#Emergency Movers Chicago

[skaddy111]

Garden Water Damage Restoration: Your Premier Water Damage Restoration Company

Water damage can strike unexpectedly, causing extensive damage to your home or business and leaving you feeling overwhelmed. At Garden Water Damage Restoration, we understand the urgent need for professional restoration when water damage occurs. Serving the greater Chicago area and beyond, we are dedicated to offering comprehensive, reliable, and expert water damage restoration services. Whether you’re dealing with a sudden flood, a burst pipe, or lingering moisture after a storm, we have the experience and advanced tools to restore your property swiftly and effectively.

We take pride in being one of the top water damage restoration companies near me for homeowners and business owners throughout Chicago, IL. Our team of experts is trained to handle everything from emergency cleanups to complete restoration of properties affected by water damage. When searching for “water damage restoration near me,” you can count on Garden Water Damage Restoration to be there when you need us most.

Comprehensive Water Damage Restoration

Water damage can occur in a variety of ways. Whether the damage is from a burst pipe, heavy rainfall, flooding, or a malfunctioning appliance, immediate attention is crucial to mitigate further destruction. Water can quickly seep into the structure of a building, damaging walls, floors, furniture, and personal belongings. At Garden Water Damage Restoration, our team responds quickly to assess the extent of the damage and begin restoration immediately.

Our water damage restoration services near me encompass everything needed to restore your property to its original condition. We start by removing any standing water using industrial-grade pumps and vacuums. Once the water is removed, we dry out the affected areas with high-powered dehumidifiers and air movers, ensuring that all moisture is eliminated from the floors, walls, and any other hidden areas.

Once drying is complete, our team carefully inspects for signs of mold, mildew, and structural damage. Mold can develop quickly in damp conditions, and our team ensures that all mold is identified and removed, safeguarding your home or business from potential health risks. We also perform necessary repairs, including replacing damaged drywall, flooring, insulation, and more.

Serving Residential and Commercial Clients

At Garden Water Damage Restoration, we understand that water damage can impact both residential homes and commercial properties. As a trusted water damage restoration company, we serve homeowners, business owners, and property managers across Chicago, IL, and the surrounding areas. Each property presents unique challenges, and our team is equipped to handle any situation with professionalism and expertise.

For residential water damage restoration, we know how devastating water damage can be to your home and personal belongings. Your home is your sanctuary, and when it’s threatened by water, the impact can be significant. We are committed to helping you recover as quickly as possible, restoring your home to its pre-damage condition while treating your belongings with care and respect. From minor leaks to major flooding events, we offer a range of services designed to address every aspect of the restoration process.

For our commercial clients, water damage can result in significant downtime and financial losses. We work quickly to mitigate the damage, ensuring that your business is restored efficiently to minimize disruptions. Our team has extensive experience in restoring commercial properties, from offices to retail spaces, restaurants, and industrial facilities. We recognize that time is of the essence, and we strive to get your business back up and running as soon as possible.

Why Choose Garden Water Damage Restoration?

Choosing the right water damage restoration company can make all the difference in protecting your property and ensuring that the damage is properly addressed. Garden Water Damage Restoration stands out as one of the most trusted and reliable water damage restoration companies near me for several reasons.

Our team is available 24/7 for emergency services. We understand that water damage doesn’t wait for convenient hours, so neither do we. Whether it’s the middle of the night or during a weekend storm, we are ready to respond promptly to your call for help. Our rapid response team ensures that further damage is prevented and that the restoration process begins as quickly as possible.

We use state-of-the-art equipment to identify the source of water damage, remove excess water, dry and dehumidify the space, and repair any structural damage. This advanced technology allows us to restore your property quickly and effectively, ensuring that moisture is completely removed to prevent mold growth.

Our experienced technicians are certified and highly trained in the latest water damage restoration techniques. We have handled countless water damage restoration projects of varying sizes and complexity, and we bring that knowledge and expertise to every job. Our team works closely with you to ensure that you are informed throughout the entire process, providing updates and answering any questions you may have.

Water Damage Restoration in Chicago, IL

As a local company serving Water Damage Restoration Chicago IL, we are proud to offer top-tier restoration services to our community. We understand the specific challenges that property owners in the Chicago area face when it comes to water damage, from unpredictable weather patterns to aging infrastructure. Our team is familiar with the local environment, allowing us to provide tailored solutions that meet the unique needs of our clients in Chicago and the surrounding areas.

When water damage strikes in Chicago, you need a team that is reliable, knowledgeable, and equipped to handle the situation. Garden Water Damage Restoration is that team. Our commitment to excellence, combined with our deep understanding of the water damage issues common to the area, makes us a top choice for water damage restoration services.

The Dangers of Water Damage

Water damage is more than just an inconvenience—it can pose significant risks to your property and health. If left untreated, water can compromise the structural integrity of your building. Water can warp wooden floors, cause ceilings to collapse, and lead to electrical hazards. Damp environments are also breeding grounds for mold and mildew, which can cause respiratory problems, allergic reactions, and other health issues.

The longer water damage is left unaddressed, the more severe the damage becomes. That’s why it’s essential to act quickly and contact a professional water damage restoration company at the first sign of trouble. At Garden Water Damage Restoration, we know how to respond quickly and effectively to stop the damage in its tracks, providing you with the peace of mind you need during this stressful time.

Trust Garden Water Damage Restoration for All Your Water Damage Restoration Needs

When you’re searching for reliable water damage restoration services near me, Garden Water Damage Restoration is here to help. We are committed to delivering high-quality service, fast response times, and comprehensive solutions for water damage restoration in the Chicago area. Our expertise and advanced technology ensure that your property is restored to its pre-damage condition efficiently and effectively, minimizing disruption to your daily life or business operations.

Whether you need residential water damage restoration or emergency services for your business, we are here to provide the support and expertise you need. Our team is ready to respond to any water damage emergency, no matter the size or scope. From start to finish, we are with you every step of the way, ensuring that your property is restored, your safety is protected, and your peace of mind is restored.

Contact Us Today

If you’ve experienced water damage, don’t wait to address the issue. Contact Garden Water Damage Restoration today for fast, reliable, and expert water damage restoration services. We are ready to respond to your call, assess the situation, and provide you with a customized restoration plan that meets your needs. For top-tier water damage restoration in Chicago, IL, trust the team at Garden Water Damage Restoration to restore your property and your peace of mind.

[waterremovalmorton]

Commercial Water Damage Restoration Services for Businesses in Harwood Heights and Chicago

It takes a long time to build a business, so losing it all to mere water damage from a burst pipe or flood doesn’t make sense. The only way to save it all is by taking prompt action. The sooner water damage restoration in Harwood Heights and Chicago, IL, is arranged, the better. Getting professional help is a must in such cases for the best results.   Experts know that if not treated on time, water damage can be devastating for businesses in Harwood Heights and Chicago, leading to costly repairs, downtime, and potential revenue loss. Whether caused by flooding, burst pipes, or sewage backups, water damage requires immediate attention to minimize the impact on one’s business.   Commercial water damage restoration companies in Harwood Heights and Chicago specialize in mitigating water damage in businesses of all sizes. They have the expertise, equipment, and resources to quickly assess the extent of the damage and develop a comprehensive restoration plan to get the business back up and running as soon as possible.   One key advantage of hiring a professional commercial water damage restoration service is their ability to respond quickly to emergencies. Time is of the essence when it comes to water damage, as standing water can quickly lead to mold growth and further damage to the property. A professional restoration team will arrive promptly to assess the situation and begin the water extraction and drying process immediately.   Commercial water damage restoration companies also have the specialized equipment needed to remove water from the property effectively. This includes industrial-grade pumps, dehumidifiers, and air movers to extract water and moisture from carpets, walls, and other surfaces. They also have the tools to detect hidden moisture that can lead to mold growth if not adequately addressed.   In addition to water removal and drying, commercial water damage restoration services also include mold remediation. Mold can begin to grow within 24-48 hours of water damage, posing a health risk to employees and customers. Professional restoration companies will thoroughly inspect the property for mold and safely remove any affected materials to prevent further contamination.   Another benefit of hiring a professional commercial water damage restoration service is their expertise in working with insurance companies. They can help navigate the claims process, providing documentation and estimates to ensure one receives fair compensation for all damages.   When selecting a commercial water damage restoration company in Harwood Heights and Chicago, choosing a reputable and experienced provider is important. Look for companies that are certified by the Institute of Inspection, Cleaning and Restoration Certification (IICRC) and have positive customer reviews.   Commercial water damage restoration in Harwood Heights and Chicago, IL are essential for businesses facing water damage emergencies. By hiring a professional restoration company, business owners can minimize downtime, reduce costs, and ensure the safety of their employees and customers. 

[tisthenightofthewitch]

AN INTERVIEW WITH TOBIAS FORGE.

The Swedish rock band Ghost will be performing at the TaxSlayer Center on October 8. Coming off a European stadium tour with Metallica, the group has headlined summer festivals and has embarked on a massive North America tour that includes New York, Los Angeles, Chicago, Toronto, Boston … and Moline.

Tobias Forge is Ghost's creative force, front man, singer, songwriter, musician, and architect of the storylines woven through the band's albums, videos, webisodes, and live shows. Although Ghost has been awarded a Grammy and had three consecutive number-one songs on the Billboard mainstream charts, it is the musicians' tongue-in-cheek anti-pope appearance that truly defines them. In a July 30 interview, Tobias spoke about developing the band's visual identity and his aspirations as a filmmaker.

Visuals define Ghost’s image. Are they as important as the music?

Oh, absolutely. Even though I don’t sit down and specifically draw and paint our album covers, I’ve always been very specific in what I wanted. And how I wanted the record sleeve to embody the record I made.

As a record collector, I am more than often compelled by the artwork of a record. I’m a firm believer in a really nice-looking record sleeve. And that makes me want to like the record more. Today, even though people might not consume a recording in the physical way we used to, it’s definitely a case of your visual presentation that accompanies whatever file they are going to listen to. If the graphic content is aesthetically pleasing to the eye, it opens up an avenue into people’s souls. I know this because I’m so easily charmed by record sleeves.

Are the album titles also important?

Absolutely. There needs to be a sort of a narrative between the artwork and the title of the record. And, of course, its content. In some way or form, it helps if the title summarizes a little what the record is about. Usually, most good records have some sort of theme – even though the songs might be about different things.

A lot of singer/songwriters go through phases: it’s the “divorce” album, it’s the “I’ve just gotten married” record. “I’ve just became a father or mother” record. And “now I’m older” record. And “the midnight crisis” record. And “the beard” record. In some way or form, it’s good to communication a little of what kind of state of mind you were in while making it or which state of mind you want the listener to think you were in. As opposed to just leaving it blank.

There’s a fascinating word play in your titles. Do you enjoy playing with words? Creating a sense of mystery through words?

Very much so. I’m also very much influenced by cinema. Even though I know there’s no film called Infestissuman (the title of Ghost’s second album), I also try to come up with a title for a record that could be a film as well. Like a big epic, three-hour mastodon matinée film. (Laughs). I’d like to make a film called Meliora (the title of Ghost's third album).

I understand that you have aspirations to be a filmmaker. That you’re working on a film. Could you speak about the film?

About a future Ghost film?

Yes.

I cannot speak about it in detail. But, yes, I’ve always been very fascinated with the art of filmmaking.

I definitely am in the process of exploring the possibilities of combining my musician career with a film project. Let’s put it that way. And as with anything cinematic, it takes a lot of time – and way more politics – than making a record.

In the process of this, I’m trying to vet my brain and my ideas into being super-sober about making a film that is actually needed and called for and will turn out really great – so that it doesn’t just became a really confusing project.

Over the course of rock history, there are a few films that have been made that are really cool. Even though many of them end up in more of a cult section because they are … weird. I don’t mind weird at all. I grew up watching a lot of films like that.

I would love to make a film. I would love to make it good-weird, but it needs to be good as well. It needs to be something that people can watch. I’m currently in the process of learning if I can.

The humor in your webisodes complements your albums, which sound epic. That’s a fascinating combination.

Yes. Just to give you a hint of what I spoke of in my previous answer about a possible film: a full-length film would be in that vein. Based on that sort of mythology. I believe that there is something more to tell within the storyline – within the concept of what we’ve outlined briefly – in those episodes.

Most of my favorite films have some sort of absurd humor in them.

I think it’s important for films, too. Just as with any dish at any restaurant, there are certain ingredients that you need to have. Even if its just a pinch of salt. Usually you need that. There are certain aspects in there that make it a consumable plate.

Even if you’re making a horror film or drama or thriller, there needs to be some sort of comic relief at some point. I guess what would change in a long format, is that it wouldn’t be as comedic every minute as it is in the short form.

As there is comedy in a horror film, your music has a unique dichotomy. You have metal riffs and an understated singing style. That’s very appealing to me. Was this natural to you? Is it something you developed?

Everything develops on the basis that it is being received. So I believe that to a certain degree if you’re an artist – be it a musical artist or a filmmaker or a writer or a painter – you need to be somewhat auditive when it comes to the needs and the wishes of your receiving part. As much as any aficionado of subculture, I like a lot of artists that just go against everything and make whatever that comes into his or her head regardless of what a public thinks. But most successful artists have in some way or form nurtured the relationship they have between themselves and their audience. The way that you would nurture any relationship with another part – be it a partner in life or a partner in work. There’s some sort of collaboration.

If you look at big bands that went from debutantes playing clubs to big arena acts, their first records are usually slightly more raunchy and maybe faster in tempo and might include a little bit more complicated arrangements. What you usually find over the course of time and further into their careers, they start making records that are more moderately paced. Or they are paced in a different way. Certain songs don’t really translate very well in a very, very big room in front of thousands and thousands of people. Common lingo among rock fans is that, “Oh, they sold out. They just want to sell records.”

No, they write music that will feel comfortable in the setting – in the forum in which they are performing these songs.

You do what you feel is good for both parties, and that’s how you develop your relationship with your crowd. You don’t do this 100 percent all the time. But you should be aware that if you start doing shit that your significant other – in this case the crowd – doesn't like, you’d be stupid if you continue doing it.

Coming out of a Swedish metal tradition, your music is surprisingly melodic. Sometimes hauntingly beautiful tunes with beautiful choirs. How did this sound emerge?

I have always listened to lots of different music styles. Everything more or less oriented in punk and rock. Except for my love for underground extreme metal from the '80s, most of the other types of music that I listen to are actually quite melodic. I’ve always been melody driven. Ninety-nine percent of the time, my way of listening to a song is to listen to the melodies. It doesn’t hurt if there’s a really good rhythm.

For me, melody is like the dialogue of a film. If you just make a film with just background, it might be an interesting idea. But if you want the film to be of value, you definitely need to have someone within frame saying something. And it’s important what he or she is saying. That, for me, is the melody of a song.

But then you can pimp the song out in so many ways and that’s part of the craft of songwriting. But without a melody, the likelihood of a song being good is not big.

On your first album, I understand that you played all of the instruments except the drumming. Is it hard to only be the front man in live performances?

No, I’ve learned how to deal with that. I just had to sort of disregard how I viewed myself. I always thought that I was going to be the lead guitar player of a band. A Keith Richards in the band. My intention with Ghost was the same. During the first four years – between 2006 and 2010 – up until the very last moment of recording the album, I still thought that, just before mixing the record, that we better find a singer. We never found a singer. So we kept my demo vocals basically. I re-sung them to get better takes. They were on the demos just to explain how the song goes.

That’s the way I’ve always worked. When I write a song I always play everything. So regardless of who might have executed it on a record or executed it on stage, it’s always my way of playing. If I were to play a bass in another band, that’s how the bass would sound. If I were to play drums in a band, the basics of how I arrange songs, that what you hear in Ghost. That’s how I play the drums. Then I get a really good drummer in to play really well, but that’s how I approach thought in all these different instruments. And that has become a signature thing for Ghost.

That makes writing records easier. That makes having a band together very hard. But that is just the nature of the beast. It’s just coming to terms with accepting and owning that. It has definitely taken some time.

Fame doesn’t seem to be your prime mover. What do you think of fame now that your identity has been revealed?

I have, as much as anyone who has any inclination to rock in a band, always wanted to be in a well-known rock band. What comes with that is fame. Up until I was probably 30 years old, I wanted to be very famous. And I wanted to be known. After I started working with Ghost, I was definitely enjoying … . I wouldn’t say anonymity. I was never anonymous. But Ghost and the visual side of Ghost was definitely overshadowing anything that I was. Over the years of being in a well-known band without being a very well-known person myself, I actually started to prefer that over being a recognized person myself. Despite having wished for that before, there are definitely two sides of being recognized. When you dream about it, you only see the upsides. It’s only about the perks of fame.

I don’t feel in any way or form that my so called “coming out” was negative. It was just a weird thing having to deal with a higher level of recognition so far into your career. That was a little bit weird because it usually comes gradually.

For example, for seven years I never took photos of people. If you ever saw a photo of me, it was always a friend of mine that took a photo and I thought it would never be posted online. Or it was someone taking a photo of me without me knowing it. So all of a sudden, when I was out of the closet, you couldn’t really tell people any more that you wouldn’t take a photo with them. All of a sudden, you can’t say no to anyone.

That is something I suddenly had to adopt to because it was very easy earlier to say no, no, no, no. You know how it is. Now if I say no, someone could be very offended. Which is a little sad because I might be on my way into a car that is leaving in 10 seconds and we’re in a hurry. And there are 10 people by the car and you’re like, “I really don’t want to do this to you but … .” And I can’t even finish that sentence before the door is closed. And people get offended. I don’t want people to be offended and sad.

Fame is something that sort of came overnight. But it’s a good problem to have.

All content owned by River Cities Reader

[zoom4ads]

Moving Your Goods Versus Selling and Buying

Moving your personal goods, much less your family, can be a daunting thought, but after a careful review of all your options, you will see that it needs not be a difficult ordeal, just one that requires thought and organization. Hopefully, this post will help you arrive at the thought process.

I have done a big move of personal goods only three times, and I was boxed in (no pun intended) by the same thought process each time. I have come to discover that there are many ways to consider the move to Costa Rica, and some may be much cheaper or at the very least less stressful and requiring less coordination.

The first thing I learned about moving goods to Costa Rica is to find your mover in Costa Rica and coordinate the move through him, as you want to be able to deal with someone local from this end, just in case there should be any questions or problems. How logically simple is that? But had I not been advised, I would have called a mover from Dallas, and I think it would have caused more logistical problems in the long run.

Here are some of the mistakes I made. We brought everything, and I do mean everything. We should have had multiple garage sales prior to the move because we downsized from a 3,000 sq. ft. house to a 2,300 sq. ft house, and we had acquired junk from the previous 20+ years. We knew we wanted to build and no longer wanted a dining room, as we discovered it was wasted space in our last home just to store a dining room set. But we certainly brought everything else. George Carlin has a gig on "stuff", and everyone should listen to that before coming to Costa Rica. It took a little over a year for us to actually move into our house, which meant that we paid, by the square meter, to store our goods, which is an expense we had not considered. Had I had the opportunity to do it again, I would have brought our bedroom set, living room furniture, dishes/silverware, and that's it! Yes, special art pieces and personal belongings, but about half what we brought. That would have cut our moving and storage tab in half.

You can buy American appliances here, and yes, at a higher expense, but still less than moving and storing yours from home. Personal goods are not taxed, but goods that are new are subject to taxation. Many times they are not taxed if you have one of each, but if you bring 10 new flat screen TVs, chances are you will be taxed a very large amount. If you want to have no questions about taxation, Barry will develop a flat-rate move that includes your taxation. You needn't worry about this, as his company will handle all the details and dealings with Customs and deliver your goods to his storage facility or your new house.

I would suggest you get a 3-ring binder and keep all the papers related to moving in this notebook. If you pack goods yourself, label the box with the contents of each box and keep a copy of that in your notebook. If you have professional packers, make sure you get a listing of each box's contents, and that the box is labeled with the contents that you have a copy of in your 3-ring binder. All the paperwork related to Customs should be kept here also.

The following are some tips on what you should do before and after you move to Costa Rica:

Two Months before Moving:

1. Gather your moving supplies (boxes, tape, rope, etc.). Begin packing.2. Make any necessary travel arrangements (airline, hotel, and rental car reservations).3. Call a moving company or make truck rental reservations to move your goods.4. Cover your real estate temporary & permanent needs.5. Keep your legal, medical, and insurance records in a safe and accessible place.6. Give your new address to all your mailers (family members, friends, banks, insurance companies, and other financial institutions, charge card and credit card companies, doctors, dentists, and other service providers, state and federal tax authorities, and other government agencies).7. Keep your moving receipts (many moving expenses are tax deductible).

Two Weeks before Moving:

1. Notify gas, electric, water, cable, local telephone, and trash removal services of your move, and sign up for their services at your new address.2. Notify long distance Phone Company of your move.3. Arrange help for your moving-day.4. Confirm your travel reservation.5. If needed, make arrangements to close or transfer your bank account.

Packing Tips:

1. Make sure you have the following supplies and accessories: boxes (all sizes), bubble wrap or other cushioning material, marking pens, tape measure, furniture pads or old blankets, packing tape and scissors, and money and credit cards.2. Label each box with the room in the new home to which it should be moved.3. Make an itemized list of what you're packing with a yard-sale price on each item, so you don't have to pay too many taxes when your household arrives at the Costa Rican customs. Personal household goods are exempt.4. Number the boxes, and keep a list of what is in each box.5. Mark any fragile item.6. Pack your personal items (clothes, toiletries, medicine, maps, food, and drinks) into a bag, and keep it in an easy-to-find place.7. Keep a medical kit accessible.

After Your Move:

1. Locate police, fire, and gas stations as well as hospitals near your home.2. Locate shopping areas in your new neighborhood.3. Find out which day the trash is collected and whether your new community has recycling programs.4. Seek out new service providers (banks, cleaners, doctors, dentists, and veterinarians).5. Provide your new doctor and dentist with your medical history. You may need to request your file from your previous doctor and/or dentist.6. Find out more information about schools, cable service, cultural events, community activities, and the availability of emergency calling services (such as 911) in your new neighborhood.7. Transfer your insurance policies to an agent in your new community. If necessary, make a detailed list of all your belongings, their value, and your coverage.

Free Ads atlanta

Free Ads austin

Free Ads baltimore

Free Ads bedford

Free Ads birmingham

Free Ads boston

Free Ads cambridge

Free Ads chicago

Free Ads colorado springs

Free Ads dallas

Free Ads denver

Free Ads dublin

Free Ads durham

Free Ads houston

Free Ads indianapolis

Free Ads kent

Free Ads las vegas

Free Ads lincoln

Free Ads los angeles

Free Ads manchester

Free Ads miami

Free Ads milwaukee

Free Ads nashville

Free Ads new york city

Free Ads norfolk

Free Ads oklahoma city

Free Ads orlando

Free Ads philadelphia

Free Ads phoenix

Free Ads pittsburgh

Free Ads plymouth

Free Ads portsmouth

Free Ads reading

Free Ads sacramento

Free Ads salem

Free Ads san antonio

Free Ads san diego

Free Ads san francisco

Free Ads seattle

Free Ads suffolk

Free Ads tampa

Free Ads taunton

Free Ads tucson

Free Ads tulsa

Free Ads vancouver

[wemovechicago]

Most Trusted Emergency Moving Services - Aaron Bros. Moving System Inc.

https://wemovechicago.com/moving/emergency-moving/ - We are a moving company located in Chicago, IL, and we are here to help you with all of your emergency moving needs. We know when you need emergency moving, time is limited, and we have to work fast to ensure your deadlines are met. Our experienced same-day movers can work with your situation, whether you’re facing an eviction or a lockout or need help with fire and flood pack-outs. Call us to schedule our 24-hour movers today!

[lastminutemoverschicago-blog]

Last Minute Movers Chicago

Chicago Last Minute Moving Company who cares about your valuable items and treats them with utmost respect and care.

https://affordablecitymovers.com/last-minute-emergency-movers-in-chicago/

[emergencymovers-blog]

Affordable City Movers

Chicago Emergency Moving Company who cares about your valuable items and treats them with utmost respect and care.

Emergency Movers Chicago

Address: 656 W Wrightwood Ave #412, Chicago, IL 60614 Phone: (708) 608-0105 Email: info@affordablecitymovers.com

[laresearchette]

Friday, March 04, 2022 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: CENTRAL PARK (Apple TV+) DEAR... (Apple TV+) ART IN BLOOM WITH HELEN DEALTRY  (discovery +) BUG OUT (IMDb TV)

WHAT IS NOT PREMIERING IN CANADA TONIGHT I (ALMOST) GOT AWAY WITH IT (TBD - Investigation Discovery) LOVE AFTER LOCKUP (TBD - T&E)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA ALONE (Season 5) THE BOYS PRESENTS: DIABOLICAL LUCY AND DESI THE TOURIST

CBC GEM DRAMAWORLD (Season 2) ESCAPE TO THE CHATEAU (Season 9)   NELLY RIPPER STREET (Season 5) UNLESS

CRAVE TV AIR AMERICA BAD TURN WORSE CATWOMAN     DIE IN A GUNFIGHT THE EXCHANGE F9: THE FAST SAGA GOOD WILL HUNTING LIFE OF PI PLAYMOBIL: THE MOVIE STEVE JOBS TEEN MOM: FAMILY REUNION (Season 1) UNDERGROUND RAILROAD: THE SECRET HISTORY

DISNEY + STAR FRESH (Season 1) THE CALL OF THE WILD RUSSIA'S WILD TIGER THE WAY OF THE CHEETAH

NETFLIX CANADA THE INVISIBLE THREAD LIES AND DECEIT MAKING FUN MESKINA PIECES OF HER

DAVIS CUP (SN) 8:00am: Netherlands vs. Canada

MLS SOCCER (TSN4) 2:00pm: Toronto FC vs. NY Red Bulls (TSN4) 4:00pm: CF Montreal vs. Philadelphia (TSN) 6:30pm: Whitecaps FC vs. NYCFC

NHL HOCKEY (SN) 7:00pm: Penguins vs. Hurricanes (TSN3) 8:00pm: Stars vs. Jets (SN1) 10:00pm: Knights vs. Ducks

NBA BASKETBALL (SN1) 7:00pm: Cavaliers vs. 76ers (TSN4) 7:30pm: Magic vs. Raptors (SN Now) 10:00pm: Knicks vs. Suns

CHL HOCKEY (TSN5) 7:00pm: Ottawa 67s vs. Hamilton Bulldogs

ALL OUR RELATIONS (APTN) 7:00pm: Nuu-chah-nulth author and professor Charlotte Cote's journey has taken her from a small First Nations community on Vancouver Island to a career in television media and most recently to a position as a professor at the University of Washington. marketplace (CBC) 8:00pm: Unpacking Mover Nightmares: Secret trackers and hidden cameras reveal new spin on alleged mover ripoffs.

THE SECRET SAUCE (City TV) 8:00pm: A Chicago marketing executive is dispatched to a cook-off in the Midwest to try and convince a restaurant owner to license his family's secret barbecue sauce recipe. As the pair of them get to know each other, friendship blossoms into something more.

HAILEY DEAN MYSTERIES: A MARRIAGE MADE FOR MURDER (Super Channel Heart & Home) 8:00pm: Hailey's professional code of ethics prevents her from going to the police about a client's confession, so she must find another way to bring the killer to justice.

CURLING (TSN) 8:30pm: 2022 Tim Hortons Brier: Pool Play

ARCTIC VETS (CBC) 8:30pm: Dr. Chris and the team perform emergency dental surgery on polar bear Aurora; Barkley the bison has a broken horn; an orphaned otter pup gets much-needed attention.

THE NATURE OF THINGS (CBC) 9:00pm: Carbon: The Unauthorized Biography:  The key element of life on Earth, it has the power to build and destroy.

THE REAL HOUSEWIVES OF DURBAN (Slice) 9:00pm: Annie and Ayanda hash things out at game night; the theme of Annie's bridal shower gets people talking.

THE EXCHANGE (Crave) 9:00pm:  A socially awkward teen decides to import a mail-order best friend from France. Instead, he ends up with his personal nightmare: a cologne-soaked, chain-smoking, sex-obsessed youth who quickly becomes the hero of the community.

MEDITERRANEAN LIFE (HGTV Canada) 9:30pm (SEASON PREMIERE): A former U.S. Navy oceanography officer, his wife and two sons move back to her home of Sicily, Italy, after years of living in the States; she wants to be close to the sea, but he prefers a home near the center of town.

CRIME BEAT (Global) 10:00pm: Picture Perfect: The Shattered Dreams of Maple Batalia: On September 28, 2011, 19-year-old Maple Batalia, an aspiring model, actress and doctor, is shot and killed in a university campus parking lot; security camera footage pans away at the last moment, leaving her last minutes alive a mystery.

[indiebookpromotions]

In this moving family saga—set during the world-shattering impact of a global pandemic—two marriages and four people destined for greatness will falter and no one will be left unscathed in their pursuit to find a love of their own.”

Newlyweds, Lorenzo and Elizabeth Richardson stands at the precipice of seeing their dreams become a reality. The enigmatic orator from Chicago is poised to change lives with his plan to build an inner-city ministry, while his brilliant new bride has her sights set on the hallowed halls of Congress. But behind what looks like a blessed life lurks a life-long secret—one that tests their perfect union, and pushes one of them to do the unthinkable.

Congressman Anderson Banks and his adoring wife Tabitha is an emerging Beltway royalty. The interracial movers and shakers bask in the glow of D.C. politics, but behind the scenes, a truth buried from the world seeks to be revealed and threatens to shatter their perfectly crafted façade and destroy any hope for a presidential run.

Follow these seemingly perfect couples as they play their roles publicly, but privately buckle under the unrelenting pressure, long-held secrets, complicated realities, political influence, societal expectations, and the economic and social fallout from a global pandemic.

Divorcing Atlanta powerfully exposes the raw emotions brought to life by the excruciating pain of divorce and the strain of trying to lead a real life in—and out of the limelight. This moving and timely accounts will resonate with readers who believe in redemption, choose love and hope over hate and fear, and fight for what truly matters in life.

[freenewstoday]

New Post has been published on https://freenews.today/2021/04/16/fantasy-hockey-forecaster-for-the-week-of-april-19-25/

Fantasy hockey: Forecaster for the week of April 19 - 25

In some cases it’s only one box score, but anything is worth pondering when it comes to new faces in new places. Let’s check in on some our or trade deadline movers with some actual action under their belts with their new team.

Devan Dubnyk, G, Colorado Avalanche: Almost according to script, the Avs get the veteran backup tender and then immediately have to break the emergency glass when starter Philipp Grubauer hits the COVID protocol list for two weeks. It means Dubnyk and 25-year-old Jonas Johansson have to hold down the fort into May. Dubnyk’s .921 even-strength save percentage since March 1 is quite respectable. It’s also a lot easier to tend twine for the team with the NHL’s largest Corsi advantage (and it’s not even close). The Avs not only lead the league in SAT (shot attempts) for, but also lead the league in allowing the fewest SAT against.

The Avalanche will shut down until next Thursday, missing their games with the Los Angeles Kings this weekend, and with the St. Louis Blues on Tuesday. Monitor this situation closely.

Postgame analysis and highlight show airing each night throughout the season from Barry Melrose and Linda Cohn. Watch on ESPN+

Anthony Mantha, W, Washington Capitals: Early returns suggest this fresh start for Mantha is exactly what we needed. Two goals and an assist in two games with the Capitals has Mantha exploding on the fantasy waiver wire. Act fast, as he’s gone from 60 percent rostered to more than 80 percent since Tuesday. He’s skating with Nicklas Backstrom and T.J. Oshie at even strength, but still not getting top power-play unit exposure (which could still come with time).

Nikita Gusev, W, Florida Panthers: Top-line duty with Aleksander Barkov and top power-play duty with Barkov, Jonathan Huberdeau and Patric Hornqvist in his first game for the Panthers? Yes, please. It helps that the player he usurped the role from is on the sidelines for now, as Carter Verhaeghe is listed as week-to-week with an injury. But that immediate usage is good news for Gusev’s fantasy prospects if you go out and pick him up for your team’s stretch run.

Brandon Montour, D, Florida Panthers: That the Panthers were so willing to throw Gusev into the fire immediately and not Montour is a little concerning. Quarterbacking the power play does have more nuances than just being a part of the forward attack, so maybe he just needs a practice or two to get his feet wet. Either way, the Panthers can’t keep rolling Keith Yandle out there and think the problem will solve itself, so we should expect Montour to get a chance sooner than later. Since Aaron Ekblad‘s injury, Yandle has the second-most power-play time in the entire NHL and has zero points to show for it.

Jakub Vrana, W, Detroit Red Wings: Skating on a couple of different lines in his Red Wings debut, Vrana did manage to sneak in a goal. While it’s a positive start, the outlook remains dimmed due to the overall outlook for the Red Wings offense. It’s not like they’ll have a ton of four-goal nights (dead last in NHL with 2.27 goals per game) and there isn’t a clear line Vrana needs to shooting for to be riding shotgun to scoring. File it away as a good first game and we’ll plan to revisit Vrana’s outlook next season, when the Wings have hopefully regrouped.

play

0:30

Jakub Vrana finishes a nice pass from Gustav Lindstrom in Detroit’s 4-1 win over Chicago.

Jeff Carter, C/W, Pittsburgh Penguins: Skating with Jared McCann and Jason Zucker on the second line in his debut, Carter needs more than that to be a fantasy factor. He did not immediately get a chance on the top power-play unit, which would be the secret ingredient to him finding the score sheet until Evgeni Malkin is back. So, Carter can be ignored for now, but keep a close eye on the Penguins lineup to see if he replaces McCann on the power play with Sidney Crosby, as that would make Carter intriguing.

Taylor Hall, W, Boston Bruins: Two games, both skating with David Krejci and Craig Smith, have resulted in one goal and 3.3 fantasy points. In the context of Hall’s season that is a massive win. In the context of him becoming an elite fantasy asset for the stretch run, the jury is still out. I’m thinking we will see an explosion from Hall next week as the Bruins visit the Sabres for a three-game set in four days.

Fantasy Forecaster: April 19 to April 25

A busy week, but a few times do have a lighter schedule. The Anaheim Ducks, Edmonton Oilers and Washington Capitals only play twice, while all other teams play three or four times. The Vancouver Canucks should be back in action again, after yet one more delay for this coming weekend. We’ll see what happens but the impact would extend to the Toronto Maple Leafs, Calgary Flames and Ottawa Senators if more changes are made.

Team

Gms

Ratings

Mon 4/19

Tue 4/20

Wed 4/21

Thu 4/22

Fri 4/23

Sat 4/24

Sun 4/25

2

1

2

OFF

@LA

1

4

OFF

OFF

OFF

VGS

1

2

OFF

3

4

3

MIN

3

2

OFF

MIN

3

2

OFF

OFF

@LA

7

5

OFF

4

7

8

OFF

@BUF

8

8

OFF

@BUF

8

8

@BUF

8

8

OFF

@PIT

2

5

4

4

4

OFF

BOS

3

4

OFF

BOS

3

4

BOS

3

4

OFF

@NYR

3

1

4

8

7

OTT

6

7

OFF

@VAN

10

8

OFF

MTL

8

5

MTL

8

5

OFF

4

6

9

@TB

6

8

@TB

6

8

OFF

@FLA

5

10

OFF

@FLA

5

10

OFF

3

4

4

@NSH

4

5

OFF

NSH

4

5

OFF

NSH

4

5

OFF

OFF

3

8

7

OFF

@STL

10

8

OFF

@STL

10

8

OFF

@STL

10

8

OFF

4

4

5

@FLA

2

5

@FLA

2

5

OFF

@TB

3

3

OFF

OFF

@TB

3

3

4

7

9

DET

6

9

DET

6

9

OFF

@DET

6

9

OFF

@DET

6

9

OFF

4

3

6

@DAL

2

5

@DAL

2

5

OFF

DAL

2

5

OFF

DAL

2

5

OFF

2

6

3

MTL

9

5

OFF

MTL

9

5

OFF

OFF

OFF

OFF

4

5

8

CLS

7

9

CLS

7

9

OFF

CAR

1

6

OFF

CAR

1

6

OFF

3

5

5

OFF

ANA

7

9

OFF

OFF

MIN

3

2

ARI

6

5

OFF

4

10

8

@ARI

10

7

OFF

@ARI

10

7

OFF

@LA

10

7

@SJ

10

9

OFF

4

6

4

@EDM

6

2

OFF

@EDM

6

2

OFF

@CGY

6

4

@CGY

6

4

OFF

3

5

6

CHI

6

6

OFF

@CHI

6

6

OFF

@CHI

6

6

OFF

OFF

4

1

1

OFF

@PIT

1

1

OFF

@PIT

1

1

OFF

@PIT

1

1

@PHI

5

1

3

6

6

OFF

NYR

6

6

OFF

WSH

7

6

OFF

WSH

7

6

OFF

4

10

6

OFF

@NYI

6

5

OFF

PHI

10

5

PHI

10

5

OFF

BUF

10

8

3

6

6

@CGY

4

5

OFF

OFF

@VAN

8

8

OFF

@VAN

8

8

OFF

3

6

2

OFF

OFF

OFF

@NYR

6

1

@NYR

6

1

OFF

NJ

10

6

4

10

10

OFF

NJ

10

10

OFF

NJ

10

10

OFF

NJ

10

10

BOS

7

8

3

2

3

@VGS

1

4

OFF

@VGS

1

4

OFF

OFF

MIN

1

2

OFF

3

3

2

OFF

COL

2

2

OFF

COL

2

2

OFF

COL

2

2

OFF

4

6

7

CAR

3

5

CAR

3

5

OFF

CLS

9

8

OFF

OFF

CLS

9

8

4

5

5

@VAN

9

6

OFF

@WPG

3

3

OFF

@WPG

3

3

@WPG

3

3

OFF

4

3

3

TOR

4

3

OFF

CGY

2

1

OTT

1

3

OFF

OTT

1

3

OFF

3

7

8

SJ

7

9

OFF

SJ

7

9

OFF

OFF

@ANA

9

10

OFF

2

3

3

OFF

OFF

OFF

@NYI

4

4

OFF

@NYI

4

4

OFF

3

7

7

OFF

OFF

TOR

8

8

OFF

TOR

8

8

TOR

8

8

OFF

For those new to the forecaster chart, here are some explanations: “O” (offense), which is on the left for each game, and “D” (defense), on the right, matchup ratings are based upon a scale from 1 (poor matchup) to 10 (excellent matchup) and are calculated using a formula that evaluates the team’s season-to-date statistics, their performance in home/road games depending on where the game is to be played, as well as their opponents’ numbers in those categories. The “Ratings” column lists the cumulative rating from 1 to 10 of that week’s offensive (“O”) and defensive (“D”) matchups.

Team notes

Dallas Stars: Much like the New York Rangers this week, the Stars get to pick on the same low-ranking team four times next week. Based on the early returns for the Rangers against the Devils this week (two shutouts), the formula is a successful one. The Stars play the Detroit Red Wings four times next week, so load up where you can. That includes Jason Robertson, available in more than 50 percent of ESPN leagues and currently scoring at an accelerated clip on a line with Joe Pavelski and Roope Hintz. It might be a week in which Jake Oettinger gets two of the four starts in the crease, putting him on the radar for spot fantasy duty.

Baseball is back, and so is fantasy! Get the gang back together, or start a new tradition. Join or start a league for free >> Prepare with rankings & analysis >>

Calgary Flames: It’s been a minute since Elias Lindholm and Johnny Gaudreau were hanging out together at even strength. They’ve been together for the past three games now, but the sum total of their five-on-five ice time together this season is only 130 minutes (per NaturalStatTrick.com). The success they — and Sean Monahan — put together in the 2018-19 season has had me scratching my head all season as to why they were not put back together sooner. This time, it’s Matthew Tkachuk as the third member of the line, but it’s Gaudreau and Lindholm we are happy to see generating some fantasy goodness. Lindholm and Gaudreau each have four points in three games since getting together. Assuming all is back in order for the Canucks next week, the Flames have four games in which to do some fantasy damage. And, may we suggest for the first time in a while, that Gaudreau should be confidently locked into lineups.

Player notes

Ryan Ellis, D, Nashville Predators: Just want to flag that Ellis is back in action. He’s not always top of mind for fantasy, so his extended injury absence saw him dropped in a lot of leagues. He shouldn’t be. His fantasy points per game are top 40 among defensemen, which puts him squarely in the range as an everyday contributor. Not a flashy one, but a solid one to help push your team through to the end that is available in 30 percent of leagues.

Mike Reilly, D, Boston Bruins: Would it interest you to know that the Bruins power play featured not one, but two new faces on Thursday? With Matt Grzelcyk still out of action (but with Charlie McAvoy there, mind you), it was Reilly holding down the blue line for Patrice Bergeron, David Pastrnak, Brad Marchand and Taylor Hall. He was also with the first unit on Tuesday. McAvoy is not the first choice for this power play when the team has other options, and I can’t confidently state that Reilly would remain the choice with Grzelcyk healthy, but for the time being, Reilly is in play.

Source

[jobsearchtips02]

This Start-up Might Lastly Cure Sickle Cell Disease– After A Century Of Racist Overlook

The uncomfortable blood disorder, which mainly affects Black individuals, is simply among thousands of uncommon illness that might be cured by Beam Therapies’ advanced gene modifying technology.

B eam Therapeutics CEO John Evans likes rocket launches– and not just the ones that are successful.

Gene modifying, Evans believes, is on a comparable trajectory, poised for a series of successful launches in the years ahead. “The stuff we can do now in genome editing would have seemed like magic five or 10 years back,” he says, as technological developments suddenly have biotechs completing to treat unusual genetic diseases long out of reach.

The first generation of gene editing was Crispr, an innovation developed in 2012 that can target and cut areas of DNA like a set of scissors. Beam’s technology, which has yet to be tested in human beings, might theoretically cure thousands of the hereditary illness caused by single letter misspellings, known as point anomalies. Topping the company’s targets is sickle cell disease– a point mutation that primarily affects Black people and has actually been disregarded through more than a century of racist mindsets.

Beam, which was founded in 2017, went public in February and now has a market cap of $1.5 billion despite having no revenues and losing $95 million over the previous year. What the business does have is 12 research programs for 10 various uncommon diseases, consisting of beta thalassemia, another inherited blood disorder, and two types of blood cancer.

Sickle cell disease is the most promising chance. It’s the most typical acquired blood condition in the United States, impacting about 100,000 individuals. The disease produces unusual hemoglobin, the molecule that assists red blood cells bring oxygen throughout the body. While regular red cell are shaped like doughnuts, sickle cells appear like pointy crescent moons (therefore the name), which block capillary and cut off oxygen supply to the bones and organs, causing “excruciating pain,” explains Dr. Robert Liem, director of the comprehensive sickle cell program at the Lurie Children’s Health center of Chicago.

John Evans, CEO of Beam Therapies.

ARCH VENTURE PARTNERS

With one out of every 365 Black children born with sickle cell, the illness has an ugly racial history. “When individuals who were not Black had sickle cell illness then the societal presumption was that then that person wasn’t entirely white,” even though the illness is found in individuals of lots of other ethnicities.

However racist mindsets and a lack of federal funding still continue today. Sickle cell clients, who can end up in medical facility emergency departments with severe pain, waited, usually, 25%longer than basic patients and 50%longer than clients with bone fractures to be seen, according to a study in the American Journal of Emergency Medicine Sickle cell received an average of $812 in federal research funding per individual over the last years, while cystic fibrosis, a lung disease that mainly impacts white individuals, got more than $2,800 per individual, although sickle affects three times as many individuals, according to a paper in JAMA Network Open “If we really have to have this dispute about whether or not Black life matters, I think we require look no more than sickle cell and how it’s been treated as a medical condition to indicate that it truly does not,” states Bediako.

Sickle cell was the first “molecular disease” found, revealing how a modification in one single amino acid could interrupt blood and oxygen supply to the entire body. The first drug to deal with sickle cell, hydroxyurea, wasn’t approved until 1998, even though the illness has been understood in the medical literature considering that 1910, with three more drugs coming to market since2017

.

Base editing was originated in 2016 in the lab of David Liu, a core professor at the Broad Institute and a teacher at Harvard University. Liu cofounded Beam in 2017 together with Feng Zhang, a teacher at the McGovern Institute at the Massachusetts Institute of Innovation and core professor at the Broad Institute, and Dr. J. Keith Joung, endowed chair in pathology at Massachusetts General Healthcare facility and teacher at Harvard Medical School. This is the second of three gene modifying business the clinical power trio has actually established considering that 2013, along with Cambridge-based Editas Medication, which is establishing Crispr-based therapeutics, and Durham, North Carolina-based Pairwise Plants, which is utilizing both Crispr and base editing to develop more healthy crops. In 2019, Liu founded Prime Medicine, a 3rd generation “search and change” genome modifying technology, which he likens to a word processor.

” I definitely, in my wildest dreams, never ever envisioned this sort of precise capability to modify the genome,” says Dr. Francis Collins of the National Institutes of Health.

Liu calls the human genome the “essential present your moms and dads ever gave you.” It’s comprised of 6 billion mixes of four letters referred to as bases: A, T, G, and C. An individual with sickle cell illness has one base set misspelling at a vital place in their adult hemoglobin gene: a ‘T-A’ where there should be an ‘A-T’. That typo, which appears two times among the 6 billion letters, is the distinction between typical hemoglobin and the unusual hemoglobin that causes the stiff crescent-shaped cells.

Beam is the first company to try to directly repair the base set misspelling, though they can’t yet switch a T to an A. Rather, Beam changes the T to a C and the A to a G. While it appears odd to swap one typo for another, the brand-new typo mimics a natural phenomenon, called the Makassar version, which leads to functional red cell rather of the sickle shape.

Beam is also attempting another approach to treating the illness: Introducing a second anomaly in a various place to override the production of sickle hemoglobin. It imitates a naturally occurring phenomenon in which an individual has 2 sets of sickle hemoglobin genes, but does not reveal signs of the illness. The reason? A various anomaly in the fetal hemoglobin gene, which typically turns off in favor of adult hemoglobin as individuals age, but stays turned on and producing normal hemoglobin. “They won the genetic lotto after losing it twice,” says Liu. Both programs showed appealing results in mice.

Liu, 47, prefers to concentrate on his scholastic and research study pursuits, rather than commercialization of the technologies, as do his cofounders Zhang and Joung. The trio like to hire well-credentialed executives to run their companies, like Evans, who has a performance history of effectively bringing precision medications from the laboratory to the market.

John Evans, CEO, Beam Rehabs (L) and cofounders David Liu, J. Keith Joung, and Feng Zhang.

DAN BUDWICK

In 2009, Evans, who made an MBA from Wharton and a Masters in biotechnology from the University of Pennsylvania, was an early staff member at Agios Pharmaceuticals, then a small biotech with a pre-clinical target related to cancer metabolism. The following year he helped broker a distinct alliance between Cambridge-based Agios and huge biopharma Celgene, ultimately resulting in 2 FDA approvals for treatments for acute myeloid leukemia in the period of 10 years, which seems like a long period of time, but is much faster than the usual drug development timeline.

” Celgene, gave us $130 million dollars upfront to explore this location of biology and Agios was able to preserve commercial right, and lots of other important functions, so it was an extremely innovative deal,” says David Schenkein, the former CEO of Agios and a basic partner at Mountain View, California-based venture firm GV (formerly known as Google Ventures), which invested in Beam.

After eight years at Agios, Evans left to end up being an endeavor partner at Arch Endeavor Partners, an early financier in Beam. In late 2016, he fulfilled Liu in his workplace in Cambridge to talk about the company, which was in stealth mode at the time. “I could not sleep that night, I was so thrilled about it,” Evans recalls.

Considering that base modifying is a platform, rather than a single drug, once the technology works in one illness, it will likely work in others. “That ease of retargeting is going to imply that as we get it up and running, we can very quickly go through and deal with a whole bunch of diseases and create a kind of sustainable circulation of brand-new medications,” states Evans.

Beam can’t assault every disease so Evans has pursued tactical collaborations and licensing agreements with other gene modifying business, consisting of Editas, Prime and another Cambridge-based biotech called Vigor, which is utilizing base editing to establish heart disease therapies. “It’s kind of a divide and conquer technique, where we’re minimizing redundancy and now I think more illness, more patients are possibly going to benefit from the innovation than otherwise,” Evans states.

Of course, it’s difficult to predict whether Beam’s technological edge with base editing will eventually prevail over earlier Crispr technologies that have the first-mover advantage, says David Nierengarten, a biotechnology expert at Wedbush Securities. What sets Beam apart so far based on their work in mice is “more effective” gene editing, meaning that “higher numbers of customized cells” will get into patients, says Nierengarten.

Small Targets

Beam is researching a variety of other unusual illness it hopes to deal with, or even treat, with its accuracy gene modifying technology. Here are the seven it has disclosed.

—

Sickle Cell Illness

Estimated U.S. Clients: 100,000

Acquired blood condition causes severe pain.

—

Beta Thalassemia

Estimated U.S. Clients: 1,000 -2,000

Inherited blood disorder triggers severe anemia.

—

T-Cell Acute Lymphoblastic Leukemia

Estimated U.S. Clients: 500 -1,000 per year

Fast-growing blood cancer.

—

Intense Myeloid Leukemia

Approximated U.S. Clients: 20,000 per year

Fast-growing blood cancer.

—

Alpha-1 Antitrypsin Deficiency

Approximated U.S. Clients: 60,000

Acquired disorder causes lung and liver disease.

—

Glycogen Storage Disoder 1a

Estimated U.S. Clients: 1,400

Inherited disorder where body can’t store sugar.

—

Stargardt Disease

Approximated U.S. Clients: 5,500

Inherited eye condition causes progressive vision loss.

Beam has one key benefit: with its innovation, the DNA double helix doesn’t need to be cut, like with very first generation Crispr innovations. This means higher accuracy with less threat of random insertions and removals of code.

Beam’s real test will follow year, when the business prepares to request permission from the U.S. Fda to start clinical trials in people. Even in these early stages, Dr. Francis Collins, director of the National Institutes of Health, the $417 billion (2020 spending plan) federal research study company, states he’s “truly excited” about the capacity of base modifying to handle the 7,000 unusual illness caused by DNA misspellings.

” By delivering this kind of base editor to the best tissue at the right time, you can envision a lot of these [rare diseases] ending up being treatable, maybe even treatable,” says Collins, who is working with Liu on an NIH-funded research study project utilizing base editing (currently in mice) to remedy the point mutation for progeria, a disease that causes kids to quickly age and die by the time they are teens. “I definitely, in my wildest dreams, never envisioned this type of exact capability to edit the genome, where you could go and find one letter out of 3 billion that needed to be repaired, and supply the apparatus to do that with fairly little danger of triggering problem somewhere else,” Collins says reflecting on his profession and the fast progress in gene modifying over the previous couple of years.

But one of the huge technical challenges ahead for lots of diseases will be improving the delivery techniques of successfully getting base editors into the client’s body. While the sickle cell therapy can be done outside the body and placed, for other illness, like progeria, the base editor will have to be straight inserted into the patient, and there are numerous methods being established.

The other obstacle on the horizon will be price. Existing gene therapies tend to be insanely pricey. Novartis, for example, made headlines in 2019 for charging $2.1 million for Zolgensma, a breakthrough cure for spine muscular atrophy. The majority of adult sickle cell patients don’t even have access to hydroxyurea, which is the most affordable generic treatment on the marketplace. “We just have a long way to go before we can reasonably state that a significant variety of patients may gain from these therapies,” states Dr. Liem, who chaired the American Society of Hematology scientific practice guidelines on sickle cell illness. While gene treatments are amazing, “the large bulk of clients out there still need fundamental care,” states Liem.

However Evans hopes Beam can essentially change the guidelines of engagement.

Read More

from Job Search Tips https://jobsearchtips.net/this-start-up-might-lastly-cure-sickle-cell-disease-after-a-century-of-racist-overlook/

[noloveforned]

we're back to our regular quarantine slot, wednesdays at 4pm on wlur for this week's show. tune in or catch up with last week's slightly rescheduled show below!

no love for ned on wlur – may 7th, 2020 from 2-4pm

artist // track // album // label the green child // new dungeon // new dungeon digital single // looking glass xv // shut up i'm bald // basement tapes // (self-released) bait bag // good guy // consider this a warning ep // (self-released) * superchunk // slack motherfucker // the clambakes series vol. 10- only in my dreams, live in tokyo 2009 // merge (2013) sauna youth // decisions // in flux // (self-released) thin lips // wuthering heights // don't stop now iii- a collection of covers and more // don't stop now sinead o'brien // roman ruins // drowning in blessings ep // chess club boat // metabolism // tread lightly // magic marker the mountain movers // let's open up the chest // let's open up the chest // safety meeting boys age // sapphire forest // split cassette w/ annie the clumsy // paisley shirt saba lou // silver pill // novum ovum // ernest jenning daniel romano's outfit // they haven't got a word for that yet // content to point the way // (self-released) fiver and the atlantic school of spontaneous composition // it is what it is // you wanted country? volume one ep // you've changed lucinda williams // shadows and doubts // good souls better angels // thirty tigers wooden wand // a damn good disguise // wooden wand steals the covers, volume one // (self-released) anders holst // water woman // spirituum terrae cassette // scissor tail joe westerlund // emergent marbled weaver // reveries in the rift // psychic hotline icepick // chicago deader // hellraiser // astral spirits herbie hancock // he who lives in fear // the prisoner // blue note leon thomas // the creator has a master plan // spirits known and unknown // the flying dutchman lonnie liston smith and the cosmic echoes // a chance for peace // visions of a new world // the flying dutchman andre gibson and universal togetherness band // thankful for you // apart: demos 1980-1984 // numero group tom misch and yussef dayes featuring freddie gibbs // nightrider // what kinda music // blue note * john carroll kirby // night croc // my garden // stones throw * mykki blanco featuring faltydl and devendra banhart // you will find it // you will find it digital single // (self-released) zelma stone // fly // dreamland ep // (self-released) * hazel english // wake up! // wake up! // polyvinyl * dummy // angel's gear // dummy ep // (self-released) cool sounds // noise complaints // oz do it better! volume 1 compilation // beko free ice cream // tender feelings // free ice cream // martinelli girlatones // pop stars // horn if you're honky // meritorio

* denotes music on wlur’s playlist

[junker-town]

The Girl in the Huddle

How Elinor Kaine Penna became a pioneering pro football writer in an industry where women weren’t welcome

“I didn’t know you were a big sports fanatic,” says a server named Ellen, wandering over to Elinor Penna’s table after overhearing her story about visiting Baltimore Colts training camp. “I know the Indianapolis Colts, but … the Baltimore Colts!”

“Well, I was,” Penna replies. “That was one of the most interesting things that ever happened, how they got the Colts out of Baltimore.”

We’re sitting in the dining room at the Garden City Country Club on Long Island, where she eats often enough to greet the staff by name — and to know what she’ll order. So instead of looking at the menu, Penna, 83, has started laying out a slew of old photos and magazines featuring a common subject: her.

“Ellen, look at this — this is 60 years ago,” she says, holding up a photo of her and Johnny Unitas. “The reason we’re having this lunch is because I was writing about football for 40 newspapers and I wasn’t allowed in the press box, being a female.”

“Really, back then?” Ellen replies. “Oh, my God.”

“Now look at all the women on the sidelines,” says Penna, a bemused smile crossing her neatly painted red lips. “It’s so easy for them — I’m so jealous.”

To say Penna was a pioneering woman sportswriter is an understatement. Working under her maiden name, Elinor Kaine, through the 1960s and early ‘70s, she was a bona fide sports media phenomenon with the syndicated columns, TV deals, book deals and trash talk from disgruntled peers to prove it. Though she’s intermittently remembered today for her widely publicized fight to get inside an NFL press box, Penna’s work meant so much more than that.

She was written up in Harper’s Bazaar, Women’s Day, Newsweek and Vogue (which called her football writing “funny, gossipy, frank and technical”) while getting bylines in Esquire, after that magazine called her “the best fortune-teller in pro football.” Her challenges to the sportswriting establishment were twofold: first, she was a woman, and, second, she refused both reverence and jargon, favoring a gossipy, bright tone that had more in common with contemporary blogs than it did the work of her stodgy peers. Fans treasured Penna’s fearlessness and wit, her willingness to comment on both what other writers wouldn’t think to (players’ marital status and pregame rituals) and what they wouldn’t dare to (juicy rumors about front office discord and trades). As one admirer put it, “She must have blood-stained shoes from stepping on so many toes.”

Skeptics — and sexists — dubbed her “pro football’s Tokyo Rose,” a nickname that unfortunately stuck: “the only woman in what was designed as a man’s game, and like Rose, an irritant.” In short, as one fellow columnist surmised, “Women like these hurt the men’s ego.”

But 50 years after what her friend Larry Merchant dubbed “The Kaine Mutiny,” Penna lives between Long Island and Miami in relative obscurity. Her very active Twitter account (@NFL_Elinor) has 329 followers; she plays in survivor pools (she won $3,000 a few seasons ago) and watches all the games — just on a substantially bigger and more colorful TV than in her early days covering the game.

“Imagine looking at a game on a 10-inch black-and white screen, you’re not going to see any of it again, the announcers are boring and that’s that,” Penna says. “It’s so much more fun now! You have a lot of replays. You can even tape a game and save it for later.”

It’s true that sports have changed dramatically over the course of Penna’s life. She was born Elinor Graham Kaine in Miami Beach in 1935, when there were just nine teams in the NFL. She grew up between Chicago and Miami — or between Wrigley Field and Hialeah Racetrack, as she tells it. Her well-off family owned horses, and racing was Penna’s entrée into the ever-entwined worlds of sports, gambling and high society.

After barely graduating from Smith College in 1957 with a degree in mathematics — where she had spent most of her time convincing boys to drive her to nearby racetracks, and playing pranks on her classmates — Penna spent a year working in an aeronautical engineering lab at Princeton while taking flamenco guitar lessons on the side (a clause that doesn’t sound real but somehow is).

Meanwhile, she began to see the appeal of the NFL: friends would come to visit her in New Jersey on Sundays since from there she could get Giants and Eagles games. Once she moved to New York a year later to become the librarian at an advertising agency in the then-brand-new Seagram Building (essentially living the plot of a minor character on Mad Men), Penna immediately fell in with the classy and sports-crazy crowds at places like P.J. Clarke’s, the now-defunct Toots Shor’s, Gallaghers Steakhouse — Midtown institutions that were, at that point, still hip.

Clarke’s, a famed destination for movers and shakers from Sinatra to Steinbrenner, was a particular favorite: she briefly dated the restaurant’s late owner Daniel Lavezzo Jr. (“It wasn’t really a huge romance, but he would be my best friend to this day if he was still alive”).

Among the monied, cosmopolitan crowd at Clarke’s, Penna’s sports fandom flourished. The Giants would come after home games: Charlie Conerly, Frank Gifford, Dick Lynch, Emlen Tunnell. The panelists of What’s My Line?, like Dorothy Kilgallen and Random House co-founder Bennett Cerf, made up another table. “Sunday night at P.J. Clarke’s was really something special,” Penna says, “and with all those people, at least half of them were interested in football.” The restaurant even fielded its own touch football team for a very casual league in Central Park, and Penna played: one column explained she “can throw a football 35 yards, has great hands, and describes her running style as ‘very Mel Triplett.’”

Going to Giants games at Yankee Stadium was an event: “I remember that we would wait and plan our hats, and suits, and high heels!” she says with a laugh. “People dressed to the teeth — they weren’t just in sweatshirts. It’s so awful now.” Her roommate briefly dated Tim Mara, so they could get season tickets on the 50-yard line (which they paid for, Penna notes: at one point the price went up from $20 to $25, and “we used to crab about it”). There was the game, and then the game after the game: “Everybody waited in the Stadium Club [a VIP lounge, basically] for Frank Gifford to come and pick up his wife Maxine,” says Penna. It was also where she started meeting the people who would become her sources.

Penna, who had grown up around gambling because of her family’s racing bona fides, recognized a market inefficiency and saw an opportunity. Plus, she was tired of her day job at the agency. “There were bookmakers in all the sports restaurants in New York at that time, and they were all taking football bets,” she explains. “Nothing was legal, and so at that point they didn’t put the line in the newspaper — I don’t think it was allowed.”

So in 1961, she decided to go it alone and start a weekly newsletter called Lineback. First, Penna befriended a bookie in Vegas, who she would call every week to get the following Sunday’s lines. Then she would type them up and add the most interesting news from around the league, which she gleaned by subscribing to the local papers in every single city that had an NFL team — so many papers the post office wouldn’t deliver them, and Penna had to walk to Times Square and haul them all back to her apartment at 69th Street and 2nd Avenue. Then she would make 500 copies or so, and by Thursday, five or six select restaurants (which would each pay $10 a week) had a stack of copies of Lineback on the bar.

In other words, she was aggregating. “In the New York papers, they covered the Giants; In Chicago, they covered the Bears,” she explains. “They would write one article about the visiting team — like on a Friday — and that was it. But just think about it: 12 teams and no national news about them at all. No TV, no radio.” The paper had two droll slogans: “America’s oldest and only pro football newsletter,” and “You don’t have to like football to like Lineback.”

Penna began to meet more and more people in sports after she started the newsletter, and got better and better intel from fans, avid gamblers, team staff and players. She may not have been allowed inside the press box or in the locker room, but as one anonymous editor put it, “She can gather more inside information, without venturing inside a single locker room, than J. Edgar Hoover, Walter Winchell and Louella Parsons combined.”

She started selling subscriptions — $3 each — and counted Yankees manager Casey Stengel and Ethel Kennedy among her readers. (Penna was particularly proud of her incarcerated subscribers: “Send a subscription of Lineback to your favorite convict,” she told one paper.) Even NFL commissioner Pete Rozelle eventually got onboard, despite the fact she continually ribbed “The Big Bopper,” as she called him, in Lineback’s pages. Her readership started in the hundreds, and would eventually grow to thousands — all served by her and a group of friends stuffing envelopes in her living room.

By the mid-60s, it was a cult favorite: “Religiously read by the George Plimpton set,” as one paper described, though Penna says she never met the Paris Review co-founder. “The foremost, chicest professional football newsletter in the land … that is becoming the rage of the game’s emerging social set,” said another. Esquire called it “the most accurate and interesting inside information about professional football.” It was even called “sexy.”

“But it wasn’t!” Penna protests with a laugh. “Just to be the only girl made them think it was something.” She pauses. “When a football newsletter’s sexy, that’s going to be the day.”

It’s true, though, that Penna delivered football news with a rare humor and irreverence. Before pundits, Twitter and blogs made them sports’ most valued currency, she understood the power of a quick, bold take — especially when accompanied by a good one-liner. She described Vince Lombardi, for example, as “the Sophia Loren of football: top attraction, big on top, very volatile but warm of temper.”

“My aim is to go against the public relations garbage, which makes every team sound like it has 40 All-Americans in perfect health waiting and ready to go,” she told one reporter.

Some of her peers reviled her unorthodox approach. Others, like Larry Merchant, who was a columnist for the Philadelphia Daily News when Penna came on the scene, relished the way she turned things upside-down. “She had a take on what was going on in pro football that lined up with the direction sportswriting was starting to go into in the ‘50s and ‘60s,” says Merchant. “Dealing with professional athletes like they were 6-feet tall, not 10-feet tall; talking about their backgrounds and personalities, not just how many yards they gained that day. It was also a time when pro football was starting to emerge as a very powerful force.”

“The human interest stuff is what I was interested in, and that goes across genders,” Penna says. “When television came, instead of reporting the game the way it had been done for centuries, they had to look for another dimension — so people became writers. Old sportswriters weren’t writers.”

Uncovering trivia about player’s personal lives was one thing, but it was Penna’s accuracy and scoops that wound up getting her widespread attention. A big break came when she was one of the only sportswriters to pick the Browns over the Colts, who were 7-point favorites, in the 1964 championship game. What made her do it? She leans over confidentially: “Nobody else did.” After that, she was regularly called Nostradamus.

She was the first to posit that Lombardi would leave the Packers in 1968 (though she had guessed he would come home to New York), and she scooped the location of the 1969 Super Bowl by calling hotels in New Orleans and innocently asking for Super Bowl-weekend reservations. At the same time, she was reporting on how Donny Anderson was the only man on the Packers who wore black silk underwear and compiling lists of football players “with first and last names which could pass for first names.” She loved Steve Stonebreaker: “the ultimate in names.” Nothing was off-limits, and everything was at least a little bit funny.

Soon, she started getting punnily titled spots in papers around the country: “Female on the Fifty.” “Girl in the Huddle.” “Powder Puff Picker.” “From the Weak Side.” “Beauty and the Beef.” The one that eventually stuck was “Football and the Single Girl.” Despite their gendered titles, the columns had the same peppy mix of football miscellany found in Lineback — and were certainly too insidery for the novice.

Penna was also commissioned by teams and papers around the country to write guides to football specifically for women, including one that was syndicated nationally before the very first Super Bowl, and a chapter in the 1968 Encyclopedia of Football. Somehow, though, rather than patronize her audience, Penna proffered entirely lucid, often hilarious and highly educational introductions to the gridiron.

“Men pro football fans have certainly made it hard for a girl to enjoy the game,” one began. “They pretend football is too complicated for a female to understand, hoping to keep the gridiron a no-woman’s land. Beat them at their own game!” It proceeds to instruct women to do exactly what men do to this day: note extremely obvious facts about the game as though they are revelatory, and use well-worn football cliches to sound in the know:

“Before the play you might volunteer the fact that third down situations (and use the word — it’s very ‘in’) make you terribly nervous. If the team makes a first down, say, ‘I was worried they might not make it. Football is such a game of inches, isn’t it?’ and smile.”

Another evergreen tidbit: “Any girl who wants a sophisticated football fan to fall in love with her should talk about the offensive line. That is one line that is guaranteed.”

She started doing additional widely syndicated columns just to pick the following week’s games, touted with full-page advertisements insisting “Elinor Kaine can outpick ANY MAN!” while challenging readers to not “let her get away with it.” There was another column for Football News, and racing coverage in the offseason. Regular local TV appearances followed, and by 1966 she was making picks weekly on NBC’s Today.

“Most of the time when I was on television, I was not on television because they wanted me personally as a football writer to be on,” Penna insists now. “They wanted a girl, and they didn’t care what I said. I made the picks because nobody else wanted to.” She appeared on What’s My Line? and To Tell The Truth, always stumping the panelists who could never fathom that a woman would write about football.

Penna generally downplays the sexism she faced, or deflects with jokes — but there’s no question it was inescapable. There’s how she was constantly introduced: “Pert,” “pretty,” “reasonably pretty,” “nicely developed intellectually and otherwise,” etc. In the early days, when she was trying to get on the mailing list for NFL’s weekly press releases, the head of PR told her he couldn’t send them to her because “you don’t work for a newspaper and you’re a girl.” So each week, he left a copy at the reception of the NFL headquarters, and she went to pick it up. Eventually he decided it would be alright to send them — as long as he addressed them to “Mr. E. Kaine.”

At one point, she applied for a press credential for a Giants game. “Listen, girl: the turf at Yankee Stadium is sacred,” the team PR rep told her. “No female is ever going to put her foot on it — at least as long as I’m here.” Penna recalls the incident with typical good humor: “Through the years, the Giants have been the most old-fashioned, backwards organization possible — and here they are in New York City, which is a shame.”

She sent application after application to the Pro Football Writers of America, which were ignored until Rozelle invited her to dinner with the head of the organization and insisted they allow her in. She never met most of her newspaper editors, never went to the offices; at that time, there were almost always two papers in every city, and the more prestigious ones would never pick up her column.

Penna got a slew of hate mail — “and they aren’t all love letters either,” she joked at the time. It may have been less profane than the responses women sports reporters get now (though Al Davis was known to refer to her as “that bitch”), but it was certainly no less mercurial. “I get a royal ribbing on how a woman can be expected to know, comprehend or delve into the man’s world of professional football,” she told one interviewer. “They say I ought to get married and go to the kitchen because they don’t agree with what I write. They’re people who are stupid or don’t have a sense of humor, or both.”

Then there was the fact she was single for most of her professional life. When I ask if she ever felt pressured to quit and get married, she interrupts me: “No, no, no. I never wanted to do that. I don’t know what I wanted to do ...”

Penna was asked about it at the time, too — specifically about what her parents thought. “They think I should be married,” she said. “You know, we are a square family, and they think I should be married to an executive and having children. They don’t say anything, but they seem to be puzzled by my entire life.”

Most of the time, her personal life was just one more source of jokes. One anecdote that appeared over and over quoted a nameless escort as saying, “I thought I was out with [storied journalist and racing fan] A.J. Liebling.” Penna dryly insisted she had “army of beaus,” all of whom she told to buy a subscription to Lineback. “Nobody ever said no,” she added.

Looking back on it, she sighs. Penna doesn’t have much patience for self-indulgence or over-seriousness, but the realities of what she went through are still daunting. “Some of these things are just so incredible,” she concludes.

The incident that Penna is, unfairly, best known for is her battle to get in the press box at the Yale Bowl, where the Giants and Jets were slated to face off for the first time in a 1969 preseason game. She had been admitted as working press for the first time at Super Bowl III earlier that year, though relegated to an auxiliary press area in the stands. Otherwise, she had been paying to get in alongside the fans.

Penna met a lawyer who offered to file a show cause order in New Haven Superior Court against the Jets, the Giants, Yale, and the New Haven writer who was managing the press box, demanding an explanation for why a registered member of the Pro Football Writers of America was not being admitted to an NFL press box.

What followed was a media firestorm: Penna’s challenge was covered from coast to coast. “I don’t want to take over the press box, I just want to sit in it,” she said at the time. “It isn’t fair to base the availability of press box credentials on the gender of the applicant. I mean, we were all born by the luck of the draw, weren’t we?” Eventually, the teams and school acquiesced and gave her the credential — but not before smearing Penna and claiming the case was a publicity stunt backed by the publisher of her upcoming book. “But wait until she sees where she’s sitting,” the press box coordinator sneeringly told one paper.

“So LeRoy [Neiman, the artist and Penna’s close friend] and I hop into my car — I had a Cadillac convertible that was just incredible — top down, drove up to the Yale Bowl, parked, and when I got to the bottom of the stairs to the press box, they said, ‘Oh, I’m so sorry, we don’t have any seats — we’re totally full.’ This was about 11 in the morning,” Penna remembers. “They showed me to … I think it was probably a newsreel photographer press box under the regular press box, which had like four folding chairs and no place to type. They said, ‘We’ve saved this for you.’ That was the story.”

There were empty seats in the press box, as Penna’s writer friends relayed to her, but she still wasn’t allowed in. The game was a big deal because the Jets were the reigning Super Bowl champions and it was the first time the New York teams had ever played each other, so she had a tighter deadline than usual — but Penna couldn’t file on time because she couldn’t type.

“It was the writers who were against me, the teams didn’t give a shit,” she says now. “They didn’t want me in there. No girl. They wanted it just for themselves.”

So, for the first time, she wrote about what it was like to be a woman sportswriter. “The Establishment, the New Haven sportswriters, the Jets and the Giants conspired yesterday, and yours truly watched the Jet-Giant clash practically by my lonesome in a separate and very unequal situation,” she wrote as the lede for that week’s column. “I’m not crying,” she told another writer who interviewed her about the incident. “I’m just tired of getting treated like garbage. I hate to get kicked around by such little people. I really don’t know what I’m going to do — I don’t want to be made a fool of any more.”

Fighting to get inside the press box unintentionally brought Penna an entirely new degree of visibility. It also inspired more ire from both women and men, including other women sports journalists of the era who saw it as attention-seeking. The attention, though, finally got her inside a press box at the Orange Bowl by the invitation of the Dolphins — generally, she just stuck to watching in the stands, where one peer described her as having a transistor radio in one ear, a portable television in a shopping bag at her feet and a thermos of martinis. “If you got right down to it, I never particularly wanted to go into the press box especially since I wasn’t writing about the game itself — I was just annoyed that I couldn’t,” she says now. “Wouldn’t you rather sit in the stands at Yankee Stadium?”

“I’ve yet to find a writer with a sense of humor who wanted to keep me out of their press box. And I’ve never met a good writer who didn’t have a good sense of humor,” she wrote about her press box battle later in 1969 for Quill, the magazine of the Society of Professional Journalists — the same month that organization admitted women for the first time. “I’m lucky I’m not a baseball writer. If it sounds like football is conservative, provincial and full of old fogeys, baseball has a mind that’s strictly centuries B.C.”

At the time, going into the locker room as a woman was a complete nonstarter, as one might imagine. “Some of the guys said they would come out [of the locker room], the ones I knew — all I had to do was come down and ask,” she says now. “The whole thing about going into a locker room is so overrated. What those players say in the locker room is so boring, when you think about it — unless it was that Rams[/Saints] game last year with the foul, and you interview the guy who says he didn’t do it but he did, or something like that. But otherwise there’s nothing that comes from the locker room that’s interesting, and never has been.” At the time, of course, she had a quip: “They give you the same answers whether they have their pants on or off.”

Her book, Pro Football Broadside, came out that same year and was widely serialized in early 1970. Ostensibly framed around the idea of presenting football from a woman’s perspective, in reality it was just a smartly written survey of the state of the league, filled with both the basics of the game and anecdotes from some of its most memorable characters (the image of Joe Namath shaving his legs in the middle of the locker room stays with you).

“There is something basically discomforting about a gal sportswriter,” one review began. “Too many times it’s just a gimmick; in Elinor Kaine’s case, though, it’s downright embarrassing. She’s good.”

Pro Football Broadside begins not with an explanation of the game or a list of the teams, but in the locker room, where Penna vividly describes various players’ pregame routines and superstitions based solely on secondhand observations because, of course, she wasn’t allowed in. She talks about the pharmacy used to get players through the season, from vitamins to morphine and amphetamines, as breezily as she does the preferred cologne of the New England Patriots (Estée Lauder Aramis).

She describes the game in thoughtful, fresh terms: “If it is taken two at a time, football can be broken down for spectating purposes into 11 individual duels. Watching one duel at a time is absorbing. Superb athletes, football players use finesse, quickness and cunning as much as size and strength. The mini-wars are violently sophisticated and highly unpredictable.”

And within the book, there’s no concession to the amateur: Penna covers the pros and cons of “establishing the run,” the futility of prevent defense and punting (“super conservative” but “[Don] Shula would rather eat worms than run on fourth and inches”), while explaining Norman Mailer’s theory of the hypersexualized relationship between the center and the quarterback and allowing one center to describe the way different quarterbacks’ hands feel against his inner thigh. Penna describes spirals thusly: “The ball is never served with an olive. It’s always served with a twist.”

Penna covers racism and segregation in college football and the pros in frank terms, even explaining it wasn’t easy for Black players in Green Bay to get a haircut. She cites renowned sociologist Harry Edwards’ assertion that “[B]lack athletes have long been used as symbols of nonexistent democracy and brotherhood.” The book concludes with a call to get women in football: “According to doctors, who claim that nature made women the hardy sex as an ally for childbearing, women are physically as well as emotionally suited for football.”

“I don’t think it sold 10,000, but I may be wrong,” she says now. “When they’re on eBay for $2, I always buy them. I have two or three in my kitchen.”

By 1971, Penna had been invited to be on the CBS pregame show, NFL Today with Pat Summerall and Jack Whitaker. She’d known them for years prior to getting the gig, where she would just make the weekly picks — despite that, she says they barely greeted her when she came on set.

She’d already found warmer reception, though: Penna married an Argentinian horse trainer named Angel Penna in 1971 in a surprise ceremony at a dinner party she threw in New York. Angel had just gotten a job managing the stable of a French countess, so at the end of the 1971 season, Elinor decamped alongside him to live in a castle. “Perhaps it’s our male chauvinism, but we are glad to hear that Elinor Kaine has departed to become one of the newer Americans in Paris,” the Daily News wrote upon her departure. “Her track record as a cutie-pie, self-styled football expert was a low-class, put-on performance.”

At 35, her career as a sportswriter was over.

Penna looks at me skeptically over my salad. “You’re going to have too much stuff.” She’s right.

Epilogue

These days, Penna watches football more or less like the rest of us. From a big, comfortable office chair, she has access to both a TV set to RedZone and a desktop computer with Twitter open.

“You’ve gotta be careful,” she says, opening a tab up to check on the state of her survivor pool. “I’m trying not to tweet, but I can’t help it — I could do it all day. It’s exactly what I was doing 60 years ago: a gossip column.”

Penna’s a prolific quote-tweeter, particularly when it comes to her longtime home team, the Giants. She speaks — and tweets — with the easy assurance of a born pundit. Her commentary ranges from “terrible snap” to various critiques of players’ and coaches’ hair: Kliff Kingsbury’s hair is too short, Ryan Fitzpatrick’s beard is too long. She likes Andy Reid because he doesn’t have those “Adam Gase eyes.” “Isn’t it amazing that Belichick doesn’t open his mouth when he talks?” she’ll ask out of the blue, flashing a grin, ever observing the details that other sportswriters ignore.

“I think that reporters are missing that now — the gossip angle,” she says. “Now they would over-do it — take the fun out of it. And there’d be [law]suits.” When Penna was working, the league was still sort of the Wild West: in the middle of rapid expansion via the NFL-AFL merger, and only very recently a mainstream phenomenon. Monday Night Football, for example, was born in 1970. Now, the amount of money and power at stake makes playfully prodding players, coaches and owners seem impossible, especially if you want to maintain your sourcing.

“It’s so big. Think how big it is!” Penna says, reminiscing about the era when all the games were on one day. “And the London stuff — completely ridiculous. It’s not good for the players or for the home fans, who can’t go unless they’re really rich.”

After spending almost a decade in France (where she couldn’t watch football), she moved with her husband to the same house she lives in now on Long Island, spitting distance from Belmont Park. They started antique shops in Connecticut that have since closed, but she still sells 19th century English pottery online; Angel died in 1992.

I ask the woman Merchant had described as the “female Grantland Rice” if she had ever thought about returning to writing. “Never,” she replies. “Sometimes I say, ‘That would be a great idea for a column, but not for me to write about.’ Think about Jerry Jones. You wouldn’t want to interview him, because he wouldn’t tell you anything. But you could write columns about him, by reading what other people say.”

“Elinor laughed at the pretensions of men who patronized women with their pseudo-expertise,” Merchant wrote on the occasion of Penna’s retirement from sportswriting. “She poked fun at the juvenile antics of grown men who played, coached and owned. She fleshed out the people hidden under all that armor and money.”

“She would come up with these anecdotes that ordinary sportswriters at the time wouldn’t care about, would never find out about,” he says now. “It tickled me that this woman had created a space for herself. One of the reasons I love New York is because I met so many people who had sort of made up their lives in different ways that nobody could have anticipated.”

Penna had made something entirely new with her newsletter and her columns, not only because men wouldn’t let her in the room but because she didn’t like the rote, dull writing they were doing in that room anyway. She exposed the fallacy of football’s mystique with frankness and humor, while encouraging women to participate with the confidence of a man: knowing next to nothing about a topic (especially one as ultimately inconsequential as football) and loudly sharing opinions on it anyway.

“I don’t know what my goals were then,” says Penna. “I wasn’t trying to lay any new roads. I didn’t give a shit about that. Trailblazing...that had nothing to do with it at all. I was having fun.”

It’s perhaps because she’s so resistant to the idea of being labeled a pioneer that Penna’s accomplishments have been mostly forgotten; quitting the industry and changing her name also likely had an impact. She remembers being asked to sit on one panel about being a woman in sports media with a shudder. “Natalie, they were the most boring people,” she says. “You wouldn’t want to sit with them for five minutes. They had no sense of humor and took themselves so seriously.”

That’s what Elinor reminded me: This is supposed to be fun. Yes, 50 years later, women have only made it to the men’s professional sideline, not onto their gridiron as she called for all those years ago. But as I try to guess how she might end this piece, I have to laugh — that’s probably a lot closer than they’d like us to be.

[schraubd]

On Being in the Room

MaNishtana, a prominent African-American Jewish writer, has a bracing but well-worth-it post on the (generally White) Jewish reaction to a racial justice march being scheduled for Yom Kippur. In some ways, I consider it to be part of the same conversation I was having in my "On Asking Jews To Be More Anti-Nazi" post, although the march here -- being focused on police violence -- is more specified than that. MaNishtana makes several points, but the core observation is simple: Decisions are made by the people in the room. If even one reasonably-observant Jew or Jewish organization had been involved in the march's organization, they could have pointed out the conflict in advance -- prior to the public announcement of its date. What does it say about us that none of us were in that room? How does that comport with our supposedly fervent desire to be included? This also relates to the Jewish complaints about Black Lives Matter (really, the Movement for Black Lives platform -- the fact that many of the critics don't know the difference again belies at least some of the sound and the fury). If it seems like they take a hostile stance towards matters important to Jews, can't that be explained at least in part based on who is showing up? This was Jonathan Zasloff's point and one I concurred with in my own assessment of the MBL platform language -- it was, in part, a case of being out-hustled. When Jews aren't present, people who don't really know or care about Jews (or worse, those actively hostile to Jews) get to set the agenda. That those groups beat us to the punch in terms of getting a critical mass of influence inside these emergent grassroots organizations is not something to be proud of. I also think MaNishtana makes a critical point about the overreliance of White Jews on the legacies of 60s, and particularly Andrew Goodman and Mickey Schwerner. As he observes, this is starting to border on "Party of Lincoln" territory: "If your most significant proof of social engagement and moral uprightness is an event from *three* generations ago, then that is a problem, and you need to figure out why." I agree that it is time to retire the 1960s as proof of Jewish "showing up" for racial justice. It's time for us to make our own history. So all of that is an endorsement of a necessary critique. Yet, in keeping with my other post, I still think it's important to provide the counterweight. In any conversation about who isn't "in the room", there are explanations that suggest the absent group doesn't really wish to be there, and there are explanations that focus on ways they might be deterred from showing up. In feminist history, there were many instances of predominantly white women's groups "unintentionally" marginalizing women of color, in ways that almost certainly never would have happened if women of color were "in the room" in any significant numbers. And some of the white women would then wonder why they weren't in the room -- didn't they know they were welcome? Didn't they know they were desired? This was taken as axiomatic; it wasn't even considered that there might be reasons why they weren't in the room and that they might not actually feel welcomed or desired. It is true that many mainstream Jewish organizations simply were flat-footed in getting involved in movements like Black Lives Matter, and their absence is what let groups and persons with a more hostile tone towards Jewish concerns take the lead. Some of that is an issue of medium: Compared to the 1960s, Jewish political organizing has shifted significantly in an institutional direction -- large organizations which seek to connect with and influence other large institutional players through means like lobbying, amicus briefs, political donations, and so on (think AIPAC, ADL, AJC, and so on). These groups actually have solid connections with the institutional elements of the Black community (e.g., the NAACP, or the Congressional Black Caucus) -- one of the reasons why I think the supposed Black/Jewish crack-up is widely exaggerated -- but they are not well-geared towards handling incipient grassroots activism that for the most part did not proceed through these channels. Beyond whatever ideological differences they might have from more institutional Jewish groups, one reason groups like IfNotNow are gaining momentum is that they have the agility to be part of this style of grassroots, street-level activism, in  a way that the hulking behemoths of the Jewish community simply cannot match. All that said, there absolutely were Jews who really did "show up early" for these causes -- and, importantly, there were non-trivial efforts to push out them out of the room. The case of St. Louis Rabbi Susan Talve is a clear instance of that. The Jews kicked out of the Chicago Dyke March were showing and had been for years. Ditto those at Creating Change -- by definition, they were showing up. Or consider the headline Stacey Aviva Flint got hit with in the Atlanta Black Star when she expressed her ambivalence towards the MBL platform due to its Israel language: "Black Jews Stood with ‘BLM’ Until It Questioned U.S.’ Unrelenting Support to Israel." It's not a universal by any means; indeed, as I noted in my last post there is a strong and significant tradition of African-Americans in particular rejecting efforts to leverage their political organizing as a fulcrum to marginalize or exclude Jews. Certainly, the narrative that African-Americans are especially bad on this issue is simply unsustainable. But in left spaces such exclusion happens often enough such that many Jews will be hesitant to jump into the unknown -- a hesitation that cannot be reduced down to simple white fragility. All of this flows naturally from the same suppositions as above: decisions are made by the people in the room. The same logic that says Jews should be in the room if they want the decisions to reflect Jewish concerns also tells us that people who want to subordinate Jewish concerns should try to push Jews out of the room. And the logic of racial capitalism, in turn, explains why dissident Jewish factions (in these contexts, generally anti-Zionist Jews -- though in other spaces right-wing Jews occupy a similar role) are often the prime movers perpetuating this exclusion: excluding other Jews enhances the power of the remaining Jews in circumstances where it is symbolically important to have a Jewish presence (as "diversity", or as a bulwark against charges of antisemitism). Put another way: JVP tried to push out Rabbi Talve because a BLM campaign where people like Rabbi Talve are present and active is one where JVP has less influence on BLM than a BLM campaign where people like Rabbi Ralve are excluded. It is a rational political strategy. So we shouldn't be surprised that there will be barriers to mainstream Jewish participation in these movements -- plenty of people have an incentive to throw those barriers up. This doesn't mean that such barriers are the whole story anymore than it means Jewish apathy to racial justice is the whole story. As I said, I'm presenting a counterweight, not a counterargument. There's one further thought that sprang to mind on this. There is a tension between the logic of the "if you want to influence the decisions you have to be in the room" argument" and the normative request that Jews or other Whites ought not "police" POC-led initiatives. MaNishtana's critique posits that Jews should have had enough presence and power within the organization setting up a march for racial justice such that they could ensure that the date didn't fall on Yom Kippur. Fair enough. But surely we all know that there are other critiques of (particularly, but not exclusively White) Jewish standing in such spaces that focus precisely on our alleged propensity to take over the spaces -- to arrogate decision-making power to themselves in a way that impeded Black self-determination of their own struggle. This controversy was what lay behind the decision by SNCC to forbid Whites from holding leadership positions in the organizations (which led to the expulsion of several Jewish leaders). Years later, in the early 1980s, it led to a boycott of the class Jack Greenberg was co-teaching with Julius Chambers on race and the law at Harvard Law School. Greenberg had helped argue Brown v. Board, succeeded Thurgood Marshall as chief lawyer for the NAACP, and was founding member of MALDEF. He was certainly someone who had absolutely been "in the room"; whatever else the controversy might have been about it, it couldn't be about that. That said, Black students were not wrong to be concerned that Harvard's record of hiring Black professors was appalling, and that there was something especially grating about the implied suggestion that even in the field of race the only option was for the class to be (co-)taught by a White guy. I don't want to simplify these stories -- I think they are complex, and I think often they were more a case of Jews being caught in the cross-fire of a valid impulse towards self-determination than any conscious desire for antisemitic exclusion. At the same time, I think Jews are particularly vulnerable to this sort of "critique" due to antisemitic tropes wherein the Jews is portrayed as all-powerful, all-controlling, conspiratorial, pulling the strings, taking over the movement, and so on. The result is a catch-22 where, too often, there is virtually no gap between "why aren't Jews showing up" and "why are Jews dominating the space?" Any non-trivial Jewish presence and participation -- particularly when it takes a critical form -- will quickly be recoded in this way. Rosa Maria Pegueros recounts her experience on a email list for contributors to This Bridge We Call Home where two -- two -- messages mentioning Jewishness were enough to elicit complaints that the listserv was turning into (in Pegueros' words) "a forum for Jews." I can relate (the complaint discussed in that post about "excessive" focus on Jewish issues was triggered by my own stint guest-blogging at Alas, a Blog. Barry Deutsch, the owner of the site, observed that even with my contributions the number of posts tagged "racism" outnumbered those tagged "antisemitism" by more than an 8:1 margin). Reacting to the Creating Change fiasco, one Jewish commenter lamented the exclusionary impulse which tried to kick out Jewish and Israeli LGBTQ organizations, but was more concerned that the Jewish community was publicly and effectively organizing to resist it, sympathetically describing the sentiment of conference attendees "that external Jewish power was dictating conference policies." (What they were "dictating" was that an LGBTQ conference shouldn't arbitrarily and at the last minute exclude either Israeli LGBTQ organizations or the North American Jewish LGBTQ groups who partner with them). Like with the last post then, my ending line is meant to be ambivalent. There absolutely is a propensity within the Jewish community to rest on the glory days of the 1960s as an excuse for why we need not do the hard work of jumping back into the racial justice fray today. That needs to stop, and while different people participate in the cause in different ways, simply venerating dead Jews who marched with King is not actually a form of participation. Yet a full look at why -- to the extent it is so -- Jews are hesitant to fully link up with contemporary social justice organizing has to critically engage with the full structure of antisemitic exclusion, an inquiry which necessitates a deep dive into how antisemitism and Jewish marginalization manifest historically and contemporaneously. It can, after all, be simultaneously true that some Jews don't want to participate in contemporary racial justice causes in any way beyond the perfunctory, and that others really are trying to "show up" but face genuine barriers, both prejudicial and structural. And on the situation of White Jews particularly, I firmly believe that an intersectional analysis that seriously looks into what Whiteness and Jewishness do to one another is the only way to get a clear handle on the actual circumstances being faced here. via The Debate Link http://ift.tt/2v824ul

[easterndaze]

Easterndaze x Berlin 2019 presents Forbidden Planet

Forbidden Planet is a label, radio show and party started in Montreal, Canada. They operate partly from Berlin, and their sound pays homage to the subterranean basements of the German capital (especially in its more underground, 90s semblance). From the likes of The Mover (legendary hardcore producer Marc Acardipane to Finnish maverick Mono Junk). On Saturday, 30 November (FB event) the label has curated these artists to play alongside Minsk's Mechta collective at the legendary Tresor club in Berlin: 

MONO JUNK

known for being one of the first Finnish electronic producers to acknowledge the Detroit and Chicago lineages in his compositions.

MAS569

Matías Contreras aka Mas569 is a Chilean musician, producer and profesional sound engineer focused in the electronic music. He is founder in Cazeria Cazador Records.

YANLING

The Hong Kong native emerged in Zurich Berlin‘s leftfield dance scene pushing a bass heavy sound inspired by early grime and rave at a time when that mix of sounds had few admirers. She mixes cyber techno sets with dazzling incursions of electro and breakbeat.

[rilenerocks]

I have a beloved friend named Julie. I’ve been lucky enough to have kept her in my life for about 50 years. We met in college. We were part of the revolutionary days of the late ‘60’s and early 70’s. We were anti-war, pro-women’s and civil rights and profoundly anti-establishment and anti-patriarchy. Julie was a warrior-poet. Erudite, well-read, sardonic and bitingly funny, she was my kind of person. She had the courage to head a slate of candidates who were running for office as an alternative student government, with Julie as the chair. Everyone won but her. A more moderate male was elected to the spot which should rightfully have been hers. Hard times for women back then, despite some progress. Still hard times. I knew Julie before she married her husband Rich as she knew me before I married Michael. Today that seems almost as if we were friends in prehistoric times.

She was a few years older than me. I can’t find a couple of excellent photos of her from back in those days but I include a few blurry ones. She was very spirited and beautiful, along with all her intellectual firepower. Julie was a “townie,” born in the community where we both attended college. When she got involved with Rich who was a graduate student, she got a job and stayed in town while he was finishing his degree. They had a daughter who is few years older than mine.

When many of our friends made the post-graduation exodus to Chicago, we still had each other and I felt lucky that our two daughters, a few years apart in age, played in the same houses together. Eventually, Rich got a job at a college in Kentucky and they packed up and moved away. We wrote, frequently at first, and then less so. But it didn’t really matter. When we got together, we had one of those easy relationships that picked up where it left off, without any difficult transitions.

Eventually, they moved to Ames, Iowa where they still reside. They came back her to Julie’s hometown for visits. Eventually her dad died which was a big deal because he was a department head at the University. I remember going to the memorial service for him which was crowded and blurry because of all the attendees. But I was there. As years went by, Julie’s mom ultimately needed living assistance and Julie mover her to Ames. Visits home decreased. Still we managed to stay in touch.

About 19 years ago, breast cancer showed up in Julie’s life at a pretty early age. It was one of the particularly nasty types, the Her-2 positive and she was blasted with treatment. She clawed her way through all of that and came out on the other side for which everyone was deeply grateful. But about three years ago, cancer reappeared in her liver, the same breast cancer as the earlier one with a slightly different mutation. How incredible that a cancer can lie dormant for almost seventeen years and then re-emerge in a new place and be so life-threatening. By that time, Michael had succumbed to his cancer and I was a free agent. Cancer can be such an isolating experience, I’d vowed to myself that I would make myself available to loved ones and friends who were going through treatments and hard times.

So I took off for Ames in fall of 2017 to spend some time with my old friends and give support and empathy in their difficult situation. We had a wonderful visit and although we were uncertain about how effective the treatments would be, I hoped that I’d see Julie again. And that’s exactly what happened. She outlived her prognosis and actually did well enough to make a visit back here last year.

Other dear friends from Chicago joined us and we all were thrilled and hopeful that she would be one of those who’d beat the odds. She had such a good time that she talked about the possibility of moving back here and reestablishing a life in the town of her childhood. We continued to communicate and all seemed well. But suddenly things took a dark turn – the liver cancer metastasized and spread to her colon. An exploratory surgery unearthed too many bad spots and the only alternative was a “light” chemo, as if anything that toxic could actually be termed light. Her response was dreadful with her immune system getting hammered and making her vulnerable to virtually any opportunistic germ. Slowly she recovered from that.

During the US Open, she and and Rich and I spoke before my personal favorite, Roger Federer’s match on a Tuesday evening. We were all pretty lighthearted. But the next day, Julie was having dreadful abdominal pain and was hospitalized. After scans and other tests, the doctors concluded that she had an intestinal obstruction which in the case of someone with her disease, was considered a death sentence. On September 7th, Rich sent out a note to family and friends saying that Julie had days to weeks to live and was being transferred to a hospice facility. He told people that if we wanted to plan a goodbye we were welcome to do that and transmitted a message from Julie expressing her gratitude for all the love she’d felt from all of us who’d been part of her life.

I sat stunned in my living room, not knowing what I should do. My knee replacement surgery was dull pretty recent and an hours long car ride with my leg bent seemed like a terrible idea. So I decided to send Rich a note with the request that he read it to Julie who was being treated for pain and being fed through nasogastric tubing. I wrote this on September 7th, the same day I got this dreadful news.

My dearest Julie

I have lain beside you in beds and on couches since we were so very young, when we were vulnerable and pained, and when we were angry and valiant, and  so “in your face,” assholes of the world. So I lay beside you now, in some ethereal form which should be wordless in reality, but is not in the case of you and me. I remember.

Hours of talking and sorting and handholding. Speaking of love and sadness and mysteries of this difficult world. Gales of laughter through the worst of times. The gifts of our language which we acquired on the journey of this life ring in my head. Julie the poet. I could listen to you for hours and you listened to me, a master of graffiti, as we found the right word that would resonate for whatever was the urgency of the moment.

I have not left you and you will not leave me. Whatever are the crevices that our bodies hold for those who come along and somehow wriggle into the fabric of our person is the place I am in you and the place you are in me. Even when we are converted to ash or dust, that space for each other was settled long ago. I wish you release from every type of pain. You’ve suffered better life’s challenges because your will came from a place of love. For as long as I am a corporeal being I will lift your banner and try to ease the pain of your dearest family. I treasure what we’ve been able to share in recent years, an affirmation of what is unbreakable and forever. I love you, Julie, for now and always. Thank you for being a gift in my life.

Renee

I thought this would be the last communication between me and my old friend and I was terribly sad. But as days went by, there were changes happening with Julie. She decided she wanted her feeding tube removed as it was interfering with her ability to feel close to people. That happened, and eventually, she progressed from a tiny amount of liquids to more solid food with no significant adverse effects. After days in hospice went by, she was able to have her IV pain meds replaced with other forms of delivery and got strong enough to get around without her walker. By September 23rd, Rich informed us that Julie was going into hospice at home where she could look at her own trees through her windows and have the comforts of her own space as she walks down the narrower road to end of life.

People were invited to visit and on September 26th, I felt good enough to climb in the car for a seven hour drive to see my friend. That was a longer trip than I expected due to construction and traffic and I worried that Julie might be too tired to relate to me. And sure enough, within about 45 minutes of my arrival, her eyes were closing. So I thought I would give her what I could in silence and darkness. I must have a peculiar pheromone, one that my family calls my special sleep “juju” that acts like a sedative on most people. I climbed in Julie’s bed and she put her pillows in my lap, snuggled under a blanket and allowed me to gently massage her until she passed out. And I sat there for about three hours sending my quiet love and empathy to her as she rested.

The next day she felt pretty well and between appointments with hospice people and her daughter coming over, we chatted and talked about everyday life, old memories, death, cancer and everything in between. I slipped out for awhile to have lunch on my own and give Rich and Julie some downtime and quiet space. I also wanted to find some sweets and fruit that the nurses were recommending for extra calories to provide strength. A lovely cafe with a bakery helped me feed myself and bring in treats that I hoped Julie would enjoy. We stayed up later last night, squeezing as much time in as we could get but everyone feared that the full time company could prove too exhausting and that she might totally crash today. But she felt better than she’d anticipated and we talked some more about the big ideas of life with a few light notes tossed in for fun.

But then it was time to leave as I had a long drive ahead of me and Julie had the aspects of hospice that include visits. Time is a valuable commodity. So we had what might have been our final embrace. Julie is fragile but wept with strength while I held on to myself as I learned to do by all the practice I had in grieving Michael during his day by day decline. I have no idea how long Julie will stay alive or if I’ll have the chance to see her again. This time of my life, as is true for all of us who are aging, will be filled with losses. I feel as if chunks of my history are being carved out of the tapestry that winds out behind me. Of course I have the peculiar combined pain and gift of memory which I hope I retain as long as I’m alive. There’s doesn’t seem much point in being around if you know nothing of yourself. But for now, I hope that visiting Julie while she is still cognitive and aware was the gift I intended it to be. It was hard for me. I’m still too close to Michael’s death so I relive that time in moments like this. I’m not sorry I did it though. Love is love and love is pain and pain is love and all is a jumbled mess. At least that’s how I see it.

Julie and Farewells I have a beloved friend named Julie. I’ve been lucky enough to have kept her in my life for about 50 years.