We present projected changes in the speed and meridional location of the Subtropical Jet (STJ) during winter using output of the Coupled Model Intercomparison Project Phase 5 (CMIP5) models. We use the ERA-Interim reanalysis dataset to evaluate the historical simulations of the STJ by 18 of the CMIP5 models for the period 1979–2012. Based on the climatology of the STJ from ERA-Interim, we selected the area of study as 70°E–290°E and 20°S–40°S, which is over the Indian and Southern Pacific Oceans, and 300–100 hPa to reduce altitude-related bias. An assessment of the ability of the CMIP5 models in simulating ENSO effects on the jet stream were carried out using standardized zonal wind anomalies at 300–100 hPa. Results show that 47 % of the CMIP5 models used in this study were able to simulate ENSO impacts realistically. In addition, it is more difficult for the models to reproduce the observed intensity of ENSO impacts than the patterns. The historical simulations of the CMIP5 models show a wide range of trends in meridional movement and jet strength, with a multi-model mean of 0.04° decade−1 equatorward and 0.42 ms−1 decade−1 respectively. In contrast to the ERA-Interim analysis, 94 % of the CMIP5 models show a strengthening of the jet in the historical runs. Variability of the jet strength is significantly (5 %) linked to the sea surface temperature changes over the eastern tropical Pacific. The CMIP5 model projections with Representative Concentration Pathways (RCPs) 4.5 and 8.5 were used for analysis of changes of the STJ for the period 2011–2099. Based on the RCP 4.5 (RCP 8.5) scenario the multi-model mean trend of the 18 CMIP5 models project a statistically significant (5 % level) increase in jet strength by the end of the century of 0.29 ms−1 decade−1 (0.60 ms−1 decade−1). Also, the mean meridional location of the jet is projected to shift poleward by 0.006° decade−1 (0.042° decade−1) in 2099 during winter, with the only significant (5 %) trend being with RCP 8.5.
An boardwalk parade of antique autos is set for 2 p.m. Saturday, June 20, 2015.Weekend highlights for Saturday and Sunday (June 20 and 21) include the following:ANTIQUE AUTO SHOW (June 20): An exhibition on the Ocean City Tabernacle Grounds (Sixth Street and Asbury Avenue) will showcase over 300 interesting cars. One of the longest running events of its kind in the East, the exhibit has been featured here for over 70 years. This is a fascinating event for all ages. It’s also ideal for “selfies.” Pose by an ancient Rolls Royce and post your photo on facebook. Just don’t touch vehicles without permission of the owner. A Boardwalk Parade follows the exhibit at 2 pm. Call (609) 399-6111 for information.EVENING WITH JUDY COLLINS (June 21): Opening night for the Ocean City Pops Orchestra includes a performance with the Grammy-winning singer-songwriter known for her imaginative interpretation of folk standards. Hear hits like “Amazing Grace,” “Send in the Clowns” and many more. Sponsored by the Cape Bank Charitable Foundation, 7:30 p.m. at the Music Pier, Boardwalk and Moorlyn Terrace. Tickets, $35/$25. For information, call (609) 399-6111 or (609) 525-9248 or visit www.ocnj.us/boxoffice.MEET JUDY COLLINS (June 21): On opening night, fans can meet Collins at a dessert reception at the Flanders Hotel sponsored by John L. Curto and Paul and Dr. Mary Yuraschevich. $25 per person. Reservations appreciated by June 16. Call (609) 398-0924. or access www.oceancitypops.org.
Elliott Smith‘s Either/Or is approaching its 20th anniversary with a reissued deluxe version on March 10th. The Expanded Edition will feature five multi-track live recordings from Olympia, Washington’s Yo Yo A Go Go Festival in 1997, and four previously unreleased studio recordings.A previously-unreleased, live recording of one of the late musician’s best known hits “Angeles” will be included. Listen to the version below:Earlier in the month, a rare version of “I Figured You Out” was also released in anticipation of the upcoming Expanded Edition. Listen to that here.The 20th anniversary set features Smith’s third landmark LP remastered from the original tapes by Larry Crane, archivist of Smith’s estate and owner of Jackpot! Studios. Read more about the overwhelming amount of material he went through to reach this 2017 release here.Either/Or: Expanded Edition Track List:1. “Speed Trials” (remastered)2. “Alameda” (remastered)3. “Ballad of Big Nothing” (remastered)4. “Between the Bars” (remastered)5. “Pictures of Me” (remastered)6. “No Name No. 5” (remastered)7. “Rose Parade” (remastered)8. “Punch and Judy” (remastered)9. “Angeles” (remastered)10. “Cupid’s Trick” (remastered)11. “2:45 AM” (remastered)12. “Say Yes” (remastered)13. “My New Freedom” (Live) (unreleased)14. Pictures Of Me” (Live) (unreleased)15. “Angeles” (Live) (unreleased)16. “Some Song” (Live) (unreleased)17. “Rose Parade” (Live) (unreleased)18. “New Monkey” (keys) (unreleased)19. “I Don’t Think I’m Ever Gonna Figure It Out” (remixed/remastered)20. “I Figured You Out” (unreleased)21. “Bottle Up And Explode” (Alternate Version) (unreleased)[via Rolling Stone]
Hollywood Vampires, the hard-hitting supergroup comprised of classic rock veterans Joe Perry and Alice Cooper along with actor Johnny Depp, have announced the forthcoming release of their sophomore album, Rise. The 16-track studio album will follow their self-titled 2015 debut when it arrives on June 21st via earMUSIC.Rise will feature a mix of original rock songs sung by all three men in addition to covers of David Bowie‘s “Heroes”, the Jim Carroll Band’s “People Who Died”, and Johnny Thunders‘ “You Can’t Put Your Arms Around a Memory”. Jeff Beck and John Waters will also make guest appearances on a song titled “Welcome to Bushwackers”.Related: Johnny Depp Sits In With Stone Temple Pilots [Watch]To go with the album’s announcement on Thursday, the group also shared its first single in the form of a dark and ominous-sounding song “Who’s Laughing Now”. The single features an abundance of growling guitar riffs from both Perry and Depp as it charges along with Cooper at the wheel on vocals. Depp even joins in to share some vampire-like vocals during the song’s pre-choruses. “Who’s Laughing Now” echos of the hard rock era in which these three men came of professional age. However, they also keep it light with a hippie-like addition to the chorus line, “Ha-ha-ha-ha who’s laughing now, man…”Hollywood Vampires – “Who’s Laughing Now”[Video: earMUSIC]“Rise came from pure creative energy, which is just like playing live with the Vampires,” Perry said in a statement about the creative process for their forthcoming sophomore effort. “The record showcases everyone doing what they do best without anyone looking over our shoulders. There was no pressure or deadlines, allowing us to write and record an album that is one of the freest and most honest sounding records I’ve been part of. I can’t wait to perform some of these tunes live for our fans.”According to a previous announcement from Perry, Rise is one of two albums the band will release this year, as they’re also expected to deliver a live album at some point as well.The band will hit the road for a brief run of spring shows across the western U.S. beginning May 10th at The Joint in Las Vegas and continuing until May 18th at Fantasy Springs Casino in Indio, CA. Fans can head to the band’s website for tour and ticket info.Rise Track Listing1. I Want My Now2. Good People Are Hard to Find3. Who’s Laughing Now4. How the Glass Fell5. The Boogieman Surprise6. Welcome to Bushwackers (feat. Jeff Beck + John Waters)7. The Wrong Bandage8. You Can’t Put Your Arms Around a Memory (Johnny Thunders cover)9. Git From Round Me10. Heroes (David Bowie cover)11. A Pitiful Beauty12. New Threat13. Mr. Spider14. We Gotta Rise15. People Who Died (Jim Carroll Band cover)16. Congratulations
The global glory of soccer Making soccer everyone’s game Harvard symposium examines deep fissures over racism, social responsibility, and inclusion Related In soccer, a game plan for life With help from Harvard students and alumni, nonprofit connects with youth around the world GAZETTE: How do you compare Maradona with Pelé, the Brazilian striker from the 1970s, and Lionel Messi, the best player in the world right now? Who is the greatest of all?SISKIND: This is an endless debate among soccer fans all over the world. It’s very hard to establish an objective argument in favor of one or the other two. Pelé and Messi are absolutely incredible, in terms of skills and talents. I don’t think anybody else gets in the conversation. But both Pelé and Messi have played on teams with other amazing soccer players. When Pelé played for the Brazilian national team in the World Cup in 1970, arguably the best team in the history of all World Cups, he played with five or six of the best players of the world next to him. Messi, as much as I love Messi … his greatest accomplishments in Barcelona were surrounded by Xavi, Iniesta, Busquets and other incredible players. But Maradona in 1986 won the World Cup by himself. Argentina’s team had effective role players, but that’s it. In Mexico ’86, Maradona performed the most remarkable individual performance in the history of the World Cup. Many people said that whichever team Maradona played for in 1986 was going to win the World Cup. When he went to play in Napoli, Maradona led the team to their first-ever Italian championship. Back then, the teams from the north of Italy had the best players. Again, Maradona was pretty much alone in Napoli except when they won that first Scudetto. And he would go on to win another one as well as a European UEFA Cup. Napoli had never won either before, did not win again after Maradona left in 1991. He always played on teams which were rather mediocre.But that alone doesn’t explain Maradona’s mythical figure. There are other elements: his charisma and his qualities as a leader combined with an aesthetic quality that that was superior to that of Pelé or Messi, who are incredible soccer players, but Maradona played a different sport, a form of art. Watching Maradona one experienced something akin to what Immanuel Kant defined as the sublime. The experience of the sublime destabilizes our subjectivity, and for a moment, we are undone; we lose ourselves. It is something that surpasses what is merely beautiful.,GAZETTE: Let’s talk about the World Cup in 1986, and the historic match between Argentina and England in the quarterfinals that cemented a large part of Maradona’s celebrity. In which ways did his performance, and his two goals, became crucial to his legend?SISKIND: Maradona scored two goals. The first is known as the “Hand of God” because that’s how he explained it after he scored using his left hand, and the second is the “Goal of the Century.” The first goal established Maradona’s legacy as a mythical figure across the Third World and the global South. There are two interpretations of that goal that break along geopolitical lines: The typical U.S., British moralistic view said that was cheating, but across Latin America, Africa, and the Third World, they view it as a form of humiliating a former colonial power and the ultimate expression of cunning or shrewdness, which is central to a ludic conception of the game (and of life) that stands outside of the realm of morality.The “Goal of the Century” came only a few minutes later and is one of those moments in which Maradona made possible the impossible with his godly mastery of the game. The amount of decisions he had to make during those 10 seconds showed a football IQ and skill beyond comprehension, a true genius at work. There is a universal reverence for what Maradona accomplished that day with those two goals, but the second was literally extraordinary, out of the ordinary; unique, impossible.GAZETTE: You’re from Argentina, a soccer-crazy country. What did Maradona represent to most Argentinians?SISKIND: Argentinians are a complicated bunch of people, and there is rarely agreement about anything. There was universal consensus, universal love for Maradona as a player at the height of his career. But especially since Maradona retired, he became more polemical and very political, and he wasn’t afraid of taking sides and expressing his political opinions. For some people, their admiration for Maradona became a conditional form of love: “Yes, he was a great player, but he was an addict,” or “He’s amazing, but he supports political regimes or political parties I disagree with.” I personally think that’s very shortsighted. You don’t choose who you love or who you cry over. You love who you love, and if you think you can choose not to love someone because of your disagreements with them, or because of their imperfections, you know nothing about love.GAZETTE: Who were Maradona’s harshest critics? Who were his fiercest fans?SISKIND: What has always been particularly moving is poor people’s unconditional love for Maradona. During these past few days of public mourning, I saw hundreds of interviews with people saying that when they didn’t have any money, when they were out of work, when they were hungry or without hope in their miserable lives, watching Maradona play was the only thing that made them happy. I honestly don’t understand how that doesn’t move anyone to tears or change their views about the social meaningfulness of soccer and of a figure like Maradona. He was revered in Argentina, in Napoli, across the Third World, and by those anywhere in the world for whom soccer is an important part of their lives. A lot of the criticism against Maradona has an elitist undertone, and it’s also very moralistic. I happen to think that moralism as a way of interpreting the world is absolutely uninteresting, and frankly, not very intelligent. It’s very reductive, not to mention hypocritical. There is an elitist view and a moralistic judgment at the basis of those forms of conditional love and blunt condemnations of Maradona.Maradona was born in Villa Fiorito, a slum on the outskirts of the city of Buenos Aires. He had seven siblings; his father was a factory worker; and his mother stayed home with the children. They lived in a house where when it rained, it rained inside the house. He always told the story of how when he was a kid, his mom was never hungry, and how he realized later in life that his mom didn’t eat because there wasn’t enough food for everyone. What’s interesting about Maradona is that he never forgot or let anyone forget where he came from. He brought Villa Fiorito with him to the heights of the world, and even when he lived in mansions and had the most expensive cars and the most privileged life, he always reminded people of his humble origins. That’s one of the reasons why poor people in Argentina and in Napoli loved him, and there were some in the elite who never forgave Maradona’s defiant and plebeian quality throughout his entire life.GAZETTE: Besides his addiction to cocaine, Maradona had many affairs with women and paternity suits. How do Maradona’s fans come to terms with his shortcomings?SISKIND: I couldn’t care less about his addictions to all kinds of substances, but for the record, Maradona never took performance-enhancing drugs. However, I’m bothered by the reported cases of gender violence. I’m bothered by the fact that he had many sons and daughters that he only recognized late in his life. To answer your question about how one comes to terms with these aspects of his life, we don’t. Because there is no need. Maradona was the most imperfect of human gods. There’s no need to reconcile the contradiction that our love for him creates in us; you just live with that contradiction the same way you live with contradictions in your own life. You don’t come to terms with it. Morality and love don’t go together.,GAZETTE: You have co-taught a humanities course about soccer, politics, and popular culture with Francesco Erspamer since 2012, and you teach an entire class on Maradona as the perfect example of the classic tragic hero. Can you explain?SISKIND: Yes, I really wanted to include a class on Diego! For that class, I propose two social, historical, and cultural ways of approaching the figure of Maradona that shed light on why he’s such a meaningful figure. One is through Nietzsche’s “The Birth of Tragedy,” in particular the opposition and relation that Nietzsche develops around Apollo and Dionysus as the figures that represent the two forces that define humans in their relation to the world around them. On one hand there is Apollo, the god of poetry, light, well-being, social order, rational behavior, and of measured forms of freedom. In my mind, Pelé represents an Apollonian figure in the world of soccer. On the other hand there is Dionysus, the god of festivities, wine, dance, music, madness, sexual drive, and of unrestrained forms of freedom. For Dionysus, there’s no morality; there’s only desire and it’s a force of creative destruction. I propose that Maradona is the perfect embodiment of the Dionysian in us, and how important it is to make room in our lives, in the world, for the forms of unbounded freedom and desire he represents. Maradona and other Dionysian figures make it possible to imagine ourselves beyond the boundaries of social pieties, to imagine ourselves breaking free from structures we often experience as asphyxiating prisons.I also argue that Maradona incarnates the figure of the classic hero through our reading of Aristotle’s “Poetics,” particularly the section on tragedy. Aristotle explains that the hero is a demigod, the son of a god or goddess and a human, and therefore imperfect, and that he experiences a reversal of fortune (peripeteia) brought about by his own fatal flaws (hamartia) or by excessive pride (hubris). The tragedy of the hero revolves around having everything to enjoy a prominent place in the world but not being able to avoid causing his own downfall. In the class we establish how Maradona becomes a hero between 1979 and 1990 and how through his flaws he causes his own demise in 1991, in 1994, and at so many points later in his life. Aristotle also said that the hero has a moment of redemption when he recognizes that his actions led to his fall, he calls it anagnorisis. In the narrative arch of Maradona’s life, there is a beautiful ceremony celebrating his career at Boca Juniors’ stadium in 2001 when he acknowledged his shortcomings, which is his moment of redemption. That day he crafted one of so many brilliant epigrams that are now part of the unconscious of Argentine popular culture: “I paid dearly for my mistakes, but the ball will never be stained.”These two perspectives should help us understand why audiences around the world are fascinated with Maradona. Aristotle said that tragedy has a social and political function, and he explained it through the notion of catharsis: Audiences purge their social and political detrimental emotions by witnessing the tragic hero’s downfall. Those two readings help us understand Maradona’s historical importance in non-moralistic ways. The recent death of soccer legend Diego Armando Maradona, who rose from the slums of Buenos Aires to stardom, made headlines all over the world. Argentina declared three days of national mourning, and there was a global outpouring of grief among fans of the world’s most popular sport. Maradona, who died of a heart attack at age 60 on Nov. 25, was also a controversial figure. Fans worshipped him for his extraordinary skills on the field, his charisma, and his championing of the poor. Critics pointed to his life of excess, including his drug addiction, philandering, paternity suits, his support of leftist leaders such as Fidel Castro and Hugo Chavez, and allegations of domestic abuse of a girlfriend. The Gazette spoke with Mariano Siskind, professor of romance languages and literatures and of comparative literature, to understand the social and cultural phenomenon behind Maradona, his larger-than-life persona, and his legacy.Q&AMariano SiskindGAZETTE: Why does Maradona, in life and death, stir such devotion and unconditional love?SISKIND: I think that the closest comparison to the collective grief over Maradona’s passing in Argentinian history was the death of Eva Perón in 1952. Millions of people cried at Maradona’s public wake at the Government Palace in Buenos Aires. I personally cried three days straight. I was surprised by my own reaction. I wasn’t so surprised about the public display of sorrow, but when crying is at the center of the public sphere it has to be interrogated: What exactly are we crying about? What are we mourning with our deep sadness?At an individual level, people cried to mourn the death of a public figure whom they loved deeply. But they were also mourning their own youth, their past, because Maradona’s presence in our lives is tied to very happy moments of our lives. Maradona’s death also has an important social and political meaning because when he was at his best in the World Cup of 1986, and Argentina was at the beginning of its democratic transition with Raúl Alfonsín as president, he was able to create, for brief moments, a sense of community, a community of people in awe of what Maradona was doing. It was not necessarily a nationalistic feeling, at least not for me, but the possibility of a being in common of sorts, something that is rare if not impossible in a place like Argentina, a country always in contradiction with itself.The other meaningful thing about Maradona, particularly for people like me who are very, very secular and non-religious, is that when he was on the pitch, he created something that was similar to a secular divine experience, an experience of what Hegel calls the Absolute. For people like me, this only happens through art, but then again soccer is a performing art, at least when Maradona was on the pitch. For me, Maradona is Beethoven; John, Paul, George, and Ringo rehearsing at Abbey Road Studios to record the White Album; Picasso painting “Guernica”; he is Shakespeare, Cervantes, Joyce, Borges; or Miles Davis and Bill Evans playing together; and a little bit of “Antigone.” Watching Maradona was akin to an experience of transcendence. “I think that the closest comparison to the collective grief over Maradona’s passing in Argentinian history was the death of Eva Perón in 1952.” Harvard professor explains the deep passion for the World Cup (especially his own) GAZETTE: You invited Maradona to come to Harvard in 2017…SISKIND: I wanted him to come to Harvard because it would have been extraordinary. It would have been the highlight of my time at Harvard [laughs]. Jokes aside, Maradona was an incredibly intelligent man, and one of the signs of his intelligence was that he was capable of very insightful forms of self-criticism and was a very acute observer of power relations in soccer and in society. He was also extremely funny.I knew that Maradona hadn’t been given a visa since the World Cup of 1994, which was held in the U.S. He was sent back home after testing positive for drugs. I was hoping that the official invitation on Harvard letterhead would sway the opinion of immigration officers in charge, but I overestimated the cachet of the Harvard name [laughs]. For me, the fact that the U.S. denied him a visa over and over again, together with the obituaries published by the most important national newspapers the day after Maradona’s death, shows how moralism and provincialism are still prevalent in American culture. It never ceases to amaze me how even the most encumbered cultural elites in the U.S. exhibit a deep lack of interest and understanding for any social, cultural, and historical phenomena happening outside the U.S., outside of the idea of “American interest in the world.”GAZETTE: Now that Maradona is gone, what will his legacy be? How do you hope people will remember him?SISKIND: He will be remembered as the greatest player of the most popular sport and cultural practice that exists in the world. I hope that with Maradona, like with other great historical figures, the passing of time will help people gain perspective on his very human flaws and that he will be recognized as the meaningful historical figure he was. The global commotion that we’ve seen over the last few days after his death adds to this legend and his place in history. I think that younger people who heard about him but did not see him play will have a newfound interest in him. That’s my hope.This interview has been edited for length and clarity.
Students and faculty members eager to learn about a rapidly growing style of reporting will find an outlet in the literary journalism reading group, which meets for the first time today. Josh Roiland, visiting assistant professor of American Studies, said he formed the club to facilitate discussion about this type of journalism, which takes the form of a short story or novel. The reading group aims to meet every two weeks and will eventually switch to convening early Friday afternoons, Roiland said. It will have no attendance requirement. Roiland said he developed the idea for the group while he was teaching a course called “Literary Journalism in America” at Case Western Reserve University. “Students really responded well to the readings to the point that several told me they were continuing to read certain authors like David Foster Wallace over the summer and have conversations with each other on Facebook about these readings,” Roiland said. “So I thought I would give that interest some organization and started the group.” The club began with 10 people and grew to more than 40 students, faculty and staff members by the end of the year, Roiland said. “It was pretty remarkable, and I attribute it all to the compelling nature of these stories,” he said. “It’s just such a different experience to be reading something that feels like a short story or novel, but know that it’s been thoroughly reported and is 100 percent accurate.” The literary journalism reading group at Notre Dame will seek to provide a similar structure for the growing interest in this new form of reporting, Roiland said. The club currently consists of 24 students and faculty members. Sophomore John Pratt said he signed up for the reading group after developing a fascination with literary journalism in Roiland’s class last fall. “It has a stronger story-like feel, while still remaining true to journalistic standards of accuracy,” Pratt said. “One of the aspects of literary journalism that excites me most is the fact that the personality of the author can come through very strongly as a result of the symbolism, character development and story-like features that are prominent.” Group members will read many contemporary pieces of writing, Roiland said. The club will look at work by John Jeremiah Sullivan, Susan Orlean and Joan Didion, among others. Roiland said he is open to suggestions about works to read and topics to discuss. “We’ll talk about whatever anyone wants to talk about, whether it’s formal themes, structures, and techniques in the writing, to questions about the reporting, to just whether or not we like it,” he said. “It’s completely open and laid back. The goal is to make people feel comfortable talking about whatever they find interesting, confusing or infuriating.” Pieces of literary journalism are compelling examples of storytelling, Roiland said. They have an untraditional structure and do not follow the classic reporting style of giving the important facts first. “These stories show that you can be a journalist and a writer, that you can be creative and accurate,” Roiland said. “And for students who do not want to be journalists but do enjoy studying the news media, this is an emerging field of study in English and communications departments, and it could spark an interest for further study after Notre Dame.” Senior Ben Zelmer said taking Roiland’s Literary Journalism in America class last fall gave him an appreciation for the literary genre of journalism. “Literary journalism is a unique form of writing that offers fascinating perspectives on issues and topics that are often not available through traditional journalism,” Zelmer said. “I’m looking forward to reading more fascinating pieces in the reading group and hearing thoughts and impressions from students and faculty in a group setting.” Roiland said he helped six former students at Case Western create a panel about undergraduate experiences with literary journalism for the International Association for Literary Journalism Studies. The panel participated in a conference in Toronto and was given the designation of “President’s Panel” by Professor Alice Donat Trindade from Universidade TÃ©cnica de Lisboa in Lisbon, Portugal. “The panel was the highlight of the conference, and really, the highlight of my teaching career,” he said. “Those students got to meet all of the literary journalism scholars they had been reading in class and citing in their papers. … And, ultimately, I’d like to replicate experiences like that here at Notre Dame.”
Lord Of The Dance: Dangerous Games stars James Keegan, Morgan Comer and Mathew Smith as the Lords Of The Dance, alongside an ensemble of 40. The production is an updated staging of Flatley’s original shows Lord Of The Dance, Feet of Flames and Celtic Tiger. Dangerous Games features holographic-effect projections, along with new costumes, choreography and music by Gerard Fahy. View Comments Michael Flatley’s Lord Of The Dance: Dangerous Games, which previously ran at the London Palladium, will transfer to the West End’s Dominion Theatre next year. The production, directed and choreographed by Flatley, will begin performances on March 9, 2015 and run through September 5.
As Georgia’s fair season cranks into high gear, people will be in closer proximity to livestock — increasing their chances of contracting the zoonotic swine flu H3N2v. H3N2 first appeared in swine in 1998, but the first cases of H3N2v were seen in humans in 2011 after the virus picked up a gene common in human flu strains, said Corrie Brown, a veterinary pathologist with the University of Georgia College of Veterinary Medicine who specializes in diseases that can jump from animals to humans. The “v” in H3N2v indicates that it’s a variant of the H3N2 swine virus that affects people. Experts with University of Georgia Cooperative Extension are asking people to remember to wash their hands after handling pigs, and recommend that people with compromised immune systems avoid petting zoos and livestock shows where pigs are present. “The symptoms and severity are the same as regular flu, but the regular flu is very serious for some people,” said Ronnie Silcox, an Extension specialist with the UGA Department of Animal and Dairy Science. “If you are in a high-risk group you may not want to visit swine exhibits if you go to the fair this fall.” There have been no cases of H3N2v identified in Georgia so far, but Silcox urges people to be cautious. “The fair season starts in the Midwest in the late summer and moves further south as fall progresses and the temperatures cool down,” Silcox said. “Our fair season is really ahead of us, so it’s quite possible that this will move south, and we just haven’t seen any cases yet because we haven’t had any fairs.” As of Sept. 10, the Centers for Disease Control and Prevention had tracked 297 human cases of H2N3v this year. Out of these nearly 300 cases, 16 people were hospitalized and one died from flu complications. This summer public health officials in Indiana, Ohio and a handful of other states started to see dozens of summer flu cases as their county and state fair seasons got underway, Silcox said. Almost all of people diagnosed with H3N2v either exhibited pigs at a fair or attended a pig exhibit. The new flu strain is not passed easily from person to person, and there is no chance of contracting the flu from eating pork, Silcox said. There’s nothing about fair season in general or show pigs that contributes to H3N2v, but fairs are a time when pigs — who are usually isolated on their own farms — are around new pigs from other farms and a lot of new people. This increased contact means there are more chances for the virus to spread from pig to pig and from pigs to people. H3N2 is related to H1N1 — the pandemic flu that spread so quickly in 2008 and 2009 — but it is a different virus that has been primarily associated with swine herds until now. In contrast, Brown noted that the H1N1 “swine flu” virus was not actually prevalent in swine during the 2008 and 2009 flu season, but it has since become more common in pigs. The H3N2 virus was able to infect people because it picked up a segment of the DNA of the H1N1 virus while it was being transmitted from pig to pig. While it is not any more virulent than the annual flu, people who are at risk of complications from flu — those over 65, children under 5, pregnant women and people with diabetes, asthma, weakened immune systems or heart disease — are at risk for complications of H3N2v. They should avoid pigs and swine barns, according to the CDC. Education and preparation are keyGeorgia 4-H program leaders are busy teaching their students how to avoid getting sick from being in contact with their or their friends’ show pigs, Silcox said. 4-H National Headquarters and the CDC distributed a factsheet this August with some basic precautions that students and their families should take to stay well. These included common sense recommendations like: wash your hands often if you are working with or petting pigs, do not eat or drink anything inside the pig barn, and do not take small children’s toys, strollers or pacifiers inside the pig barn. The recommendations also remind families that individuals at risk for developing complications from the flu should avoid pigs entirely. Silcox, who advises Georgia 4-H’s livestock showing program, has helped disseminate this message and has also worked with some of the larger fairs — like the Georgia National Fair in Perry — to provide hand washing or sanitizing stations in their livestock show barns. Fair goers will also notice more signage this year advising them to wash their hands and avoid the swine barns if they are in a high-risk category. Parents should keep a close eye on their children to make sure they wash their hands after petting pigs, Silcox said. For more information about how to avoid the H3N2v flu visit www.cdc.gov/flu/swineflu/h3n2v-outbreak.htm
(WBNG) — A Southern Tier resident has volunteered himself to be a participant in a COVID-19 vaccine trial. “John F. Kennedy once said, ‘ask not what your country can do for you but what you can do for your country,’ Fortier quotes. While any trial has its risks, Fortier says he takes a chance every time he responds to a fire. He says volunteering himself for the vaccine trial is something he needed to do. Fortier is not new to vaccine trials. In 2016, he participated in another trial for a respiratory system attacking virus called “RSV.” “I think this is what he meant and you know if this study or any study that come prove and it saves someones’ family or loved one, that they have to lose, its a great accomplishment,” he told 12 News. Volunteer firefighter Ken Fortier started the trial with two injections and will be checked over the next two weeks. He says the trial need people as they are only at half-capacity.
Terri Harper retains her WBC super-featherweight belt with a ninth round stoppage victory over Katharina Thanderz at The SSE Arena, Wembley. By Richard DamerellLast Updated: 14/11/20 10:50pm Harper forced Thanderz onto the back foot in the early rounds Terri Harper halted Katharina Thanderz in the ninth round – Advertisement – – Advertisement –