Astros And Nationals Set To Face Off As World Series Starts Tuesday In Houston

The Washington Nationals participate in a workout on Friday ahead of the team’s appearance in the World Series.
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Patrick Semansky/AP
The World Series will begin Tuesday night, as the Houston Astros host the Washington Nationals. The first pitch will be thrown at 8:08 p.m. ET, in a series between clubs that can each boast of having three aces.
The Astros clinched the American League championship by beating the New York Yankees on Saturday to win their second pennant in the past three years. Now they’re hoping to win their second World Series and cement themselves as one of the best teams of the decade.
For the Nationals, the matchup is historic, marking the first time the team has reached the World Series. The last time Washington, D.C., sent a team to the World Series was in 1933, when the Washington Senators lost in five games to the New York Giants.
The Nationals swept the St. Louis Cardinals in the National League Championship Series, giving them six days of rest compared with Houston’s two. Houston is entering the series as heavy favorites, after winning a league-best 107 games this season.
Both teams bring elite starting pitching to this series. Fronting the Houston rotation is Gerrit Cole, who is 3-0 with a 0.40 ERA this postseason. Washington will counter in Game 1 with ace Max Scherzer, who is 2-0 with a 1.80 ERA in the postseason. And when the Astros tap starters Justin Verlander and Zack Greinke, the Nationals will answer with Stephen Strasburg, Patrick Corbin or Aníbal Sánchez .
The Nationals made their climb to the Fall Classic after starting the season with a horrible 19-31 record, beset by injuries and a shaky bullpen. In February, the Nationals lost star outfielder Bryce Harper after he agreed to a record-breaking 13-year, $330 million contract with the Philadelphia Phillies.
But the team powered through, with third baseman Anthony Rendon bringing in a major league best 126 runs in the regular season, and 20-year-old emerging star Juan Soto helping to energize the club.
What a time to hit your longest career homer.
Juan Soto’s made for these moments. #Statcast pic.twitter.com/yc4EFU4MV3
— MLB (@MLB) October 10, 2019
The Astros have their own powerhouse lineup, led by 29-year-old Jose Altuve, whose home run in the bottom of the ninth inning in Game 6 of the American League championship catapulted Houston over the Yankees. At 5 feet, 6 inches, Altuve is one of the shortest players in the majors, but he’s also one of the most fearsome. He was named the Most Valuable Player of the AL championship.
Houston also proved it can make stellar plays under pressure in the AL series, as outfielders Josh Reddick and Michael Brantley shut down the Yankees’ comeback attempt with dramatic catches.
ARE YOU KIDDING ME! MICHAEL BRANTLEY!
One of the best defensive plays you will ever see! pic.twitter.com/YeBKjQnplH
— FOX Sports: MLB (@MLBONFOX) October 20, 2019
The first two games in the best-of-seven series will be played in Houston. The series then heads to Washington for the weekend. Games 6 and 7, if necessary, would be played in Texas next week.
NBA’s New Season Opens Tuesday Night With 2 Games
This is the first NBA season in years that the Golden State Warriors aren’t the favorites. Player trades and maneuvers over the summer have moved several teams into contention.
Horses Have Continued To Die As New Season Begins At Santa Anita Park
The Santa Anita race track near Los Angeles is preparing for the high profile Breeders’ Cup next month. But horse deaths have continued this season, despite government investigations.
What To Watch For During This Nationals-Astros World Series Match-Up
The World Series starts Tuesday. The Houston Astros will host the Washington Nationals for Game 1. NPR’s Ailsa Chang speaks with Washington Post reporter Dave Sheinin about the match-up.
Horses Have Continued To Die As New Season Begins At Santa Anita Park
The Santa Anita race track near Los Angeles is preparing for the high profile Breeders’ Cup next month. But horse deaths have continued this season, despite government investigations.
AILSA CHANG, HOST:
It’s a new season at the Santa Anita Racetrack outside Los Angeles, but one troubling aspect has not changed. Horses keep dying. One died over the weekend, bringing the total to 34 since December. That’s despite warnings from California Governor Gavin Newsom that he will shut down horse racing in the state if the industry doesn’t clean up its act, and it’s despite a criminal investigation from the L.A. district attorney’s office. Ben Bergman has more.
(SOUNDBITE OF BUGLE PLAYING)
BEN BERGMAN, BYLINE: Looking out across the track to the palm trees and the mountains in the distance, it’s hard to imagine a more picturesque setting for horse racing.
(SOUNDBITE OF HORSES RACING)
BERGMAN: On a recent 87 degree fall day, 2-year-old fillies – those are young females – competed for a $50,000 purse.
(SOUNDBITE OF HORSES RACING)
BERGMAN: There were less than 5,000 fans in the stands. Attendance is down this season. On Saturday a 3-year-old gelding broke his front left ankle and was euthanized. Last month a colt broke both front ankles and had to be put down a month after testing positive for an illegally high dose of painkillers.
KATHY GUILLERMO: I’m angry.
BERGMAN: Kathy Guillermo is senior vice president of PETA.
GUILLERMO: I’m angry because we asked the Los Angeles district attorney to launch an investigation seven months ago, but we still have no results from those investigations.
BERGMAN: The DA’s office wouldn’t comment. Guillermo says it’s unacceptable that racing continues.
GUILLERMO: I think we need to suspend racing until we have solid answers. I just don’t think a sport is worth the lives of these animals.
BERGMAN: So why not halt competition?
ALEXIS PODESTA: I mean, I think that’s a good question.
BERGMAN: Alexis Podesta oversees the California Horse Racing Board, which regulates the industry.
PODESTA: I would respond to it by saying that this is a big industry. There are a lot of jobs and livelihoods involved in it. I would want us to be very cautious about ending an industry and killing a number of jobs without all of the facts.
BERGMAN: Podesta says racing has become much safer in California because of new rules like increased drug testing and exams. Thanks to a new state law, the board now also has the power to suspend races. Last season it tried to do that at Santa Anita but didn’t have the authority to do so. Podesta says there’s also this.
PODESTA: Over the last decade we’ve seen a fairly dramatic decline in the number of horse fatalities during racing.
BERGMAN: This will surprise a lot of people. Despite all the attention, according to the racing board, during the last fiscal year, there were actually slightly fewer deaths than normal at Santa Anita, and statewide, there were 144 fatalities. That’s by far the lowest in the past decade. The board’s chief veterinarian Dr. Rick Arthur says most people haven’t thought about how dangerous the sport is until recently.
RICK ARTHUR: I think historically, horse racing has kind of lived in a bubble, and I think the anger of the public about these fatalities has made people wake up.
BERGMAN: Earlier this year the embattled Stronach Group, which owns Santa Anita, appointed Dr. Dionne Benson at its first chief veterinary officer. She says any number of deaths is unacceptable.
DIONNE BENSON: Our goal and our true finish line is to have zero fatalities. Whether we ever reach that is a different story, but we have to keep moving in that direction.
BERGMAN: Next month one of horse racing’s biggest events, the Breeders’ Cup, will be held at Santa Anita. Organizers had considered moving the race, but they decided not to because they said the track enacted effective and meaningful changes.
For NPR News, I’m Ben Bergman in Los Angeles.
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Get Your Flu Shot Now, Doctors Advise, Especially If You’re Pregnant

Though complications from the flu can be deadly for people who are especially vulnerable, including pregnant women and their newborns, typically only about half of pregnant women get the needed vaccination, U.S. statistics show.
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October marks the start of a new flu season, with a rise in likely cases already showing up in Louisiana and other spots, federal statistics show.
The advice from federal health officials remains clear and consistent: Get the flu vaccine as soon as possible, especially if you’re pregnant or have asthma or another underlying condition that makes you more likely to catch a bad case.
Make no mistake: Complications from the flu are scary, says Dr. William Schaffner, an infectious disease specialist at Vanderbilt University Medical Center in Nashville, Tenn., who is part of a committee that advises federal health officials on immunization practices.
“As we get older, more of us get heart disease, lung disease, diabetes, asthma,” Schaffner says. “Those diseases predispose us to complications of flu — pneumonia, hospitalization or death. We need to make vaccination a routine part of chronic health management.”
Federal recommendations, he says, are that “anyone and everyone 6 months old and older in the United States should get vaccinated each and every year.” People 65 and above and pregnant women, along with patients who have underlying medical issues, should make haste to get that shot, if they haven’t already, Schaffner says.
Within a typical year, about two-thirds of people over 65 get vaccinated against the flu, studies show, compared with 45% of adults overall and 55% to 60% of children. But only about half of pregnant women get vaccinated, and immunization rates for people with chronic diseases hovers around 30% to 40%.
Take the case of JoJo O’Neal, a 55-year-old radio personality and music show host in Orlando, Fla., who was diagnosed with adult onset asthma in 2004 at age 40. For years she didn’t get the flu vaccine, figuring her healthful diet, intense exercise and overall fitness would be protective enough.
“I skated along for a lot of years,” O’Neal says, “and then, finally, in 2018 — boom! It hit me, and it hit me hard.” She was out of work for nearly two weeks and could barely move. She was extremely nauseated and had an excruciating headache and aching body, she says. “I spent a lot of time just sitting on my couch feeling miserable.”
O’Neal says it takes a lot to “shut her down,” but this bout with the flu certainly did. Even more upsetting, she says, she passed the virus on to her sister who has chronic obstructive pulmonary disease. Fortunately, neither she nor her sister had to be hospitalized, but they certainly worried about it.
“We have lung issues and worry about breathing, so having the flu created lots of anxiety,” O’Neal says. This year, she’s not taking any chances: She has already gotten her flu shot.
That’s absolutely the right decision, says Dr. MeiLan Han, professor of internal medicine in the division of pulmonary and critical care medicine at the University of Michigan Health System and a national spokesperson for the American Lung Association.
If generally healthy people contract the flu, they may feel sick for a week or more, she says. But for someone with underlying lung conditions, it can take longer to recover from the flu — three to four weeks. “What I worry about most with these patients,” Han says, “is hospitalization and respiratory failure.”
In fact, Han says, 92% of adults hospitalized for the flu have at least one underlying chronic condition such as diabetes, asthma, or kidney or liver disorders.
When people with underlying lung conditions contract the flu, she says, “the virus goes right to the lung, and it can make a situation where it’s hard to breathe even harder.”
Other chronic health conditions — diabetes, HIV and cancer, among them — impair the immune system, Han explains, making people with those conditions unable to mount a robust response to the flu virus without the immunization boost of a flu shot.
That means the inflammation and infection when they get the flu can become more severe, she says.
Even many of her own patients don’t realize how bad a case of the flu can be, Han says.
“People often tell me, ‘That’s not me. I’ve never had the flu. I’m not at risk, and I’m not around people who might give me the flu.’ “
O’Neal says she’d always figured she wasn’t at risk either — until the flu flattened her.
Healthy pregnant women, too, are more prone to complications and hospitalization if they contract the flu and are strongly urged by the Centers for Disease Control and Prevention and OB-GYNs to get vaccinated against both influenza and pertussis. Yet the majority of mothers-to-be surveyed in the United States — 65% — have not been immunized against those two illnesses, according to a recent CDC Vital Signs report.
Some women mistakenly worry that the flu vaccine isn’t safe for them or their babies. “I think some of the fears about safety are certainly understandable, but they’re misinformed,” says Dr. Alicia Fry, chief of the epidemiology and prevention branch of the CDC’s Influenza Division.
The evidence is clear, Fry says: The vaccine is extremely safe. And she points to a recent study showing that immunization against flu reduces the risk of flu hospitalization among pregnant women by 40%.
As for worries that the woman’s vaccination might not be safe for her developing fetus, Fry says the opposite is true. When a pregnant woman is immunized, antibodies that fight the flu virus cross the placenta and can protect her baby in those critical months before and after birth.
“It can prevent 70% of the illness associated with flu viruses in the baby,” Fry says. “So it’s a double protection: Mom is protected, and the baby’s protected.” Infants can’t get the flu vaccine themselves until they are 6 months old.
Now, the vaccine won’t protect against all strains of the flu virus that may be circulating. But Schaffner says the shot is still very much worth getting this year and every year.
“Although it’s not perfect, the vaccine we have today actually prevents a lot of disease completely,” he says. “And even if you do get the flu, it’s likely to be less severe, and you’ll be less likely to develop complications.”
Opinion: For Washington’s Nats, A Long And Winding Road To The World Series
Saturday Sports: World Series
It’s all about baseball as NPR’s Scott Simon talks with ESPN’s Howard Bryant about the World Series matchup, and about Yankees fans behaving badly.
Congo’s KOKOKO! Makes Joyful Dance Music From Instruments Made Of Junk

KOKOKO!, a band from the Democratic Republic of Congo, performs at an NPR Tiny Desk Concert that will be posted at a future date.
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Bob Boilen/NPR
Before the members of Congolese music collective KOKOKO! take the stage at Washington, D.C.’s Rock & Roll Hotel, they slip into bright yellow jumpsuits.
The fashion choice, they explain, has utilitarian roots: That’s what a lot of workers in Congo wear. Their instruments have a similar no-frills style — they were crafted from kitchen pots, tin cans and air-conditioner parts.
“It started out because commercial instruments in Kinshasa [where they live] are too expensive to buy and also too expensive to rent. So it started with the necessity of creating your own guitar or your own bass,” says member Boms Bomolo.
The group’s name reflects their humble origins. “KOKOKO” means “knock knock knock” in the local language, Lingala. When they were getting started in 2016, they picked it as a call-out for somebody to open the door and let their music in.
And the door is definitely open for their joyful dance music, with energetic percussion, electronic beats and call and response vocals between the band members and audience. Even if the crowd at Rock & Roll Hotel doesn’t understand the Kikongo, Lingala, French and Swahili lyrics, they eagerly repeat the words back to singer Love Lokombe.
YouTube
In their first two years, KOKOKO! toured the world and released a slew of singles and an EP. They dropped their debut LP, Fongola, in July to rave reviews. Earlier this year, their performance at South by Southwest music festival in Austin, Texas, caught the attention of NPR’s All Songs Considered. Now wrapping up their first big tour across North America, they stopped by NPR’s Tiny Desk on October 1.
During the concert, the group’s instrumental inventory included rows of plastic containers, pots and pans and a guitar fashioned out of two cans and a wooden fretboard. Some of the objects were ready to be played with no adjustments, like the metal kitchen pots used for percussion. Others, like the drum kit that features parts of an old air-conditioning unit, took a bit more assembly — the musicians had to go out, collect scraps and combine them into one cohesive instrument.
Perhaps their greatest creation is a “monumental human-size bass harp,” as described by member Xavier Thomas — made from a wooden cross, metal cans and a plastic barrel. They call it “Jesus Crisis,” a humorous reference to evangelical churches in Congo, which Thomas says can get quite “inventive” with their religious interpretations. The harp was made by group member Dido Oweke, who, according to his bandmates, visualizes the instruments he wants to make as sculptures first.
KOKOKO! member Dido Oweke built the “Jesus Crisis” bass harp in 2016.
Xavier Thomas
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Xavier Thomas
“We brought [the harp] once on tour, but it’s so hard to transport. It’s like moving a house,” says Thomas, also known as Débruit when he does solo electronic music projects. Thomas, originally from France, is the only member of the band not from Congo; he acted as the interpreter for the other musicians interviewed for this story.
Thomas met his bandmates while working on a music project in Kinshasa. They jammed together at a block party in 2016 and formed the group shortly after.
The music itself, which combines homemade instruments with electronic synths, channels the sounds and spirit of KOKOKO!’s birthplace. Kinshasa, home to an estimated 12 million people, has a rich aural landscape, according to Bomolo, Thomas and percussionist/vocalist Makara Bianko. Street vendors clink nail polish bottles together. Shoeshiners call out to customers. Megaphones blast recorded advertisements for cellphone credits on a perpetual loop.
“With your eyes closed, you can tell who’s where — at what distance,” Thomas explains. “Boms is inspired by the sonic chaos and reorganizes it into music.”
KOKOKO!’s high-powered performance, yellow jumpsuits and all, is a demand to be seen and heard in the middle of Congo’s vibrancy — but they also make a point on their website and during the interview to highlight the challenges faced by Congolese people.
The world sees Congo as an Ebola hotspot — the country is currently is facing the second largest outbreak in history. But the musicians say the virus does not play into daily life in Kinshasa, which is more than a thousand miles away from the affected area. The members of KOKOKO! have other concerns, like violence, corruption and poverty. The World Bank estimates that 73% of Congo’s population lived in extreme poverty in 2018.
Congo is rich in natural resources, making it a top producer of metals like cobalt and coltan. But Bianko believes that the wealth from those resources mainly profits industrialized nations and the multinational corporations that mine in Congo.
“Every time the industry needed something in the world, they found it in Congo, but they didn’t leave anything behind,” says Bianko.
The Congolese way is to not let those struggles haunt their everyday life, says Bianko. People in Kinshasa maintain a spirit of resistance, the group explains — of not letting the financial and political turmoil affect their ability to get dressed up, go out, have fun. Or make music.
That’s why the magic of KOKOKO! is not just that they worked with what they could find to make music. It’s that they dove deep into the research of harnessing sounds from unusual objects and became a project of sonic revolution in the process.
“Now, this is what makes our sound, these instruments,” says Bianko, noting that they’re still adding new objects to their repertoire with every tour. “We wouldn’t switch back [to traditional instruments] because these instruments are the identity of the band.”
The “knock knock knock” of their names has evolved as well. As political instability rocked Congo in 2017, they were literally knocking on the doors of embassies across Kinshasa, trying to get visas approved so the band could tour internationally.
Now, they say, they’re knocking on people’s consciousness “to open up to the kind of musical innovation we’re proposing.”
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PHOTOS: Why Lynsey Addario Has Spent 10 Years Covering Maternal Mortality

Addario’s coverage of maternal mortality took her to a remote village in Badakhshan province, Afghanistan in 2009, where she photographed a midwife giving a prenatal check in a private home. “In these areas someone will announce that a doctor and a midwife are coming, and any pregnant and lactating women within a certain radius come if they want prenatal or postnatal care,” she says.
Lynsey Addario
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Lynsey Addario
Editor’s note: This story includes images that some readers may find disturbing.
When photojournalist Lynsey Addario was awarded the MacArthur Fellowship in 2009, she took it as a chance to work on a topic that many photographers and editors shied away from: maternal mortality. Her photos of overcrowded hospitals, bloody delivery room floors and midwives in training illustrate the challenges women face in childbirth and what the global health community is doing to overcome it. The series was featured at this year’s Visa Pour L’image festival in Perpignan, France.
Addario has borne witness to some of the most intense global conflicts of her time. She has worked for publications like The New York Times, National Geographic and Time Magazine and has covered life under the Taliban in Afghanistan and the plight of Syrian refugees. She has been kidnapped twice while on assignment, most recently in Libya in 2011 while covering the civil war.
Every two minutes, a woman dies from childbirth or pregnancy-related causes, and many of these deaths are entirely preventable. While the global health community has made great strides bringing down the rate of these maternal mortalities since efforts intensified in the early 1990s, the reality for many mothers is still harrowing.
We spoke to Addario, author of the 2015 memoir It’s What I Do: A Photographer’s Life of Love and War, about what drives her work and what she’s witnessed over a decade of reporting on this topic. The interview has been edited and condensed for clarity.
Addario recalls visiting Tezpur Civil Hospital in Assam, India, “where there’s tea plantations all around. In that area I was looking at the conditions for women, and you can tell that [the hospital] is grossly overcrowded. There were women waiting to deliver, some had already delivered — there were even women sleeping in the hallways of this hospital on the stairs leading up to the main ward.”
Lynsey Addario
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Lynsey Addario
How did you get interested in the topic of maternal mortality?
In 2009 I was named a MacArthur Fellow. It was the first time in my career where I was given money to work on a project without an assignment, so I could choose something that I felt was important to cover. I started learning about the incredible number of women who were dying in childbirth every year. It wasn’t a story that was easy to get published — I think most editors felt it wasn’t a sexy topic. Most people just don’t realize what a big deal this is.
[Early in the project,] in the very first hospital I walked into outside of Freetown, Sierra Leone, I literally watched a very young woman, Mamma Sessay, hemorrhage in front of me on camera and die. And I knew that it was a story I had to continue with.
You write in your book Of Love & War that what compels you to do photojournalism is “documenting injustice.” How does that apply in this series?
If you’re a poor woman living in a village where there are no medical professionals around, and you don’t have enough money to get to a hospital, then you run the risk of dying in childbirth. That’s injustice. I think everyone is entitled to a safe delivery. In 2019 there should be medical facilities within reach for anyone to be able to access them, or mobile clinics.
“This is a fistula repair in Kabul, Afghanistan, with two surgeries going on side by side,” Addario says. “A fistula is a tear, often between the vagina and the anus. It’s common in many countries with child marriage, or where women have birth very young. It’s quite a shame — often women are shunned from their houses or don’t get care — there’s often a smell associated with fistula.”
Lynsey Addario
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Lynsey Addario
Were you a mother when you started the project?
No. In fact I always used to joke around on the delivery ward that I would never become a mother because I had photographed so many women delivering, and I knew it was such a painful and difficult experience. Then in 2011 I gave birth to my first son, so I ended up doing it anyway. Even though this project made me more scared to actually deliver because I know how many things can go wrong.
Ironically my own delivery in 2011 was not a great experience. I moved to London when I was 32 weeks pregnant and delivered at 37 weeks. I had no doctor, basically just showed up at the hospital nine centimeters dilated and delivered with whatever midwife was on duty. Now that I’ve been doing this project for 10 years, there are so many things I would suggest to first-time mothers — or second-time mothers.
Like what?
Like maybe have a doula or have someone with you who can be an advocate — who can explain to you what’s going on with your body, who can help you navigate the pain. Someone who can understand if something’s going wrong, like the symptoms of preeclampsia: headaches, sweating, swelling. There’s so much that we just don’t know, that we’re not taught. People take childbirth for granted.
What is it like talking to your male colleagues about this project?
Most of them just haven’t paid attention to this work. Colleagues have said things to me about some stories — like the woman giving birth on the side of the road in the Philippines and the Mamma Sessay story — because they’re sensational, but no one really asked me about the work, which is interesting in and of itself. I think people sort of shy away from talking about birth, you know? Unless it’s something happy and positive.
“This is part of Dr. Edna Ismail’s team doing outreach in a remote village in Somaliland,” Addario says. “They do a similar thing like in Afghanistan, where they make an announcement for any pregnant and lactating women to come for a prenatal check. That’s essentially the only way women can get care unless they walk or are able to get transport to the nearest hospital or clinic.”
Lynsey Addario
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Lynsey Addario
What has surprised you while photographing this series?
How much access people give me. I’ve photographed — I can’t even count how many — probably three or four dozen births. The women invite me into very intimate spaces. I obviously try to be very respectful of how I photograph something like this. It’s one of the most beautiful things I’ve ever witnessed, watching a baby be born. It’s something delicate to photograph because it’s so incredible and at the same time it’s very graphic. It’s hard, and it’s always surprising to me how many people have let me in.
That word “graphic” jumps out at me. I’m looking at one of your photos now, where there’s blood on a delivery room floor, and it’s uncomfortable in a way that’s different than looking at blood from violence.
A mother receives postnatal care in a Somaliland hospital. “She was brought [there] in a wheelbarrow,” Addario recalls. “She delivered her baby stillborn then started hemorrhaging. It was extraordinary for me to witness — it was very similar to what I’d seen a decade earlier when Mamma Sessay died but in this case the woman survived because there were trained midwives who knew exactly what to do.”
Lynsey Addario
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Lynsey Addario
It is different. It’s different because no one thinks of childbirth like that. They think of childbirth as Hallmark pictures, but there’s a lot that’s not beautiful about it.
You’ve been working on this project for 10 years now. What has changed?
The statistics [for maternal mortality] have gone down, which is incredible, and there’s a lot more awareness. There are so many organizations — like Every Mother Counts, which is Christy Turlington’s organization, and UNFPA and UNICEF — working to fight maternal death. There’s more information, but it’s still too many — one woman a day is too many.