Megan Thee Stallion’s new documentary is now streaming on Prime Video; was a hot topic of conversation on the Internet. While the main target is on the rapper’s history with Tory Lanez, it also touches on one other vital topic; disconnecting her late mother, Holly Thomas, from life support. Thomas died in March 2019 of a brain tumor, leaving the rapper without living parents. The rapper also lost her father, Joseph Pete Jr., when she was in ninth grade.

“They had to put her down. She was just brain dead,” Megan said in the documentary. “So I used to be there each day. I spent the night in the hospital. I just prayed she would recover from it.

Unfortunately, Thomas, who was also the rapper’s first manager, couldn’t cope.

“When I realized she wasn’t coming back, I thought, ‘Shit, I can’t hold her like this.’ Because I know she wouldn’t want to stay like this,” Megan recalls through tears. “So I had to make the decision to pull the plug, and she just died the next day.”

The artist coped despite great grief and three weeks after Holly’s death she returned to the stage.

“You know that 2019 was a really difficult year for me. “I don’t want to cancel any of my shows and I don’t want to stop going because that’s not what my mom would want,” she said from the stage in a clip from the documentary. “She was my number one fan, despite all the butt-shaking and swearing.”

The HISS rapper opened up in regards to the impact of losing her mother on her mental health. This sadness was compounded by a series of events that occurred after the 29-year-old was shot by Tory Lanez. The shooting occurred in 2020, and Lanez was sentenced to 10 years in 2023.

“When my mom died, I think I really forgot who I was and lost a lot of self-confidence,” she said. “I was used to my mom telling me what to do, and when life started getting crazy, I didn’t have her.”

At the documentary’s premiere in Los Angeles, Megan thanked her mother, expressing her appreciation for the girl she has grown into.

“Without Holly Thomas, I wouldn’t be the woman I am today,” she told the audience. “So Mommy, I love you.”

How New Zealand laments its hospitals – where they’re positioned, how they must be staffed and the way they must be financed – the talk misses a key element: the necessity for single rooms in all public hospitals.

It is now normal for patients to stay in shared rooms with up to five other people. In some hospitals, this includes housing men and ladies in the identical room, despite serious injuries safety and ethical issues.

But it should not be like this. For many reasons, including infection control, privacy and price, latest hospitals and renovations must depend on single-occupancy rooms.

Our latest research brings together each the clinical and ethical arguments for adopting single rooms for all patients as probably the most basic standard of care.

Infection control

Many people might even see shared rooms as a value savings. However, certainly one of the important thing arguments for separate rooms in hospitals is the prices and damages related to infections and bacterial resistance.

Single rooms reduce the chance by eliminating exposure to common sources of infection akin to touched surfaces, unfiltered air, toilets and water systems.

They too reduce the necessity to move rooms in hospital, which increases the chance of transmitting infection between patients.

There is robust evidence that single rooms are affected reducing the variety of infections in intensive care units. AND further research also found that single accommodation reduced the chance of Covid-19 transmission in hospital.

In New Zealand, the priority is single rooms for patients known to be infectious. But the important thing word here is . This policy doesn’t take note of the proven fact that a big proportion of infectious diseases are unknown on the time of admission.

However, even when the infection is thought, our hospitals are unable to meet basic guidelines due to the dearth of single rooms. For example, only 30% of hospital rooms in Wellington and Hutt are designated for single use.

Without single occupancy as the usual in hospitals, infection control will remain in danger.

Delirium and dementia

Separate rooms are also required for older people. New Zealand’s population is aging; because of this, the variety of patients with delirium and dementia requiring hospitalization will increase.

Delirium affects roughly 25% of hospitalized patients and is related to an extended stay, more complications, and an increased risk of death.

Prevention and treatment of delirium requires a low-stimulus environment, undisturbed sleep, and light-weight and noise control that can’t be achieved in shared hospital rooms.

Tests showed a discount in delirium for single rooms.

The behavioral and psychological symptoms of dementia also pose significant challenges in hospital. Symptoms include hallucinations, delusions, sleep disturbances, depression, inappropriate sexual behavior and aggression.

They might be very disturbing for the patient and people around him and, like delirium, basic standard of care can’t be provided within the common room.

By 2050, the incidence of dementia will greater than double. Yet New Zealand’s hospitals are ill-equipped to deal with rising demand.

The right to safety, privacy and dignity

Shared spaces in hospitals clearly undermine clinical care, but additionally violate human and patient rights.

One of probably the most basic human rights is “personal security”. No one should share a room with patients who’re agitated, aggressive or sexually inappropriate due to delirium or dementia.

Unfortunately, patients often share with those that are unable to control their very own behavior. While threats to women as has been emphasized, no patient should feel threatened or frightened by one other patient’s behavior.

Dignity and privacy are also fundamental patient rights, and privacy is roofed by each provisions Health Information Privacy Code and Code of patient rights regarding health and disability.

Hospital patients often need assistance dressing, showering and toileting. Many admissions are related to vomiting, diarrhea or urinary incontinence. And the design counting on curtains for privacy makes it a farce.

Tests AND complaints clearly show patients that they don’t imagine their privacy is sufficiently protected in shared spaces.

Some may advocate for multi-bed rooms, arguing that some patients prefer company. However, patient surveys regarding privacy and confidentiality overwhelmingly favor single-occupancy rentals.

Cost consideration

Although the initial costs for constructing single rooms increase due to the larger hospital space, tests concluded that there was no compelling economic evidence in favor of shared rooms.

The potential savings in future pandemics – when it comes to mortality, patient transfer and disease transmission – mustn’t be underestimated. Better management of delirium and dementia may even reduce length of stay and costs.

Collectively, the case for single-occupancy hospital rooms on clinical, ethical and legal grounds is obvious.

New Zealand must follow international best practice and introduce single rooms as the first standard when constructing and refurbishing latest hospitals.

Failure to accomplish that would ignore the teachings learned from the Covid-19 pandemic, fail to take note of the needs of an aging population and would further render New Zealand’s Patient Rights Code a fairy tale.

Meji Meiji designer Tolu OyeGrowing up, her relationship together with her hair was, in her words, “turbulent.” Ultimately, nonetheless, this was reconciled with acceptance and appreciation of her culture. Born in Lagos, Nigeria and raised in Ohio, Oye has heard mixed opinions about beauty standards for so long as she will be able to remember. Ultimately, in a city where diversity was rare, it was as much as her to make a decision what she desired to imagine.

“At some point I went through a relaxation phase. I didn’t want anything that was symbolic of me as an African. I think 2016 was a major change for me. I went to Nigeria again and in a sense I was reborn in terms of my love for my culture,” she tells ESSENCE. “Now, if I can spread the gospel of different elements of my culture in any way, even through hair, I want to use it as a form of storytelling.”

Her clothing brand Meji Meji, launched in 2020, is actually an example of this. One of her bestsellers, the Na Me Cause Am t-shirt, incorporates a black femme fatale with an afro within the primary role. And now? Her recent one Sisi Ologe top is an element of this tradition that not only embraces her relationship with hair, but in addition uplifts and preserves her culture.

The top embodies the photographs you would possibly see when flipping through a Seventies newspaper wig campaign ad: from the voluminous blowout and kinky coils to the intricately braided hairstyles that reflect the expansiveness of African beauty. Collaborating with artists on her work is amazingly essential to her since it allows her to be the voice of Africa. This time she selected an artist specifically Joseph Edgar. It took six months to perfect the print itself – it was an actual labor of love.

Meanwhile, the campaign imagery is reminiscent of Nollywood movies – combining nostalgia with contemporary Shuku updos. All this was achieved because of her long-time friends and collaborators, The law of jokes AND Opeyemi Oyebanji. Their hairdressing skills brought the designer’s campaign to life with intricate updos that highlighted the complexity of the highest

But the world of hair has all the time appealed to Oye’s soul long before she became the founder of the brand. At age 5, she called the basketry salon where her mother worked “her after-school program.” There, she helped her mother finish the ends of braids on her clients’ hair, and watching Nollywood movies ignited her love for fashion and beauty.

“I recently asked my mom if I was addicted to toys growing up, and she said, ‘Not at all, but you were.’ You sat in front of the TV and watched the transformations over and over again. Then I noticed your interest in hairstyles and fashion. She wasn’t surprised when I started taking on my own clients from school,” Oye says.

She was influenced by how hairstyle and fashion can improve someone’s self-confidence. She knew that design was her calling, but it surely was also crucial for her clothes to be connected to her roots – her history as an African woman – and to include her personal love of preserving African braiding techniques.

“I am grateful to my parents for nurturing my talent, which led to me moving to New York at the age of 15,” where she attended Art & Design School. “It took years to become a muse” – because of her signature look, which included braids with bangs, freestyle braids, twisted mohawks and more. “I was giving hairdressers headaches because they were saying, ‘That girl and her crazy hairstyles are back.'” That was until she found her tribe with Helena Koudou AND Lawal’s joke– who were equally excited to create hair magic together with her.

In 2018, Oye got here up with a hairstyle titled Suspicion + Periwinkle. It featured a tall cone pinned up with three rows of curled braids in front as bangs. This style was in all places, from the CFDA red carpet to Jameson’s packaging to the Burna Boy music video. “Seeing people’s reactions to this style around the world made me realize it’s not just about the hair,” she says. And like those iconic moments, Oye understands how essential it’s to have that representation in the whole lot he does. As he explains, “it’s about maintaining traditional techniques while adding a modern twist. This is my legacy.”