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10 jili slot game download Digital literacy: NITDA seeks education minister’s support on school curriculumSunday's inaugural 12-team College Football Playoff bracket reveal officially set the stage for the most anticipated postseason the sport has ever seen. Eight more spots in the playoff field have created two extra rounds to determine a national champion, which could come from the Big Ten, the Southeastern Conference or even the Mountain West! Now that the initial matchups are set, it's time to examine the FanDuel odds for the first-round games and, of course, the latest national championship odds. CFP Bracket: Odds for First-Round Games Oregon's win over Penn State in the Big Ten championship locked the Ducks into the No. 1 seed, while Georgia's overtime triumph over Texas for the SEC crown moved the Bulldogs up to No. 2. Boise State slotted in at No. 9 in the final CFP rankings but is the No. 3 seed thanks to its win over UNLV in the Mountain West championship. With SMU losing to Clemson in the Atlantic Coast Conference title game, No. 12-ranked Arizona State is the four seed after it throttled Iowa State to win the Big 12. The top four teams get a bye, with the 5-12 seeds meeting in the first round. 12-seed Clemson (+330) vs. 5-seed Texas (-11.5) Texas was favored to win the SEC and lock down a top-four seed, but Clemson was not expected to beat SMU for the ACC title. The Longhorns will therefore hunt redemption, while Dabo Swinney's team is essentially playing with house money. The winner will face Arizona State in the Peach Bowl. 9-seed Tennessee (+215) vs. 8-seed Ohio State (-7.5) The third-highest-ranked team from the SEC (No. 7 Tennessee) will face off with the third-highest-ranked squad from the Big Ten (No. 6 Ohio State). This game brings the Buckeyes a chance at redemption for their embarrassing loss to Michigan to end the regular season. The winner will travel to the Rose Bowl to play Oregon. 11-seed SMU (+240) vs. 6-seed Penn State (-7.5) Concerns over strength of schedule dog both teams. Both have 11-2 records and were runners-up in their respective conferences. Penn State's only win over a ranked opponent was against then-No. 19 Illinois in Week 4, while SMU has knocked off then-No. 22 Louisville and then-No. 18 Pittsburgh. The winner will meet Boise State in the Fiesta Bowl. 10-seed Indiana (+230) vs. 7-seed Notre Dame (-7.5) The Hoosiers may be the biggest surprise in college football this season, although their inclusion came with a few concerns over the strength of their schedule. After falling flat in a potential statement game against then-No. 2 Ohio State on Nov. 23, Indiana can prove its might against a Fighting Irish squad that won its last 10 games. The winner will take on Georgia in the Sugar Bowl. National Championship Odds and Picks Oregon was the betting favorite (odds via FanDuel) prior to the final rankings reveal at +230. Post-reveal, Texas and Georgia are co-favorites at +360, followed by Oregon at +380, Ohio State at +500 and Penn State at +600. Boise State is the biggest long shot at +7500 despite having a first-round bye. Like Boise State, Arizona State saw its odds go from +3500 to +6000 even though it doesn't play until the quarterfinals. The Picks are In... First-Round Best Bet: Indiana-Notre Dame UNDER 51.5-both teams have solid offenses but will find it difficult to move the ball against the other's defense. Upset Special: Clemson (+340) over Texas-Cade Klubnik will have his hands full against the Texas secondary, but the Clemson defense could be up for the challenge against Quinn Ewers and the Longhorns offense. National Championship Winner: Favorite-Oregon +380; Dark Horse-Notre Dame +1200; Long Shot-Arizona State +6000 --Field Level Media

New York: At the fruit stand where he works on Manhattan’s Upper East Side, Shah Alam sells dozens of bananas a day at 35 cents apiece, or four for $US1. He does a brisk business in cheap fruit outside Sotheby’s auction house; inside, art can sell for millions. But last Wednesday, Alam sold a banana that a short time later would be auctioned as part of a work of absurdist art, won by a cryptocurrency entrepreneur for $US5.2 million plus more than $US1 million in auction house fees ($9.5 million in total). A fruit stand in front of Sotheby’s in Manhattan, where a banana that became part of a $US5.2 million piece of art was sold. Credit: Amir Hamja/The New York Times A few days after the sale, as Alam stood in the rain on York Avenue and East 72nd Street, snapping bananas free of their bunches, he learned from a reporter what had become of the fruit: It had been duct-taped to a wall as part of a work by Italian artist Maurizio Cattelan, and sold to Justin Sun, the Chinese founder of a cryptocurrency platform. And when he was told the sale price, he began to cry. “I am a poor man,” Alam, 74, said, his voice breaking. “I have never had this kind of money; I have never seen this kind of money.” The infamous ‘Comedian’ by Maurizio Cattelan will be displayed at the 2023 Triennial. Credit: Eddie Jim The banana’s journey from fruit stand to artwork began in 2019, when Cattelan first exhibited the work at Art Basel Miami Beach, an international art fair. The conceptual piece of three editions, titled Comedian , is an implicit send-up of the absurdity of the art world, in keeping with Cattelan’s puckish oeuvre. It came with a detailed owner’s manual on just how to affix the banana with the tape, and permission to refresh it when it rots. (Cattelan bought the original bananas at a Miami grocery store, he has said in interviews.) Each edition sold in Miami for $US120,000 to $US150,000 and spurred unruly crowds: A performance artist at the exhibition ripped one off the wall, peeled the banana and ate it. Cattelan was delighted by the ensuing debate over what exactly constitutes art, and how it is valued. By last Wednesday, those questions of five years ago seemed quaint: Bidding for Lot No. 10 — Alam’s banana affixed to a wall with a slash of silver tape — started at $US800,000. Within five minutes, seven bidders drove its price above $US5 million. Loading The artist was not compensated for the Sotheby’s sale, which was on behalf of a collector who has not been named, but he said in an email that he was nonetheless thrilled by the price it commanded. “Honestly, I feel fantastic,” Cattelan wrote. “The auction has turned what began as a statement in Basel into an even more absurd global spectacle.” He added: “In that way, the work becomes self-reflexive: The higher the price, the more it reinforces its original concept.” On social platform X, Sun crowed about his new art acquisition, and announced he now plans to eat it Friday. He was honoured, he wrote, to be the banana’s “proud owner”: “I believe this piece will inspire more thought and discussion in the future and will become a part of history.” Nowhere in that history is Alam. (Karina Sokolovsky, a spokesperson for Sotheby’s, confirmed that the banana was purchased from the cart where Alam works the day of the sale. The vendor himself has no specific recollection of selling an extra-special fruit.) A widower from Dhaka, Bangladesh, Alam was a civil servant before he moved to the United States in 2007 to be closer to one of his two children, a married daughter who lives on Long Island. He said his home is a basement apartment with five other men in Parkchester, in the Bronx. For his room he pays $US500 a month in rent, he said, speaking in Bengali. His fruit stand shifts are 12 hours long, four days a week; for each hour on his feet, in all weather, the owner pays him $US12. His English is limited mostly to the prices and names of his wares — apples, three for $US2; small pears, $US1 each. He has never stepped inside the auction house. He wouldn’t be able to see the art clearly anyway: His vision is deeply impaired, he said, because he needs cataract surgery, which he has scheduled for January. To Alam, the joke of Comedian feels at his expense. As a blur of people rushed by his corner a few days after the sale, shock and distress washed over him as he considered who profited — and who did not. “Those who bought it, what kind of people are they?” he asked. “Do they not know what a banana is?” In his email, Cattelan said he was affected by Alam’s reaction to his artwork, but stopped short of joining in his criticism. “The reaction of the banana vendor moves me deeply, underscoring how art can resonate in unexpected and profound ways,” he wrote. “However, art, by its nature, does not solve problems — if it did, it would be politics.” For Alam, not much has changed since his banana sold. At the fruit stand, it’s still four bananas for $US1, or 24.8 million bananas for $US6.2 million. This article originally appeared in The New York Times . Save Log in , register or subscribe to save articles for later. Auctions Art USA Most Viewed in World Loading

Arsenal boss Arteta hails 'will to win' after downing Manchester UnitedWhat just happened? The 8K Association (8KA), a non-profit organization tasked with advancing the adoption and standardization of 8K technology, has handed out its first 8K projector certification. The recipient, Samsung's flagship 8K projector, was unveiled at CES 2024 back in January yet still is not available to purchase. The Premiere 8K was billed as the industry's first wireless projector. It utilizes ultra-short throw (UTS) technology combined with advanced aspherical mirrors to beam images from a short distance, effectively eliminating the need for ceiling mounts and other impractical installation hurdles. The projector, which is expected to retail in the five-figure range, features a resolution of 7,680 x 4,320 pixels and up to 4,500 ISO Lumens of brightness. Samsung claims the unit is capable of producing vibrant, lifelike visuals, even in well-lit spaces. Advanced upscaling tech, meanwhile, can enhance the appearance of lower-resolution content while immersive audio capabilities are said to support the latest formats. The 8KA certification considers a range of attributes including resolution, brightness, contrast, and color gamut, as well as high dynamic range performance, upscaling, and audio. The Premiere 8K passed the test with flying colors, and is now the first to receive the coveted certification. According to What Hi-Fi, the consortium is working on a logo program that will allow consumers to easily identify certified projectors when shopping. 8K has been around for longer than most realize. Japanese broadcasting company NHK started researching on the tech way back in 1995, but it wouldn't be until 2012 that Sharp announced the first 8K TV at CES. That was nearly 13 years ago, and 8K content is still incredibly rare. Heck, 4K content arguably has not even gone mainstream yet, especially with regard to live broadcasts like sporing events. Sure, it exists, but such content is not the norm. With CES 2025 just a few weeks away, perhaps we may finally get pricing information and a release date? CES 2025 kicks off on January 7 and runs through the 10th in Las Vegas.Nike has always had a foot grounded in history and the other soaring towards the future. The Air Foamposite Pro , while unorthodox and dismissed upon first release, would go on to revolutionize the sneaker game since it debuted in 1997. The “Pearl” iteration, which launched not long after the coveted “Dark Neon Royal” colorway, is being re-released next year as part of the Swoosh’s holiday 2025 drop. Roughly eight years since the last “Pearl” retro, the much anticipated model is rumored to stay true to the OG, sporting a lustrous cream upper made of a synthetic molded polyurethane that is both durable and lightweight. Details include contrasting black nubuck accents and mesh inner lining, as well as Nike branding along the base, toebox and heel. While the Air Foamposite Pro isn’t tied to a star athlete, it equally gained pop cultural resonance through Spike Lee’s 1998 film, He Got Game , where the shoes were seen donned by Jesus Shuttleworth, played by NBA Hall of Famer Ray Allen. The forthcoming Air Foamposite Pro “Pearl” will release on Nike and select stores in roughly a year.

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“Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.” This is one of the most famous and influential first lines in literature, the celebrated opening sentence of Gabriel García Márquez’s novel and foundational text for the magical realist genre and contemporary Latin American fiction, One Hundred Years of Solitude. Wisely, the expansive Netflix series that just debuted the first eight (of an eventual 16) hour-long episodes deploys the use of a narrator, ensuring that these peculiar, unpredictable words are the first spoken in the show. Watching this, however, was the first time I heard them in Spanish, reminding me that despite my enthusiasm for García Márquez’s work, I’d never actually read it as it was meant to be read. And surely there will be many whose only encounter with One Hundred Years of Solitude will be the television version, despite the 50 million copies sold. (Someone buying a book doesn’t mean they read it; my copy sat on a shelf for more than a quarter of the title’s time.) Those who encounter the story of the seven generations of the Buedía family living in the fictional village of Macondo as television will experience an even more radical translation than written language. That doesn’t mean this isn’t a remarkable production. New technologies García Márquez, nicknamed Gabo in his native Colombia and elsewhere in Latin America, was pretty adamant that a movie could never be made from the work. He told Harvey Weinstein that he would give Weinstein the rights on the condition that the producer “film the entire book but only release one chapter—two minutes long—each year, for 100 years.” This quote, like George Harrison saying “there won’t be a Beatles reunion as long as John Lennon remains dead,” might seem like final words, but don’t count out new technologies (like the deep-pocketed Netflix, and whatever is responsible for zombie Beatles songs like “Now and Then”), as well as the malleability of an artist’s estate. One Hundred Years of Solitude, the series, has been produced in concert with Rodrigo García and Gonzalo García Barcha, sons of the author, who maintain rights to their father’s work following his death in 2014 and the death of their mother, Mercedes Barcha, in 2020. Still, there are some Colombians who are pre-boycotting the work on principle. Such extreme fealty is understandable. A possibly true factoid you can read on the internet is that only the Bible has sold more copies in Spanish than the works of García Márquez. Another one, even hazier but just as striking, is that the influential book’s depiction of the Banana Massacre of 1928 was what forced United Fruit to rebrand and change its name to Chiquita. Then there’s the specificity of form. One Hundred Years is a massive, meaty text with frequent swerves into fantasy, prurience, and violence, and makes quick jumps between flashbacks and flashforwards. Then there’s the biggest roadblock for many readers, its intentionally perplexing family tree with a great many of the characters sharing the same name. Surely this confusion means something, you reassure yourself, unsure for the moment which José Arcadio has the spotlight in the middle of another fabulous tale. Indeed, the idea of behavior recurring over long periods of time is central. But filmed, as you are actually seeing it (and seeing faces), a lot of this magic gets lost in the translation—a complaint which goes beyond the expected “hey, that’s not how I visualized Pilar the fortune teller’s house!” gripes. One Hundred Years of Solitude has a narrative far too stuffed to summarize, but I can try. Married cousins José Arcadio and Úrsula decide to leave their village after José Arcadio kills another man while defending Úrsula’s honour. (She has been denying her husband sex, wearing chastity belts despite their raging desires out of fear that any offspring will have pig-like tails.) The dead man then starts hanging out in their home. A ghost story, I suppose, but García Márquez’s approaches the haunting—and every other fantastical element of the story—in a curious and direct manner. The dead man just appears in the house, hanging around, getting blood everywhere, more of a nuisance than a terror. Long journey José Arcadio has visions of a utopian city so he, Úrsula, and others join him on a long journey and eventually put down roots. Their village, Macondo, is totally isolated (indeed, for many of the early chapters you have no clue what year it is), lending each development the heft of importance. “Clearly,” you think, “every character and utterance is meant to be symbolic of mankind’s evolution, as Macondo is nothing if not all of humanity under a microscope.” And surely you can read it that way, or look for analogies in Colombian political history, but to do that too much undercuts the fun of riding along on García Márquez’s roller coaster. And this is precisely why some things work better in a book than in a movie or television adaptation. In prose, the bizarre elements—visions, levitation, impossibly long periods of rain, a character who chews on the walls—take on a humorous and discordant tone when simply stated as everyday fact. When you see it, at least for me, it cheapens it. The best example I can give you is when the town’s founding father, driven to madness after years as an only partially successful alchemist, decides to tie himself to an enormous (and rather symbolic) tree. Heavy oak metaphors have considerably less panache when you are watching them on your screen. The other big change is that, other than the foreshadowing in the famous first line, the series is told chronologically. This is an understandable decision, but it undercuts some of the magic of Macondo, where any stray moment can initiate a relevant jump on the timeline. Still, the production design of the town—a shabby collection of huts that grows into turn-of-the-century elegance—is remarkable, and reportedly one the largest productions in Latin American history. (Three separate towns were created, to represent Macondo’s evolution.) The eight episodes have been split between two directors. Alex Garcia Lopez is a United States-based director of Argentine origin, and an alumnus of hit shows like The Witcher, The Punisher and the recent Star Wars series The Acolyte. Laura Mora Ortega is a Colombian director with a less international resume, but whose work includes the Netflix series Green Frontier. Neither are afraid of One Hundred Years’s more lusty moments (you can set your watch to the regular hammock-based interludes) and when civil war eventually barges into Macondo, there are some heart-pounding battle sequences that don’t hold back on the gore. Visual form Some of the more famous moments from the first half of the novel (or, I should say, first half of the narrative, since the show mostly goes in order) stitch together quite nicely in a visual form. There is a stretch in which a plague of insomnia hits the town, which at first is welcomed. More time to get things accomplished, José Arcadio says. But with a lack of sleep comes confusion, until no one can remember what anything represents, forcing them to leave notes everywhere. (“Don’t Pee In The Streets, People Get Angry” is probably my favorite, because it’s funny but also true.) Eventually, the memory of the townsfolk gets so blitzed that no one can even read anymore, plunging everyone into paranoia and violence. This whole chapter cuts together marvelously in the show. Another moment—among the most emotionally resonant images from the story—is when one character is violently killed, and their blood spills out of their house, down the street, weaving around corners, into another house, and across several rooms until the streak ends at the foot of the deceased’s mother. This is a moment that is not diminished when filmed. However, there are some aspects of García Márquez’s story that are wisely tamped down. A major character (an adult) experiences love at first sight with a 9-year-old girl. His obsession becomes “a physical sensation that almost bothered him when he walked, like a pebble in his shoe,” and he is described in the novel as having fits of asthma just hearing her voice, especially when she calls him “sir.” Egads! He decides he must marry her, and a deal is worked out between the families. She can marry once she’s reached puberty, which occurs for her “before getting over the habits of childhood.” Yikes all around. All I can say is that in the book—in which there are soothsayers and ghosts and the pursuit of the Philosopher’s Stone, not to mention enormous blocks of eloquent prose—these deviations don’t read quite so repulsive as I’ve laid them out here. Inadvertent near-incest To its credit, the show doesn’t erase this section entirely, but it is lessened. When we first meet the character Remedios, she is presented as “very young,” but she doesn’t look 9. I don’t know the age of the actress playing her, but when she later gets her first period (which we witness both as metaphor and reality), a few costume changes age her up considerably. It’s still questionable, but certainly skirts around the ick factor. The same goes for a moment of inadvertent near-incest. (A less inadvertent one awaits in season two, but I don’t know how that will play out just yet.) This loyalty to the text might be why Netflix’s promotional machine has been pretty minimal in the United States. Other than an article this summer in Vanity Fair, most of the press has been geared to the Hispanic market. (There were lines around the block to see the first episodes in Havana, but nothing happened in New York City.) Considering that Netflix’s biggest hit is the South Korean series Squid Game, the fact that One Hundred Years is in Spanish can’t be used as an excuse to keep this exclusively international. There is, however, a lot of content out there, so I’m wondering how much of an impact it will make with U.S. viewers. Will I watch season two? Absolutely, and not just because of the time I’ve already invested. On its own merits, the show is engaging, the performances (particularly Claudio Cataño as Colonel Aureliano Buendía and the mononymous Akima as the feral cousin Rebeca) are quite good. Everything (and everyone) is gorgeous, so the show is a winner from a visual perspective alone. But it may not be a bad idea to take advantage of the intermezzo between seasons and take the book off the shelf before the launch of part two. The series is, after all, only a rough translation. – foreignpolicy.comMC elections to follow 2023’s ward delimitation amid row

Student arrested after allegedly bringing gun into Wisconsin high schoolWhen I learned to read, I made friends with our school librarian. It was then that I started my love affair with books. I read constantly. Books were my constant companion and where I got my knowledge of the world around me. I did not have books at home. Today I am an advocate, and I am very concerned about Iowa’s book ban’s impact. The librarian and teachers would always help me pick appropriate books and make sure although my reading level was high that I was mature enough to understand the books. They were educated professionals and knew about child development and literacy. I have children of my own now and I expect the professionals who are trained to help my children pick books on library day. Unfortunately, our legislature does not. The board of education is having a session for public comments on Dec. 11 to help them formulate the rules on how our schools must follow the vague legislation which passed. The email to send a comment is Thomas.mayes@iowa.gov , and I hope you will send a note to tell them that we should not ban books and propose suggestions on the new rules being developed so our children can get a quality education that includes reading the books other children do to prepare them for the future. As a silent rebellion, I personally will be stocking little libraries in our area with banned books I know changed my life. I encourage you to do the same. Mindy Smith-Pace Bettendorf Get opinion pieces, letters and editorials sent directly to your inbox weekly!

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Big boost for Newcastle as Saudi PIF nears £1bn investment dealBeth Dooley | (TNS) The Minnesota Star Tribune The holidays loom large. Parties, gift-shopping, school programs, recitals, family gatherings — there’s really no time to cook. Related Articles Restaurants Food and Drink | Roasted orange delivers big flavor in this smoky chicken traybake Restaurants Food and Drink | Winter can be a time of culinary abundance. Experts share tips on eating nutritiously Restaurants Food and Drink | Recipe: How to make Peanut Butter Dog Biscuits your pup will love Restaurants Food and Drink | Simple fixes give after-dinner cocktails some holiday flair. Here are 5 recipes from the pros Restaurants Food and Drink | Recipe: Upside-down puff pastry apple tarts are both sweet and easy to make But there is! Here are three quick and easy recipes you can hustle to the table in 30 minutes or less. Relax, take a deep breath and know that dinner is served. Serves 4. Making grilled cheese for more than one can be tricky. Here, the sheet pan does the work; the sandwiches are ready all at once. Try our suggested fillings or just enjoy them plain in all their gooey deliciousness. From Beth Dooley. Directions Preheat the oven to 425 degrees. Line a large sheet pan with parchment paper. Spread the butter to the edge of 4 slices of bread. Place the slices butter-side down on the sheet pan. Top with the sliced cheese and add a layer of the filling, then top with the remaining slices of bread. Put the pan in the oven and cook until the butter is thoroughly melted and bottom slices are turning golden and the cheese is melting, about 8 to 10 to minutes. Flip the sandwiches. Continue cooking until the top layer of bread begins to turn golden and the cheese is melted. Turn the oven to broil and toast the top layer, watching closely, this goes quickly, about 30 seconds to 1 minute. Flip the bread and toast the other side, about 15 to 20 seconds or so. Remove, cut and serve. Quick Skillet Chicken with Lemon, Tahini and Warm Spices will come together quickly and can be served on a bed of greens or pasta. (Ashley Moyna Schwickert/For the Minnesota Star Tribune) Serves 4 to 6. A simple marinade of pantry staples — lemon, tahini, olive oil and a little honey — keeps the chicken moist and becomes the sauce for finishing the dish. Serve on a bed of dark greens or cooked rice. From Beth Dooley. Directions In a large bowl, whisk together the lemon, tahini, honey and olive oil. Measure out 1⁄2 of the mixture into a separate bowl. This is to sauce the chicken after it’s cooked. If it seems too thick, whisk in a little water. Season the chicken with salt and pepper and pound with the flat edge of a knife to even out the width a bit. Put the chicken into the bowl of marinade and turn to coat. Film a heavy skillet with more oil and set over high heat. When the oil begins to ripple, add the chicken, reduce the heat to medium and cook, flipping after about 5 to 7 minutes, and continuing, until cooked through, about 10 to 15 minutes. (The chicken should reach 165 on an instant-read thermometer when done.) Remove the chicken from the skillet, set on a cutting board to rest for about 10 minutes. Slice the meat in long strokes against the grain. Serve on a bed of greens or rice, garnished with a drizzle of sauce, chopped herbs and a few thinly sliced lemons. Pass additional sauce on the side. One-Pot Pasta with Sausage, Tomato and Spinach is a quick but hearty meal for busy, chilly nights. (Ashley Moyna Schwickert/For the Minnesota Star Tribune) Serves 4 to 6. You only need one pot for this simple pasta. The sausage adds the seasoning, the onions turn sweetly golden, cherry tomatoes burst into a luscious sauce. A squeeze of lemon at the end livens things up. From Beth Dooley. Directions Film a large heavy pot or Dutch oven with the oil and set over medium heat. Add the onion and sauté until it turns limp and golden, about 3 to 5 minutes. Stir in the sausage, breaking apart with a spatula until it crumbles, about 4 to 5 minutes. Stir in the tomatoes and the stock, scraping up the bottom of the pan to release browned bits that stick to the bottom. Bring to a boil. Add the pasta, stirring well and continue boiling for about 4 to 5 minutes. Turn the heat down to a brisk simmer, stirring to keep the pasta from sticking to the bottom of the pot. If the sauce becomes too thick and the pasta begins to stick, stir in water, about 1⁄4 cup at a time. Simmer until the sauce is mostly absorbed and the pasta is tender, about 15 minutes. Turn off the heat and stir in the spinach, then stir in the cheese. Add lemon juice to taste. Serve garnished with the chopped parsley. Beth Dooley is the author of “The Perennial Kitchen.” Find her at bethdooleyskitchen.com. ©2024 The Minnesota Star Tribune. Visit at startribune.com. Distributed by Tribune Content Agency, LLC.3 recipes to help you through the busy holiday season

Players must be assigned female at birth or have transitioned to female before going through male puberty to compete in LPGA tournaments or the eight USGA championships for females under new gender policies published Wednesday. The policies, which begin in 2025, follow more than a year of study involving medicine, science, sport physiology and gender policy law. The updated policies would rule out eligibility for Hailey Davidson, who missed qualifying for the U.S. Women's Open this year by one shot and came up short in LPGA Q-school. Davidson, who turned 32 on Tuesday, began hormone treatments when she was in her early 20s in 2015 and in 2021 underwent gender-affirming surgery, which was required under the LPGA's previous gender policy. She had won this year on a Florida mini-tour called NXXT Golf until the circuit announced in March that players had to be assigned female at birth. “Can't say I didn't see this coming,” Davidson wrote Wednesday on an Instagram story. “Banned from the Epson and the LPGA. All the silence and people wanting to stay ‘neutral’ thanks for absolutely nothing. This happened because of all your silence.” By making it to the second stage of Q-school, Davidson would have had very limited status on the Epson Tour, the pathway to the LPGA. The LPGA and USGA say their policies were geared toward being inclusive of gender identities and expression while striving for equity in competition. The LPGA said its working group of experts advised that the effects of male puberty allowed for competitive advantages in golf compared with players who had not gone through puberty. “Our policy is reflective of an extensive, science-based and inclusive approach,” said LPGA Commissioner Mollie Marcoux Samaan, who announced Monday that she is resigning in January. "The policy represents our continued commitment to ensuring that all feel welcome within our organization, while preserving the fairness and competitive equity of our elite competitions.” Mike Whan, the former LPGA commissioner and now CEO of the USGA, said it developed the updated policy independently and later discovered it was similar to those used by swimming, track and field, and other sports. “It starts with competitive fairness as the North star,” Whan said in a telephone interview. “We tried not to get into politics, or state by state or any of that stuff. We just simply said, ‘Where would somebody — at least medically today — where do we believe somebody would have a competitive advantage in the field?’ And we needed to draw a line. “We needed to be able to walk into any women's event and say with confidence that nobody here has a competitive advantage based on their gender. And this policy delivers that.” The “Competitive Fairness Gender Policy” for the USGA takes effect for the 2025 championship season that starts with the U.S. Women's Amateur Four-Ball on May 10-14. Qualifying began late this year, though there were no transgender players who took part. “Will that change in the years to come as medicine changes? Probably,” Whan said. “But I think today this stacks up.” The LPGA “Gender Policy for Competition Eligibility” would apply to the LPGA Tour, Epson Tour, Ladies European Tour and qualifying for the tours. Players assigned male at birth must prove they have not experienced any part of puberty beyond the first stage or after age 12, whichever comes first, and then meet limitation standards for testosterone levels. The LPGA begins its 75th season on Jan. 30 with the Tournament of Champions in Orlando, Florida.

Standing together, listening to difficult truths