Worried That Grilling Will Give You Cancer? Here Are Some Safeguards You Can Take

With most of the country ready to fire up their grills for Memorial Day, you might be worrying about all those cancer claims surrounding grilled foods. Before we partake in a weekend of charred burgers, seared steaks and other grilled meals, let?s look into this a little more closely. 

Why is there cancer risk associated with grilled foods?

The reason there is concern revolving around grilled food, mostly meat, has to do with two compounds that are both known carcinogens: heterocyclic amines (HCAs) and polycyclic aromatic hydrocarbons (PAHs). HCAs form in protein-rich foods when cooked at very high heat, and PAHs form when fat burns on the grill, creating smoke. 

According to the National Cancer Institute (NCI), studies have found that a diet rich in HCAs has been linked to an increased risk of breast, colon, liver, skin, lung, prostate and other cancers. Diets high in PAH have been linked to leukemia.

But Colleen Doyle ?MS, RD, the director of nutrition and physical activity for the American Cancer Society (ACS) ? says that there isn?t enough evidence to suggest that you stay away from the grill entirely. Instead, take some steps to minimize the risk of these compounds.

What can I do to minimize the cancer-related risks?

Clean your grill. You want to keep the grill pristine because char can build up on the grates, and it?s the char that you want to minimize. There are a couple of different ways you can do that. You can scrub it with baking soda, or you can use a wad of tin foil to scrub it off. 

Cook lean meats. Cooking lean meats means there will be less fat that drips and creates smoke, which means less potential for the presence of PAHs. Consider opting for grilled chicken (skinless is best, because it has less fat) and fish instead of red meat, as they naturally contain lower levels of the amino acids that lead to HCA production. Fish gets bonus points because it typically doesn?t have to cook as long as meat ? and the shorter the cooking time at high heat, the better.

Finish on the grill. If you can, start by cooking the meat partly off the grill, either in the oven or on the stove. Many great rib recipes are made this way. Then pop it on the grill at the end of the cooking process just to get that nice sear and smoky flavor. Or, if you are really committed to the grill, use it to cook low and slow. HCAs begin to form at and above 325 degrees Fahrenheit, so if you keep the temperature below that, you?re golden. Just be sure to check the meat with a thermometer to cook it to the proper, safe temperature. Undercooked meat and the risk for foodborne illness could be just as dangerous as potential carcinogens you get from grilling.

Marinate your meat. There?s mounting evidence that the way you prepare your meat can make a difference, says Doyle. Marinating meat even just for 30 minutes seems to limit carcinogen formation. A number of spices, in addition to adding fun flavor, seem to offer particular protection, including red pepper, thyme, sage, garlic and especially rosemary, Health.com reported.

Cut off any charred parts. According to the NCI, removing charred portions of meat before eating them can reduce HCA and PAH exposure.

Remember, at the end of the day, not enough research has been done to indicate that you should stop eating grilled meats, so you can still grill steaks and burgers. But if you want to be on the safe side, follow the steps we?ve just listed.

And then consider these awesome grilled chicken recipes below.

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No matter what type of workout you enjoy, it’s important to stay active and healthyBelow are some of the services offered:. Getting the most out of your workout can be challenging when you have a busy schedule and are often crunched for time. Finding a gym with great workout classes can help boost your motivation to make the time and be a fun way to relieve stress. Soon enough you’ll be looking forward to sweating away your worries!

Appeals Court Slaps Down Donald Trump’s Travel Ban Yet Again

In yet another setback for the Trump administration, a federal appeals court in Richmond, Virginia, on Thursday refused to lift a nationwide injunction that halted a key provision of President Donald Trump?s revised travel ban on six predominantly Muslim nations.

The ruling is the most bruising the White House has suffered in its attempts to defend the ban, as it was rendered by 13 judges on the U.S. Court of Appeals for the 4th Circuit ? which deemed the case important enough to skip the usual three-judge process that the vast majority of cases go through.

?Congress granted the President broad power to deny entry to aliens, but that power is not absolute,? wrote U.S. Chief Circuit Judge Roger Gregory in a ruling that largely upheld the original block on the travel ban.

The decision clears the way for Trump to appeal to the Supreme Court, a move he promised when the first version of the travel ban was shot down. The appeal never materialized ? the administration chose instead to start from scratch and reissue a tamer version of the executive order.

The watered-down version ? which removed Iraq from the list of barred countries and eliminated the ban on Syrian refugees ? no longer applied to permanent residents and had a delayed rollout, all in hopes of avoiding the detentions, chaos and protests unleashed by the first order.

These tweaks were intended to make the travel ban more palatable to the courts. But Trump?s campaign promises and anti-Muslim sentiment kept dogging the administration, and federal judges in Hawaii and Maryland couldn?t help but take that history into account in assessing the travel ban?s legality. Both courts concluded that Trump?s own words, and those of his surrogates, tainted the executive order with unconstitutional animus against a religious group.

?The president has never repudiated the statements he made on a Muslim ban,? said U.S. Circuit Judge Robert King earlier this month when the 4th Circuit heard the case. King and other judges specifically pointed to Trump?s own campaign website, which once called for a ?total and complete shutdown? of Muslims entering the United States, as relevant evidence for the purpose behind the executive order.

The Trump administration, for its part, has insisted that the president?s words shouldn?t be used against him, and that courts should be careful not to look behind the chief executive?s motives or second-guess his broad authority to set immigration policy.

?The order before this court has been the subject of a heated and passionate political debate,? a Department of Justice lawyer said during oral arguments before the 4th Circuit. ?But the precedent set by this case for this court?s role in reviewing the president?s power at the borders will long transcend this debate and this order and this constitutional moment.?

This is a developing story and will be updated.

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AARP Health Care Ads To Target Key Republican Senators

AARP, the nation?s largest seniors group, is launching a seven-figure television advertisement buy asking Republican senators in key states to vote against the Obamacare repeal legislation the House of Representatives passed earlier this month.

The ads are due to begin this week in the home states of Sens. Jeff Flake (Ariz.), Cory Gardner (Colo.), Dean Heller (Nev.), Lisa Murkowski (Alaska) and Dan Sullivan (Alaska). AARP plans to spend at least six figures on the ads in each of the four states where they air.

The senators AARP is targeting are all either moderate, or ? in the cases of Flake and Heller ? up for re-election in 2018. 

?Older Americans are very worried about the cost of their health insurance,? AARP executive vice president Nancy LeaMond said in a statement announcing the ad buy. ?AARP is taking a strong stand against the American Health Care Act for one simple reason: it is a bad bill.? 

AARP, which represents 38 million Americans age 50 or older, is ?urging Senators to scrap the AHCA and start over,? LeaMond added.

AARP?s 30-second ad focuses on two of the House bill?s most controversial features: a waiver allowing states to opt out of federal regulations protecting people with pre-existing conditions, and an increase in the age rating that would allow people over 50 to be charged five times more than younger individuals. AARP has dubbed the latter provision an ?age tax.? Obamacare, by contrast, allowed insurers to charge people over 50 a maximum of three times more than younger people.

In the ad, an older couple named the Hutchinses learns how much these aspects of the law will cost them during a visit with their accountant at an office not too subtly named Ryan and Associates Financial & Tax Services.

Mr. Hutchins has asthma, which the accountant tells him is a pre-existing condition. ?Insurers can charge thousands more for that,? the accountant says. ?This is going to be a big bill.?

The ad concludes with a narrator telling viewers to call one of the five senators and tell them to vote ?no on the health care bill.?

Along with the advertising campaign, AARP is also asking its members to call their senators to voice their opposition to the House bill.

AARP played an important role in making the Republican health care bill that passed the House politically radioactive. It launched internet ads featuring a talking squirrel that denounced the bill?s provision permitting insurers to charge older Americans more.

The campaign AARP announced Wednesday, however, is the organization?s first foray into paid television advertising over the Obamacare replacement bill, suggesting the influential group is increasingly worried that the legislation has a chance of passing into law.

Hours after AARP announced the ad campaign, the nonpartisan Congressional Budget Office released an updated estimate of the Republican bill?s impact on health insurance coverage. The bill would result in 23 million fewer Americans having insurance, according to CBO.

Like most political advertisements, AARP?s video elides some policy nuances. The House health care bill partially offsets the 5-to-1 age rating with tax credits to buy insurance on the exchanges; those credits increase as customers age. But AARP has argued the credits are inadequate to defray the potential cost increase for older Americans, since the credits max out at twice as large as those younger individuals receive.

In addition, the law would allow states to opt out of Obamacare?s community rating regulations that obligate insurers to set premiums based on regional costs, rather than charge exorbitant amounts for pre-existing conditions. House Republicans tried to address these concerns by requiring states that waive these rules to set up high-risk pools to cover people with pre-existing conditions at rates they can afford. But conservative and liberal experts alike believe the funding in the bill is far too low to accommodate the cost of covering those people.

There are some early signs that AARP could get its wish that the Senate start from scratch. Almost immediately after the House passed its version of the law earlier this month, several Republican senators declared their intention to craft an entirely different law.

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Evan Pricco Curates ‘What In The World’ At Urban Nation In Berlin

A new exhibition in Berlin?s neighborhood of Schöneberg epitomizes one of the central schisms that has vibrated through Street Art and graffiti for years: the question of where to draw boundaries between these two scenes.

Each may have been born in the margins of society but are now evermore commingled. Debates aside, everyone agrees that once in the gallery space, street become fine art after all. ?The graffiti and Street Art movements ? they have all these tentacles and they can be non-linear,? Evan says as we walk down a subterranean parking ramp to see a low, long outdoor mural by Sweden?s EKTA; an abstract series of roughly square patches that closely emulate the sewn panels he has suspended from the ceiling inside the gallery.

As Editor-in-Chief of the San Francisco based art magazine Juxtapoz and curator of this ?What in the World? show at Urban Nation?s project space, Evan Pricco is well aware of the landmines that can explode when one is negotiating the terminologies and practices of sundry sub-cultural art manifestations that have bubbled to the surface in the last decades and which now often melt with one another inextricably.

?The graffiti and Street Art movements ? they have all these tentacles and they can be non-linear,? Evan says as we walk down a subterranean parking ramp to see a low, long outdoor mural by Sweden?s EKTA; an abstract series of roughly square patches that closely emulate the sewn panels he has suspended from the ceiling inside the gallery.

Speaking of the tentacles, he continues, ?It can be starting points to end points ? it can be end points to starting points. There are all of these different cultures that grew out of that 1970s-80s set of counter-culture art movements.

?I think the people that I really wanted in this show are kind of on the periphery of that. They clearly dip their toe into those movements, are clearly influenced by them. Their practice doesn?t necessarily fit in with what is going on in Street Art and graffiti but also its informed by it.?

To introduce a new crop of artists to Urban Nation that haven?t been shown here yet, Pricco choses some of Europes street/mural/conceptual artists who emphasize color and mood, an expansionist approach that he welcomes at the magazine as well. Not surprisingly, the range reflects some of the same interests you?ll find flipping through the influential art publication; old school graffiti, commercial illustration, comic book history, abstract fine art, political art, some lowbrow, some conceptual. There is even Grotesk?s newsstand, the actual one that he designed and constructed with Juxtapoz that sat in Times Square in October 2015.

Primarily from Europe and raised in the hothouse of the 1990s epic graffiti scenes that enthralled youth in many EU big cities, this group of 7 artists each has moved their practice forward ? which may lose them some street cred and gather new audiences.

Included are Berlin?s Daan Botlek, Sweden?s EKTA, Ermsy from France, Erosie from the Netherlands, Hyuro from Spain, Serge Lowrider from Switzerland and Zio Ziegler from the US. If you speak to any of them, you may find the commonality is the freedom they actively give themselves to pursue an autonomous artistic route not easily categorized.

Lowrider is clearly in love with the letter-form, as is the graffiti tradition, but he steers sharply toward the calligraphic practices of crisp sign-painting and inverting the pleasantly banal messaging of advertising from an earlier era. Perhaps the tight line work overlaps with tattoo and skater culture, two creative brethren frequently in the mix in graffiti and Street Art scenes.

Hyuro uses a figurative symbolism heavy with metaphor and a color palette that is too understated for the flashy graphics that many associate with today?s mural festivals, yet she?s built a dedicated following among Street Art fans who admire her poke-you-in-the-eye activist streak. Daan Botleks? figures wander and cavort amidst an abstractedly shaped world calling to mind the shading of early graffiti and the volumizing pointillism of Seurat after some wine.

Painter Jeroen Erosie emphatically will tell you that he was in love with graffiti when he first did it on the streets as a teenager ? and for many years afterwards. But he says he ultimately bristled at a scene that had once symbolized freedom to him but had become too rigid and even oppressive in its rules about how aesthetics should be practiced by people ? if they were to earn respect within the clan.

At Saturday nights opening along Bülowstrasse with the front doors open to the busy street and with the sound of the elevated train swooshing by overhead, Erosie explained with a gleeful certainty his process of deconstruction that led him to this point. ?I removed one of the pillars of graffiti from my work and I liked the result, the change. So I started to remove more pillars, one by one,? he says, describing the evolution that transformed his letter forms and colors into these simplified and bold bi-color icons that may call to mind Matisse?s cut outs more than graffiti bubble-tags, but you?ll easily draw the correlation if you try.

The Project M series of exhibitions over the past three years with Urban Nation, of which this is the 12th, have featured curators and artists from many backgrounds, disciplines, and geographies as well. The myriad styles shown have included sculpture, stencil, wheat paste, collage, calligraphy, illustration, screen-printing, decoupage, aerosol, oil painting, and even acrylic brush. It has been a carefully guided selection of graffiti/Street Art/urban art/fine art across the 12 shows; all presented respectfully cheek to jowl, side by side ? happily for some, uncomfortably for others.

The ultimate success of the Project M series, initiated by UN Artistic Director Yasha Young, is evident in just how far open it has flung the doors of expectation to the museum itself. When the house opens in four months it will be a reflection to some extent 140 or so artists who pushed open those doors with variety of styles emblematic of this moment – converging into something called Urban Contemporary.

?What in the World? indeed: this show is in perfect alignment with the others in its wanton plumbing of the genres.

?I was trying to find people that are not part of the regular circuit ? and I don?t mean that in a negative way but I mean there is kind of a regular circuit of muralism and Street Art right now ? but I was looking for people who are really sort of on that periphery,? Pricco says. ?Also because they are coming from these different parts of Europe, which to me sort of represents Juxtpoz? reach, and they all kind of know each other but they?ve never really met ? they all kind of bounce off of each other.?

Brooklyn Street Art: This grouping sounds anathema to the loyalty that is often demanded by these scenes ? particularly the various graffiti scenes in cities around the world. You are describing an artistic practice that has a sort of casual relationship to that scene.

Evan Pricco: Right. And I think all of these artists have these graffiti histories but they weren?t completely satisfied with that kind of moniker or label. So it is slightly expanding out now. And then there?s something about them that makes me think of crafts, especially with Serge who is more of a sign-painter. I felt that all of these people approached their work in a way that felt very craft-oriented to me, and I really appreciated that. That?s kind of what I wanted to show too.

Brooklyn Street Art: Each of these artists appears to have a certain familiarity with the art world that is outside a more strict definition of street culture ? graffiti and Street Art and their tributaries. Would you say that you could see a certain development of personal style in this collection of primarily European artists that might be due to exposure to formal art history or other cultural influences?

Evan Pricco: Good question, and that could be the case for a few of the artists in the show, but I think the characteristics of each artist in the show is more of a result of the world getting smaller and influences and boundaries just blurring. You can see it Ermsy?s pop-culture mash-ups, or Erosie?s exploration of lettering and color; it?s not really about one place anymore but a larger dialogue of how far the work reaches now than ever before.

Erosie and I were having this conversation this morning about this, this idea of access and influences being so widespread. And that is exactly what I wanted to do. ?What In the World? is sort of a nod to not really having to have boundaries, or a proper definition, but a feeling that something is happening. Its not Street Art, its not graffiti, but its this new wave that is looking out, looking in, and finding new avenues to share and make work.

Brooklyn Street Art: From comic books to politics to activism to abstract to sign painting, this show spans the Hi-Low terrain that Juxtapoz often seeks to embrace in many ways. Is it difficult to find common threads or narratives when countenancing such variety?

Evan Pricco: We have been so fortunate with the magazine that we have been able to expand the content in the last few years, and the threads are starting to connect solely based on the idea that the creative life is what you make of it. There may not be a direct connection between Serge Lowrider and Mark Ryden, but there is a connection in the idea of craftsmanship and skill and how one goes about applying that skill in the art world. That is always wanted I wanted to help bring to Juxtapoz ? this idea that variety in the art world is healthy and finds its own connections just in the fact that it exists and is being made.

Brooklyn Street Art: Many of these names are not household names, though some have ardent fans within more narrow channels of influence. What role does a curator play by introducing these artworks/artists to a new audience and what connections would you like a viewer to make?

Evan Pricco: First and foremost, these are some of my absolute favorite artists making work right now. I do have the advantage of traveling a lot and meeting different people and seeing their process, but I really wanted to bring together a group that I hadn?t personally met but admired and communicated with from afar.

I was thinking about this when I walked by Hyuro?s wall this morning. Her work is incredibly strong, and it has this really fascinating way of being a story and narrative from wall to wall while remaining fresh and really site-specific. Her work here just blew me away; its so subtle, has this really unique almost anonymous quality to it, but has a ton of thought and heart in it.

Really it would be great if the audience sees this and finds her other work, and starts seeing this really beautiful story emerging, these powerful political, social and economic commentaries. So really, I want that. I want this to be a gateway of looking at work and artists and then jumping into their really fantastically complex careers.

Brooklyn Street Art: Urban Nation has invited curators from around the world and Berlin during these 12 ?Project M? shows, each with a take on what ?art in the streets? is, how it has evolved, and how it is affecting contemporary art. What makes this show stand out?

Evan Pricco: I really do think what makes it stand out is that it represents all the things Juxtapoz stands for; Opening up an audience to something new and different. I think there is an aesthetic that the Project M shows have had, which I like, but I didn?t want to repeat what everyone had done before.

This is most definitely a Juxtapoz show; I mean our damned Newsstand that Grotesk designed is right in the middle of the space. But that is like this ?representation? of the print mag, and all the walls around it are the avenues the magazine can take you; sign painting, textiles, graffiti, abstraction, conceptual art, murals, comics, politics. ? So maybe in that way, the fact that the magazine is 23 years old and has covered such a big history of Lowbrow, Graffiti and other forms of art, this is a nice encapsulation of the next wave and generation.

?What In the World: The Juxtapoz Edition? presented by Urban Nation will be on display through June 2017. 

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