Podcasts about streissguth

FASD Hope is a podcast series about Fetal Alcohol Spectrum Disorder (FASD), through the lens of parent advocates with over nineteen years of lived experience. FASD Hope is honored to welcome Kathryn "Kay" Kelly in Episode 129, titled "A Legacy in FASD and Law". Kathryn Kelly, called Kay by most who know her, came to the University of Washington after an extensive career in criminal justice. She worked for nine years as a probation officer for the state of California, and for twenty years as a federal probation officer. She was retrained as a mitigation specialist and served for three years as part of a team assembled by the Capital Habeas Unit of the Federal Public Defender in Los Angeles to represent inmates on Death Row seeking redress of their death penalty sentences. In 2001, Kay joined the Fetal Alcohol and Drug Unit (FADU) at the University of Washington, working with Dr. Ann Streissguth. With a grant from the Robert Wood Johnson Foundation, she and Dr. Streissguth established the FASD Legal Issues Resource Center. In that role, Ms. Kelly has planned and/or participated in numerous trainings for judges, defense attorneys, prosecutors and other court professional throughout the United States, and in numerous foreign countries. Since 2013, she has organized a series of conferences about FASD and the law held in conjunction with the biennial UBC - Vancouver International Conference on FASD. Ms. Kelly was instrumental in the organization of the first forensic FASD diagnostic team, FASDExperts, and in the passage of an American Bar Association Resolution on FASD in 2012. Ms. Kelly is also a Research Coordinator for a National Institute of Alcohol Abuse and Alcoholism (NIAAA)-funded five year project: Fetal Alcohol Spectrum Disorders in Adults: Health and Neurobehavior.  Ms. Kelly is a Board member of the FASD United Affiliate - Washington. In this ENLIGHTENING episode, Kay discusses the following: her work and contributions in the FASD community, her amazing work with Dr. Ann Streissguth / FASD Legal Resource Center, her current projects and initiatives....and words of experience, encouragement and hope for parents and caregivers. EPISODE RESOURCES - Kathyrn "Kay" Kelly - faslaw@uw.edu Tel- 206-616-5408 https://adai.uw.edu/staff_members/kay-kelly/ University of Washington - FADU https://www.washington.edu/research/research-centers/fetal-alcohol-and-drug-unit/ FASD Resolution - ABA https://www.americanbar.org/groups/public_interest/child_law/resources/attorneys/fasd-resolution/   FASD Hope - https://www.fasdhope.com/ natalie@fasdhope.com Instagram - https://www.instagram.com/fasdhope/ Facebook - https://www.facebook.com/fasdhope1 Twitter - https://twitter.com/fasdhope LinkedIn- https://www.linkedin.com/in/natalie-vecchione-17212160/ Racket - @fasdhope Clubhouse - @natalievecc Check out our  book “Blazing New Homeschool Trails: Educating and Launching Teens with Developmental Disabilities” by Natalie Vecchione & Cindy LaJoy  BUY IT NOW!  

Episode 3: Meet Seattle lifestyle blogger Brittany Streissguth of Pumps & Plaid. She shares her backstory, blog trajectory, and offers tips for new bloggers. pumpsandplaid.com

In the late 1960s, Nashville’s recording industry was a hit-making machine. A small clique of writers, producers, engineers and session musicians gave sonic shape to the pop-friendly “Nashville Sound” and generated hit after hit for artists like Jim Reeves and Patsy Cline. For up-and-coming artists like Willie Nelson and Waylon Jennings, the same rules regarding creative control applied. Decisions about song choices and production teams would be made by executives at big record labels like RCA and not the artists. By the early 1970s, a rebellion was afoot in Music City. As Michael Streissguth demonstrates in his page-turning Outlaw: Waylon, Willie, Kris and the Renegades of Nashville(It Books, 2013), the commercial ascent of Willie Nelson, Waylon Jennings and Kris Kristofferson coincided with their fierce challenge to the industry’s power structure. In Kristofferson’s case, his 1970 debut album — nurtured and recorded by a production team independent of the Nashville Machine — offered a range of songs that owed more to Bob Dylan than Bobby Bare. For Willie Nelson, a string of commercially unsuccessful albums for RCA prompted the label to drop him. Nelson retreated to Austin and recorded his declaration of musical independence, the wildly successful Shotgun Willie (1973). And after years of battling with RCA, Jennings convinced the label to let him co-produce one of his albums, the landmarkLonesome, On’ry and Mean (1973). As a result of these events, the three men experienced significant commercial success as part of country music’s “Outlaw Movement.” While Kristofferson achieved his biggest fame as a Hollywood movie star, Jennings and Nelson churned out a string of hit albums. The careers of all three were boosted by a savvy marketing campaign that saw them packaged as “outlaws” who had successfully rebelled against the Nashville establishment. This image received further assistance, Streissguth points out, from a messy string of divorces, drug busts, and in the case of Jennings, a monumental cocaine habit. Well researched and written, Outlaw offers an engaging chronicle of the lives of these three men and makes clear that the influence of the Outlaw Country genre has extended far beyond its 1970s heyday. Michael Streissguth is a professor in the department of Communication and Film Studies at Le Moyne College in Syracuse, NY. He is the author of several books including Johnny Cash: The Biography (Da Capo, 2006). He has produced two documentary films: “Record Paradise” (2012) and “Johnny Cash at Folsom Prison” (2008). Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1960s, Nashville’s recording industry was a hit-making machine. A small clique of writers, producers, engineers and session musicians gave sonic shape to the pop-friendly “Nashville Sound” and generated hit after hit for artists like Jim Reeves and Patsy Cline. For up-and-coming artists like Willie Nelson and Waylon Jennings, the same rules regarding creative control applied. Decisions about song choices and production teams would be made by executives at big record labels like RCA and not the artists. By the early 1970s, a rebellion was afoot in Music City. As Michael Streissguth demonstrates in his page-turning Outlaw: Waylon, Willie, Kris and the Renegades of Nashville(It Books, 2013), the commercial ascent of Willie Nelson, Waylon Jennings and Kris Kristofferson coincided with their fierce challenge to the industry’s power structure. In Kristofferson’s case, his 1970 debut album — nurtured and recorded by a production team independent of the Nashville Machine — offered a range of songs that owed more to Bob Dylan than Bobby Bare. For Willie Nelson, a string of commercially unsuccessful albums for RCA prompted the label to drop him. Nelson retreated to Austin and recorded his declaration of musical independence, the wildly successful Shotgun Willie (1973). And after years of battling with RCA, Jennings convinced the label to let him co-produce one of his albums, the landmarkLonesome, On’ry and Mean (1973). As a result of these events, the three men experienced significant commercial success as part of country music’s “Outlaw Movement.” While Kristofferson achieved his biggest fame as a Hollywood movie star, Jennings and Nelson churned out a string of hit albums. The careers of all three were boosted by a savvy marketing campaign that saw them packaged as “outlaws” who had successfully rebelled against the Nashville establishment. This image received further assistance, Streissguth points out, from a messy string of divorces, drug busts, and in the case of Jennings, a monumental cocaine habit. Well researched and written, Outlaw offers an engaging chronicle of the lives of these three men and makes clear that the influence of the Outlaw Country genre has extended far beyond its 1970s heyday. Michael Streissguth is a professor in the department of Communication and Film Studies at Le Moyne College in Syracuse, NY. He is the author of several books including Johnny Cash: The Biography (Da Capo, 2006). He has produced two documentary films: “Record Paradise” (2012) and “Johnny Cash at Folsom Prison” (2008). Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1960s, Nashville’s recording industry was a hit-making machine. A small clique of writers, producers, engineers and session musicians gave sonic shape to the pop-friendly “Nashville Sound” and generated hit after hit for artists like Jim Reeves and Patsy Cline. For up-and-coming artists like Willie Nelson and Waylon Jennings, the same rules regarding creative control applied. Decisions about song choices and production teams would be made by executives at big record labels like RCA and not the artists. By the early 1970s, a rebellion was afoot in Music City. As Michael Streissguth demonstrates in his page-turning Outlaw: Waylon, Willie, Kris and the Renegades of Nashville(It Books, 2013), the commercial ascent of Willie Nelson, Waylon Jennings and Kris Kristofferson coincided with their fierce challenge to the industry’s power structure. In Kristofferson’s case, his 1970 debut album — nurtured and recorded by a production team independent of the Nashville Machine — offered a range of songs that owed more to Bob Dylan than Bobby Bare. For Willie Nelson, a string of commercially unsuccessful albums for RCA prompted the label to drop him. Nelson retreated to Austin and recorded his declaration of musical independence, the wildly successful Shotgun Willie (1973). And after years of battling with RCA, Jennings convinced the label to let him co-produce one of his albums, the landmarkLonesome, On’ry and Mean (1973). As a result of these events, the three men experienced significant commercial success as part of country music’s “Outlaw Movement.” While Kristofferson achieved his biggest fame as a Hollywood movie star, Jennings and Nelson churned out a string of hit albums. The careers of all three were boosted by a savvy marketing campaign that saw them packaged as “outlaws” who had successfully rebelled against the Nashville establishment. This image received further assistance, Streissguth points out, from a messy string of divorces, drug busts, and in the case of Jennings, a monumental cocaine habit. Well researched and written, Outlaw offers an engaging chronicle of the lives of these three men and makes clear that the influence of the Outlaw Country genre has extended far beyond its 1970s heyday. Michael Streissguth is a professor in the department of Communication and Film Studies at Le Moyne College in Syracuse, NY. He is the author of several books including Johnny Cash: The Biography (Da Capo, 2006). He has produced two documentary films: “Record Paradise” (2012) and “Johnny Cash at Folsom Prison” (2008). Learn more about your ad choices. Visit megaphone.fm/adchoices

Streissguth, Thomas. AMERICA'S SECURITY AGENCIES

People with FASD (including FAS) have both primary and secondary disabilities. Secondary disabilities are those disabilities that arise because of a mismatch between the brain damage and factors in the environment--they are not directly caused from the brain damage. Streissguth, et al (1996) conducted a four year study on the secondary disabilities of 415 individuals with FASD and found six secondary disabilites: Mental Health Problems - 90% of the 415 had mental health conditions of any type; 61% had ADHD and more than 50% had depression.Disrupted School Experiences - Over 60% had disruptions in school... from suspensions to drop-out.Trouble with the Law - 60% had trouble with the law, with shoplifting and theft the most common crime.Confinement - 50% had been confined, either incarcerated, inpatient mental health hospitalization, or inpatient chemical dependency treatment.Inappropriate Sexual Behavior - 49% had displayed inappropriate sexual behavior, most common was sexual advances, sexual touching, and promiscuity.Alcohol and Drug Problems - 35% had chemical abuse problems. Feedback or comments may be sent to: Michael__at__FASDElephant__dot__com.