Every spring, the Environmental Working Group (EWG) releases its “Dirty Dozen Shoppers Guide to Pesticides in Produce.” It is received with much fanfare and is ripe for the picking for media outlets across the country. To get an idea how much buzz it generates, I Googled “dirty dozen food.” It yielded about 30 million results. I filtered those results to news stories and about 30,000 featured the subject.
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It is easy clickbait for the media, so it’s no big surprise the dirty dozen gets so much play. But, with Americans not eating enough fruits and vegetables to begin with, it is too bad the message to avoid them garners the attention it does.
Marc L Greenberg theconversation.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theconversation.com Daily Mail and Mail on Sunday newspapers.
Some achieve distinction in one or possibly two branches of the world of art, but few, if any, are outstanding in all of them. Alan Bowness – art historian, curator and museum director, critic and journalist, and a collector himself – was just such a man, for all his personal modesty and quiet public profile. What drove him was his love for, and thirst for knowledge of, 19th- and 20th-century art – painting and sculpture especially. This allowed him to become one of the most effective proselytisers for contemporary art, which in Alan’s heyday was very much a minority, and some would say elitist interest. (As an educator, he no doubt thought that every individual, with self-willed effort, might join in the pleasures that all the arts bring.)
Alan Bowness was an art historian whose eye and influence shaped the British contemporary art world over more than 40 years. He never sought the limelight, but his quiet self-assurance and belief in his own convictions inspired confidence in others and made him the most persuasive and effective voice in a talented post-war generation of curators, writers and critics.
In the late 1950s and through the 60s and 70s, he was a pioneering academic and a friend to a generation of abstract artists in England, whose work he championed in print and in the many committees on which he served. In the 80s he became a more public figure as the director of the Tate Gallery, where he made important acquisitions for the national collection, achieved a resolution of the long-running debate about how to honour J.M.W. Turner’s magnificent bequest to the nation and established a new northern outpost for the gallery in creating Tate Liverpool. In the 90s and beyond, he continued his patronage as
Leo W. Werner, 67, was a captain in the Scales Mound Fire Protection District.
He had responded to a medical call for service around 10 p.m. Wednesday, Dec. 9. Shortly after returning home, Werner suffered from an apparent heart attack, according to Scales Mound Fire chief Carl Winter.
âHe responded as a first responder,â Winter said. âThen, he was home about a half hour when (Wernerâs family) called 911.â
Lt. Jeff Williams, of the Scales Mound department, worked with Werner about 17 years.
âIf Hallmark could make a card showing an All-American family â that was Leo and the Werner family,â Williams said. âLeo grew up on a farm, played sports in high school, went straight into the military, and as soon as he got home, he joined his local volunteer fire department. He didnât have to â he had already served his country.â