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BREMEN ŌĆö┬ĀJake Sahlhoff, 26, of Bremen, is currently undergoing treatment for a rare and aggressive form of eye cancer at the Bascom-Palmer Eye Insititute at the University of Miami, Fla.
Besides the stress that comes with being sick and far from home, Sahlhoff is also concerned with one important thing ŌĆö how to pay for his treatment.
SahlhoffŌĆÖs health insurance plan, through his job at Gurley Leep, is not covering the procedure.
ŌĆ£We left for Florida Aug. 5, and headed in for the first round of chemo Aug. 20,ŌĆØ said JakeŌĆÖs sister-in-law Amber Sahlhoff. ŌĆ£That morning, at 7:30 a.m., the doctor got an email from the insurance company saying that they were denying the treatment, that the treatment is not the standard of care.ŌĆØ
Gurley Leep has a self-funded health plan for its employees, administrated by North America Administrators, a company based in Nashville, Tenn. Phone calls and an email from the Pilot News to the company went unanswered this week, and Gurley LeepŌĆÖs attorney, Michael Nader, said via email that he cannot discuss JakeŌĆÖs case with the media due to HIPAA.
Jake is being cared for at Bascom-Palmer by Dr. Pasquale Benedetto.
Dr. Benedetto plans to remove the cancer in JakeŌĆÖs eye by delivering chemotherapy right to the tumor, then conducting surgery to remove the tumor.
Dr. Benedetto said that JakeŌĆÖs disease is so rare that there is no ŌĆ£standard of care.ŌĆØ
Bascom-Palmer has been named the number one facility in opthalmology in the country by the U.S. News and World Report for nine years in a row, which is part of the reason the Sahlhoff family chose the hospital for Jake.
Only 19 total patients with JakeŌĆÖs disease have been treated at Bascom-Palmer.
ŌĆ£Jake has a very rare tumor of the lacrimal gland,ŌĆØ said Dr. Benedetto. ŌĆ£Myself and (another opthamologist) developed a program to give chemotherapy through an artery. (The patient) gets a very high concentration of the drug, and they get this treatment twice or three times before going into surgery.ŌĆØ
By treating JakeŌĆÖs tumor in this way, rather than cutting out the tumor immediately, Dr. Benedetto said that Jake has a higher chance of survival.
ŌĆ£We think this is a highly-beneficial treatment, and many other ophthalmologists in the country have sent their patients here for this treatment,ŌĆØ said Dr. Benedetto. ŌĆ£WeŌĆÖve never had an insurance company deny coverage, including for one patient from the Canadian health system who came here for the treatment.ŌĆØ
Insurance companies that have covered the treatment include Aetna, Cigna, and Blue Cross, according to Dr. Benedetto.
He also said that Medicare and Medicaid have also covered the treatment.
ŌĆ£I sent (North America Administrators) copies of our article on the treatment, a list of insurance companies that have covered it, and IŌĆÖve spoken to two medical directors,ŌĆØ said Dr. Benedetto. ŌĆ£The real issue is, what is the best treatment for this kid, who is young and has a long life ahead of him ŌĆö unless this cancer kills him. It seems unreasonable to consign the patient to the ŌĆśstandard of careŌĆÖ when there really isnŌĆÖt a standard of care.ŌĆØ
Dr. Benedetto continued, ŌĆ£To me, itŌĆÖs just arrogant for any insurance company toŌĆ"tell the number one eye hospital in America that we donŌĆÖt know what we are doing. Jake is in limbo here, and we donŌĆÖt have very many options.ŌĆØ
Jake began treatment this week, and his girlfriend Ashlee Jennings said that the two doses of chemotherapy have already exhausted him.
ŌĆ£HeŌĆÖs okay,ŌĆØ said Jennings Friday. ŌĆ£He hasnŌĆÖt eaten much of anything, and the right side of his face looks like he was hit with a Wiffle bat, because of the swelling. The doctors say that the swelling is a good sign, though, because that means he is taking the chemo really well.ŌĆØ
JakeŌĆÖs family is paying cash for the procedure.
ŌĆ£The kid is getting the treatment, at his own cost,ŌĆØ said Dr. Benedetto. ŌĆ£(The family) paid cash to get the treatment. Where they are getting it or how, I donŌĆÖt know. IŌĆÖm being forced to make limitations because of the cost, and thatŌĆÖs just unfair.ŌĆØ
Jill Manges, SahlhoffŌĆÖs attorney, said that the family plans to file suit against North America Administrators.
ŌĆ£(North America Administrators) is saying that what Dr. Benedetto is doing is experimental, and itŌĆÖs not,ŌĆØ said Manges. ŌĆ£Dr. Benedetto has been doing this treatment for 25 years. I think (the company) is looking for some loophole to not pay, because itŌĆÖs going to cost thousands and thousands of dollars. TheyŌĆÖve started the treatment, but with money that the family scraped together. They shouldnŌĆÖt have to do that when Jake (was paying for health insurance coverage).ŌĆØ
The Sahlhoff family has started a Facebook page to garner support for Jake called ŌĆ£Jake ŌĆö Faith, Focus, and Finish.ŌĆØ Friends, family, and anyone interested in JakeŌĆÖs situation can visit the page for regular updates.
TheyŌĆÖve also organized a dinner fundraiser for Saturday, September 29 at Bremen Missionary Church. The dinner is from 5 to 9 p.m., and tickets are $10. Visit the Facebook page, www.facebook.com/JakeFaithFocusAndFinish for more information.
ŌĆ£The whole family wants to express thanks to all the people who are donating and telling us they are praying for JakeŌĆ"itŌĆÖs just been amazing to see the outpouring of support from the community,ŌĆØ said Amber.


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Word for Mac Essential Training: Part 1 of 13Using newspaper-style columns
Working with Columns : Using newspaper-style columns
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Working with Columns : Using newspaper-style columns
Click PLAY or press spacebar to start or stop video
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www.lynda.com is an award-winning provider of educational materials, including Hands-On Training instructional books, the Online Training Library, CD- and DVD-based video training, and events for creative designers, instructors, students, and hobbyists.
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Women in Foodservice
Women in Foodservice
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Kathleen Wood, renowned restaurant industry consultant and co-owner of Suzy's Swirl, has been invited to join a delegation from the Women's Foodser
Anchor Packaging,one of the largest thermoformers in North America, is pleased to announce the appointment of Marilyn Stapleton to the newly create
Doc Popcorn, the largest popcorn retailer in the world, announces that Renee Israel, co-founder and CMO of Doc Popcorn, has received the Enterprisi
Taco Bell is introducing a new steak to all menu items, including the Cantina Bell Steak Burrito, priced at $4.99.
Penn Station East Coast Subs, the fast-casual restaurant known for its Philadelphia Cheesesteak Sub sandwich served hot and made-to-order on freshl
SPIN! Neapolitan Pizza has been named best pizza by two local publications in Missouri.
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5 Rabbit Golden Ale (In Store Only)
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Schubert: The Complete Songs
40CDs Boxed set + book (at a special price)CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 9 – Arleen Auger
Archive Service; also available on CDS44201/40CDJ33009
Track 24 on CDS44201/40 CD8 [1'16] 40CDs Boxed set + book (at a special price)
The fact that Schubert 's operatic career was shadowed by an unhappy star is proven by the case of Claudine von Villa Bella. Unlike his other operas, the libretto is by a great poet, and it may well have been his most accessible and performed Singspiel, rivalling Die Verschworenen in that respect. Unfortunately only one act survives, and this is because of an unforgivable accident in the house of Josef Hüttenbrenner, brother of the composer Anselm Hüttenbrenner and one of the strängest men in the Schubert circle. Many years after Schubert's death, and a number of years after the accident, Josef claimed that Acts II and III of the opera's manuscript, which was known to be in his possession, were used by a household servant to kindle a fire. This incident is even more bizarre because we know that Josef was definitely unhappy, even bitter, about the burgeoning of Schubert's posthumous fame in comparison with Anselm's fading reputation. The eight orchestrated numbers in Act I that have survived (plus tantalising copies of the voice part alone of Numbers 9 and 10 from Act II) are delectably delicate and concise. Two numbers found their way into Friedländer's édition for the publishing house of Peters, and they are included on this disc because of their familiarity to generations of Lieder singers. Lucinde's aria, as stender and elegant as the golden bow, as light as love's arrows, is scored for strings alone with touches of pizzicato (it is immediately obvious to an eye used to Schubertian texture that the master did not arrange these piano accompaniments himself) and Claudine's aria has the more racy addition of oboe and bassoon.
from notes by Graham Johnson © 1990


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Musorgsky: Pictures from an Exhibition; Prokofiev: Romeo and Juliet
CDH55306 Helios (Hyperion's budget label)
No 01: National dance
No 02: Scena (The street wakens)
No 03: Minuet (The arrival of the guests)
No 04: Juliet as a young girl
No 05: Masks
No 06: Montagues and Capulets
No 07: Friar Laurence
No 08: Mercutio
No 09: Dance of the girls with the lilies
No 10: Romeo and Juliet before parting
Such a recreative approach to composition does not apply to all composers, nor to all theatre music. Prokofiev's success in this field stems, at heart, from his own creative methods. His manner of working, established early in his career, hardly varied. He would carry with him a large notebook into which he would jot all his ideas, and when he had accumulated enough material he would begin the score. Before arriving at that stage, however, the material had already gone through several refining processes. The first was that of his creative imagination—for hardly a moment elapsed when Prokofiev was not thinking about the music in question. Secondly, Prokofiev was an exceptionally gifted pianist who, even after he gave up public appearances, played the instrument daily, when he would refashion or try at the keyboard ideas about which he had been thinking, extemporizing at will. The keyboard, therefore, became a powerful tool in Prokofiev's creative process. And when it came to the scores themselves, his orchestral ones in particular, they had much of the appearance of piano reductions—often extended by the addition of extra staves when necessary. More often than not, Prokofiev's music would be first committed to paper in a way which would enable a piano reduction to be made virtually at sight, with very little 'arranging' having to be done. In addition, Prokofiev's music was essentially additive—first one idea, then another, his skill best shown in his ability in joining these elements, in fusing them coherently. In this regard, Prokofiev was a great master. Such an approach is perfect for theatre music, especially the 'classical' ballet.
Around the early part of 1934, Prokofiev was edging towards making the decision which became irrevocable for him—a permanent return to Russia after his post-Revolutionary years in the West. His previous ballets—four in total—had each received their premieres in Paris, but the Kirov Theatre in Leningrad was anxious to tempt Prokofiev with the offer of a new, large-scale work. However, the negotiations were inconclusive, and the contract for Prokofiev's fifth ballet, Romeo and Juliet, was signed with the rival Bolshoi Theatre in Moscow. The music was written, at Prokofiev's usual speed, in the summer of 1935, and the ballet was ready to go into rehearsal at the turn of the year. But an artistic bombshell was about to explode. In January 1936, Dmitri Shostakovich's successful opera Lady Macbeth of Mtsensk and his new ballet The Limpid Stream were fiercely denounced in two Pravda editorials, throwing the musical world into turmoil. All new productions were put in jeopardy; the Bolshoi then declared that Prokofiev's Romeo and Juliet could not be danced to, and the proposed production was cancelled.
Prokofiev was disheartened, but not devastated; if he did not realize the seriousness of the official threat to art, in any event he had, quite by chance, luckily ensured his acceptance as a genuine Soviet artist by the phenomenal success of Peter and the Wolf and the suite from the film of Lieutenant Kijé. In spite of the failure to get an early production of Romeo and Juliet in Russia, Prokofiev did all he could to rescue his score—which he must have known was excellent—from oblivion. He made two orchestral suites for concert use, and a set of ten pieces for solo piano, which he published as his Opus 75. Prokofiev himself first performed the Ten Pieces from Romeo and Juliet publicly in Moscow in 1937, and this suite marked the first appearance of the Romeo and Juliet music in any form in print.
The items of the piano suite were, as we noted earlier, close to the 'original' version of the ballet music; the publication of Prokofiev's Opus 75 proved useful as a means of promoting the ballet itself, and it was in December 1938 that Romeo and Juliet was first staged, not in the USSR but in Brno, Czechoslovakia. The Russian premiere was given, curiously, not by the Bolshoi Company that had commissioned it, but by the Kirov Company, in Leningrad, in January 1940.
However, it cannot be emphasized too strongly that Prokofiev's Opus 75 has to be considered as a separate independent piano work, not as a 'second hand' score. In the piano suite, the ballet order is changed considerably, for musical reasons—we should not expect a depiction of the stage events in sequence—and the piano version differs in some material respects from the orchestral scores (the ballet score and the concert suites). Prokofiev's use of a separate opus number and his own public performance of the work in recital clearly show the importance he himself placed upon the keyboard version. But no matter in what form we hear this music, it could be by no other composer.
from notes by Robert Matthew-Walker © 1998


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Boccherini & Astorga: Stabat mater
CDA67108 To be superseded by CDH55287
Boccherini & Astorga: Stabat mater
SACDA67108 Super-Audio CD — Deleted
Movement 1: Stabat mater dolorosa
Track 12 on SACDA67108 [3'38] Super-Audio CD Deleted
Movement 2: O quam tristis et afflicta
Susan Gritton (soprano), Paul Agnew (tenor), Peter Harvey (bass), The King's Consort, Robert King (conductor)
Track 13 on SACDA67108 [3'29] Super-Audio CD Deleted
Movement 3: Quis est homo, qui non fleret
Susan Gritton (soprano), Susan Bickley (mezzo-soprano), Paul Agnew (tenor), Peter Harvey (bass), The King's Consort, Robert King (conductor)
Track 14 on SACDA67108 [4'01] Super-Audio CD Deleted
Movement 4: Eia mater, fons amoris
Track 15 on SACDA67108 [3'21] Super-Audio CD Deleted
Movement 5: Sancta mater, istud agas
Track 16 on SACDA67108 [2'52] Super-Audio CD Deleted
Movement 6: Fac me tecum pie flere
Track 17 on SACDA67108 [2'47] Super-Audio CD Deleted
Movement 7: Virgo virginum praeclara
Track 18 on SACDA67108 [1'26] Super-Audio CD Deleted
Movement 8: Fac me plagis vulnerari
Track 19 on SACDA67108 [1'55] Super-Audio CD Deleted
Movement 9: Christe quam sit hinc exire
Track 20 on SACDA67108 [4'04] Super-Audio CD Deleted
Hans Volkmann, Astorga's great champion and biographer at the start of the twentieth century, dated the Stabat Mater, purely (and rather debatably) on stylistic grounds, around 1707. There are equally valid arguments for any date up to around 1730. Whatever, throughout we see Astorga's gift for writing warm melodies, typical of the Neapolitan style of the time. He also captures the melancholy of this most desolate of sacred texts and, especially in the choruses, demonstrates a thorough grasp of counterpoint, but never at the expense of musicality. The work sets ten of the standard six-line verses, connecting two for the third, double-duet movement, but otherwise forming independent movements. In his scoring Astorga takes a variety of combinations of chorus, solo, duet and trio. The mixture of melody with melancholy, sweetness tempered with mild chromaticism, old-fashioned polyphony contrasted with Neapolitan cantilena, a surprisingly Germanic use of motivic development in the bel canto bass solo Fac me plagis vulnerari and the final, quietly operatic chorus which gently directs the listener away from the Virgin's sorrow towards the Carmelite missal's more optimistic 'palm of victory', all show an enormously attractive musical style. Composers and their work often enjoy a bumpy progression through history, but few paths can have been as bizarre as that of Astorga: in the eighteenth century a musical nobleman, during the nineteenth century a folk hero, and in the twentieth-century – oblivion.
from notes by Robert King © 1999


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Digital Projection Inc. is probably best known for its super high-end Titan DLP projectors, which show up pretty regularly in Electronic House Home of the Year award-winning theaters. Those are awesome projectors, but they're also in the neighborhood of $100,000 each, which puts them out of reach of a lot of people's home theater dreams.
DPI just announced two new projectors that put a lot of the Titan technology within reach of more people. The HIGHlite Cine 330 line includes a high-contrast model, with 3,000 lumens of brightness and 20,000:1 contrast ratio; and the high-brightness model with 5,500 lumens of light output.
Both models are full 3-chip DLP projectors, which means no color wheel and no color wheel artifacts to get in the way of the movie. Both, of course, are also 3D projectors and deliver 10-bit color processing.
The extra brightness is especially important for properly displaying 3D in large home theaters.
Both projectors have built-in horizontal and vertical lens shift and are available with a choice of .77 and 1.16:1 fixed lenses plus zoom lenses with throw ratios ranging from 1.45 – 6.76:1.
The HIGHlite Cine 330-3D start at $29,995.
Check out this home theater featuring a DPI Titan projector, installed by DSI Entertainment.
Follow Electronic House on Facebook and Twitter.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.
Home automation system helps wounded war veteran live more comfortably.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.


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Routers can rarely be called an exciting piece of consumer electronics … but they can surprise with some cool features. Packed with a new technologies and better communications power, this device that was once viewed as a necessity in a home office, has become an essential piece of hardware for home entertainment, communication and much more. As demonstrated by Linksys at the International Consumer Electronics Show today, new additions to its Smart Wi-Fi portfolio of routers are able to network devices at greater speeds and better coverage, thanks to the incorporation of 802l.11 ac and Beamforming technology. Beamforming is an up-and-coming technology that enables the router to precisely adjust, steer and monitor the direction and shape of Wi-Fi signals to and from connected devices in order to send data back and forth over the optimal transmission path.
Finally, to simplify the tedious setup process of installing a router, Linksys offers a free tool built within its routers called smart network map. This application displays on a user's smartphone or tablet a visual representation of the home network and all of the connected devices, and indicates the connectivity strength and bandwidth to each device. This information is useful for seeing which device might be slowing down the network so that users can resolve issues and maintain the best network coverage and strength. And to simplify connected devices to the network, SimpleTap is now available with all Linksys Smart Wi-Fi routers. With a touch of a button or a quick tap of an NFC card the device (look for Onkyo receivers and LG TVs to utilize SimpleTap) instantly joins the home network.Follow Electronic House on Facebook and Twitter.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.
Home automation system helps wounded war veteran live more comfortably.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.


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Fender has a long history of educational partnerships in many of the finest music institutions, colleges and universities across the United States. As part of those efforts, we proudly support:
Music and the arts are key components to providing students with a well-rounded educational experience. In the current climate, where budgetary cuts hit music and arts departments first, teachers are searching for creative ways to continually expand their programs. One way educators are doing this is by offering classes that will appeal to a wider range of students with varying interests for instance, guitar. A guitar class is a great way of helping keep kids in school, and gives many new music students encouragement that can lead to further success in school and the community.
Advance music education by developing a guitar program in your school district and allow more kids access to the joys of a life enriched with music!
Contact Information for the Fender Educational Division
This phone line is only for music teachers who are interested in starting a guitar class in the K-12 School environment. Call us today for a local Fender® dealer near you who can help you put a program together that will meet the financial needs of your school. Any phone messages unrelated to the Fender Music Education Program will not be returned.
Phone 480-367-3410


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Following on from last week's warm and fuzzy Manicure Monday @AlanaKT and @Sophs999 have been inspired by BBC Children In Need with their spotty designs. Twilight fans will be pleased to see @VictoriaJosette's Breaking Dawn nail art and joining in the spooky theme @sossidgelover has created an intricate Mexican Day of the Dead sugar skull manicure. And finally @_burkatron has got us in the Christmas mood with festive Fair Isle print nails.
Get involved in #ManicureMonday next week by tweeting a pic of your nifty nail art to @Grazia_Live!


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