Docs look to make prescribing opioid treatment prescription easier

Despite the escalating problem of opioid abuse and overdoses across North Carolina, there is only one “preferred” addiction treatment under the state Medicaid program.

If a provider would like to treat a Medicaid patient with a treatment other than Suboxone® SL Film, they must go through extra steps that could take as little as a few hours or as much as days to receive approval through the North Carolina Medicaid Program.

North Carolina physicians and counselors are asking a committee that meets under the state Department of Health and Human Services to eliminate the prior authorization requirement for non-preferred drugs so they can provide any medication-assisted treatment to patients immediately.

“Prior authorization comes through quickly sometimes, other times it takes 72 hours,” said John Woodyear, president of the Old North State Medical Society.

“It’s hard to predict how quickly we will get authorization. Many times a patient that comes to the office is going through withdrawal, and they want to start immediately,” Woodyear said.

He compared going through opioid withdrawal with the feeling of drowning. “It’s like telling someone who is drowning, ‘I see you, and I can help. Just wait 72 hours and I’ll send a life raft.’ You have to strike when the iron is hot.”

Woodyear added that providers have many preferred treatment options for diabetes and high blood pressure under the the state’s Medicaid Program. He doesn’t understand the rationale behind only one option to treat addiction.

On behalf of his medical society, which represents African-American physicians, Woodyear sent a letter to Gov. Roy Cooper and DHHS Secretary Mandy Cohen asking for the elimination of prior authorization for all buprenorphine/naloxone products for Medicaid patients.

Emergency

“During a public health emergency, providing only a single preferred product to address an epidemic is inadequate,” Woodyear wrote.

“We know that we can do better for our Medicaid patients and seek your leadership to remove these unnecessary barriers that tax our office’s resources and makes access to these life-saving medications more challenging.”

A group of more than 50 counselors and other caregivers in North Carolina also signed a letter addressed to the committee that decides which medications are preferred under Medicaid. They also are asking for the elimination of prior authorizations for addiction treatments.

“As non-physician health care providers serving Medicaid recipients in the state, we respectfully request that this committee take the lead in addressing the opioid crisis by voting to cover all buprenorphine/naloxone products at your next meeting,” reads the letter written on University Psychiatric Associates letterhead.

Asking a patient to wait for prior authorization of a treatment that is best for them is “not practical or fair,” the letter reads.

“These delays endanger patients to relapse, potentially impacting the individual, their family, employer, even the criminal justice system,” the letter continues.

Kelly Haight, DHHS press assistant, said Suboxone is the preferred treatment “because the Pharmacy & Therapeutics Committee, Physicians Advisory Group and Prescription Drug List Review Panel agreed that the naloxone/buprenorphine products in that drug class are equivalent in clinical efficacy and safety.”

“Additionally, an analysis of prior authorization request reported equal access to all three buprenorphine/naloxone products regardless of their status on the Preferred Drug List. After conducting a financial review, the North Carolina Medicaid Pharmacy Program determined that Suboxone provided the best value to beneficiaries and providers,” Haight added.

Compelling physicians to seek prior authorization for Medicaid treatments is not unusual. This past week, North Carolina Medicaid just required physicians to seek prior authorization to prescribe opioids for more than two weeks and above a certain dosage.

Few doctors prescribing treatment

Providing physicians with immediate access to all addiction treatment for their Medicaid patients is only one part of the equation. There also needs to be more doctors who can treat people with addiction.

Woodyear said he is also urging members of his society to become federally certified to treat patients with opioid addiction. Woodyear, who is a family doctor from Troy, N.C., is treating around 275 patients per month with opioid addiction and could be seeing even more.

“There are so many people writing prescriptions of the controlled substance, but very few waivered to provide addiction treatment,” Woodyear said. “There is still a bias in the profession. They don’t want to be involved with ‘those people,’ yet they are contributing to the problem those people have.”

Fewer than 1 percent of North Carolina prescribers are certified to administer medication assisted treatment for opioid addiction.

According to the North Carolina Medical Board, there were 26,295 physicians and 5,788 physician assistants registered with the board in 2016. While they are all licensed to prescribe opioids, only 190 are certified by the federal Drug Enforcement Agency to prescribe addiction treatment medication.

Lawsuit over addiction treatment drugs

Meanwhile, North Carolina and 35 other states have sued the company that makes Suboxone Film, the only North Carolina Medicaid preferred drug to treat opioid addiction.

Last September, then-Attorney General Roy Cooper announced an antitrust lawsuit against Reckitt Benckiser Pharmaceuticals, now known as Indivior, alleging that the company blocked generic versions of the drug to keep the price unlawfully high.

“Gaming the system to charge higher prices on needed medications is wrong,” Cooper said in a press release at the time. “Prescription drug abuse is a serious problem in North Carolina and those trying to recover from it suffer if artificially high costs make it harder for them to get treatment.”

“The attorneys general allege that their investigation shows consumers and other purchasers such as local law enforcement and emergency medical services paid artificially high prices for Suboxone since late 2009, when generic alternatives would have become available without the illegal interference,” the press release reads. “During that time, annual sales of Suboxone topped $1 billion.”

The lawsuit alleges that the maker of Suboxone conspired with another company to change the drug from a tablet form to a film that dissolves in the mouth. The lawsuit claims that this was done “to prevent or delay generic alternatives and maintain monopoly profits.”

Taylor Knopf joined NC Health News in March 2017 and covers rural and mental health news. She is a 2017-18 regional fellow with the Association of Health Care Journalists.

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Hyundai Commission 2017 – Superflex, review: Exhilarating show awaits the masses

I”ve spent a lot of time in the Turbine Hall in the 17 years since it opened, but I’ve never felt as exhilarated as I did on a swing installed here by Superflex

Travelling fast through the air, legs outstretched and tucked-in beneath, daring oneself to go higher was an innocent, moving thrill in this great space. Tate Modern’s street, as its architects Herzog & de Meuron intended, is now complete with a beautifully designed playground.

And design is a key element of One Two Three Swing! It’s an immaculate sculptural object, with a orange tubular line  zig-zagging its way through the space, on to the bridge, through the wall out on to the landscape, set against a dark cork floor. The swings punctuate it with confectionary colour accents. Then there’s the chromatic spectrum of the carpet, reflected in the swinging mirror ball above. 

What of the underlying political and social message? The carpet, colour-coded according to the hues of British banknotes, and the inexorable movement of the pendulum, are symbols of the potential for apathy; the swings for collective action to fight it. 

In an assembly area at the back of the hall are unattached swings with labels saying “the collective power produced” by using them will “potentially change the trajectory of the planet”.

This is as much a thought experiment as it is a genuine intention, a metaphor for harnessing what unites us to battle a acceptance of the status quo. It’s not a show for a cynic: you have to throw yourself into it.

At the press viewing this morning, it was only partly complete: it needs the huge crowds Tate Modern attracts to activate it. It’s impressive enough without them, but with the energy of the swinging masses,  it might just be magnificent.

One Two Three Swing! is in the Turbine Hall, Tate Modern, until April 2 and admission is free

RankTribe™ Black Business Directory News – Arts & Entertainment

Interview: Nell Irvin Painter

Until her recent retirement from teaching, Nell Irvin Painter was the Edwards Professor of American History at Princeton University. She was Director of Princeton’s Program in African-American Studies from 1997 to 2000. In addition to her doctorate in history from Harvard University, she has received honorary doctorates from Wesleyan,  Dartmouth, SUNY-New Paltz, and Yale. As a scholar, Professor Painter has published numerous books, articles, reviews, and other essays. Her most recent books are Creating Black Americans and Southern History Across the Color Line. Furthermore, six of her earlier books are still in print. Professor Painter’s prominence has been recognized by her selection to be the President of the Southern Historical Association for 2007 and the President of the Organization of American Historians for 2007-2008.

Professor Painter has also served on numerous editorial boards and as an officer of many other professional organizations, including the American Historical Association, the American Antiquarian Society, the Association for the Study of Afro-American Life and History, and the Association of Black Women Historians. She is currently a Councilor of the prestigious Society of American Historians.

BSN: What inspired you to write an illustrated history of African-Americans?

NP: The idea of my writing a narrative history came from Bruce Borland, a developmental editor. He admired my earlier narrative history, Standing at Armageddon: The United States, 1877-1919 and thought I could do a good job with African-American history. I knew from the beginning of the project that I wanted to use images in a more critical fashion than usual in narrative histories. The more I thought about the project, the more I wanted to use the work of black artists exclusively. Artists portray history with more passion than professional historians, which I thought particularly important for this history. All history implicates identity; with African-American history and identity so often misconstrued, I wanted to bring together my professional approach, which should be balanced and dispassionate, with the artists’ excitement. In addition, I hope artists will encourage readers to broach fundamental questions about the nature and process of visual representation, which is part of the meaning of African-American history in my subtitle.

BSN: Do you have an art background or did you rely on the help of curators in choosing the artwork?

NP: Lacking training in art history, I blundered along pretty much by myself. But I relied upon curators and art historians to make the first cuts for me by deciding what to publish. I picked from material that had already reached print, in biographies, exhibition catalogues, and the International Review of African-American Art.

BSN: How did you decide whether to include a piece?

NP: Because my theme is self-creation, I decided first that I would only use the work of black artists. Then I had to strike a balance between narrative and art histories. I was writing a narrative history, in which the art serves the purposes of narrative history, not the other way around. This means that I left out enormous bodies of work that art histories would need to include, such as work by black artists not on historical themes or not picturing black motifs. I also found early readers reluctant to deal with abstraction, so Creating Black Americans contains almost no abstract pieces. My own taste also played a part, inclining me toward more painterly pieces and away from those that seemed to me too obviously the work of illustrators. I also tended to shy away from artists whose biographies I could not find. On the other hand, I felt that although I wanted to include a range of artists in terms of professionalism and training, and I wanted to represent many different media, painting, sculpture, photography, quilts, graffiti, murals, I definitely needed to include major artists such as Elizabeth Catlett, Aaron Douglas, Jacob Lawrence, and William H. Johnson. For the most part, my greatest challenge lay in keeping the total number of illustrations within a limit commensurate with a reasonable book price.

BSN: What do you see as your intended audience? It seems like this is an academic text that could be used by high school and college classes but also a coffee table book that anybody could enjoy.

NP: You have grasped my thinking perfectly. The history in Creating Black Americans is impeccable, and the art is a bonus for readers seeking historical knowledge. But for those readers looking for an entry into black art, the images will pay off handsomely.

BSN: Which period of Black history was the most challenging to research?

NP: The most recent period in Chapter 15 was the toughest because the sources are so scattered, so superficial, and so frequently unreliable. Historians haven’t yet produced a wide range of solid scholarship I could draw upon, not just for the kind of information that only careful research can provide, but also for the most basic facts, such as where and when hip-hop figures were born. For the last thirty or so years, a good deal of the information remains in the realm of marketing rather than serious biography. Chapter 15 also needed information on Black conservatives, which is not yet readily accessible. I had to rely more than I would have preferred on information through the internet, which is notorious for not being reliable. With the passage of time, historians will generate the kind of research I was missing, but they haven’t quite yet.

BSN: Which period affected you the most emotionally as you wrote about it?

NP: I’d say the period following the Second World War broke my heart the most, though a deep immersion in African-American history over the centuries can’t but make one angry. By 1945, Black Americans and our allies had been protesting against discrimination in every possible way, but the response was still so often literal murder. So many Black people died for what should have been their basic citizens’ rights in a democracy!

BSN: What new historical fact were you most surprised to learn while conducting your research for this book?

NP: The recent discovery that one-third of Black Americans’ ancestors came from west-central Africa, more than from any other region of the continent, surprised me most. Like so many others, I had assumed that my forebears came from the Bight of Benin—the now the nations of Ghana, Togo, Benin, and Nigeria. This evidently is less likely to be the case than I had thought.

BSN: Which artists and which illustrations in the book are your favorites,
and why?

NP: Gosh, that’s a hard one. Creating Black Americans contains so many images that please me that it’s really hard to single out particular ones. Let me reconstruct your question and point to three images I especially like because they’re unexpected. Faith Ringgold’s “We Came to America,� [from 1997, found in Chapter 2 on page 20]; Barbara Chase-Riboud’s “Sojourner Truth Monument� model [from 1999, found in Chapter 4 on page 76]; and James A. Porter’s “Soldado Senegales,� [from about 1935, found in Chapter 9 on page 181]. Ringgold’s quilt, one of the many recent works by artists who are only just now facing the horror of the Atlantic slave trade, imagines our ancestors foundering in a sea that is both angry and familiar—familiar by dint of the proximity of the Statue of Liberty, which puts the ancestors somewhere near Coney Island beach. This ship’s fire occurs in American waters. Chase-Riboud usually makes abstract works, but here she applies her classic technique to a figure from African-American history. Her Sojourner Truth appears in the traditional equestrian format usually reserved for white male statesmen, but beside rather than astride her horse. We remember Porter as a pioneering art historian, but he also painted beautifully. After spending time in Paris, as did so many black artists seeking to further their art, he depicted an embodiment of the diasporic dimension of the First World War in this portrait of a soldier from Senegal.

BSN: Who are some of your favorite figures in African-American history?

NP: Once again, there are so many! Having written full-length biographies of Sojourner Truth and Hosea Hudson, I give them special places in my heart. I also like Oprah Winfrey for showing us what freedom for African Americans can mean for Africa: For so many generations, African immigrants and their children could not send home American earnings, as did immigrants from Asia and Europe. Now, though, a generation after the lifting of segregation and three generations after slavery, African descendants can finally contribute to the economic and educational development of Africa. Stokely Carmichael and Charles Hamilton taught me a lot through an immersion in black power. Black power warns Black people against measuring themselves only according to what white people want. This is good advice to keep in mind. You have to preserve a certain distance from the wider American culture in order to preserve sanity.

BSN: Where did you grow up and how do you like living and teaching in Princeton?

NP: I grew up in Oakland, California, and went to college at the University of California, Berkeley. I spent two years in Ghana in the 1960s, which helped preserve my humanity. I enjoyed living and teaching in Princeton—such fine students and such a rich intellectual community, including a library that walks on water. But after many years in Princeton, my husband and I wanted a more diverse community. In 2002 we moved to a terrific neighborhood in Newark that’s one-third black, one-third Latino, and one-third white. That feels good.

BSN: Someone told me that you were working on a history of white people. Is that true?

NP: True. I’m awfully far behind in writing The History of White People, having gotten totally absorbed by Ralph Waldo Emerson, whom I’m calling “The Founding Father of American White Race Theory.� I’m looking forward to the holidays, when I can return to the Adirondacks and burrow back into that material. And soon, I hope, complete the book.

BSN: I once read a blurb of yours on the back of a book by Michael Eric Dyson which I gave a poor review. Did you really read it and like it, or did somebody just write the blurb for you sight unseen?

NP: I write all my own stuff, all of it. I actually liked Dyson’s book on King, because it made King into a real person, an individual. I acknowledge the degree to which each black person is taken as an index of the entire race, but I don’t think we should stop there. It’s a good thing to push readers a little farther, past the zone of familiar comfort, where they need also to see Black people as individuals rather than units of credit-to-the-race.

BSN: What advice do you have for anyone who wants to follow in your footsteps?

NP: Take care of your health, mental and physical, because you need both strengths to keep going in the face of likely discouragement. And do keep going; keep reading; keep writing; keep a few good friends who understand you in the way you understand yourself at your best.

*****
To subscribe to or advertise in The Black Star News, the world’s favorite Pan-African news weekly, please call (212) 481-7745. Contact us via
comments@blackstarnews.com if you have any questions or news tips. 

RankTribe™ Black Business Directory News – Arts & Entertainment

WC Launches Lecture Series on the African American Church this Month

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“The African American Church: Yesterday, Today & Tomorrow” Leads Inaugural Series of Events at Washington College.

The public is invited, at no charge, to Washington College’s Institute for Religion, Politics & Culture’s kick off of it’s inaugural series “The African American Church: Yesterday, Today & Tomorrow.

The two-day series will be held at 6:00 PM on Monday, October 16, in the Hynson Lounge and 6:30 PM on Monday, November 6, in Litrenta Hall, both on the Washington College campus in Chestertown, Maryland.
The October 16 event will feature Reverend Pinkett of Cambridge, Maryland, the 2016 Martin Luther King, Jr. Image Award Recipient, and the Honorable Corey Peck, Talbot County, Maryland, Council member, Sunday school teacher and Lay Leader at the Union Baptist Church in Easton, Maryland.

The November 6 event will feature Reverend Dr. William T. Wallace, Sr., pastor of the Union United Methodist Church in St. Michaels, Maryland.This will be the first in a free series of events to focus on the “African American Church and American Ideals” put on by Washington College’s Institute for Religion, Politics and Culture.

The Institute for Religion, Politics and Culture is dedicated to the rigorous study of religion’s influence on American and world history, as well as its contemporary importance for cultural and political life. The Institute also explores a range of pressing issues facing contemporary society and the enduring value of America’s founding principles.

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Tennessee Mesothelioma Victims Center Now Urges a Diagnosed Energy Worker in Tennessee To Call Them for Direct Access to The Top Attorneys in The Nation For Financial Compensation

If a person was exposed to asbestos at a Tennessee power plant or energy facility and now has been diagnosed with mesothelioma we are urging them or their family members to call us anytime ”

— Tennessee Mesothelioma Victims Center

NEW YORK, NEW YORK, USA, October 4, 2017 /EINPresswire.com/ — The Tennessee Mesothelioma Center says, “We are urging a person with mesothelioma in Tennessee whose asbestos exposure occurred at a power plant or energy facility to us anytime at 800-714-0303 for a conversation about what lawyers they will need to talk to-in order to get the best possible financial compensation.

“As we would like to discuss it is incredibly vital to hire the nation’s most experienced mesothelioma attorneys who specialize in mesothelioma compensation claims for energy workers. There is a direct relationship between having the nation’s most experienced and skilled mesothelioma attorneys and receiving the very best possible mesothelioma compensation as we would like to discuss anytime. Tennessee is the most recognizable states for power or energy production. ”http://Tennessee.MesotheliomaVictimsCenter.Com

Vital Tip from the Tennessee Mesothelioma Victims Center: “If a person was exposed to asbestos at a Tennessee power plant or energy facility and now has been diagnosed with mesothelioma we are urging them or their family members to call us anytime at 800-714-0303 so that we can make some extremely good suggestions regarding some of the nation’s most skilled and experienced mesothelioma attorneys. Typically, we can provide immediate access so that a person like this or their family members are talking directly to these extremely capable-fulltime mesothelioma attorneys who specialize in compensation for power plant or energy workers with mesothelioma. The lawyers we suggest do not get paid unless there is a settlement.” http://Tennessee.MesotheliomaVictimsCenter.Com

The Tennessee Mesothelioma Victims Center wants to emphasize their free services are available statewide in every community in Tennessee, including Memphis, Nashville, Knoxville, Chattanooga, and Clarksville. http://Tennessee.MesotheliomaVictimsCenter.Com

The Tennessee Mesothelioma Victims Center is also very focused on making certain a diagnosed victim of mesothelioma has access to the best treatment option facilities in their state. For the best possible treatment options for mesothelioma in Tennessee, the Tennessee Mesothelioma Victims Center strongly encourages diagnosed victims, or their family to consider:
* The Vanderbilt-Ingram Cancer Center, Nashville: http://www.vicc.org/dd/dz/results.php?name=malignant-mesothelioma
* Baptist Memorial Hospital in Memphis: http://www.baptistonline.org/memphis/

The average age for a diagnosed victim of mesothelioma is about 70 years old. Frequently victims of mesothelioma are initially misdiagnosed with pneumonia. This year between 2,500 and 3,000 US citizens will be diagnosed with mesothelioma.

High-risk work groups for exposure to asbestos in Tennessee include US Navy Veterans, power plant workers, manufacturing or industrial workers, plumbers, electricians, auto mechanics, machinists, miners, or construction workers. Typically, the exposure to asbestos occurred in the 1950’s, 1960’s, 1970’s, or 1980’s.

The Center says we want to emphasize a US Navy Veteran with mesothelioma in Tennessee should call us anytime at 800-714-0303 to ensure they are talking directly to the nation’s most skilled mesothelioma attorneys who specialize in helping Navy Veterans get the best possible mesothelioma compensation. About one third of-all people diagnosed in the US each year are Veterans of the US Navy.”

The states indicated with the highest incidence of mesothelioma include Maine, Massachusetts, Connecticut, Maryland, New Jersey, Pennsylvania, Ohio, West Virginia, Virginia, Michigan, Illinois, Minnesota, Louisiana, Washington, and Oregon. Mesothelioma also happens in Tennessee.

For more information about mesothelioma please refer to the National Institutes of Health’s web site related to this rare form of cancer: https://www.cancer.gov/types/mesothelioma.

Michael Thomas
Tennessee Mesothelioma Victims Center
800-714-0303
email us here

Addiction Warriors A New Doc Series and Educational Tour

Parents and families don’t know what to do anymore. They are scared to death to lose their loved ones. They have tried everything and nothing is working.

Parents and families don’t know what to do anymore. They are scared to death to lose their loved ones. They have tried everything and nothing is working.”

— Executive Producer Mark Ehrenkranz

MORRISTOWN, NJ, UNITED STATES, October 3, 2017 /EINPresswire.com/ — An ongoing episodic doc series is being developed with an accompanying tour that will feature game-changing addiction warriors taking radically different approaches to the malady. Addiction Warriors will expose the latest methods and the need for a paradigm shift with causal champions. The fundamental difference being non-judgemental acceptance versus fear and resistance. The funding for this project is through supportive donations by those who want to help it happen via www.addictionwarriors.org

The pursuits are being accomplished via a strategic and fiscal sponsorship partnership with Creative Visions. They inspire and empower worldwide creative activism. Kathy Eldon and her team has established a strong network of artists and media makers who are telling critical stories about problems that need to be solved. They support activists to pilot innovative arts and education programs affecting change.

The malady here has little to do with the substance or habit, whether it be sex, gambling, food, work or money. It has a lot to do with modernity, social pressures, cultural malaise, and substitutions for feeling trapped, isolated or riddled with anxiety. It has much more to do with fear, alienation, and overwhelming stress or loss. Psychological imbalances, brain illness, and overall discomfort in one’s skin cause individuals to self-medicate to escape, be more in control, and or simply wanting to feel better.

No one plans to get addicted from natural desires to get high, “cut the edge” or from to blowing off steam with a temporary escape. What ensues is the phenomenon of wanting, and the inevitable brain alterations which render habit, cravings and then the need. Millennials and Gen Z’ers may be particularly susceptible due to helicopter parenting, device addiction, and political correctness where everyone is a “winner.” Tempering feelings along with the intensity and increased pressures of the world severely challenges healthy coping skills and healthy dealing with rejection and disappointment.

The fact is that teenagers will experiment for a multitude of reasons and will want to experience forbidden fruits no matter what. Youths from ages 11-26 are undergoing emotional maturity and their brains are still forming. They are wired for indestructability, share a cavalier attitude, and know better than anyone older than them. They are coded to share a different reality which rejects healthy fear, loves drama, dangerous feats, and outrageous stories. Parents forbidding them to try drugs simply does not work. What they fill their minds with on-line only lowers the bar for further unhealthy behavior.

The visual style will be fast paced with contemporary youthful elements for maximum engagement. This doc series will consolidate and stylishly uncover the causes, cutting-edge research, and treatment of addiction from a street savvy point of view. The value of one addict helping another is unparalleled. The creation and execution of this content will directly appeal to audiences via a deeply seated connection. The material will be developed by recovering addicts with longtime sobriety, doctors, treatment professionals, recovering families, and other experts in the field. Everyone, especially parents, teachers, law enforcement and employers need to know the truths if their skills are to be productive. The activation of a touring road-show will be an effective method of outreach and education.

About the Team

Mark Bakshi, is the former Worldwide President of Feature Production at Paramount. Most recently, he served as executive producer on the critically acclaimed Foxcatcher starring Channing Tatum, Steve Carell, and Mark Ruffalo as well as the box office giant World War Z and the Brad Pitt starring Moneyball. Prior to Moneyball, he was a consulting producer on the animated feature Rango. He enjoyed a 14-year run at Paramount overseeing all live-action and animated theatrical releases. While there, he supervised over 150 feature film productions, including titles such as Indiana Jones and The Kingdom Of The Crystal Skull, Transformers, the Mission: Impossible franchise, Saving Private Ryan and Titanic. He also developed and produced for HBO and served as a production executive at Buena Vista Pictures and Walt Disney Television.

Mike S. Ryan is a veteran of the independent film community, who started out in the industry’s 1990’s heyday with films like Ang Lee’s The Ice Storm and Todd Hayne’s Far from Heaven. As a producer, he has been responsible for a remarkable group of films in the last five years, most made for under $3 million. Mike is an Independent Spirit “Producer of the Year” award nominee and one of Variety’s “Top Ten Producers to Watch” from 2007. Mike’s films have garnered nominations and prizes from the Academy Awards, Independent Spirit Awards, Gotham Awards and many more. JUNEBUG, starring Amy Adams, made its international premiere at Cannes in 2005 and went on to be one of the lowest-budgeted feature films ever nominated for an Oscar (Best Supporting Actress, 2005). He also teaches at Columbia, Emerson and in Berlin

Mark Ehrenkranz, has been producing The NY Film Critics Series® (NYFCS®) with Peter Travers of Rolling Stone Magazine and ABC-TV, for 21 years. He is also producing Turbulent Souls a full length feature film based on the memoirs of Stephen J. Dubner (co-author of Freakonomics ). He is the head writer on a new Rock-Doc Series INSIDE THE DEVIL’S PLAYHOUSE, The Last 100 Days of Historic Webster Hall and Untitled Sea Matthew Modine Sea Project. Mark and Mike S. Ryan are producing The Edison Papers. He recently produced Wayne’s World’s 25th Anniversary in theaters with Mike Meyers, Lorne Michaels, Rob Lowe, Dana Carvey and Director Penelope Spheeris.

Elaine Pasqua, CSP, is one of the most dynamic and effective speakers addressing positive choices for outstanding performance. Once described as “the biggest little thing I’ve ever seen,” this energetic and humorous dynamo, has been traversing the country for more than two decades, transforming the lives of more than a half a million people. Her expertise is in high-risk drinking, sexual assault, sexual health, and drug abuse. Elaine’s passion for making a difference has remarkably taken her from working with more than 600 universities nationwide, to numerous professional organizations, the military, and 30 pro athletic teams from the NFL,

Mark Ehrenkranz
www.addictionwarriors.org
9732144008
email us here

GUEST ROOM | We Are Not a Monolith: Nuances of Blackness at Cornell

… experiences. The voice of African American Black students are stifled. … and of that six percent, African Americans are only a minute … people experience racism in the same way! Racism operates on … diaspora may all experience racism on the individual level ( … RankTribe™ Black Business Directory News

2018 SC African American history calendar unveiled

Tuesday night at the Koger Center for the Arts, 12 African Americans were recognized for the impacts they have made in the Palmetto State. (Source: WIS)Tuesday night at the Koger Center for the Arts, 12 African Americans were recognized for the impacts they have made in the Palmetto State. (Source: WIS)

COLUMBIA, SC (WIS) -

Twelve African Americans were recognized for the impacts they have made in the Palmetto State on Tuesday night at the Koger Center for the Arts.

All 12 are being honored with a place in the 2018 South Carolina African American History Calendar. The calendar is available now and can be downloaded beginning on Oct. 4. 

Among this year’s honorees are historians, attorneys, and activists, educators, and writers.

This is the first year the South Carolina Department of Education is the lead sponsor of the calendar. Biographies in it will also be used by teachers across the state in their classroom instruction.

Copyright 2017 WIS. All rights reserved. 

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    International African American Museum receives $10M donation

    IAAM rendering (Provided)

    Groundbreaking on the International African-American museum isn’t expected until next year, but a generous gift is inching those efforts closer.

    On Tuesday, museum officials announced a $10 million donation to the museum’s construction fund from Lilly Endowment, Inc., a private, philanthropic foundation based in the Midwest.

    “I’m proud to publicly announce today a gift from the Lilly Endowment for $10 million dollars to the International African American Museum,” said Michael Boulware Moore, president and CEO of the IAAM.

    It’s the museum’s largest private-donation to date. Former Charleston Mayor Joe Riley was present for the announcement and said securing this grant was a process, which began two years and five months ago.

    “I had heard the wonderful things about the quality of the endowment and their generosity,” Riley said. “We were determined to ask for$10 million, which kind of makes you gulp a little bit.”

    To meet the criteria and nature of the grant, IAAM had to have religious appeal. Riley remembered his first meeting with the foundation’s president.

    “I said ‘Mr. President, you cannot tell African American history without throwing faith and religion in it’,” Riley said. “We all know that, all of us who grew up in the South know the power of the church.”

    The museum’s location at Gadsden’s Wharf is a place many consider a sacred site.

    “It was the spot where 40%, the single-largest number of enslaved Africans who came to America took their first steps, including my great-great-great-great grandmother,” said Moore.

    The $10 million donation now puts the museum $9 million shy of their goal within the private-fundraising sector. Groundbreaking is slated for early next year. It’s expected to be open to the public by Spring 2020.

    Sedus se:joy – the versatile all-rounder in seating

    New ways of working require increased flexibility

    WALDSHUT-TIENGEN, GERMANY, October 1, 2017 /EINPresswire.com/ — The international manufacturer of office furniture and ergonomics specialist Sedus presents its new se:joy swivel chair – and the name says it all.

    New ways of working require increased flexibility, simplicity and ease in office furniture, for the times when workplaces were occupied permanently are long gone.
    Modern office nomads move a lot and are often on the road – and when they do come to the office, then it is at meetings, workshops and maybe even briefly at a workplace that happens to be free. This calls for a simple, comfortable and versatile chair. And Sedus se:joy is the answer.

    Working at an office can be fun if its furniture looks light and colourful. Sedus se:joy combines good design with clear lines and a surprisingly comfortable sitting experience. On his latest creation, designer Martin Ballendat states, “It is my conviction to create original and recognisable products that are usefully, economically and universally suitable for as many fields of application as possible.”

    Depending on its colour design, the new swivel chair can be a refreshing enhancement to existing office landscapes or may integrate harmoniously into contemporary architectural contexts. Sedus se:joy convinces with fresh membrane colours prominently elevated by its filigree frames in black or light grey. Its graphic qualities are especially emphasized by semi-transparent membranes in light grey or anthracite.

    Designer Martin Ballendat, “I was intrigued by the task of designing a competent and ergonomic net covering of a shell – instead of the conventional thick circumferential frame – with a futuristic support structure reduced to a minimum, which is fine, sensual and intelligent.”

    In deed not an easy task that was solved by Sedus engineers with an innovative high-tech plastic frame covered with a breathable, one-piece membrane, which is manufactured of two qualities without visible transition. While the backrest has elastic and flexible properties, the sitting zone is designed consistently supportive. A remarkable feature is that this fabric exclusively developed for Sedus se:joy never wears out.

    The technical features include intuitively operable height adjustment with depth springing, an activatable rocking mechanism and a five-foot base on castors. Ergonomically designed armrests for Sedus se:joy are optionally available.

    After its premier at the Milan furniture fair, Sedus se:joy had two further appearances on the international stage: the Clerkenwell Design Week in London and the Index Design Series in Dubai.

    Joachim Sparenberg
    Sparenberg PR
    +49 7741 8355003
    email us here

    Sedus se:joy – the new easy office chair.

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