Latest news with #Geno
National Geographic
3 days ago
- Science
- National Geographic
The Genographic Project® Geno 2.0 Next Generation Helix Product Privacy Policy
This policy has been updated to reflect new contact information. Please note that National Geographic stopped selling Geno kits on May 31, 2019 and is no longer processing results. Please see the FAQ page for more information. Effective November 21st, 2016 The Genographic Project began in 2005 and is a research project carried out by the National Geographic Society's scientific team to reveal patterns of human migration. The project is carried out in partnership with National Geographic Partners, LLC, whose activities include managing the sale of the Geno 2.0 Next Gen Helix Product and operation of the website. National Geographic Partners, LLC is a joint venture of the National Geographic Society and 21st Century Fox. Throughout this document, the terms 'National Geographic,' 'we' or 'our' or 'us' refer to National Geographic Society and National Geographic Partners, LLC collectively. This Privacy Policy describes how we use, share and protect the information we receive from and about you when you use the Geno 2.0 Next Gen Helix Product and what choices you have about how that information is used. As discussed below in the section entitled Treatment of Non-Genetic Personal Information, information that is not what we define as Genographic Genetic Information or Self-Reported Information, including information we collect from and about you when you visit our other websites or purchase the Geno 2.0 Next Gen Helix Product, is governed by the privacy policy posted on the website or app on which that information is collected. Information We Collect From and About You When you purchase the Geno 2.0 Next Gen Helix Product, you will receive a saliva collection kit from our partner Helix, who handles sample collection, DNA sequencing and secure data storage for the Geno 2.0 Next Gen Helix Product. When you return your saliva sample to Helix, Helix will sequence your DNA as described in the Helix Platform Consent and Helix Terms of Service. That sequence is your 'Genetic Information.' Helix will share with National Geographic the portion of your Genetic Information needed by National Geographic to provide you with your deep ancestry insights (we're calling this your 'Genographic Genetic Information'). You must be 18 or older to use the Geno 2.0 Next Gen Helix Product. Getting Your Results To use the Geno 2.0 Next Gen Helix Product, you must give consent to Helix for Helix to share the portion of your Genetic Information needed by National Geographic to provide you with your Geno 2.0 Next Gen Helix Product deep ancestry insights results. By agreeing to the Helix Platform Consent, you will authorize Helix to share this information. You must also register on the Genographic website at When your results are available, you will be notified via the email address you provided when you registered on the Helix website or, if you have already registered with you will be notified via the email address you have on record with At that point, you may view your results through your account at This process may take approximately six to twelve weeks from the time you mail your saliva sample to the Helix lab. (Please note that in some cases, inconclusive data may occasionally require additional testing and might delay posting of results by two to three additional weeks.) How National Geographic Uses Your Information Providing You With Deep Ancestry Insights National Geographic's analysis of your Genographic Genetic Information will produce your deep ancestry insights. Deep ancestry is your ancestry from hundreds or even thousands of years ago. It's based on the paths your ancient ancestors took to migrate around the world. As noted above, we're calling these results your Genographic Genetic Information. Treatment of Non-Genetic Personal Information Information we collect from and about you when you visit National Geographic's other websites or purchase the Geno 2.0 Next Gen Helix Product or other products, such as your full name, email address, mailing address, or consumer product preferences, is 'Non-Genetic Personal Information.' Non-Genetic Personal Information does not include Genographic Genetic Information. National Geographic's treatment of Non-Genetic Personal Information is governed by the privacy policy posted on the National Geographic website or app on which the information is collected, and not this privacy policy, which applies only to the Genographic Genetic Information as that term is used herein and any email address you provided to participate in the Genographic program. Improving the Geno 2.0 Next Gen Helix Product National Geographic is dedicated to providing current, reliable, and high-quality experiences. We will use the information you give us for quality control and to improve the Geno 2.0 Next Gen Helix Product and Genographic website. Some of these improvements may focus on how we analyze your Genographic Genetic Information. Some may focus on how we store and send your Genographic Genetic Information. Some of these improvements may focus on how easy it is to use the Genographic website. All information used for quality control will be used only within National Geographic. Storing and Sharing Your Information Genographic Genetic Information National Geographic Society will store your Genographic Genetic Information and any email address you provided to participate in the Genographic program in our DNA Analysis Repository. The DNA Analysis Repository is a central database that manages DNA data from around the world for the Genographic Project. National Geographic Society may provide access to the Genographic Genetic Information to third parties that provide services necessary for the functionality of the Geno 2.0 Next Gen Helix Product. This may include services to improve the interpretation of the Genographic Genetic Information to provide ancestry-related results. National Geographic Society will not use the Genographic Genetic Information for scientific research or share it or your email address with third parties for scientific research without your separate, express consent. National Geographic Society will keep your Genographic Genetic Information until you ask us to destroy it. You can ask us to do so by sending an email to genographic@ If you still want access to your results, you must print or copy them. Once we destroy your information, you will not be able to access your results from National Geographic again. Please note that requesting National Geographic Society to destroy your Genographic Genetic Information affects only the information we hold. If you would like Helix to destroy any information they hold or to close your Helix account, you must make a separate request to Helix. National Geographic Society may disclose your Genographic Genetic Information and any email address you provided to participate in the Genographic program in response to legal process and when we believe that doing so is required by law, may be necessary to protect any person's property, rights, or safety, or to investigate a potential violation of law. Choosing to take part in research When you log onto the Genographic website to access your results, you may be given the opportunity to consent to participate in a major global research effort by National Geographic Society to collect population genetic data from hundreds of thousands of individuals from around the world. If you agree to contribute your results to this effort, your Genographic Genetic Information will be made available to National Geographic Society-affiliated and third party researchers for research purposes. If you agree to contribute your results to this scientific research effort, National Geographic may ask you to provide Self-Reported Information in the My Profile section of the Genographic website. Self-Reported Information is other details about you that you choose to supply to National Geographic. This may include details about your family tree. Participation in the research and whether you provide any Self-Reported Information to National Geographic is your choice and is not necessary in order to access your individual test results. Security We take a number of commercially reasonable administrative, technical, personnel and physical steps to safeguard information in our possession from loss, theft and unauthorized use, disclosure or modification. However, no method of transmitting or storing electronic data is ever completely secure, and therefore we cannot warrant or guarantee that such information will never be accessed, used or released in a manner that is inconsistent with this privacy policy. Questions If you have any questions concerning the Geno 2.0 Next Gen Helix Product, your rights or the procedures involved, please visit You may contact a customer service representative at: Email: nationalgeographic@
Yahoo
7 days ago
- Sport
- Yahoo
Sidney Crosby's Future in Pittsburgh Could Hinge on Teammate's Retirement
Sidney Crosby's Future in Pittsburgh Could Hinge on Teammate's Retirement originally appeared on Athlon Sports. Sidney Crosby's future with the Pittsburgh Penguins beyond next season may depend on one thing: the status of Evgeni Malkin. Advertisement Malkin, who will turn 39 at the end of July, is entering his final year under contract with the Penguins. While Malkin has not announced the date for his retirement, there's a chance he completes his current deal and retires next summer. According to ESPN's Greg Wyshynski, quoting sources close to Crosby during an appearance on "The Jeff Marek Show," Crosby's desire to stay in Pittsburgh is tightly linked to Malkin. "I've heard from many people that kind of know him and know that situation tell me he's there as long as Geno's there," Wyshynski said. "So if Geno's there for one more year — which it could entirely be that — then all bets are off as far as where Sid's going to end up." Advertisement While Malkin has not set a date for his retirement, he's made it clear he would retire as a Penguin if the team doesn't re-sign him next offseason. 'When I retire, it's here,' Malkin told The Athletic in February. 'This is my only team.' Penguins general manager Kyle Dubas said at the start of the offseason that the franchise has not thought a lot about Malkin's future, delaying any decision until deep into next season. 'I talked to Geno at the end of the year, after the year," Dubas said. "I get it, it's the last year of his contract, and it's been a topic of discussion. We'll meet at the Olympic break this year and see where Geno's at, and meet at the end of the year.' Advertisement Pittsburgh Penguins center Sidney Crosby has two more years left on his Gray-Imagn Images Crosby, meanwhile, remains under contract through the 2026-27 season after signing a two-year, $17.4 million extension in 2024. He led the Penguins in scoring last season with 91 points in 80 regular-season games. In the same podcast, Wyshynski linked Crosby to the Montreal Canadiens as a possible trade destination if he ever leaves Pittsburgh. 'I've long believed that Sidney Crosby will end his career in Montreal,' Wyshynski said. 'If he's gonna go anywhere and he's gonna try to do something spectacular, (that's) being part of the legacy and lineage of the Montreal Canadiens.' Related: Alex Ovechkin Weighs In on Sidney Crosby, Evgeni Malkin Fantasy Trade Scenario Related: Sidney Crosby-to-Canadiens Speculation Grows Because of ESPN Insider This story was originally reported by Athlon Sports on Jul 15, 2025, where it first appeared.
The Guardian
11-07-2025
- Entertainment
- The Guardian
Bless Me Father by Kevin Rowland review – the Dexys Midnight Runners frontman tells all
In the summer of 1979, Dexys Midnight Runners were a band you would have been hard-pushed to describe as anything other than unique. Their sound was a pugilistic update of classic 60s soul, topped with frontman Kevin Rowland's extraordinary vocals, impassioned to the point that he permanently sounded on the verge of tears. It was fervent and a little retro, perfect for a musical climate in which mod and ska revivals were already bubbling. But Dexys' image threw a spanner in the works. 'I wore a white 1930s shirt and big baggy light-grey trousers tucked into white football socks just below the knee to give the effect of 'plus fours',' writes Rowland of a typical outfit. 'I wore pink Mary Jane ballet shoes and my hair swept back, Valentino style.' Other members appear on stage clad in jodhpurs and satin harem pants. The disparity between how they sound and how they look is so disconcerting, even their manager seems baffled. After a gig supporting the Specials, at which their appearance so enrages the crowd that the band have to be locked in a dressing room ('for our own safety'), they tone things down completely and begin taking to the stage in donkey jackets and mariner-style beanie hats. Within months, they're at No 1 with Geno, both one of pop's great hymns to itself and a kind of self-fulfilling prophecy: a moving exploration of the galvanising effect music can have on a young mind that sounded tough enough to guarantee youth club dancefloors were flooded with teenage boys the second its horn riff kicked in. But Rowland is disappointed: he hankers after the days of ballet shoes and harem pants. 'As a result of that decision to change our look,' he writes, 'I feel we missed the opportunity to become the most culturally significant and coolest group of the 1980s … I've tortured myself about it over the years.' As the reader of Bless Me Father swiftly realises, this is a characteristic response: Rowland really doesn't appear to have enjoyed being the mastermind of Dexys Midnight Runners at all during their 80s heyday. There were some standard problems: poor management, terrible contracts and intra-band turbulence (someone is always mutinying against Rowland's autocratic leadership). But there's also the sense that Rowland was hellbent on snatching defeat from the jaws of victory. The success of the 1982 single Come on Eileen – a transatlantic No 1 – is marred by his belief that he's stolen its soul-meets-Irish-folk sound from a former Dexys member's new band. When their ambitious next album, Don't Stand Me Down, fails commercially, Rowland seems utterly crushed, baffled that the public who happily ta-loo-rye-ayed along to Come on Eileen can't stomach 12-minute songs replete with spoken-word dialogue, lyrics that explore Anglo-Irish politics and indeed the band's new clean-cut Ivy League image. He descends into a ruinous cocaine addiction, which is recounted in harrowing detail. By the early 90s, he's effectively squatting in a bedsit: unable to pay his rent, his landlord has turned off the electricity and gas. The root of Rowland's problems appears to lie in his background. The youngest son of an Irish immigrant family, his labourer father seems to have decided he was trouble virtually the minute he was born, for reasons that aren't entirely clear. Rowland initially tries to please, but when that fails, sets about living up to the billing. Insecurity plays out as screw-you aggression: compulsively thieving and fighting, he is a regular fixture in the juvenile courts. It makes for a picaresque story, albeit one that you occasionally read in a state of dread – oh God, what's he going to do next? – and Rowland tells it with an impressive lack of self-pity. Quite the opposite. Before, during and after Dexys' success, Rowland's tone is almost self-lacerating, filled with apologies directed at everyone from the girlfriend he gets pregnant, then abandons (he meets his daughter for the first time when she is 17) to David Bowie (who offers Dexys a support slot, only for Rowland to call him 'a poor man's Bryan Ferry' on stage). 'I was,' he offers flatly at one point, 'such a dick.' If anything, the reader could do with hearing more about what Rowland got right: the actual music Dexys released is almost uniformly magnificent, but here it often feels a little overshadowed, drowned out by the ructions surrounding its making, or by the author's nagging sense of 'what if?' But Bless Me Father is still powerful and oddly persuasive. Even as he seems to despair of himself, you wind up rooting for Rowland, never more so than when he conquers his addictions and releases his 1999 comeback album, My Beauty. A collection of cover versions, he promotes it while exploring his 'feminine side', in makeup, dresses and heels. The incredulity and hostility this provokes makes for sobering reading: a useful corrective to the current wave of rosy-hued 90s nostalgia. The album itself was reissued in 2020 to widespread acclaim, part of a fresh, if intermittent, wave of Dexys activity that sober and reflective Rowland seems less minded to find fault with: he ends Bless Me Father as content as you expect he's ever going to be. Bless Me Father by Kevin Rowland is published by Ebury Spotlight (£25). To support the Guardian, order your copy at Delivery charges may apply.
The Guardian
11-07-2025
- Entertainment
- The Guardian
Bless Me Father by Kevin Rowland review – the Dexys Midnight Runners frontman tells all
In the summer of 1979, Dexys Midnight Runners were a band you would have been hard-pushed to describe as anything other than unique. Their sound was a pugilistic update of classic 60s soul, topped with frontman Kevin Rowland's extraordinary vocals, impassioned to the point that he permanently sounded on the verge of tears. It was fervent and a little retro, perfect for a musical climate in which mod and ska revivals were already bubbling. But Dexys' image threw a spanner in the works. 'I wore a white 1930s shirt and big baggy light-grey trousers tucked into white football socks just below the knee to give the effect of 'plus fours',' writes Rowland of a typical outfit. 'I wore pink Mary Jane ballet shoes and my hair swept back, Valentino style.' Other members appear on stage clad in jodhpurs and satin harem pants. The disparity between how they sound and how they look is so disconcerting, even their manager seems baffled. After a gig supporting the Specials, at which their appearance so enrages the crowd that the band have to be locked in a dressing room ('for our own safety'), they tone things down completely and begin taking to the stage in donkey jackets and mariner-style beanie hats. Within months, they're at No 1 with Geno, both one of pop's great hymns to itself and a kind of self-fulfilling prophecy: a moving exploration of the galvanising effect music can have on a young mind that sounded tough enough to guarantee youth club dancefloors were flooded with teenage boys the second its horn riff kicked in. But Rowland is disappointed: he hankers after the days of ballet shoes and harem pants. 'As a result of that decision to change our look,' he writes, 'I feel we missed the opportunity to become the most culturally significant and coolest group of the 1980s … I've tortured myself about it over the years.' As the reader of Bless Me Father swiftly realises, this is a characteristic response: Rowland really doesn't appear to have enjoyed being the mastermind of Dexys Midnight Runners at all during their 80s heyday. There were some standard problems: poor management, terrible contracts and intra-band turbulence (someone is always mutinying against Rowland's autocratic leadership). But there's also the sense that Rowland was hellbent on snatching defeat from the jaws of victory. The success of the 1982 single Come on Eileen – a transatlantic No 1 – is marred by his belief that he's stolen its soul-meets-Irish-folk sound from a former Dexys member's new band. When their ambitious next album, Don't Stand Me Down, fails commercially, Rowland seems utterly crushed, baffled that the public who happily ta-loo-rye-ayed along to Come on Eileen can't stomach 12-minute songs replete with spoken-word dialogue, lyrics that explore Anglo-Irish politics and indeed the band's new clean-cut Ivy League image. He descends into a ruinous cocaine addiction, which is recounted in harrowing detail. By the early 90s, he's effectively squatting in a bedsit: unable to pay his rent, his landlord has turned off the electricity and gas. The root of Rowland's problems appears to lie in his background. The youngest son of an Irish immigrant family, his labourer father seems to have decided he was trouble virtually the minute he was born, for reasons that aren't entirely clear. Rowland initially tries to please, but when that fails, sets about living up to the billing. Insecurity plays out as screw-you aggression: compulsively thieving and fighting, he is a regular fixture in the juvenile courts. It makes for a picaresque story, albeit one that you occasionally read in a state of dread – oh God, what's he going to do next? – and Rowland tells it with an impressive lack of self-pity. Quite the opposite. Before, during and after Dexys' success, Rowland's tone is almost self-lacerating, filled with apologies directed at everyone from the girlfriend he gets pregnant, then abandons (he finally meets his daughter in her 30s) to David Bowie (who offers Dexys a support slot, only for Rowland to call him 'a poor man's Bryan Ferry' on stage). 'I was,' he offers flatly at one point, 'such a dick.' If anything, the reader could do with hearing more about what Rowland got right: the actual music Dexys released is almost uniformly magnificent, but here it often feels a little overshadowed, drowned out by the ructions surrounding its making, or by the author's nagging sense of 'what if?' But Bless Me Father is still powerful and oddly persuasive. Even as he seems to despair of himself, you wind up rooting for Rowland, never more so than when he conquers his addictions and releases his 1999 comeback album, My Beauty. A collection of cover versions, he promotes it while exploring his 'feminine side', in makeup, dresses and heels. The incredulity and hostility this provokes makes for sobering reading: a useful corrective to the current wave of rosy-hued 90s nostalgia. The album itself was reissued in 2020 to widespread acclaim, part of a fresh, if intermittent, wave of Dexys activity that sober and reflective Rowland seems less minded to find fault with: he ends Bless Me Father as content as you expect he's ever going to be. Bless Me Father by Kevin Rowland is published by Ebury Spotlight (£25). To support the Guardian, order your copy at Delivery charges may apply.
Time of India
01-07-2025
- Entertainment
- Time of India
'F*ck ‘em all, That's my QB': Maxx Crosby defends Geno Smith after viral backlash
Maxx Crosby Defends Geno Smith Loudly After Critics Come for Him Online (Reggie Hildred-Imagn Images) What started as a feel-good youth football event turned into yet another case of the internet doing what it does best, twisting a clip for clicks. Seahawks QB Geno Smith found himself facing online heat after a moment from the event went viral, with critics questioning how he carried himself. But Geno wasn't having it and neither was Raiders star Maxx Crosby, who jumped in with one of the most fired-up defenses you'll see this offseason. The viral clip caught fire, but Geno Smith shut the noise down immediately Geno was simply being himself at a youth football camp, bringing energy, authenticity, and some Dade County swagger. But when a short video clip made its way online, critics zeroed in on his tone and presence rather than the impact of the event. Geno responded like a pro, dropping this message on X: 'Having fun with the game I love but man, the need for clicks and negativity takes away from the great event… This is how we talk in Dade County. I'm sorry u might not understand. Carry on!' No apology. No backtracking. Just facts. Maxx Crosby saw the hate and immediately rode for Geno with a fire quote tweet Crosby didn't just quietly like the post or retweet it. He went full-on ride-or-die mode: 'You Don't Have To Explain Nothing To Nobody Brother… F ck Em All… That's My QB ☠️' Crosby and Geno aren't even teammates. That's what made this hit even harder. This was a message of respect, unity, and a middle finger to manufactured outrage. The league needs more of this energy loyalty, realness, and no filter This wasn't just about a viral clip or a quote tweet. It was about players having each other's backs and calling out the culture of twisting good moments into controversy. Geno Smith is proud of where he's from, proud of how he shows up, and proud of what he gives back. And Maxx Crosby just reminded everyone that sometimes the real ones don't stay silent. That's not just his QB, that's all of ours now. Also read - Sources: T.J. Watt trade buzz grows as Steelers star skips minicamp over contract Game On Season 1 continues with Mirabai Chanu's inspiring story. Watch Episode 2 here.
