Culture
How fast could a human being throw a fastball? 106 mph, 110 mph — even 125 mph?
The 10-second 100-meter dash. The four-minute mile. The two-hour marathon. In baseball, is the 110 mph fastball the next big number to fall? What actually is the upper limit when it comes to professional pitchers throwing their fastest pitches?
There is some debate about what the fastest fastball to date has been. In the documentary Fastball, filmmakers looked at a few key moments from the past. Bob Feller threw a ball faster than an 86 mph motorcycle. Nolan Ryan was clocked at 100.8 mph by a radar gun in 1974. If you convert Ryan’s number to the out-of-the-hand methodology used to measure pitch speed today, you get 108 mph. For some, that counts as the fastest pitch on record.
We’ve been tracking major-league pitchers with the same quality of technology since 2007, though, and nobody has thrown harder than Aroldis Chapman and his 105.8 mph fastball in 2010. So Ryan’s 108 would be a large departure from 15 years of tracking pitches — and, for what it’s worth, it’s a large departure from radar gun readings over the rest of his game that day, as well as the rest of his career, which usually topped out around 96 and 97 mph.
Some Nolan Ryan gun readings to show how random Radar gun/Laser technology was back in the day. pic.twitter.com/BAuEMAbTIM
— Rob Friedman (@PitchingNinja) January 20, 2024
Since those other pitchers were clocked using outdated technology, it’s probably fairest to call 105.8 mph the modern record in fastball velocity. So that’s how fast a human has thrown the ball. But what’s the fastest a human being could throw the ball?
“When you build up a simple physics model that is essentially a series of collisions between body parts, you get a max fastball velocity of about 125 mph,” said Jimmy Buffi, who has a PhD in biomedical engineering. Buffi is a former Los Angeles Dodgers analyst and is a co-founder of Reboot Motion, a player development consultancy firm.
“We’ll need to use new methods,” said Kyle Boddy, current Boston Red Sox consultant and the founder of Driveline Baseball, a player development lab and consultancy company. “If there is a way to continue on, it won’t be with current methods. Using the best mechanics from elite pitchers, piecemeal, is unlikely to be the way we can create the 110 mph pitcher.”
Others thought about the potential for injury in this pursuit – pitching injuries have been up with velocity, after all. Maybe we’re already at the limit?
“I don’t think people are going to be able to throw that hard,” said the Dodgers’ Bobby Miller, the league’s third-hardest throwing starter, about numbers like 110 and 125 mph. “You reach a certain point where your arm will probably break.”
That’s three different answers. Let’s take a closer look at each.
The case for 125 mph
There’s a concept in pitching called the “kinetic chain,” which describes the transfer of force from the ground, and the larger muscles in the legs, up through the core and out to the end of the arm. If you work in a purely theoretical space, that chain is basically a bunch of interactions that attempt to conserve the momentum created down low as it travels out to the arm. Buffi’s job at ReBoot is to help make those transfers as efficient as possible. He created a physics model to describe them for the purposes of answering this question.
“To come up with this toy example,” he said, “I thought of the pitching motion as essentially a series of energy transfers between two masses, similar to a large ball colliding with a smaller ball. The legs are the larger mass, and they transfer energy to the torso, which transfers energy to the upper arm, then to the forearm, then to the hand, then to the ball.”
A pitcher’s kinetic chain consists of six phases. (Graphic: Drew Jordan / The Athletic; photo of Paul Skenes: Rick Osentoski / Getty Images)
The relative sizes of each of those muscle groups govern the amount of energy that can be transferred in each interaction, just as it is in the classic physics problem in which a big ball hits a smaller ball. In the model that Buffi created, a 200-pound person putting 500 pounds of force into the ground while being 85 percent efficient in his transfers (an efficiency that is elite, but within the range of possibility, in his estimation) would throw 125 mph.
“Even though it’s a toy example, when you put in reasonable energy transfer numbers and ground reaction force values, you actually get reasonable pitching velocity estimates,” said Buffi.
One of today’s hardest throwers, Oakland closer Mason Miller, agrees that the size of the player and force into the ground was a common denominator when you look at the hardest throwers.
“Physically, I’m 230 pounds, maybe 240 at my biggest. Chapman is like 250 pounds,” said Miller. He has thrown the fourth-fastest pitch this season at 103.7 mph, which trails only a couple Chapman fastballs (one at 104) and one from Angels reliever Ben Joyce. “Force production into the ground is important, we’ve seen that from force plate testing, that’s a good measure of power production.”
But there are some flaws in this case. Ground force reactions north of the ones Buffi used have been recorded already by athletes at Driveline Baseball, and they didn’t throw 125 mph. It’s way out in front of what’s been observed, as well.
Said Miller: “125 seems like it’s way out of our current existence.”
“Oh my goodness, 125, that’s crazy,” said Twins’ closer Jhoan Duran, who has topped out at 104.8 mph.
The case for 110 mph
The study of biomechanics, or the mechanical laws relating to the movement and structure of living organisms, has unlocked velocity for a lot of today’s hard throwers. The average four-seam major league fastball, measured by the same technology and methodology, has increased in velocity every season since Major League Baseball started tracking it, all the way from 91.1 mph in 2007 to 94.1 now.
Sam Hellinger of Driveline Baseball shared an example of how this understanding of the body has helped players train to get more velocity. Justin Thorsteinson, a former Division I pitcher hoping to sign on with an organization, came to them throwing 87.7 mph in June and by August was throwing 91.5 mph, and his changing how his shoulder moved was key. Scapular retraction — in rudimentary terms, how far back the throwing shoulder reaches before coming forward — has been linked to velocity by biomechanics studies because it creates a big separation between the hip and the shoulder. As that separation snaps back like a rubber band, torso speed is accelerated, which is then transferred to the arm. That was a big focus for Thorsteinson.
“Based on Justin’s bio report, we determined that his most glaring need mechanically was his arm action, specifically his max shoulder external rotation and scapular retraction,” said Hellinger.
After some work with weighted balls and specific drills, Thorsteinson improved his scores in the specific biomechanics that they were targeting, as you can see also from this picture, which shows how much he improved his shoulder retraction.
Before (left) and after (right) for Justin Thorsteinson, showing more shoulder retraction after the drills. (Driveline Baseball)
So could a 250-pound monster of an athlete refine each of his movements to the best of current knowledge and bust past the 106 mph ceiling towards the 110 mph that Boddy thought possible?
“If you’re getting bigger than Chapman, who throws 105, if you get any bigger, you lose coordination,” said Dodgers starter Walker Buehler. “He’s as big and as strong as you can be, and his delivery is all about velo.”
Boddy is also not sure that a big dude, plus the best piecemeal mechanics of our time, was the right way forward.
“We’ll need to use new methods, like simulation of human movement with millions of synthetic data points using machine learning and artificial intelligence to explore the entire latent space of possible mechanical outputs and muscular contributions to the throwing motion,” said Boddy. “This is something Driveline Baseball has been working on for years and is rapidly becoming a priority project — primarily for durability improvements over performance gains, though we anticipate breakthroughs in both realms over the coming years from our Sports Science and Research teams.”
In other words, instead of taking our mythical 250-pound flamethrower and then giving him what modern research thinks is the best mechanics in the legs, the torso, the shoulder, and the arms, Boddy is hoping that AI could help us think of new ways those body parts could move in concert with each other, in order to identify even better possible mechanics.
Could AI do this? Given the rapid rise of that technology, it seems plausible that we could see gains from re-evaluating current processes, even ones that involve the movement of our bodies.
The case for 106 mph
Let’s flip over to a different sport for a second. Over in the 100-meter dash, we have records going back to the 1970s. If we track the best times by year, it looks like we’re hitting a bit of an asymptote — instead of large gains like we saw in the 1980s and ’90s, we’re fighting over smaller increments of change.
If you altitude-adjust these numbers — running higher up can shave some milliseconds, as we saw with a couple of record-breaking runs earlier this century — we’re zeroing in around 9.7 to 9.8 seconds as perhaps the fastest a runner can manage in a neutral setting. This is seen by some to show that modern training, nutrition, and equipment have pushed the body as far as it can go. There are similar graphs in other running sports that suggest the same.
A few examples from other sports:
100m sprint, marathon & 1 mile world record progressions pic.twitter.com/6z5nhPPbdP
— Ben Brewster (@TreadAthletics) May 28, 2024
The maximum pitch velocity seems to be following a similar trajectory in baseball. Chapman threw 105.8 mph in 2010 and since then, the average best fastball has been 104, with a peak of 105.7 (Chapman again in 2016) and a nadir of 102.2 (in 2020, of course). The best non-Chapman fastball is around 104 mph in any given season.
There are some differences between pitching and running, though. Here’s where Glenn Fleisig, the director of biomechanics research at the American Sports Medicine Institute, comes in.
“Fifteen years ago I was quoted as saying that I didn’t think top velocity or the ceiling going up, but I foresee it getting pretty crowded at the ceiling,” said Fleisig. “It wasn’t a lucky guess that I pulled out of my butt.”
“When others talk about the ceiling, they talk about physics and statistics. Maybe by the laws of physics, maybe people could throw faster. Maybe the highest number could keep going up like it (did) for runners, because the training can improve, the mechanics and biomechanics can improve, the nutrition and supplements can improve,” he continued.
“The difference here is that we’re pushing this little ulnar collateral ligament to its limit. We are strengthening our muscles and improving our mechanics and nutrition, but based on how the body is built, the ligaments and tendons don’t improve proportionally to the other parts of the body and the process.”
When that ligament tears, the pitcher needs Tommy John surgery to get back on the mound, and those surgeries are more common than ever. How much stress that ligament can handle might be up for debate.
“No one really knows how much stress a UCL can really take, because of a problem I call cadavers and robots,” said Randy Sullivan of the Florida Baseball ARMory on a recent podcast. “We determined how much stress a UCL can take through a cadaver setting where we found that it tears at 35 newton-meters of torque, and then we used motion capture to determine that it can tolerate on a single pitch, it has to accept 70-75 nM of stress. We got the bottom number from a person who wasn’t alive; living tissue wouldn’t react the same way. And we got the top number from a model, a mythical robot.”
Fleisig, who authored the study that looked at how much stress the UCL could handle in cadavers, saw that second number in a slightly different light.
Throwing high-velocity pitches puts a great deal of stress on a pitcher’s UCL. (Drew Jordan / The Athletic)
“That 70-75 nM dynamic stress from biomechanics analysis is on the entire elbow, and the UCL does about a third of that resistance, your bones and tendons help with that resistance,” he points out. Taking a third of 75 nM leaves the current stress on the elbow within the 35 nM maximum we see in cadavers.
The sport might be telling us something with the spike in arm injuries. All those torn ligaments, which are increasingly tied to top-end velocity by the best available research, seem to suggest that we are running up on the physical limits of that little tendon. Maybe 106 is all that we can do.
“I’ve thought about it before,” said Joyce, the Los Angeles Angels pitcher who has thrown the hardest this year and also had a fastball tracked at 105.5 mph in college. “I would think someone will hit 106.0, but I don’t know if there is much more than that.”
Where do we go from here?
The work to improve the ceiling will go on, no matter what injuries say, because of the reward system in place for pitchers who can throw hard. The highest draft picks, the biggest free-agent contracts — those go to the fastest fastballs, and that’s not likely to change in the short term.
Joyce has an identical twin who tops out at 98 mph, with similar mechanics and identical genes. So what separated Ben from his brother Zach?
“I didn’t do anything specific,” said the harder-throwing Joyce. “I just always wanted to throw hard, so I tried to throw harder every day, kept throwing harder and harder, and it eventually worked out.”
Joyce pointed out that he hadn’t really optimized his mechanics or done anything special in that regard. He’s just throwing 103 and 104 on pure willpower. He’s also a little smaller than Miller and Chapman. Maybe the next kid is 50 pounds heavier, has that same iron will, ends up as a reliever where he can max out on fewer pitches, and also optimizes his biomechanics. That scenario seems likely to push the top-end velocity some … but how much higher if that little ligament is taking all it can handle already?
If that combination of inputs only pushes maximum velocity forward a tick or two, it might behoove young pitchers to consider other goals as they come up the ranks. In other words, if we get to a point where everyone throws harder than 94 mph in the big leagues, but nobody really throws harder than 106, maybe the best way to stick out in the future will be to demonstrate a pitch mix with varying velocities and movements, with good command. Maybe the success of softer-throwing pitchers such as the Royals’ Seth Lugo, who throws eight different pitches from two different arm slots, and the Phillies’ Ranger Suárez, who keeps the ball on the ground with great command, can provide new role models for young pitchers.
As the injuries mount in the search for velocity, chasing a maximum number that might not even be possible may not be the best plan for a young arm interested in making the most out of his talent.
— The Athletic’s Sam Blum contributed to this story.
(Top image: Dan Goldfarb / The Athletic; Photo of Paul Skenes: Justin K. Aller / Getty Images)
Culture
Try This Quiz and See How Much You Know About Jane Austen
“Window seat with garden view / A perfect nook to read a book / I’m lost in my Jane Austen…” sings Kristin Chenoweth in “The Girl in 14G” — what could be more ideal? Well, perhaps showing off your literary knowledge and getting a perfect score on this week’s super-size Book Review Quiz Bowl honoring the life, work and global influence of Jane Austen, who turns 250 today. In the 12 questions below, tap or click your answers to the questions. And no matter how you do, scroll on to the end, where you’ll find links to free e-book versions of her novels — and more.
Culture
Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday
On Dec. 16, 1775, a girl was born in Steventon, England — the seventh of eight children — to a clergyman and his wife. She was an avid reader, never married and died in 1817, at the age of 41. But in just those few decades, Jane Austen changed the world.
Her novels have had an outsize influence in the centuries since her death. Not only are the books themselves beloved — as sharply observed portraits of British society, revolutionary narrative projects and deliciously satisfying romances — but the stories she created have so permeated culture that people around the world care deeply about Elizabeth Bennet and Mr. Darcy, even if they’ve never actually read “Pride and Prejudice.”
With her 250th birthday this year, the Austen Industrial Complex has kicked into high gear with festivals, parades, museum exhibits, concerts and all manner of merch, ranging from the classily apt to the flamboyantly absurd. The words “Jane mania” have been used; so has “exh-Aust-ion.”
How to capture this brief life, and the blazing impact that has spread across the globe in her wake? Without further ado: a mere sampling of the wealth, wonder and weirdness Austen has brought to our lives. After all, your semiquincentennial doesn’t come around every day.
By ‘A Lady’
Austen published just four novels in her lifetime: “Sense and Sensibility” (1811), “Pride and Prejudice” (1813), “Mansfield Park” (1814) and “Emma” (1815). All of them were published anonymously, with the author credited simply as “A Lady.” (If you’re in New York, you can see this first edition for yourself at the Grolier Club through Feb. 14.)
Where the Magic Happened
Placed near a window for light, this diminutive walnut table was, according to family lore, where the author did much of her writing. It is now in the possession of the Jane Austen Society.
An Iconic Accessory
Few of Austen’s personal artifacts remain, contributing to the author’s mystique. One of them is this turquoise ring, which passed to her sister-in-law and then her niece after her death. In 2012, the ring was put up for auction and bought by the “American Idol” champion Kelly Clarkson. This caused quite a stir in England; British officials were loath to let such an important cultural artifact leave the country’s borders. Jane Austen’s House, the museum now based in the writer’s Hampshire home, launched a crowdfunding campaign to Bring the Ring Home and bought the piece from Clarkson. The real ring now lives at the museum; the singer has a replica.
Austen Onscreen
Since 1940, when Austen had a bit of a moment and Greer Garson and Laurence Olivier starred in MGM’s rather liberally reinterpreted “Pride and Prejudice,” there have been more than 20 international adaptations of Austen’s work made for film and TV (to say nothing of radio). From the sublime (Emma Thompson’s Oscar-winning “Sense and Sensibility”) to the ridiculous (the wholly gratuitous 2022 remake of “Persuasion”), the high waists, flickering firelight and double weddings continue to provide an endless stream of debate fodder — and work for a queen’s regiment of British stars.
Jane Goes X-Rated
The rumors are true: XXX Austen is a thing. “Jane Austen Kama Sutra,” “Pride and Promiscuity: The Lost Sex Scenes of Jane Austen” and enough slash fic and amateur porn to fill Bath’s Assembly Rooms are just the start. Purists may never recover.
A Lady Unmasked
Austen’s final two completed novels, “Northanger Abbey” and “Persuasion,” were published after her death. Her brother Henry, who oversaw their publication, took the opportunity to give his sister the recognition he felt she deserved, revealing the true identity of the “Lady” behind “Pride and Prejudice,” “Emma,” etc. in a biographical note. “The following pages are the production of a pen which has already contributed in no small degree to the entertainment of the public,” he wrote, extolling his sister’s imagination, good humor and love of dancing. Still, “no accumulation of fame would have induced her, had she lived, to affix her name to any productions of her pen.”
Wearable Tributes
It is a truth universally acknowledged that a Jane Austen fan wants to find other Jane Austen fans, and what better way to advertise your membership in that all-inclusive club than with a bit of merch — from the subtle and classy to the gloriously obscene.
The Austen Literary Universe
On the page, there is no end to the adventures Austen and her characters have been on. There are Jane Austen mysteries, Jane Austen vampire series, Jane Austen fantasy adventures, Jane Austen Y.A. novels and, of course, Jane Austen romances, which transpose her plots to a remote Maine inn, a Greenwich Village penthouse and the Bay Area Indian American community, to name just a few. You can read about Austen-inspired zombie hunters, time-traveling hockey players, Long Island matchmakers and reality TV stars, or imagine further adventures for some of your favorite characters. (Even the obsequious Mr. Collins gets his day in the sun.)
A Botanical Homage
Created in 2017 to mark the 200th anniversary of Austen’s death, the “Jane Austen” rose is characterized by its intense orange color and light, sweet perfume. It is bushy, healthy and easy to grow.
Aunt Jane
Hoping to cement his beloved aunt’s legacy, Austen’s nephew James Edward Austen-Leigh published this biography — a rather rosy portrait based on interviews with family members — five decades after her death. The book is notable not only as the source (biased though it may be) of many of the scant facts we know about her life, but also for the watercolor portrait by James Andrews that serves as its frontispiece. Based on a sketch by Cassandra, this depiction of Jane is softer and far more winsome than the original: Whether that is due to a lack of skill on her sister’s part or overly enthusiastic artistic license on Andrews’s, this is the version of Austen most familiar to people today.
Cultural Currency
In 2017, the Bank of England released a new 10-pound note featuring Andrews’s portrait of Austen, as well as a line from “Pride and Prejudice”: “I declare after all there is no enjoyment like reading!” Austen is the third woman — other than the queen — to be featured on British currency, and the only one currently in circulation.
In the Trenches
During World War I and World War II, British soldiers were given copies of Austen’s works. In his 1924 story “The Janeites,” Rudyard Kipling invoked the grotesque contrasts — and the strange comfort — to be found in escaping to Austen’s well-ordered world amid the horrors of trench warfare. As one character observes, “There’s no one to touch Jane when you’re in a tight place.”
Baby Janes
You’re never too young to learn to love Austen — or that one’s good opinion, once lost, may be lost forever.
The Austen Industrial Complex
Maybe you’ve not so much as seen a Jane Austen meme, let alone read one of her novels. No matter! Need a Jane Austen finger puppet? Lego? Magnetic poetry set? Lingerie? Nameplate necklace? Plush book pillow? License plate frame? Bath bomb? Socks? Dog sweater? Whiskey glass? Tarot deck? Of course you do! And you’re in luck: What a time to be alive.
Around the Globe
Austen’s novels have been translated into more than 40 languages, including Polish, Finnish, Chinese and Farsi. There are active chapters of the Jane Austen Society, her 21st-century fan club, throughout the world.
Playable Persuasions
In Austen’s era, no afternoon tea was complete without a rousing round of whist, a trick-taking card game played in two teams of two. But should you not be up on your Regency amusements, you can find plenty of contemporary puzzles and games with which to fill a few pleasant hours, whether you’re piecing together her most beloved characters or using your cunning and wiles to land your very own Mr. Darcy.
#SoJaneAusten
The wild power of the internet means that many Austen moments have taken on lives of their own, from Colin Firth’s sopping wet shirt and Matthew Macfadyen’s flexing hand to Mr. Collins’s ode to superlative spuds and Mr. Knightley’s dramatic floor flop. The memes are fun, yes, but they also speak to the universality of Austen’s writing: More than two centuries after her books were published, the characters and stories she created are as relatable as ever.
Bonnets Fit for a Bennett
For this summer’s Grand Regency Costumed Promenade in Bath, England — as well as the myriad picnics, balls, house parties, dinners, luncheons, teas and fetes that marked the anniversary — seamstresses, milliners, mantua makers and costume warehouses did a brisk business, attiring the faithful in authentic Regency finery. And that’s a commitment: A bespoke, historically accurate bonnet can easily run to hundreds of dollars.
Most Ardently, Jane
Austen was prolific correspondent, believed to have written thousands of letters in her lifetime, many to her sister, Cassandra. But in an act that has frustrated biographers for centuries, upon Jane’s death, Cassandra protected her sister’s privacy — and reputation? — by burning almost all of them, leaving only about 160 intact, many heavily redacted. But what survives is filled with pithy one-liners. To wit: “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.”
Stage and Sensibility
Austen’s works have been adapted numerous times for the stage. Some plays (and musicals) hew closely to the original text, while others — such as Emily Breeze’s comedic riff on “Pride and Prejudice,” “Are the Bennet Girls OK?”, which is running at New York City’s West End Theater through Dec. 21 — use creative license to explore ideas of gender, romance and rage through a contemporary lens.
Austen 101
Austen remains a reliable fount of academic scholarship; recent conference papers have focused on the author’s enduring global reach, the work’s relationship to modern intersectionality, digital humanities and “Jane Austen on the Cheap.” And as one professor told our colleague Sarah Lyall of the Austen amateur scholarship hive, “Woe betide the academic who doesn’t take them seriously.”
W.W.J.D.
When facing problems — of etiquette, romance, domestic or professional turmoil — sometimes the only thing to do is ask: What would Jane do?
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
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