improvement efforts can transform patient trajectories.' The research manuscript, published in Circulation: Heart Failure, details how hospitals engaged in the program consistently outperform peers on heart failure process measures and patient outcomes, even after adjusting for variables like hospital size and geographic region. Notably, lower 30-day risk-standardized mortality rates at participating hospitals correlate with significantly better long-term survival for people with heart failure. Insights from the program have helped shape modern understanding of the disease. Among other findings, Get With The Guidelines - Heart Failure data challenged longstanding assumptions that individuals with preserved left ventricular ejection fraction had more favorable prognoses — a discovery that spurred new lines of clinical investigation and public health strategy. Despite measurable progress, challenges remain. 'Heart failure mortality is still too high, and far too few people receive the full benefit of available, evidence-based therapies,' said Gregg Fonarow, M.D., FAHA, longtime American Heart Association volunteer who helped to establish the program. Fonarow is also interim chief of the division of cardiology, director of the Ahmanson-UCLA Cardiomyopathy Center, co-director of the Preventative Cardiology Program and the Eliot Corday Chair in Cardiovascular Medicine and Science at the University of California, Los Angeles. 'This legacy quality improvement program improves the health care landscape for heart failure and serves as a guidepost for other cardiovascular and stroke conditions.' The research authors note that Get With The Guidelines - Heart Failure registry remains a robust engine for future research, now with more than 170 peer-reviewed publications, nearly half of which appear in high-impact journals. 'This program is no longer a data repository but a nexus for outcomes sciences, data science, and implementation science, all of which now drive innovations in personalized care, inform national policy, and strengthen hospital systems across the country,' said Clyde W. Yancy, M.D., FAHA, past volunteer president of the American Heart Association (2009–2010) and chief of cardiology in the department of medicine at Northwestern University's Feinberg School of Medicine, in Chicago. Yancy was also instrumental is championing the development of the Get With The Guidelines program. Additional Resources: ### Statements and conclusions of studies published in the American Heart Association's scientific journals are solely those of the study authors and do not necessarily reflect the Association's policy or position. The Association makes no representation or guarantee as to their accuracy or reliability. The Association receives funding primarily from individuals; foundations and corporations (including pharmaceutical, device manufacturers and other companies) also make donations and fund specific Association programs and events. The Association has strict policies to prevent these relationships from influencing the science content. Revenues from pharmaceutical and biotech companies, device manufacturers and health insurance providers and the Association's overall financial information are available here. About the American Heart Association The American Heart Association is a relentless force for a world of longer, healthier lives. Dedicated to ensuring equitable health in all communities, the organization has been a leading source of health information for more than one hundred years. Supported by more than 35 million volunteers globally, we fund groundbreaking research, advocate for the public's health, and provide critical resources to save and improve lives affected by cardiovascular disease and stroke. By driving breakthroughs and implementing proven solutions in science, policy, and care, we work tirelessly to advance health and transform lives every day. Connect with us on Facebook, X or by calling 1-800-AHA-USA1. For Media Inquiries: 214-706-1173 Michelle Rosenfeld: 214-706-1099; [email protected] For Public Inquiries: 1-800-AHA-USA1 (242-8721) and
Yahoo
14-05-2025
- Yahoo
Richmond Co. Deputy apprehends burglary suspect in traffic stop
AUGUSTA, Ga. (WJBF) – On May 12th, around 4:21 p.m., Deputy Noah Johnson with the Richmond County Sheriff's Office Crime Suppression Team conducted a traffic stop on a green 1998 Buick LeSabre with a paper tag at the intersection of Apple Valley Drive and Mike Padgett Highway. The driver, identified as 46-year-old Antonio Rodiquez Tyler, was found to have an outstanding warrant for Burglary in the Second Degree related to a November 2024 incident at Burger King located at 1601 Gordon Highway. He also had a Felony Failure to Appear warrant and was immediately taken into custody. Further investigation by the Criminal Investigations Division (CID), along with observations made during the traffic stop, led to two additional charges of Burglary in the Second Degree. These charges stem from break-ins that occurred on May 11, 2025, at the Chevron gas station at 902 Walton Way and the Dollar General store at 3036 Peach Orchard Road. 'Traffic stops do more than just slow down speeders—they often lead to the apprehension of individuals wanted for serious crimes,' stated Sheriff Eugene Brantley. 'We are proud of the proactive work our deputies continue to do. This case is a great example of how situational awareness, training, and sharp investigative instincts come together to remove criminals from our streets. We remain committed to ensuring that all Augustans and visitors feel safe and are safe throughout our community.' Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
