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Home MMA News UFC Vegas 54: Davey Grant Hopes For A Trilogy With Marlon Vera...
UFC Vegas 54: Davey Grant Hopes For A Trilogy With Marlon Vera Before He Retires
Alex Behunin
Las Vegas, NV — Davey Grant hopes he can complete the trilogy with Marlon Vera before it's all said and done.
Grant makes his first appearance of 2022 this weekend at UFC Vegas 54 when he takes on Louis Smolka. The bantamweight is absolutely excited about the match-up.
"I think he's a great opponent for me, a great match-up. And he's a veteran of the sport, I've been watching him for a lot of years," Grant told reporters during this week's UFC Vegas 54 media day. "You know, he had a little hiatus out of the UFC, reinvented himself at bantamweight, came back, and he's gonna stand there and gonna have it. I think it just makes for a really good fight. And I'm really excited."
One of Grant's old rivals "Chito" Vera picked up the biggest win of his career recently, when he battered Rob Font. Grant and Vera have a win over each other. Grant beat Vera first in 2016 in his native England, while Vera exacted his revenge last year. With the score being 1-1, Grant hopes for a trilogy, although he knows he has to work his way back to it.
"I think it's just up to me to get the results. That's what's gonna happen. I'm not stupid about anything. And I'm not a dreamer. I don't deserve that fight at the minute," Grant told Cageside Press. "I think it would make great viewing for the fans, it would be good for my own personal vendetta. Not that I've got anything against him, but with us being 1-1, it would be nice to go get the trilogy for sure."
Grant thought Vera looked awesome against Font.
"Yeah, I thought Chito looked fantastic. Rob's a gangster. It was a great fight. With Chito, it just shows how hard he is to hurt; he hit him with some big shots. And it's good to see him doing well, you know, any of the guys who I have fought, whether you beat them or you get beat, you sort of want to see them do well, there are bonuses for either way, no matter how it goes," Grant said. "So it'd be nice to go and get that fight back. And I'm sure he knows I would want it, but everyone wants to go and avenge their losses. So to get a rubber match [would be great]."
Watch the rest of Davey Grant's UFC Vegas 54 media day appearance above. More coverage from the event can be found below.
Aleksandar Rakic
Ion Cutelaba
Ryan Spann
Jan Blachowicz
Manuel Torres
Allan Nascimento
Louis Smolka
Amanda Ribas
Jake Hadley
Davey Grant
Nick Maximov
Kaytlin Chookagian
Frank Camacho
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His Highness Sheikh Mohamed bin Zayed, Kazakh President discuss bilateral co-operation, regional developments.
His Highness Sheikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi and Deputy Supreme Commander of the UAE Armed Forces, and President Nursultan Nazarbayev of Kazakhstan met in Abu Dhabi on Saturday and discussed ways of enhancing ties of friendship and co-operation between the UAE and Kazakhstan and took stock of the latest regional developments of mutual concern.
During the talks, which took place at the Presidential Palace, His Highness Sheikh Mohamed bin Zayed welcomed the visiting Kazakh President and his delegation and hoped the trip would contribute towards further consolidation of bilateral ties and realisation of aspirations of the two leaders in both countries as well as opening up of new prospects for joint co-operation.
The two leaders explored possibilities of advancing bilateral relations in investment and economic areas to serve the interests of the friendly countries and their people.
"The UAE, under the leadership of President His Highness Sheikh Khalifa bin Zayed Al Nahyan, is keen to build bridges of communication and co-operation with other countries of the world in order to serve mutual interests and boost development and progress efforts. The UAE has established a solid foundation of distinguished ties with sisterly and friendly countries based on its policy of mutual respect, confidence and constructive co-operation," His Highness Sheikh Mohamed said.
The Kazakh head of state expressed his delight at visiting the UAE, highlighting the important friendship and co-operation ties that bind his country with the UAE. He lauded the progress and development being witnessed by the UAE. He further said that due to the support of leaders in both countries, the UAE-Kazakhstan's ties have become a source of optimism and satisfaction.
According to him, two-way trade exchange has doubled four times.
"Thanks to the great efforts by the UAE leadership, your country has become a world leader in development. The future requires changes and adaptation to new developments and this is what you are always doing," he said.
Recalling the role of the late founding father, Sheikh Zayed bin Sultan Al Nahyan, in strengthening friendship ties with his country, he said, "This year, you are celebrating the 100th anniversary of the birth of Sheikh Zayed, who left a lasting legacy in leadership, building and development thanks to his vision and policy you are following in his steps." At the end of talks, the two sides emphasised the importance of boosting bilateral ties and co-operation in economic, trade, investment, tourism and energy so as to serve mutual interests. They also highlighted the need for doubling international efforts to realise peace and security in the region and the world and promote values of tolerance, dialogue and peaceful co-existence among nations.
Among those who present at the talks were H.H. Sheikh Tahnoun bin Mohammed Al Nahyan, Abu Dhabi Rulers Representative in the Al Ain Region;H.H. Lt. General Sheikh Saif bin Zayed Al Nahyan, Deputy Prime Minister and Minister of the Interior; H.H. Sheikh Hamed bin Zayed Al Nahyan, Chief of the Abu Dhabi Crown Prince's Court; Sheikh Diab bin Tahnoun bin Mohammed Al Nahyan; Dr.
Anwar Gargash, Minister of State for Foreign Affairs,Obaid bin Humaid Al Tayer, Minister of State for Financial Affairs;Suhail Al Mazrouei, Minister of Energy and Industry;Mohammed bin Ahmed Al Bowardi, Minister of State for Defence Affairs, and a number of senior civilian and military officials.
A number of Kazakh officials attended the talks including Askar Mamin,First Deputy Prime Minister of the Republic of Kazakhstan, Zhenis Kassymek, Minister of Investments and Development;Beitut Atamkulov, Minister of Defense and Aerospace Industry; and Kanat Bozumbayev, Minister of Energy.


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Women of Appalachia Project
ELEVENTH ANNUAL EVENT
APPALACHIA'S FINEST VISUAL, LITERARY AND PERFORMING WOMEN ARTISTS
Nancy Abrams WV
Although I've been a West Virginia writer and photographer for decades, Appalachia has never simply been my subject. It has been my home for nearly all of my adult life. I live here. I have enormous respect for the state and its people and I think you can see that in my work. My photographs reflect genuine affection for a place that has been historically exploited and often ridiculed. My memoir, The Climb from Salt Lick, published this spring by West Virginia University Press, has been called the "anti-Hillbilly Elegy." Not because I ignore what's wrong with our culture, but because I notice what is right. I am proud that my photographs are honest and straightforward.
Amanda Buchanan OH
Athens, Ohio has been my home for longer than any other place. I didn't grow up in this region, but was raised by people who worked with their hands, had their own businesses and spoke in colloquialisms, much like many of the people I meet here. Our community within Appalachia supports all things local, and has a slower pace than other towns. I feel fortunate to be able to live where I can take time to reflect, to soak up the good juju around me, and then to create things of beauty. This brings me joy.
Connaught Cullen OH
When I was a child, my siblings and I played in the woods and fields near our house on the edge of a small town. It was fantasy play, we daydreamed we were explorers, adventurers, super heroes. Dorothy Gale was my role model, the female adventurer that was most prominent in my mind. As I grew older I left childhood play behind. But then I retired and moved to place that is all woods and hills and once again I find myself wandering in the woods. Now when I move through the landscape my thoughts turn to adult matters: problem solving, idea generation, meditation/prayer. But every once in a while my thoughts return to childhood fantasy, I'm stepping out that door into Munchkinland. After all these years, I'm still Dorothy, looking for Oz.
Lacy Davis OH
My grandmother was my first teacher. She was born on the side of a mountain in Wayne, West Virginia in August of 1939. She came from a time and a place where people relied on the land and their knowledge of it to provide for themselves. Mawmaw and I spent a great deal of our time together in our quiet Appalachian backyard. Exploring. Learning. Discovering. From a very early age, she instilled me with a sense of wonder and appreciation for nature. I was taught that wood sorrel tastes sour and is high in vitamin C. Morels like to grow near dead elm trees. We smashed pokeberries and used them as paint, and I was instructed to never to eat them. I learned that my Great Granny's favorite flower was lilac, and the pink roses in the backyard were brought from Mom and Pop Davis' garden in Wakefield, Ohio. I hung onto every word. My grandmother's stories and knowledge are my inheritance. I have used her teachings in combination with known symbolism, folklore, myths, legends, pop culture, and medicinal uses to formulate ideas for visual images that eventually became In Bloom. I want this body of work to act as a tribute to all my Appalachian ancestors, but particularly to my grandmother and to my mother.
Sally Deskins WV
Living in Appalachia for four years now, it has definitely impacted my life and art making; mostly giving me impetus to be scrappier with my craft. Not in close proximity to high profile art supply stores (or really, the cash to order it online), and moreover, not in close proximity to a place with ample arts opportunities for myself and my children, we get resourceful. We make a lot of art. My kids have created so much in fact that we have piles of it, that we either gift, save, or recycle into art, such as these. Moreover, my understanding of the relationship of the body to earth has grown since living in these hills, presenting the idea of "mother nature" in this grounded, childlike way creates an intimate recognition and respect. The results are playful and warm, contrary to the often either objectified or sheltered idea of the nude body.
Julie M Elman OH
Back in the 1980s, when I was a graduate student in Athens studying photojournalism, I fell in love with this region — the town, the people, the hills, the greenness all around me, and the music. Fast forward to 2005, when I returned to this area — the love was still there. I have found that there's a real down-to-earth attitude here, and a spirit of goodwill and problem-solving towards improving people's overall quality of life. Living here has given me the opportunity to be myself, explore my art, and find my artistic voice in a supportive environment.
Susan Feller WV
Where you live and who you learn from influences early interests and ways of looking at the world. I was raised in the highlands of Appalachia in rural New Jersey during the 50's and 60's. Girl Scouts, a multi-generational family, regional schooling with a variety of ethnics all developed awareness, caring and self-sufficiency traits. Boston for college in the 1970's broadened my outlook. All of this came with me to our new home base in Hampshire County West Virginia, a place like my youthful origins in mindset. Using traditional textile crafts honors these roots. Today my art speaks out loudly about issues important to me and future generations. I have learned from living in Appalachia our voices will be interpreted by others if not spoken by ourselves.
Barbara Fisher OH
I grew up in West Virginia, half in the country, on my grandparents' farm and half in the capitol city of Charleston. I was thus influenced by the powers of the natural world, of the cycles of birth, life and death that surrounds a farmer, as well as the faster paced, human-centric world of the city, full of cultural wonders, music, literature and artificial light. The women in my family, both the farm women and city women, were strong, and were the ones who made the world work as it should. They did everything--kept the house, kept the garden, the chickens, drove the cars, did the shopping, did home repairs, nursed sick kids to health, butchered, canned, made pickles, made clothes---all of the things that made life better for everyone else. They also often held jobs outside the home. My work thus often contains mythic images of strong, capable women in Appalachian settings, as well as images of animals and plants of the natural world. Recently, I've begun painting the city I grew up in as I saw it--as an integral part of the spiritual, imaginal realm that I walked in as a child.
Whitney Folsom OH
Growing up, I rejected my Appalachian reality, because early on, I felt that Appalachia had rejected me. There was no room or patience for those of us that played and teetered on the edge of the typical southern Ohio box we were born into. "You shouldn't have an affinity for darkness". But Appalachia, with all its great beauty and history, is a dark place. We are the forgotten. Gravitating heavily to origins and ritual, my work has always reflected prevalent symbolism and commonalities within the area, with an attempt to envelope the beauty within that darkness. The beauty in lineages of independence and survival when a nation gives up on you. As I have gotten older, I have realized my complete love for Home, and a deep sense of pride when asked 'where are you from?'. There is magic here, in the hills, and in its people, if you are ready to see it.
Terry Fortkamp OH
I live in rural Athens County, Ohio, where the beauty of the land, birdsong and flowering plants and trees greets me every spring and summer. My paintings are an expression of my gratitude for this life, my family, my home and the gifts of residing in such a lovely setting. Favorite moments come during summer mornings as I lie in bed listening to birds singing. In my mixed media piece, 'Birdsong', I attempt to paint a visual of the feeling of a bird's sweet song. 'Spring Dance' and 'Two Pink Trees', painted after a long winter, portray my delight in the saving grace of spring.
Kathy Guest OH
I'm originally from the New York metropolitan area – suburban New Jersey - and even after almost 20 years living in the Hocking Hills I still find it kind of startling to think that I now live in an Appalachian rural community. That said, a community is relatable both through the natural environment and through people and I'm as emotionally comfortable here in my part of Ohio as I've been anywhere. My rural surroundings are beautiful and though I resisted living away from a more developed area for many years I'm very happy that I agreed to move with my husband to this part of Ohio in 1998. My art has been about connecting with people for decades and that effort remains with me as well, though I now also find my natural elements entering my more feminine/feminist symbolism. I've always been fascinated by and enticed by patterns and now use botanical elements (such as leaves) and often butterflies as elements in my work. I'm originally a printmaker though I now make one of a kind dimensional paper pieces that use paper faces that are made from life molds using a method that I developed. Many of the other elements in my work are embossed from linoleum plates I've cut by hand and then cut the resulting paper into other shapes that I also fold and curl, etc. I find myself working to bridge the gap between craft and art using paper faces that are true paper portraits.
Kari Gunter-Seymour OH
Growing up, I spent as much time as possible with my grandmother in these beautiful rolling hills of southeastern Ohio. She taught me to love myself, to learn from nature, look beyond the obvious and to sing, loud and not worry so much about the words or if I was on pitch.
Maria Freed Grimm OH
A native child of Appalachia, I grew up in rural areas and small towns and found social acceptance just beyond my grasp; I just wasn't like everyone else. I escaped into my imagination and found peace and serenity in reading and creating art as a child. There was no other time or place in school that I felt as comfortable and in my element than in art class or doing art projects. Even before the difficulty began, I had decided at the age of 6 that I would be an artist. After high school, I enrolled in Ohio University and later, Columbus College of Art and Design, both to study art. At that time, my passion was for our local and regional woodland Native American History, and was led into creating commissioned historical style art pieces for the next half decade. Due to injury, politics, and circumstance, I sank into an artistic dead zone for the next 15+ years. Seemingly by divine intervention, I was led to pick up watercolor painting completely anew around 2015. This time, I am painting for my heart's content, rather than the soul-killing philosophies of the reasons to create art I had previously held. My watercolor is about my highest aspirations, and I have found much of my inspiration and subject matter in the scenery of my region. My work is expressly about images and scenery that light my heart up and touch my emotions, something that no one would likely find a reason to disagree with or argue about. The road of my life and my art has been as bumpy, twisted, and rutted-out as the back roads out in the hills and hollers with road signs either missing or unclear. Unintentionally but certainly, Appalachia is the landscape into which I have cut my path.
Cheryl Ryan Harshman WV
In my twenties, after college and grad school, I chose to spend my life in Appalachia, along the Ohio River and on the West Virginia side. I have lived deep in the country, on our small farm where we began an apple orchard and grew 40 different bean varieties. I put up hay and butchered with the old farmers, a generation or two older than I, on our ridge. I drove the back roads in three counties delivering new books and offering story time to all the small libraries. I leaned into life on the back roads and was given the gift of deep friendships and ancient country wisdom. Choosing to stay in West Virginia did not allow for big salaries or much in terms of career advancement. There were deeper, more personal benefits from staying put. My first children's book, SALLY ARNOLD, honored my life on that ridge top farm and the neighbors who are now all gone. My visual art is a reminiscence of my West Virginia life, often in an impressionistic, idiosyncratic style and in several different media. The tragic beauty of this place I call home haunts my personal vision and must necessarily come through the words and the paint I use to speak.
Jen Hernandez OH
Growing up in an Appalachian family brought many challenges. My family dealt with poverty and alcoholism on a daily basis. There were always struggles and a nagging sense that somehow we would never be good enough. I believe that this angst comes through in my work as many of my paintings focus on identity; women's identity in particular. The struggle to be who you are and not who the world wants you to be. I am neither your typical Appalachian or your typical woman, however; I've known the struggles of both. Watching the subjects of my paintings evolve as I do, has been a true growth experience for me and I hope that it speaks to others as well.
Tina Kelsey OH
Living in the Hills of Appalachia keeps me centered and calm. I am surrounded by natural beauty and have learned to express gratitude for it every single day. Lately, I've been using a lot of leaves and insects in my work. I live in the woods and it was just a matter of time before the pieces of my life took over my work. As much as I love working with rhinestones and bling, working with leaves, insects and other themes from nature brings me all kinds of joy on a whole other level. I love that moment when people realize that there are very beautiful bugs on my work. I want them to stop and focus on the beauty. Then maybe they will think twice before going after that spider, who wandered into their house, with their shoe.
I am 4th generation to live in Appalachia. The strong women in my life are my inspiration for making tiaras. I learned how to take charge of my life and lead others by watching my mother and grandmother and hearing stories about their mothers and grandmothers. I learned how to speak up for myself and others by watching these really strong women help those around them by working to affect change and finding their voices.
Tracy Leinbaugh OH
I live in Appalachia in a rural setting outside of a small town with a university that attracts many students from Appalachia. My house is over 100 years old, and was built to replace an earlier farmhouse built 50 years earlier. The people on my road, my friends, and many of the students at the university at which I work part-time are grounded in Appalachia and proud to be Appalachian. Although I am not originally Appalachian, my husband of over 40 years is, and I identify with the culture. It fits me well. The closeness to nature has strongly influenced my art, especially my fiber art. I use locally sourced wool as much as possible and do my own fabric dying using plants found on my property. My fiber art reflects my love of nature and the handcrafts of people who have lived here previously. The tree-covered hills. wild animals, wild flowers, people committed to their communities, families, and the traditions of their forbearers, and their acceptance of new members to their communities all have contributed to inspire my life and my art.
Robin McClintock WV
I grew up urban and chose to make my home in rural Tucker County. Understanding the "how and why" of things is intrinsic to my way of negotiating of world and my paintings are about documenting lost evidence as much as they are about mark-making, scale, architecture, atmosphere, a sense of place and the residual effect of the extraction industry on the natural environment. I pay homage to the 19th century rural West Virginia extraction industry, its' architecture and laborers and how the current conditions of the local landscape were shaped. The Appalachian landscape has been irrevocably altered and what we see is as much about what isn't there as what we do see.
Carol McDonough OH
My work before Appalachia was all about form and surface decoration, mostly geometric with clean colors and precise lines. After I bought the farm things just changed gradually to more organic forms, clearly influenced by the lush green hills, trees and water. Some abstraction still abides but the inspiration and source are more visible. I'm also much more open to experimentation and ready to take a leap into the unknown as my original leap into the country paid off and taught me so much about who I am and what I'm capable of doing.
Susan Nash OH
Having grown up and lived most of my life in Appalachia, my artwork is informed by the many women who came before me, and the work of their hands. I attempt to bring new life and respect to their cast aside needlework, photographs and tools of everyday life.
Corie Neumayer KY
When I think back to my time growing up in Eastern Kentucky, the first thing that comes to mind is the richness of my experiences. My parents rented a small house with room for a garden, chicken coop and a place to raise pigs. There was also a creek with shallow spots to catch minnows, look for soft red rocks (that could be crushed and used for "rouge"), explore the hilly woods, learn to sew, and so much more. I doubt that, at the time, I appreciated those everyday rural experiences, my "farm to table" meals, but now, I can see it was one of major influences in my life. I am thrifty, grow some vegetables, still sew, cook most of our meals..but I do buy my cosmetics , believe in the goodness of people, and try to live and use art to show my love for my Eastern Kentucky heritage.
Marcy Nighswander OH
Southeastern Ohio is visually very different geographically from where I grew up on the flat farmland of northwestern Ohio. Today I am influenced by the rolling hills and beauty of the countryside. When I work on photography for personal satisfaction I am drawn to take pictures of landscapes or a section of a scene. I love driving around the area with no set destination and being awed and inspired by what is around the next corner or right above me.
Lisa Orr PA
I am a native Appalachian with deep roots in West Virginia where generations of my pioneer ancestors settled and resettled in the 19th & 20th centuries. After two decades in California studying and practicing, I returned to pursue my life-long fascination with Appalachian vernacular landscapes, particularly cemeteries. I am a landscape architect, a teacher, a cultural landscape historian, and a landscape photographer. With this photographic work I seek to reveal Appalachian culture through images of the region's often overlooked sacred landscapes, especially those that have been damaged or are in peril.
Ashley Parker Owens KY
When I moved away from Kentucky to go to college, people made fun of me for being a hillbilly. I felt ashamed but didn't understand why. Over time, as I've matured, I've come to realize that it is easy to bully those you think are less than you. I came back to Kentucky after getting an MFA in visual arts and raised a baby in the hills of Richmond. I had an opportunity to go to the Bluegrass Writers Studio and get an MFA in creative writing at EKU. I also formed an independent press (kystory.net) focusing on the southern Appalachian 'voice.' I switched to words because I thought my art was dismissed. Now that I've opened my soul back up to visual images, adding words or micro poems to some of them, I feel more sure of myself and accept myself as an Appalachian experimental artist.
Sharon Phillips OH
As I drive into a different life after the death of my husband several years ago, it seems that all I want to do this year is move on and keep up with the changes that are happening all around me. The landscape on the inside of my life is shifting and morphing so I find it really comforting to be surrounded with the cocoon of hills and valleys of Athens.
Melissa Rohrer OH
My work is often influenced by my natural surroundings, but sometimes the people of this Appalachian region sneak in to my thoughts, as well. I find myself wanting to capture the attitudes and inner lives of these people in my work.
Emalea Rupe OH
Living in Appalachia, everything in daily life becomes an influence in my work. Art is a reflection of feelings and the way in which we live. It just comes natural to recreate what is familiar; our emotion, our struggles, joy, and pain. Life is a race we are constantly running, the chasing of a dream! Often we feel invisible, struggling to find a place in this world. In my photography, I have tried to capture just that. Compromise, compassion, and the forward pace of our existence leads us to the realization that we need to enjoy every moment, to embrace those we love. For life is just a vapour.
Teresa Sager OH
So often I can't quit looking at the trees and at the sky and the clouds and the hillsides and the way the sun and the shadows play on the rocky ledges along our roads. I'm constantly yelling "stop I have to take a picture!" to my husband-a good sport- who begrudgingly backs up the car not all, but most of the time. Reference pictures to sear this important information into my mind so I can later pay tribute to the sweetness with my paints.
Tiffany Salamone WV
There are many stereotypes associated with the people residing in Appalachia - lazy, dirty, and dumb are just a few that come to mind. It's very disappointing to me when people make assumptions about my home. Where I work, I have the opportunity to meet people different states and different countries. I take this opportunity to showcase how beautiful and diverse West Virginia is, and they are often surprised. Through the photos I take, I hope that people can see what I see - how Appalachia is full of wonder.
Andi Stern OH
My mother was born in Harlan, Kentucky, and my father was born in Glouster, Ohio. Both of their families moved to Michigan for work, and while I was born Yankee, I was raised Appalachian. Porch swings, sweet tea, handmade quilts and phrases like "y'all" and "over yonder" were part of my life. Summers were spent visiting my grandparents in the hills of Ohio and the foothills of the Smokies. The sparkling light as it hit the green landscape in the humid summer mornings are reflected in the many pieces that make up my work.
Stacey Riley Stewart OH
I have never been away from Appalachia Ohio for long. It is home. Friends and family are always near, and the community is very supportive. As a native Appalachian, I have become increasingly aware of my accent and the judgment that goes along with it. Through my art I explore the perceived connection that exists between the ability to speak and write "correctly" and the level of intelligence, attempting to dispel the stereotype.
Cheryl Todd OH
Growing up in the Appalachian foothills, I spent most of my free time outdoors so my love of the landscapes of my native region runs deep. When I retired, I knew that I wanted to reconnect with nature and engage in creative work so I began my quest to become a better photographer and to capture images of the woods and waterfalls, hills and hollows, animals and plants that are our part of our Appalachian legacy. As an artist, I hope my work evokes a spark of wonder in others and kindles a longing to explore and protect our embattled and subtly vanishing natural world.
Wendy Minor Viny OH
I am a mother, artist and craftivist. My current work is an exploration of balancing the demands of raising two young kids with a self preserving need to create; all against the backdrop of the beauty and heartbreak of Appalachia. What started out as a mundane task has become my absorbing errand. Each day that I pick up my children from school (a 25 minute drive, one way through rural Appalachia) I shoot photos with my iphone from the window of my truck. Shooting blind from the window allows for accidental beauty and for the later discovery of what's been captured. What once was a drive consumed by thoughts and worries of daily life has now become my new creative space.
2017-18 JURORS
Roger May is an Appalachian American photographer and writer based in Charleston, West Virginia. He was born in the Tug River Valley, located on the West Virginia and Kentucky state line, in the heart of Hatfield and McCoy country. His photographs, essays, and interviews have been published by the New York Times, the Guardian, the Atlantic, Al Jazeera America, National Geographic,Southern Cultures, Huffington Post, Quartz, the Oxford American, Le Monde diplomatique, and others. In February 2014, he started the crowd sourced Looking at Appalachia project. May speaks about his work, about the visual representation of Appalachia, and photographs on commission. He blogs at Walk your camera.
Randi Ward is a poet, translator, lyricist, and photographer from Belleville, WV. She earned her MA in Cultural Studies from the University of the Faroe Islands and is a recipient of the American-Scandinavian Foundation's Nadia Christensen Prize. Ward is a Pushcart Prize and Best of the Net nominee whose work has appeared in the Anthology of Appalachian Writers, Vencil: Anthology of Contemporary Faroese Literature, World Literature Today, and other publications. Her work has also been featured on Folk Radio UK, NPR, and PBS NewsHour. Cornell University Library established the Randi Ward Collection in its Division of Rare and Manuscript Collections in 2015. Whipstitches, Ward's second full-length poetry collection, was published by MadHat Press in 2016. For more information, please visit randiward.com/about.
WE BELIEVE IN THE POWER OF COMMUNITY

redpajama_set_name: RedPajamaCommonCrawl


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Agricultural machinery imports to Ukraine worth USD 154 in Q1 2019
UkrAgroConsult Inputs
Open sources
In January-March 2019, tractor imports to Ukraine totalled USD 154 million.
Most of the equipment was delivered from the USA. The share of imports from this country accounted for 23 per cent of the total volume. 17.48 per cent of tractors were imported from Germany and 11.13 per cent — from China.
Exports of tractors from Ukraine is valued at more than USD 1.32 million. Ukrainian machinery was mostly sold to Belarus (52.92 per cent), Romania (23.01per cent) and Moldova (13.52 per cent).
Previously reported that CLAAS presented the market two new models of tractors Axion 870 and Arion 660.
Traktorist.ua
Market sceptical of ban as EU glyphosate review gets underway
Ukraine's Agrarian Policy Ministry implements European trading standards


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Q: Question about turbines logic In thermodynamics, according to some book exercises, a fluid can enter a turbine and come out with greater speed compared to the inlet speed. It makes sense looking at the conservation of energy equations, if the fluid enters with high internal and flow energy (high enthalpy).
Thing is, isn't it required actual KINECTIC energy for the turbine blades to move? So how possible is a fluid leaving faster than when it entered in a TURBINE? That would make sense in a hidraulic pump.

A: Energy conservation is still valid if you look at the equation $$dE=\delta Q +\delta W$$ In turbine, we can ignore potential energy, thus $$dU + dE_k=\delta Q +\delta W$$ You can then see, reduction in internal energy can be used to generate heat, output heat and increase kinetic energy. It can many thing as long as it abides the second Law.

A: There's plenty of fluid colliding with the blades inside of a turbine.  Turbines are of two types:  'reaction' and 'impulse'.  Inside the same machine, there may be parts which operate on the reaction principle and parts which operate on the impulse principle.
Turbines are often designed with alternating rows of fixed and moving blades.  The fixed blades direct the working fluid so that the moving blades turn.
For impulse blades, the working fluid is designed to impinge on the blades directly, causing them to move.
In a reaction turbine, changes to the pressure or mass flow of the working fluid causes a reaction on the moving blades.  High-pressure in the working fluid is converted to an equivalent velocity head, which is described by Bernoulli's theorem.

A: The turbine operates with a constant mass flow rate.  If the gas pressure decreases through the turbine, and the decrease in temperature is not sufficient to offset this (which it typically won't be), the specific volume of the gas will increase.  This will mean that the volumetric flow rate at the outlet will be higher than at the inlet.  If the cross sectional areas of the inlet and the outlet are the same, the gas velocity at the outlet will be higher than at the inlet.

redpajama_set_name: RedPajamaStackExchange


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WTC's New $2.5B Skyscraper Tops Out at 80 Stories
A series of construction security fences signal that there's still plenty of unfinished work before the site is totally back to life.
Jun 23rd, 2016
Verena Dobnik
In this Wednesday, June 22, 2016 photo, a worker helps set another load of concrete into the walls of 3 World Trade Center in New York. The World Trade Center's latest new skyscraper has reached its full height of 80 stories.
AP Photo/Mark Lennihan
NEW YORK (AP) — The World Trade Center's newest, $2.5 billion skyscraper reached its full 80 stories Thursday — one of three high-rises now up at the site, with one more to go.
Almost 15 years after the twin towers collapsed, the site of the Sept. 11 terror attacks has turned into a resplendent hub of soaring architecture, bustling businesses and urban greenery.
But a series of construction security fences signal that there's still plenty of unfinished work before the 16-acre site is totally back to life.
A ceremony Thursday marked the topping out of 3 World Trade Center, with about 1,000 workers signing a massive construction bucket that was lifted to the brim, along with a big American flag. It was a victory for the tower that had languished for a few years before financing finally came through.
Several workers at the ceremony still remembered the 16-acre pit of fiery debris they helped to clean up after the 9/11 terror attacks.
"This is very emotional," said 53-year-old Frank Hussey, a native of Jamaica who watched the original towers fall in 2001 and has worked on every skyscraper that is now up at the site. "To have witnessed what happened and to go through all the different phases of cleaning up and construction, and watch people's spirits go from low to high — all that makes today a great day."
The building at 3 World Trade is one of three new skyscrapers that replace the decimated twin towers. The others are the 72-story 4 World Trade Center and the main edifice of the rebuilt site, the 104-floor One World Trade Center that dominates the post 9/11 Manhattan skyline and is the city's tallest building.
A fourth planned skyscraper is 2 World Trade Center, the foundation of which was built up to street level several years ago. That's where the money also stopped, due to the lack of an anchor tenant that would make financing more likely.
Developer Larry Silverstein, who is responsible for erecting towers 3 and 4, told The Associated Press he is confident he will find an anchor tenant, noting "failure was not an option."
As for the rest of the 16-acre site, there is the shimmering new Transportation Hub, with huge, white "wings" that Spanish architect Santiago Calatrava says represent the souls of the nearly 3,000 people who died in the 9/11 attack.
The all-white marble underground concourse that crosses the entire trade center site is filled with shops that will also open in August.
Blocked off by chain-link security fences and armed guards is a bulky new dark gray building at the site's southwest corner, with vehicle ramps leading underground. This is the security center that will screen trucks loaded with deliveries, linked via subterranean tunnels to garages for tour buses and the entire trade center.
The hard-core, concrete and steel construction of the complex is softened by the grass and trees surrounding the two memorial pools built in the footprints of the twin towers — steps from 3 World Trade Center.
And in the works on the roof of the security center overlooking the memorial is the elevated public Liberty Park, nearing completion with a "Living Wall" installation of periwinkle, Japanese spurge, and Baltic ivy.


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In Artemisia Gentileschi, We See the Female Gaze
National Gallery shows her major works through January
Susanna and the Elders (1610), Artemisia Gentileschi
Take a good long look at the painting. It's probably one the earliest portrayals in the western world of sexual predation. And it's painted by a woman — Artemisia Gentileschi, who was born in Rome in 1593.
Artemisia's view of the emotions experienced by Susanna, a virtuous, beautiful young woman whose story is related in the Book of Daniel, would have resonance with women. She tries to ward off the attack by the two men who accost her as she is bathing in her garden. She is anguished. We are watching an assault and seeing it from the perspective of the victim.
This was very different from male portrayals of Susanna's plight, of which more below. But first, there's a reason Artemisia's view of her subjects is being newly discussed. The National Gallery in London is putting on a major exhibition of some of her best-known works. It starts October 3 and will run through nearly the end of January.
So, why bother to look at Artemisia's work? For one thing, she brings the female gaze to painting. Consider the way men had always painted Susanna as she suffers peeping toms. Tintoretto, the 16th century Venetian painter, depicted Susanna and the Elders as the story is called, many times. In one of his paintings from the mid-1500s, he portrayed Susanna as serene and abstracted, towelling a raised foot and regarding herself in a mirror, unaware of a bald man behind a rose trellis. Some 50 years later, Rubens shows Susanna reaching for a shawl, realizing that she's being watched by two leering men. Ludovico Carracci shows one of the men tugging at Susanna's robe. Giuseppe Cesari, who was known as Cavaliere d'Arpino, shows Susanna glancing seductively out from the canvas and brushing her golden hair.
As a piece in The Varsity notes, Laura Mulvey's analysis of the Gaze within culture and art in her Visual and Other Pleasures of 1989 was enormously significant. "Extending from Freudian theory, she asserted that imagery of women has been constructed in a way that makes them vulnerable to the objectifying gaze of men, and in a way that welcomed, or even invited, scopophilia. Put simply, female bodies were objectified by male artists for the pleasure of male spectators."
Running through that list of portrayals of Susanna, almost none (except perhaps for Rubens) have the same resonance for women as that of Artemisia. (As an aside, she was raped by her tutor.)
Some might wonder if this is the usual stay-in-your-box argument for determinism in the creative arts. This goes as follows: only women can tell women's stories; only black people can write about black people; only a bisexual trans person and depict something about the life of their community.
I'm not for that at all. It's not about being a particular gender or colour. Storytelling is about being able to feel what someone else might. It's not a given that a woman will always feel another woman's pain. Sometimes, a man might feel it just as acutely.
But in Artemisia, we see the female gaze.
Originally published at https://www.rashmee.com on September 29, 2020.
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5 ways to tell that corporate America no longer thinks Trump is good for business
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If You're an Artist, Don't Sell Masks for Profit
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Art, Morality and Matthew Wong
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'Art is for Everybody': A Profile of Keith Haring
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Troy Camplin in Conscious Paradoxalism
A Green New Deal Art Movement
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The Secret Behind Paintings With Dirty Feet
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9 days in United States Itinerary
Start: San Antonio
San Antonio — San Diego
San Diego — Broadway & Kettner Bl
Broadway & Kettner Bl — Anaheim
Anaheim — Los Angeles Union Station Amtrak
Los Angeles Union Station Amtrak — Santa Monica
Los Angeles Union Station Amtrak — 7th Street / Metro Center Station - Metro Red & Purple Lines
7th Street / Metro Center Station - Metro Red & Purple Lines — Santa Monica
Drive: 30min
West Hollywood — Los Angeles
Los Angeles — Las Vegas
Las Vegas — Flagstaff
Flagstaff — Grand Canyon National Park
bus + Fly: 9h 30min
Flagstaff — San Antonio
Flagstaff — Austin
Austin — San Antonio
End: San Antonio
Read about United States
Destinations in United States
Things to do in United States
Heart of Orange County
Anaheim's major attractions are its world-famous Disney entertainment complex, sports teams, and convention center.
On the 10th (Mon), make an unforgettable trip to Guardians of the Galaxy – Mission: BREAKOUT! and then make an unforgettable trip to Downtown Disney. Here are some ideas for day two: discover the magic at Disneyland Park.
For photos, reviews, maps, and tourist information, you can read our Anaheim trip planner.
San Antonio to Anaheim is an approximately 6.5-hour flight. You can also do a combination of flight and train; or drive. The time zone changes from Central Standard Time to Pacific Standard Time, which is usually a -2 hour difference. Plan for little chillier temperatures traveling from San Antonio in June, with highs in Anaheim at 82°F and lows at 64°F. Wrap up your sightseeing on the 11th (Tue) to allow time to drive to Santa Monica.
Things to do in Anaheim
10:00am, Tue Jun 11
3:00pm, Mon Jun 10
Fortunate People in a Fortunate Land
A famed resort town since the early 20th century, Santa Monica sits on the picturesque Santa Monica Bay, bordered on three sides by the city of Los Angeles.
On the 12th (Wed), look and learn at Camera Obscura, enjoy the sand and surf at Santa Monica State Beach, then meet the residents at Santa Monica Pier Aquarium, and finally take in the waterfront at Santa Monica Pier.
For other places to visit, ratings, photos, and other tourist information, use the Santa Monica travel itinerary planner .
You can drive from Anaheim to Santa Monica in an hour. Other options are to do a combination of train and bus; or do a combination of train and tram. When traveling from Anaheim in June, plan for slightly colder days and about the same nights in Santa Monica: temperatures range from 73°F by day to 61°F at night. Finish your sightseeing early on the 12th (Wed) so you can drive to West Hollywood.
Things to do in Santa Monica
Parks Beaches Outdoors
Santa Monica Pier Aquarium
2:30pm, Wed Jun 12
Santa Monica State Beach
11:00am, Wed Jun 12
West Hollywood, occasionally referred to locally as WeHo, is a city in Los Angeles County, California, United States. Kick off your visit on the 13th (Thu): stop by Fred Segal, take a memorable drive along Mulholland Drive, take a stroll through Robertson Boulevard, then browse the different shops at Two Rodeo Drive, and finally learn more about the world around you at Museum of Jurassic Technology.
To find where to stay, traveler tips, other places to visit, and more tourist information, use the West Hollywood online trip itinerary planner .
West Hollywood is just a short distance from Santa Monica. In June in West Hollywood, expect temperatures between 73°F during the day and 61°F at night. Finish up your sightseeing early on the 13th (Thu) so you can travel to Las Vegas.
Things to do in West Hollywood
Shopping Neighborhoods Museums
Beverly Hills, Museum of Jurassic Technology
10:00am, Thu Jun 13
4:00pm, Thu Jun 13
Two Rodeo Drive
Start off your visit on the 14th (Fri): see the interesting displays at The Mob Museum and then explore the striking landscape at Red Rock Canyon National Conservation Area. Here are some ideas for day two: get a taste of the local shopping with The Strip, admire the natural beauty at Bellagio Conservatory & Botanical Gardens, then enjoy breathtaking views from Eiffel Tower Viewing Deck, and finally ponder the design of Fountains of Bellagio.
To find other places to visit, reviews, maps, and other tourist information, read our Las Vegas day trip planning site .
Traveling by flight from West Hollywood to Las Vegas takes 4 hours. Alternatively, you can do a combination of bus and flight; or drive. When traveling from West Hollywood in June, plan for warmer days in Las Vegas, with highs around 103°F, while nights are a bit warmer with lows around 77°F. Wrap up your sightseeing on the 15th (Sat) early enough to drive to Grand Canyon National Park.
Neighborhoods Historic Sites Shopping
1:00pm, Fri Jun 14
10:00am, Sat Jun 15
Fountains of Bellagio
5:30pm, Sat Jun 15
Start off your visit on the 16th (Sun): get great views at Lipan Point, take a memorable drive along East Rim Drive, and then take in breathtaking views at Grand Canyon South Rim. Keep things going the next day: tour the pleasant surroundings at Bright Angel Trail.
To find reviews, other places to visit, photos, and more tourist information, go to the Grand Canyon National Park trip planner .
Getting from Las Vegas to Grand Canyon National Park by car takes about 4.5 hours. Other options: take a shuttle; or do a combination of flight and bus. The time zone difference when traveling from Las Vegas to Grand Canyon National Park is 1 hour. Traveling from Las Vegas in June, you will find days in Grand Canyon National Park are a bit cooler (85°F), and nights are cooler (42°F). You will have some time to spend on the 18th (Tue) before leaving for home.
3:30pm, Sun Jun 16
10:00am, Mon Jun 17
Lipan Point
10:30am, Sun Jun 16
12 days in Grand Canyon National Park & Yellowstone National Park BY A USER FROM UNITED STATES July, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, fast-paced, popular sights PREFERENCES: July, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular sights PACE: Fast-paced 10 days in Las Vegas & Sedona BY A USER FROM UNITED STATES December, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, popular & hidden gems PREFERENCES: December, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular & hidden gems PACE: Medium 11 days in United States BY A USER FROM INDIA June, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, popular & hidden gems PREFERENCES: June, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular & hidden gems PACE: Medium 8 days in Las Vegas BY A USER FROM UNITED STATES September, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, fast-paced, popular & hidden gems PREFERENCES: September, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular & hidden gems PACE: Fast-paced 11 days in Atlantic City, Las Vegas & Miami BY A USER FROM UNITED STATES August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife, popular & hidden gems PREFERENCES: August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular & hidden gems PACE: Medium 11 days in Atlantic City, Las Vegas & Los Angeles BY A USER FROM UNITED STATES August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife, popular & hidden gems PREFERENCES: August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular & hidden gems PACE: Medium 14 days in United States BY A USER FROM UNITED STATES June, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, extra fast, hidden gems PREFERENCES: June, teens, culture, outdoors, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Hidden gems PACE: Extra fast 13 days in San Diego & Anaheim BY A USER FROM COSTA RICA October, culture, outdoors, relaxing, romantic, beaches, historic sites, shopping, wildlife, popular sights PREFERENCES: October, culture, outdoors, relaxing, romantic, beaches, historic sites, shopping, wildlife ATTRACTION STYLE: Popular sights PACE: Medium 11 days in Las Vegas, Los Angeles & Atlantic City BY A USER FROM UNITED STATES August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife, popular sights PREFERENCES: August, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular sights PACE: Medium 11 days in United States BY A USER FROM ITALY June, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife, popular sights PREFERENCES: June, culture, outdoors, relaxing, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular sights PACE: Medium 11 days in United States BY A USER FROM NORWAY May, culture, outdoors, romantic, beaches, historic sites, museums, shopping, popular sights PREFERENCES: May, culture, outdoors, romantic, beaches, historic sites, museums, shopping ATTRACTION STYLE: Popular sights PACE: Medium 12 days in United States BY A USER FROM UNITED STATES July, culture, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife, popular sights PREFERENCES: July, culture, relaxing, romantic, beaches, historic sites, museums, shopping, wildlife ATTRACTION STYLE: Popular sights PACE: Medium
Las Vegas trip planner
West Hollywood trip planner
Best things to do in Grand Canyon National Park
Best things to do in Anaheim


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Recycling Facts & Figures
IRS Form 990
Business Members and Benefactors
Electronic Recycling
A-Z Reuse & Disposal Guide
Presentations & Tours
Plastics, or the Myth of the Chasing Arrows
by Sedona Recycles | posted in: News | 0
At Sedona Recycles we take a wide range of materials from cardboard and paper to plastics and cans. Our goal is to responsibly take and recycle as many materials as possible. We will take materials as long as we can assure those that recycle with us that these materials can be used to make new things, which is the true meaning of recycling.
Plastics have always been the most complicated of the materials we take. This is due to a number of misconceptions about what is recyclable and what is not. It is further complicated by the lack of manufacturing opportunities domestically for the use of recycled content in the manufacture of new items.
The number one misconception about plastics concerns the number that is embossed on most plastics surrounded by the chasing arrows. The number is a resin code for the chemicals used in the products manufacture. The chasing arrows have long been associated with the ability to recycle the product. Many of the products stamped with a resin code have never really been recyclable and even when exported were not seeing a new life. They became a contributor to both litter and when burned, which they often were to air pollution. By exporting theses plastics our consumption habits had a direct effect on the quality of life in other countries.
The plastics that are easily recyclable in the U. S. are #1 made up of clear plastic bottles which are typically water bottles and clamshell packaging of the type that you purchase berries and salad mix in. Although these are both #1 they cannot be put together and have to be sorted and baled separately. Number 2 plastics which include milk jugs and detergent type bottles are easily recycled and used domestically to make new bottles. This is the good news now is where things get really tricky. China for over 10 years accepted bales of plastics called 3 through 7. These bales were made up of everything other than 1 and 2. Truth be told most all of these plastics never saw a second life and became a contributor to a polluted environment. This year China stopped accepting 3 through 7 plastics altogether and this is a good thing but how do we in the U. S. get the word out to consumers not to purchase materials that cannot be recycled? The producers of these products aren't going to let you know so it is up to the recyclers to make the information available.
Sedona Recycles has taken an extraordinary approach to this issue. It started as an experiment to see how much of the plastic labeled 3 through 7 make up the plastics stream. We then identified that if we collected number 5 plastics separately we could find a home for this material in the U. S. for manufacturing. We were happy to discover that most of the plastics other than 1 and 2 that we received were number 5. Until consumers catch up with what we are doing in terms of sorting out materials that are numbers 3, 4, 6 and 7 these plastics become part of our trash.
Here is some information to help you identify these non-recyclable plastics that we can't accept. Number 3 plastics are rarely found and are candleholders that are red and sometimes clear and the occasional mustard bottle. Number 4 plastics are plastic bags which we have never accepted and can be recycled locally at Bashas and Safeway stores. Number 6 plastics are take out containers and meat trays made of expanded polystyrene, which are another product we have never taken. Number 7 plastics are sometimes used to manufacture juice and ice tea bottles and are a stiffer plastic than those used in water bottles.
So now that you are aware it is up to you as a consumer to purchase products with packaging that can really be recycled. This is the only way the producers of these products will get the message and stop using non-recyclable materials in their packaging. Don't be fooled by the number inside the arrows it doesn't guarantee that the product can be recycled. At Sedona Recycles we always do our best to produce materials that can become something new hopefully many times over. Thank you for doing your part and separating your materials, it is the only way recycling can really work. For more information visit our website at www.sedonarecycles.org or better yet come in to the center and watch the sorting line in action or volunteer and get hands on experience.
by Jill McCutcheon, Sedona Recycles
Sedona Red Rock News
The lobby has reopened. Collection of Styrofoam, batteries, packing materials, printer ink cartridges, and egg cartons is currently available Monday through Saturday from 8am to 4pm.
Electronics will only be accepted on Wednesdays from 8am to 4pm. Please see our downstairs office staff or ring the bell in the lobby for assistance with your electronic items.
Sedona Recycles is your nonprofit community recycling center, providing recycling information and services to Sedona and the Verde Valley
All Sedona Recycles drop-off locations are open 24 hours a day, seven days a week
Sedona Recycles, Inc.
2280 Shelby Dr. Sedona, AZ 86336
info@sedonarecycles.org
Copyright 1989-2020 Sedona Recycles, Inc.


THE HOLOCAUST of Roma, or Poraimos, as it is known among the Roma, should not become a forgotten chapter in Slovakia's history, government's proxy for Roma communities Peter Pollák told the SITA newswire as he called on municipalities, NGOs, churches and community centres around Slovakia to remember the Roma victims of Nazism.
August 2 is the official day of the remembrance of Roma victims of the holocaust. On the night of August 2, 1944, around 2,900 Roma and Sinti were killed in the gas chambers of the Auschwitz-Birkenau concentration camp.
"Remembering the pointless liquidation of the Roma does have a sense, for the mutual respect, from the part of both Roma and the majority, as well as for our future cohabitation," Pollák said as quoted by SITA.
In Slovakia, memorial events to this end will be held on August 1 and 2. On August 1, wreaths will be laid in Dunajská Streda and later a remembrance mass will be held in Bratislava. On August 2, memorial events will take place in Banská Bystrica and in Hanušovce nad Topľou.


The basic purpose of pharmacogenetic (PGx) testing is to determine how a patient will likely respond to a particular medication. Knowing this information ahead of time can allow physicians to know whether or not to prescribe a certain medication to determine what dosage is appropriate. PGx testing (also referred to as drug-gene testing) is an improvement over population-based studies that cannot account for individual variances that may affect reactions.
PGx testing is done with either a blood or saliva sample. While genetic makeup does not change over time, additional drug-gene tests may be required when a patient is prescribed a different medication. This is because each medication is associated with a different PGx test. For example, if a doctor takes a patient off of one medication for low back pain and prescribes an entirely different one to treat the same condition, another PGx test would be needed for the new medication to determine how it may affect the same patient.
If the results suggest a patient will not likely respond well to a specific medication, the same results may apply to other family members who may take the same medication. Because of the convenient access to our reports, medical professionals can keep track of results for patients for various medications for their own records.
Results can also determine if it's safe to prescribe certain medications based on how a patient's metabolism works. Some individuals eliminate drugs from their system slowly (poor metabolizers) while others do so quickly (ultrarapid metabolizers). If testing shows that a patient metabolizes drugs fast, they will likely need to avoid certain opioids to prevent potentially serious reactions.
While there are many drugs that can be tested with his method, pharmacogenomic tests are not available for all medications. Drug-gene testing is also not currently available for aspirin and most common over-the-counter pain medications patients may be taking.
Pharmacogenetic (PGx) testing is just one of several resources we offer physicians and other medical professionals looking to make well-informed treatment recommendations. Results presented in comprehensive reports make it easier to track patient progress and better control dosages and medication usage to minimize the risks commonly associated with some prescription drugs.