The secret world of breast cancer: 17 surprising things I wish I’d known | How to Get Better at Reading People from Different Cultures | How Women Can Develop — and Promote — Their Personal Brand | What Old Money Looks like in America, and Who Pays for It

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� � � � � � You Might Like � � � � � � � � � The secret world of breast cancer: 17 surprising things I wish I'd known - the Guardian    I thought I knew all about the disease that took my mother when I was nine. But on being diagnosed myself, my eyes were opened to the myths and realities October is breast cancer awareness month. You are probably aware of breast cancer in some way. I was - for much of my childhood my mum was undergoing treatment for it, and shortly before I turned 10, she died from it. But despite that experience, I was blissfully unaware of many things about breast cancer until I was diagnosed with it last summer. Here are some of the things I know now that I wish I had known then. Before I had my biopsy, breast cancer was breast cancer. As I anxiously waited for the results, Google searches would lead me to pages about ductal carcinoma in situ, an early breast cancer that doesn't spread. In my head, I rehearsed the doctor telling me I had that. In real life, she told me I had that and another type - a "grade three" cancer that she said was "triple negative". The way she delivered this told me this was much worse. Continued here How to Get Better at Reading People from Different Cultures - Harvard Business Review    Body language varies from culture to culture, but microexpressions—very brief flashes of emotion across the face—are universal. So the ability to read them can be an effective took for navigating cross-cultural situations. If you study the common ones, look for them in your counterparts, and effectively interpret them, you have a better chance of avoiding misunderstandings and building bridges with people from different parts of the world. Body language varies significantly across cultures. What is considered rude or foolish in a Nordic country may be welcomed as warm and friendly in an African one. What a Canadian businessperson would perceive as arrogant, an American executive may see as healthy confidence. But what remains consistent across all known cultures are microexpressions. These brief, involuntary flashes of facial expression reveal our true feelings about another person or situation. Continued here Don't like ads? Go ad-free with TradeBriefs Premium How Women Can Develop — and Promote — Their Personal Brand - Harvard Business Review    We all know developing a personal brand is valuable. It helps others see your true talents, so you’re more likely to be tapped for relevant and interesting assignments — and it helps you stand out in a field of competitors. But personal branding has some unique challenges for female professionals. Gender norms presume that women should be agreeable and nurturing, and when they violate these norms through self-promotion and decisiveness, they’re often penalized for that behavior in a way that men wouldn’t be. How can women navigate this conundrum? First, network both inside and outside your organization, so you have a diverse set of people who can step up on your behalf. Next, control your narrative by developing a clear and concise elevator pitch. Finally, share your ideas publicly and display your expertise through content creation. We all know developing a personal brand is valuable, since a strong reputation can put you on the radar for exciting career opportunities. When your true talents are understood, it’s far more likely you’ll be tapped for relevant and interesting assignments — and it helps you stand out in a field of competitors. Research by Sylvia Ann Hewlett at the Center for Talent Innovation shows that cultivating your personal brand is one of the best ways to attract a sponsor — and professionals with sponsors are 23% more likely than their peers to be promoted. Your brand is also a powerful hedge against professional misfortune. If there are layoffs or cutbacks at your company, being recognized in your field makes it far more likely that you’ll be snapped up quickly by another firm. But personal branding has some unique challenges for female professionals. Research has repeatedly shown that women are subject to a phenomenon known as the “likability conundrum.” Gender norms presume that women should be agreeable, warm, and nurturing, and when they violate these norms — such as when they step up to make a tough decision, share a strong opinion, or promote themselves — they’re often penalized for that behavior in a way that men wouldn’t be. We can all think of examples of women who have been publicly criticized for being “too aggressive” or labeled an “ice queen” or the “b-word.” Continued here What Old Money Looks like in America, and Who Pays for It - The New Yorker    It’s the cut of the jacket that’s the dead giveaway. The graceful arc it draws above the woman’s waistline looks architecturally engineered, its hourglass effect enhanced by tastefully wide peaked lapels. The fabric, too, looks sumptuous. Cashmere? Probably. There’s nothing flashy about the gray-and-beige-clad subject of Buck Ellison’s “Mama” (2016), with her pulled-back hair and her prim manicure, but she radiates an air of wealth quietly, like the footfall of a Stubbs & Wootton slipper on a plush Persian carpet. No doubt somewhere in the pages of Emily Post’s “Etiquette” it says: new money shouts, old money whispers. You could say that the lives and tastes of so-called old money—old, that is, in the American sense—are the subject of Ellison’s staged photographic tableaux and cheeky, deadpan still-lifes. The markers we’ve come to associate with a particular brand of buttoned-up, Ivy League, East Coast Waspish wealth are omnipresent. His subjects seem to have stepped out of the pages of a J. Crew catalogue, and look as though they probably have names like Bunny and Tripp. They are white and often blond and are situated among gleaming Land Rovers, rolling golf courses, and pristine marble kitchens. The photographs appear, in other words, to be a part of the robust artistic tradition of depictions of the beneficiaries of fabulous dynastic wealth, with the Vineyard Vines fleece taking the place of baroquely ruffled lace and velvet as a mark of distinction. And they would be, if only his subjects were who they seem to be. Ellison, who is based in Los Angeles, almost exclusively hires local actors and models to play the ersatz bluebloods who populate his pictures, and he inserts them into rigorously stage-managed scenarios that he devises beforehand. (A notable exception to the rule is the series of photographs he made of a women’s lacrosse game between the tony Connecticut prep schools Taft and Hotchkiss, whose players exude a martial intensity that will no doubt serve them well in the corporate boardrooms and white-shoe law firms of their futures.) This contrivance separates Ellison from other run-of-the-mill society portraitists and life-style photographers, as well as from the upper-crust chronicler Tina Barney, with whom Ellison is often superficially compared. Ellison goads us to contemplate not just the existence of an American ruling class, with its idiosyncratic and easily satirizable mores and style codes, but the invisible lineaments of wealth, power, and race that undergird its existence. Continued here

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