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Best new hair treatments
From extensions made of feathers and tinsel to low-maintenance dye jobs, discover the hottest hair trends and where to get them.
Fri Apr 1 2011
Fringe Salon
Photograph: Caroline Voagen Nelson
TONY senior online developer William Foster before (left) and after receiving Forbici at Barbiere
Photograph: Caroline Voagen Nelson
TONY associate photo editor Jolie Ruben models hair feathering from Ethereal Boutique
Photograph: Caroline Voagen Nelson
A side view of hair feathering from Ethereal Boutique
Photograph: Caroline Voagen Nelson
TONY senior designer Allison Duda before (left) and after receiving Hair Painting at Mizu
Photograph: Caroline Voagen Nelson
The back view of Hair Painting at Mizu
Photograph: Caroline Voagen Nelson
TONY freelancer Melanie Barnes before (left) and after receiving Hair Slimming at Georgia Product & Salon
Photograph: Caroline Voagen Nelson
The back view of Hair Slimming at Georgia Product & Salon
Photograph: Caroline Voagen Nelson
Photograph: Caroline Voagen Nelson
TONY associate Web editor Eva Medoff before (left) and after receiving Lacing at Gerard Bollei
Photograph: Caroline Voagen Nelson
A side view of Lacing at Gerard Bollei
Michael Angelo's Wonderland Beauty Parlor
Fringe Salon
Baroness Wave at Fringe Salon
When you think of a perm, chances are images of shoulder pads and crimped locks flash before your eyes. But if you've ever wanted red-carpet-worthy barrel curls without having to visit a stylist every day, Fringe's modern take on the totally '80s treatment will have you thinking differently. After you're washed and towel-dried, stylist Antonia Troiano rubs Fringe's house-made grooming cream and thickening spray through your mane. She'll then break out the throwback perm rods and lay them vertically on sections of hair in the front, dragging strands down and rolling them up into little triangles at a 90-degree angle to the head like you would with pin curls. Finally, she'll let your tresses diffuse for five minutes (eight minutes for coarser locks) until they're dry and flip your head over to shake out your new relaxed spirals, which will be soft and loopy. Results will last for at least eight weeks on fine, straight hair, but can stick with you for nine months if your curls are heaven-sent. $150. 248 Broome St at Orchard St (212-674-8383, fringeny.com)
Forbici at Barbiere
Modeled after an old-school Italian barbershop, Barbiere has been giving gents this textured cut since it opened last year. It begins like any other service at the men's salon: Head barber Anthony Tapia wraps a warm towel around your neck to allay any scissor phobias, then lifts hair from the roots and blunt-cuts it with shears. Once he's assured that the lengths are balanced on each side, he'll take shark-toothed scissors and chisel your locks, creating texture and loosening up strands so they can breathe. Tapia swears you can tell the difference between a basic and textured cut, and it doesn't take much more time to get one—you'll in be in and out of the chair in just 30 minutes. $36 (normally $40). Mention TONY to receive this discount through April 14. 246 E 5th St between Cooper Sq and Second Ave (646-649-2640, barbierenyc.com)
Hair Feathering at Ethereal Boutique
One of the most unique hair trends to emerge is offered not at a salon, but within the confines of a store: For the past year, tribal-art designer Masha Lunara has been fastening her handcrafted feather extensions to the heads of fashionistas at Long Island City's Ethereal Boutique. Lunara sources rooster feathers from California to create her signature extensions, which resemble tiny braids and function as chemical-free lowlights or highlights when clipped into tresses. Her favorite look comes from adding six to seven feathers in neutral shades that complement your hair and eye color, but she will dye them in bright hues like blue and green if you prefer a more brazen look. The feathers are cut to match the length of your hair, and they'll last for three months before you're due for a retouch. If you see Lunara every quarter, you can keep them in for a year and blow-dry, curl or flatiron your heart out, so long as the temperature isn't high. Keep hair conditioner away from your roots and avoid hair masks (both of which weaken the bonds of the extensions) in order to maintain them even longer, unless your goal is to remove them yourself. Lunara recommends having her take them out with a special tool to avoid damage, but you can go DIY by rubbing oil into the seams. One strand $18 (normally $20), eight strands $108 (normally $120). Mention TONY to receive this discount through April 30th. 47-38 Vernon Blvd between 47th and 48th Aves, Long Island City, Queens (718-482-8884, etherealnyc.com)
Hair painting at Mizu
Hollywood A-listers like Rachel Bilson and Jessica Biel have popularized ombr color (officially known as balayage), which refers to a dark-to-light fade from hair's midshaft to ends. At the stark-white, bi-level Mizu salon, stylist Miguel Angarita thumbs through your hair and teases it in layers to give the color texture before dabbing your desired hue onto dry locks free-form with a paintbrush. After spending 20 minutes under a rotating heat lamp, you'll be left with a soft, natural-looking gradient of color that lasts up to three months and, thanks to the untouched roots, grows out beautifully. $176 (normally $195). Mention TONY to receive this discount through April 30. 505 Park Ave between 59th and 60th Sts (212-688-6498, mizuforhair.com)
Hair Slimming at Georgia Product & Salon
Georgia introduced this cut in January for big-haired girls who felt their dense manes were weighing them down. Skillful stylist Elizabeth Owusa applies her own intense moisturizing conditioner made with pomegranate oil to your freshly washed locks and leaves it in so she can cut with ease. Using normal, everyday scissors for a technique called slide-cutting, she'll part your hair down the middle into two sections and snip from a sideways angle to gradually remove bulk without chopping the length you've worked so hard to acquire. The low-maintenance cut lasts three to six months, and you don't have to be lugging around kinky hair to qualify—even those with pin-straight strands who seek more movement can benefit. Despite the fact that this curtained-off, two-seat salon is hidden at the rear of a beauty store, it books up fast, so plan on making an appointment two weeks in advance. $108 (normally $120). Mention TONY to receive this discount through April 14. 89A E Houston St between Bowery and Elizabeth St (646-827-2428, georgiany.com)
Hair Tinseling at Cocoro Salon
California girls like Whitney Port and Ke$ha have been sporting sparkly tinsel strands sporadically woven throughout their manes for a fun, party-girl alternative to highlights. Though the glittery accents have largely been a West Coast phenomenon, Cocoro is one of the few salons in town up for the job. Choose from more than 20 shades of shimmering colored filaments (gold, silver, purple, blue, orange) that will be trimmed to match your hair's length (the longest is 36 inches and you can have them chopped short to create spunky bangs). A stylist ties each strand to the top of your tresses, and while they're guaranteed to withstand rigorous shampooings and daily attacks from your hot tools, you can easily take them out on your own with a simple tug whenever you need to desparkle. Each filament takes about two minutes to apply, and you'll need eight to ten pieces to jazz up a full head. $3--$5 per filament. 122 Ludlow St between Delancey and Rivington Sts (212-228-8388, thecocorosalon.com)
Lacing at Gerard Bollei
If dyeing your hair seems like doing a cannonball into unfamiliar territory, consider lacing to be more of a dip into the shallow end. Instead of all-over color, a stylist weaves razor-thin highlights in different shades of your overall desired hue throughout your locks to great dimensional effect. Once you're in the hands of celebrity colorist Tom Frasca, he'll size up your bone structure to determine the best placement for color, so that it highlights your eyes and cheeks (what he calls your "most expressive features"). Using a nonmetallic knife for precision, Frasca weaves a nuanced lattice of color using six percent peroxide, a mild lightener that lifts hair's natural pigment to make it one or two tones lighter than your God-given shade. He'll also work in a complementary hue onto adjacent strands for added depth. The result, which lasts two to four months, is natural-looking hair with more depth and contrast than virgin strands. The good news for color virgins is that he'll steer clear of your hairline, so if you decide that faux isn't your look, you don't have to be a repeat offender. $158 (normally $175). Mention TONY to receive this discount through June 30. 115 E 57th St between Park and Lexington Aves, third floor (212-759-7985, gerardbollei.com)
Shusu Sleek at Michael Angelo's Wonderland Beauty Parlor
Launched at celebrity hairstylist Michael Angelo's playfully decorated salon in September, this paraben-free conditioning treatment smooths and softens your hair sans chemicals, providing frizz-fighters a safe, all-natural alternative to controversial keratin treatments. Using products from Japanese brand Shu Uemura's new Shusu Sleek hair-care line, a technician will cleanse your scalp with an oil massage (choose between warming jasmine or cooling eucalyptus) before spicy, floral-smelling black cumin oil is worked into wet hair using shiatsu techniques. You'll notice a softer you in the Venetian mirror as you get blown out in a clear Philippe Starck chair. Not only will the smoothness last for up to ten shampoos, but the treatment also resurfaces the hair fiber, leaving you with tresses that actually respond to styling attempts. $68 (normally $75). Mention TONY to receive this discount through April 30. 418 W 13th St between Ninth Ave and Washington St (212-524-2800, wonderlandbeautyparlor.com)


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Left wing Latin Americans have long bemoaned the presence and might of the United States which repeatedly has intervened in the affairs of their region. Ousted Honduran president, Manuel Zelaya, who has formed close ties with anti-American intervention leader, Hugo Chavez, is callign for America to intervene and help restore him to power. Zelaya welcomes kind words from President Obama, but he wants action such as cutting off money to those who overthrew him and imposing economic sanctions. Obama's failure to act, he claims, will risk "his prestige in Latin America."
Zelaya decided to move closer to the ideas of Hugo Chavez which are based on controlling the media, trying to control education and the lives of college students, corruption and nepotism, and other such wonderful "left wing ideas." If Zelaya obtained power he most probably would impose a Chavez approach to governing and make as his main point denouncing any attempt by the US to intervene in his nation's affairs.
Sorry, Manuel, you can't have it both ways– although you want it both ways!

subset: commoncrawl


text:
4th Grade: Serve Up Good Nutrition: Serving sizes of foods you should eat.
Food Serving Sizes & Everyday Objects (word document)
Serving Size Website
3rd: My Pyramid Blast Off Game: This is found on the Blogroll under My Pyramid
2nd: Combination Foods: We will use paper food models to categorize foods into groups, and discuss combo foods.
1st: Food Groups: We will follow the 2nd grade lesson, minus the combo food part of the lesson.
K- These students continue to learn new skills using Pixie, practice logging in and helping each other.
PE: Lacrosse: We will use milk jugs cut apart as a scoop and tennis balls to play games relating to Lacrosse. This is an easy to make piece of equipment at home. Go ahead and attach a stick at home, but we will let the children play at school holding onto the handle of the gallon milk jug.
5th Grade Health: Students will discuss bullying, make a comic about bullying, and discuss being a good listener.


text:
A deal in the works to transfer prime real estate to the Metroparks
(Cleveland) - A deal is tentatively done to transfer Whiskey Island and other park land owned by Cuyahoga County to the Cleveland Metroparks system.
Cuyahoga County Council must approve the measure. cuyahoga county executive Ed Fitzgerald says the county essentially inherited Whiskey Island and that it and other county-owned land on the waterfront would be better-run by the Metroparks.
Fitzgerald says the county is not a park service. He says the land the county currently operates would be made better accessible to teh public including families if run by the Cleveland Metroparks.
Get breaking news sent to your mobile phone. Text "news" to 21095.
(Copyright 2014 Clear Channel, all rights reserved.)


text:
As I've told everyone: No. It will be all over my Facebook/Twitter/News feed AS SOON AS we have news. You won't be… twitter.com/i/web/status/87758…
June 21, 2017 5:42 pm
QUICK READ: Ambiguous words from Activision CEO on the current state of Skylanders - skylanderscharacterlist.com/am… pic.twitter.com/VNCXOqdTZ9
June 12, 2017 10:44 pm
Tidepool and Blaster-Tron have now been spotted at Target, Walmart, GameStop, and TRU.
No Best Buy sightings thou… twitter.com/i/web/status/87371…
June 11, 2017 1:37 am
If you've counted on Amazon for your Skylanders and you're a Prime member, this is worth noting... twitter.com/jasoninquires/stat…
June 1, 2017 8:29 pm
Support @ToysForGames
#LifetimeSupporter #thrillipedetracker pic.twitter.com/D08BheMDah
May 31, 2017 6:26 pm
#thrillipedetracker twitter.com/lilsweetie785/stat…
May 26, 2017 6:10 pm
Target exclusivity is done.
Wave 5 Single Packs appearing at Walmart.
6 Tidepool
4 Blaster-Tron
2 Pain-Yatta
per… twitter.com/i/web/status/86714…
May 23, 2017 10:33 pm
More confirmation of the German release.
Have you found Lost Imaginite Mines in your country? Let me know where. twitter.com/TheRobertM/status/…
May 23, 2017 6:24 pm
More Hot Head Figures:
Sparkle Hot Head


text:
Welcome to the Long Beach Dental Group
Long Beach Dental Group is dedicated to providing the most up to date general, orthodontic and family dentistry.
Our Clinic has grown to provide a world class facility for the treatment of tooth loss, dental cosmetics and advanced restorative dentistry.
We are among the most qualified implant providers in the USA with over 35 years of quality training and experience.
Our Advantages
Our Happy Clients
The doctors and nurses and aides were excellent. The food was excellent. I am feeling fine, back to my old self again and it feels great. Thank God for clinics such as yours.
I appreciate all your kindness and good care you gave me. My maintenance treatments have done wonder for me. Thank you so much. Please enjoy the chocolates.
Great co workers, really good environment and excellent patient care. They are continuously innovating themselves which is why they remain a premier dental clinic.
I just wanted to thank you again for saving my life. If it hadn't been for you and the ECT, I truly don't think that I would have made it out of my depression.


text:
soldier tossing puppy off cliff *update*
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March 8th, 2008, 03:12 PM
Out for the Summer!
Join Date: 11-16-07
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Mudd Jumper, I am in the same boat as 72_K20 in saying that it was stupid to video tape it. I don't care what you're going through. It could be true that they just sent it to one person and It spread. I don't get why you would send it at all. Were they showing off to thier parents? Thier Friends? What would be the point to sending something like that to some one you know? If I got an E-mail from one of my friends like that I'd seriously consider what kind of relationship I'd keep with them.
one of these days i'll sit down and tell you about some of the fucked up shit we did while we where over here..just to entertain ourselves. ..imagine this ....nothing like going on a shitty mission...
seeing something sick that grinds against your very moral fiber..then returning to base and having nothing to do but think about it until the next time you go back to work
..they say combat is 90% boredom 5% busy work and 5% actual bullets flying for you average soldier.
somewhere somehow you have to deal with it and get on with life
..otherwise you bring it home and then everyone at home suffers..(remember the 7 or 8 wives who died at Fort bragg early in the war on terror, after their husbands returned home from combat in Afghanistan?)..
I'm not Discrediting what you've done or what you're saying. I'm just curious why you would video tape something you're trying to deal with? ya Know? They might have had to kill a Puppie or something to keep thier postion (which I udnerstand) and then had to throw a puppie off a Cliff to deal with that. (
) But wouldn't video taping it just make is harder to forget because of the fact you can watch that tape anytime and bring back those memories of what you were going through that made you do that?
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text: In the Universal Sports coverage yesterday, it was mentioned that Tomas Verner was now doing full run throughs in his practice sessions, rather than skating sections of his programs. I was curious about the advantages and disadvantages of each system. Do skaters who practice sections progress until they do full run throughs days before the competition? Do skaters who practice full run throughs start with sections? If you skate sections, do you repeat one section several times before going to the next? Just curious.


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Multnomah University prepares students for meaningful careers that serve Jesus whether they're called to traditional ministry or the marketplace.
Stay connected to our community and help the next generation of Christian leaders become agents of positive change, whether they're serving across the street or across an ocean.
Our admissions counselors attend several college fairs and events throughout the year. Please refer to the schedule below to see when we will be in your area. For more detailed information on these events please contact us at 877.251.6560.
Admissions representatives Erin Kascel and Jennifer Hancock will attend Northwest Ministry Conference to represent Multnomah University. www.ministryconference.org


text:
Politician's murder sparks wave of Karachi killings
Gunmen killed at least 45 people in Pakistan's largest city after the assassination of a local politician set off a cycle of revenge attacks.
Dozens of vehicles and shops were set on fire as security forces struggled to regain control of Karachi.
Schools were closed and most business ground to a halt today in the southern city of more than 16 million, Pakistan's main comm-ercial hub.
Officials did not say who was to blame for the violence.
Karachi has a history of political, ethnic and religious violence and has long been a hideout for al Qaida and the Taliban.
The latest violence came after Raza Haider, a provincial politician, was shot dead along with his bodyguard in a mosque while preparing to offer prayers yesterday in the Nazimabad area.
Mr Haider was a member of the Muttahida Qaumi Movement, the political party that runs the city and represents mainly descendants of Urdu-speaking migrants from India who settled in Pakistan when it was created in 1947.
The MQM's main rival is the Awami National Party, a secular nationalist party whose main power centre is Pakistan's north-west and whose base is the ethnic Pashtun community living in Karachi.
Within hours of Mr Haider's assassination, gangs torched buildings in Karachi and gunfire erupted in several parts of the city. Many of the dead were killed in targeted attacks, authorities said. An investigation had been ordered into who was behind them.
Independent analysts say followers of all political parties in Karachi are heavily involved in criminal activities such as protection rackets and illegal land dealings. In some districts armed men linked to political parties stand guard at checkpoints.
See our Comments Policy Comments are submitted under the express understanding and condition that the editor may, and is authorised to, disclose any/all of the above personal information to any person or entity requesting the information for the purposes of legal action on grounds that such person or entity is aggrieved by any comment so submitted. Please allow some time for your comment to be moderated.


text: These little birds can be found all over campus hopping around on the ground looking for food. This one, like the others of its kind, has a black head, a brown body, and a white breast. They are all very small and no larger than about 4 to 5 inches tall. I have seen their nests on the UW Seattle campus on the Burke-Gilman trail and they build them on the ground.


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#242 - May 22, 2013
Submitted by tkmartin on Fri, 05/24/2013 - 12:36
Issue Index:
Cornell University's grape pathologist Wayne Wilcox has posted his 2013 annual disease management update. Dr. Wilcox leads Cornell's grape pathology program, with responsibilities for research, extension, and undergraduate instruction on topics pertaining to disease biology and management .
This year's 44 page document is a comprehensive but informally written guide to grape fungicides, major grape diseases, their biology and both chemical and non-chemical management, and putting a disease management program together. It also provides a quick summary of key results grape pathology research at Cornell over the past 10 years.
It is worth the READ. Check it out here: http://www.fruit.cornell.edu/grape/pdfs/Wilcox-Grape%20Disease%20Control%202013.pdf
25 Selected Weed ID Resources
What is that WEED? A very common question this time of year. Here are some good information sources for weed identification that you can use in your in your vineyard, turf, garden or field.
1. ISU Weed Identification Field Guide, 8-20-10 – 56 broadleaf weeds, 19 grass and grass like weeds, 250 high quality color photographs, 24 illustrations, 104 p. - $15. (Free electronic version)
2. Weeds of the Midwestern United States & Central Canada, 7-1-10 – Univ. of Georgia Press, 440p., 1423 color photos, 363 maps, Approx. $25 on Amazon.com.
3. Weeds of the Great Plains, University of Nebraska and Nebraska Department of Agriculture, excellent narratives of 400+ plants, line drawings of 266 weeds, large color photographs, $25.
4. Weeds of the Northeast, 1997 Cornell University Press – 408 p. 746 color photos, 118 drawing, 17 tables, paperback, $29.95.
5. Weeds of the West, 2006 – 9th printing, published by the Western Society of Weed Science, 900 color photos, 650 p. 350+ weed species, $34.
6. Interactive Encyclopedia of North American Weeds, 690 weeds & 4,300+ photographs. North Central Weed Society, $55.
7. 1,000 Broadleaf Weeds of the North Central States, Android App. XID Services $9.95:
8. BASF Weed ID Guide I-Phone App, 140 weeds & 1,000+ pictures. FREE
9. University of Missouri Weed ID App for i-phone, i-pad and Android devices. FREE
11. Common Weed Seedlings of the North Central States, Michigan State University
15. New Jersey Weed Gallery, Rutgers University
17. Weed Identification & Management, University of Wisconsin- Madison
18. Weeds of the North Central States, University of Illinois Urbana-Champaign
19. Annual Grass & Perennial Weed ID, University of Minnesota
20. Grass & Broadleaf Weed Seedling ID Key, University of Minnesota
21. Weeds of Kansas, 163 p. ppt converted to PDF – Kanas State University
23. Northeastern Weed Science Society, extensive list of weed ID resources
24. Weed Identification, Purdue University
FREE Midwest Wide CLASSIFIEDS for vineyards and wineries at Midwest Wine Press here:
6-1 – Swine Fest – DMACC, Ankeny, IA
The 7th annual Swine Fest will be held from 4-8 p.m. on Saturday, June 1st . Early purchase tickets are $35 and $40 for tickets purchased the day of the event.
Two of Iowa's best tastes come together in a casual, yet refined event designed to benefit the viticulture and enology program at Des Moines Area Community College.
This year's event will feature central Iowa's finest chefs and wines from 15 Iowa wineries. Chefs will prepare samples of gourmet pork offerings while wineries will pour samples and offer wine for sale.
Full Details: http://swinefestival.com/
6-(1-8), Wine Fest Des Moines – Iowa's Biggest
Wine Fest Des Moines, a full week of wine tasting and education.
Wine Fest Details: http://www.winefestdesmoines.com/
Iowa wine, beer, cuisine and music will be featured from 2-5pm on Sunday, June 2nd at the Ramsey Subaru Lawn Party which is a part of Wine Fest.
Lawn Party Details: http://www.winefestdesmoines.com/events/iowa-lawn-party.aspx
Plonk – term often used to describe a low quality wine.
2013 Intl. Cold Climate Wine Competition
Open to: Commercial wineries only, 31 different categories
Cost: $40 per entry
Online Registration: Starts Friday, May 17, and closes at 11:00 p.m. CST on Thursday, August 1. Pre-registered entries must arrive by 4:30 p.m. on Monday, August 5.
Competition to be held August 16, 2013
Sponsored by: University of Minnesota & the Minnesota Grape Growers Association (MGGA)
Full Details: http://mngrapegrowers.com/competition
6-4, MO Grape Growers Association Annual Meeting & Field Day
When: 9 a.m to 3:30 p.m. Tuesday, 6-4-12, 8-9 a.m. Registration
Where: at the Rosati Winery Museum 22050 State Route K, St. James, MO
Cost: $15 each for MGGA members, $20 each for non-members
Schedule: http://gallery.mailchimp.com/402e659dc82510d0c647a1c21/files/ViticultureFieldDayFlyer2013.1.pdf
Registration: http://gallery.mailchimp.com/402e659dc82510d0c647a1c21/files/ViticultureFieldRegistration.2.pdf
The next Society of Wine Educators, Certified Specialist of Wine (CSW) exam held on the ISU campus in Ames, Iowa will be from 2-3 p.m. Monday, June 3rd, 2013. (12 days)Complete information here: http://www.societyofwineeducators.orgQuestions: Contact Michael L. White firstname.lastname@example.com or 515-681-7286
Midwest Grape and Wine Industry Institute, Iowa State University
An Introduction to Wine Microorganisms: The Good, the Bad, and the Ugly
When: June 11th, 2013 8 am - 4 pm
Workshop Description: Kenneth Fugelsang, retired professor of Enology from California State University-Fresno, will present several aspects of wine microbiology. Participants will gain hands on experience using microscopic examination and other classical techniques to identify common wine and spoilage microorganisms. They will also have the opportunity to evaluate the effects of spoilage organisms on finished wines.
Topics covered include:
Microscope use and care
Difference between wine microorganisms and spoilage microorganisms
Techniques used in the detection of microorganisms
Importance of sanitation
Flavor defects from yeast and bacteria
Microbial control
Tasting wine flaws and faults from spoilage microorganisms
Cost: $95 per person for Iowa registrants
$115 per person for out-of-state registrants (Lunch is included)
Location: 2379 Food Science Building, Iowa State University, Ames, IA 50011
Registration: Online @ http://goo.gl/Dgdml . Space is limited to 24 participants, must
be 21 or older.
Questions: Regarding workshop content - Stephanie Groves, firstname.lastname@example.com at 515-294-1555
General information: Tammi Martin, email@example.com or 515-294-3308
Event Flyer posted here: http://www.extension.iastate.edu/wine/upcomingevents
IL State Fair Amateur Wine Competition Open to Midwestern States
Entry Deadline: 6-11-13
Judging: 6-(17-19)-13 at Lincoln Land Community College – Springfield, MO
Cost: $15 per entry.
Open to: all Midwestern amateur wine makers.
Details here: http://www.illinoiswine.com/competitions.html
7-1 Deadline – Iowa State Fair Commercial & Amateur Wine Competition
Details here: http://www.iowastatefair.org/competition/categories/
6-(9-14), 1st International Elderberry Symposium - MO
When: 6-(9-12), Sun. – Wed. Scientific Presentations
6-(13-14) Thurs.-Fri. Producer Program
Where: Scientific presentations will be head at Stoney Creek Inn, 2601 S. Providence Rd., Columbia, MO 65203 ph: 573-442-6400
Producer Program will be held at Eridu Farms, 19010 S. Mackie Lane, Hartsburg, MO 65039 ph: 573-657-1177
Registration & Cost: http://muconf.missouri.edu/ElderberrySymposium/Registration.html
Full Details: http://muconf.missouri.edu/elderberrysymposium/
Questions: Andrew Thomas, Email: email@example.com ; Phone: 417-466-0065
Need at ride?
I will be attending the Producer Forum. Leaving Indianola, IA on the afternoon of 6-12 and arriving back the evening of 6-14. Mike White: 515-681-7286
Steely: A term used to describe an extremely crisp, acidic wine that was not aged in barrels.
Marketing Tidbits
1. "In new guidelines, the federal government declared that sites like Facebook, Twitter and LinkedIn are essentially new forms of advertising. As a result, companies selling adult beverages on those sites are subject to advertising rules, according to regulators.…… Essentially, the mandatory statements amount to listing the name and address of the advertiser"
From: Feds put new rules on wineries' use of social media, 5-16-13 – the Press Democrat:
2. "However, Mintel research shows there is consumer scepticism towards too much flavour innovation in wine. Around 60% of people surveyed said they would not drink a wine with an "unusual flavour", such as chocolate, although younger consumers appeared more amenable to the idea."
From: Wine producers need to rethink bottle sizes, 5-21-13 – Harpers UK
3. Is this the Beginning of Juice Box Wine, 5-21-13 – The Wine Economist: http://wineeconomist.com/2013/05/21/juice-box-wine/
International Women's Winemaker's Wine CompetitionSonoma County, CAEntry Deadline: 6-20-13Judging: 7-(9-10)-13Cost: $75 n paper, $65 OnlineSponsored by: Vineyard & Winery Management Magazine
Notable Quotables
"Enjoying fine food and wine at the family table surrounded by your loved ones and friends, is not just a joy, it is one of the highest forms of the art of living."
~Robert Mondavi
Neeto-Keeno WWW Stuff
1. Check out Brad Johnson's new " I Support Local Wine" facebook page here:
2. "The World in Wine" Infographic:
3. Weekly Map: State Wine Excise Tax Rates, 2013:
Show n Tell
(Left) Early season Anthracnose (Elsinoe ampelina) lesions on leaves of Marechal Foch. Our recent cool & wet weather has favored this disease in Iowa.
Dormant applications of liquid lime sulfur or Sulforix just prior to bud break will keep this disease in check. 5-19-13 Indianola
(Right) Aronia Berries are now in full bloom in Central, Iowa. 5-19-13 Indianola.
Videos of Interest
1. Iowa Wine cartoon by Brian Duffy, 4-1-13, 27 sec.:
Articles of Interest
1. The Impact of Proposed Lower Blood Alcohol Content Levels on Wine Lovers, 5-15-13 – Fermentation Wine Blog:
2. Researchers Don't 'Wine' About The Cold, Their Grapes Thrive, 5-16-13 – NPR (article and radio interview about the "Northern Grapes Project":
3. Senate Agriculture Committee Indicates Support of Specialty Crops with Farm Bill, 5-16-13 – Wine America:
4. AU: Can native plants fight vineyard pests?, 5-17-13 – ABC News Australia:
5. MO: Climate Change Prompts Renewed Interest In Native Missouri Grapes, 5-17-13 – KRCU Radio- Southeast Missouri State University (article and radio interview):
6. MO: How screwed up is three-tier? Plenty, as Missouri can attest, 5-20-13 – The Wine Curmudgeon:
7. France: Wine Drinkers Face Little Danger from Pesticides, but Winegrowers Do, 5-20-13- Wine Spectator:
8. MN: Minn. Legislature Allows Beer, Wine Sales In Capitol, 5-20-13 – CBS Minnesota:
9. 8 keys to a better wine grape grower contract, 5-21-13 – Western Farm Press:
10. WI: New winery approved by Troy township board, 5-21-13 – Pierce County Herald:
Calendar of Events
6-1, Swine Festival on the DMACC campus, Ankeny, IA http://swinefestival.com/
6-4, Missouri Grape Growers Association viticulture field day. Details later here: http://www.missourigrapegrowers.org/
6-(1-8), Des Moines Wine Fest: http://www.winefestdesmoines.com/
6-(9-14), First International Elderberry Symposium at Columbia, MO. Details here: http://muconf.missouri.edu/elderberrysymposium/
6-11, Wine Microbiology Workshop, ISU Midwest Grape & Wine Industry Institute – Ames, IA Kenneth C. Fugelsang, Professor Emeritus – California State University, Fresno. http://www.extension.iastate.edu/wine/upcomingevents
6-(24-28), 64th American Society of Enology & Viticulture (ASEV) National Conference, Portola Hotel & Monterey Conference Center – Monterey, CA: http://asev.org/national-conference-2013/
7-(1-8), Deadline for Iowa State Fair Amateur / Commercial Wine competition. 7-1 deadline is $5 / $25 and 7-(2-8) deadline is $10/$50 per entry. Two bottles per entry. In-state only. http://www.iowastatefair.org/competition/categories/
7-13, ISU Extension Northern Grape Project Vineyard Field Day – Adel & Madrid, Iowa. Details later.
7-28, Minnesota Grape Growers Association Annual Picnic – Four Daughters Vineyard & Winery at Spring Valley, MN. http://mngrapegrowers.com/
7-31 to 8-2, 37th Society of Wine Educators Annual Conference, Renaissance Hotel at Sea World in Orlando, FL: http://www.societyofwineeducators.org/conference
8-12, 2 -7:30 p.m. Fruit and Vegetable Field Day, Horticulture Research Station - Ames. Sponsored in part by PFI and IFVGA. Details later here: http://www.hort.iastate.edu/
8-16, 5th Annual International Cold Climate Wine Competition. Details here: http://mngrapegrowers.com/competition
8-(8-18), Iowa State Fair Wine Experience Exhibit. Volunteer announcement will be sent out in July. http://www.iowastatefair.org/
1-(23 & 24)-14, Iowa Fruit & Vegetable Growers Assn. annual conference – Ankeny, IA. Details later here: http://www.ifvga.org/
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Too Big to Succeed?
Research on nonfinancial companies finds that larger companies typically grow more slowly and earn lower returns on capital. April 29, 2011
Midsize Companies See Growth Ahead
Executives at midsize companies expect more growth and hiring in 2011, according to a new survey by Deloitte. April 26, 2011
Working on Waste
The compliance load builds up for manufacturers as states continue to issue and rework laws governing how to deal with leftover electronics. April 22, 2011
More Banks Saying Yes
A new survey shows smaller businesses are growing more likely to pursue and receive bank loans. April 22, 2011
New Capital for Small Business?
A successful securitization of small business loans may be a good sign for the asset-backed securities market. April 18, 2011
For Start-ups, Another Source of Cash
Royalty-based financing gives start-up companies a nondilutive, albeit expensive, source of funds. April 12, 2011
Senate Passes 1099 Repeal
A bill repealing the unpopular 1099 requirement of the health-care reform law now goes to President Obama for his expected signature. April 5, 2011
A Small Problem
Local banks are being gobbled up at a fast clip, but there's still time to grab credit. April 1, 2011
Missing: Public Companies
Why is the number of publicly traded companies in the U.S. declining? March 22, 2011
Good Advice: Start an Advisory Board
For growing companies that want outside perspectives and expertise, an advisory board may be just the thing. March 8, 2011
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The hops seem to be the most powerful, and hold the bryony in the background.
Without the bryony this preparation is known as Aqua hysterica.
It is often observed that the tendrils of this bryony coil both ways, with and against the sun.
bryony, brī′o-ni, n. a wild climbing plant, common in English hedgerows.
Like the Purpura and the Pterocera, the bryony and other shells and plants.
On the bushes in the hedge hang the vines of the bryony, bearing thick masses of red berries.
The two kinds of wild bryony are also herbaceous climbers of rapid growth, and among the most beautiful of our hedge plants.
No wonder they believe in the efficacy of a similar attenuation of bryony or pulsatilla.
Both have vine-like leaves; but the hops are wrinkled, those of the bryony hairy or rough to the touch.
This explains the pre-eminently conchological aspect of the magical properties of the mandrake and the bryony.


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(27 November 2006) With social responsibility weighing in the balance of booming profit margins, growth curves and the general run of the mill corporate focus it is always a moving moment when the wheel turns and a revived focus returns to charity. As another year comes to a close, South African's want to look back on the good that has been accomplished.
Last night saw the final fighting of Mnet's most popular reality show Survivor South Africa with many of the infamous items from the show currently up for auction on bidorbuy.co.za. "Since the finale, we have seen a remarkable increase in bids on some of these items" says Gillian Meier, Business Manager of bidorbuy.co.za. All proceeds from the auctions will be donated to the Chris Hani Baragwanath Hospital and with current bids weighing in at R 2010 for Mzi's Fishing rods, R 1660 for Brigitte's Aguila Buff and several other impressive amounts placed to win these items, the final values raised should make for a generous and worthy donation. As commented by Carl Fischer, Head of M-net Original Productions "it will be an interesting after thought to see changes in the demand for certain Survivor memorabilia, now that Vanessa has been announced the first winner of Survivor South Africa".
Other items recently auctioned include the flint which Nico stole from the Aquila tribe the night he was evicted, which has subsequently been auctioned off at the value of R530. Other items for auction include various tribe members' buffs, luxury items and tribe tools.
Another celebrity auction that is currently underway on bidorbuy.co.za, is the GLAMOUR Magazine, Lebo Mathosa Education Project. This celebrity auction is made up of various celebrity fashion items that include Lebo Mathosa's favorite cocktail dress, Claudia Henkel's beaded Necklace, Terry Pheto's Sandals that she wore to the Oscars and various other irresistible celebrity fashion items. The proceeds from these auctions will be donated to the Lebo Mathosa Education Project, a fund established by the Topsy foundation in honor and tribute to the music icon we sadly lost this year. The Lebo Mathosa Education Project is aimed at generating funds for the Topsy Foundation to educate South Africa's youth about HIV/Aids.
The most successful charity auctions recently closed on bidorbuy.co.za was the Egoli charity portrait auction inspired by Mnet. The Egoli charity auction comprised of five exquisite portraits of Egoli cast members. Having been written into the October script, these auctions proved to be most popular amongst the shows loyal fans and the highest winning bid was placed on a portrait of Chanelle De Jager (Des) of which the winning bid value amounted to R 10,200. Proceeds from this auction will be donated to the Eastleigh Breast Care Fund.
Not only have these charity auctions comprised of celeb participation which are always bound to get noticed but we have also seen regular members of the community come together to benefit a cause in need. Bidorbuy have recently hosted a national quilting auction arranged by South Africa's leading needlework and craft magazine, Threads & Crafts, in aid of the Breast Health Foundation where some of the countries most talented quilters have come together. Various quilts were created, each uniquely expressing commitment and support for breast cancer awareness. The highest winning auction price was R1,700 for the superb quilt creation titled "Stillewe van 'n vonkel vrou".
bidorbuy has formed an integral part of several charity auctions benefiting many a worthy cause. "Having facilitated these auctions and assisted in generating exposure and reach, the charity auctions have succeeded beyond our expectations. In aid of our commitment to these causes, bidorbuy has wavered the success fees for these charity auctions that we would ordinarily receive from a successful online auction." says Gillian Meier, Business Manager of bidorbuy.co.za.
bidorbuy has the will and found the way and certainly have something beyond financial gains to reflect on during this season of giving.


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Tony Kushner On His New Play, Unions, Forgiveness and Mark Ruffalo
Tony Kushner won a Tony and a Pulitzer for "Angels in America: A Gay Fantasia on National Themes"--a seven-hour epic play about the AIDS epidemic in Reagan-era New York, which was later made into a drama for HBO.
WNYC's Andrea Bernstein saw the play when it opened on Broadway in 1993, and sat down with Kushner not long after that.
Kushner's new play, starting previews later this month at the Public Theater, is called "The Intelligent Homosexual's Guide to Capitalism and Socialism With a Key to the Scriptures." It's a family drama about a union leader, Gus Marcantonio, and his grown children, two of whom are lesbian or gay. The play mulls a central issue of our times: whether workers have a right to unionize and whether that's good for society.
Kushner and Bernstein have had a series of conversations over the years about art and politics. They recently sat down in an Upper West Side café to talk about "Angels in America," Kushner's new play, dubbed "iHo," writing the screenplay for Stephen Spielberg's Munich and why the sex in The Kids are Alright between Julianne Moore and Mark Ruffalo is hotter than the lesbian sex in that move--and what that has to do with his new play.
Angels In America continues its run at the Signature Theatre through the end of April.
Andrea Bernstein: Your new play is the…
Tony Kushner: "Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures."
AB: Thank you.
TK: God, when was it, about 1997, my grandmother--my father's mother--died in Louisiana where I'm from, and I went down to Louisiana to help my father sort of pack up. Her husband--my grandfather--had been dead since 1984 and she died in 1997 and we went down to sort of pack up the house.
They were wonderfully educated people and they had the kind of library that you'd expect very educated Jewish people of their generation to have. They had the Encyclopedia Britannica 11th Edition and they had the plays of Ibsen and the novels of Mark Twain, Dickens and they had a lot of Shaw. And one of the things I found that I'd never even heard of it was this book that Shaw wrote called "The Intelligent Women's Guide to Socialism and Capitalism," which I thought was just a wonderful title.
And I sort of decided, I took the book, and I decided on the spot I was going to use this title somewhere. You know the subtitle to "Angels in America," is "A Gay Fantasia on National Themes," which is borrowed from or stolen from "Heartbreak House, a Fantasia on Russian Themes," I think is the subtitle. So I think something about "The Intelligent Women's Guide" just really excited me.
I read the book and I knew that I wanted, I wrote an essay with that title, and I wrote a weird sort of id fragment thing with that title and then, you know, when I was working on this play for the Guthrie I decided I would call it that. But I changed "Women" to "Homosexual." And then for some reason, the key to the scriptures came in, which is from Christian Science, from Mary Baker Eddy, "A Guide to Science and Health with a Key to the Scriptures," a kind of foundational text of Christian Science, which I had never read and knew absolutely nothing about. But I knew I wanted to have it in the title. It's now emerged as a good thing in the title.
AB: But you know the word homosexual--in "Angels in America" when the word, when the line was uttered: Are you a homosexual? It was a gasp moment in 1993--it was almost like using the "N word," it was kind of bad. But now, I mean, you know, nobody really says it. I'm wondering why in 2011 we're seeing that word in a title.
TK: Well, I've never thought of it as the "N word," I mean, the gay equivalent of that would be, you know, faggot or queer. But we, the L.G.B.T. community, during the Act Up days, the Queer Nation people appropriated that epitaph and turned it into a label that we were sort of for the most part proud to own. And there are still young people I meet who were not really born yet who call themselves queer: "We're here, we're queer, get used to it" as we used to say. "Homosexual" is not so much an epithet as a clinical term.
I hear my father's voice when I use the word. I mean, he's really great on gay issues now and very accepting, but when he was struggling to come to terms with it he'd say, you know, "since you are a ho-mo-sex-ual." And it was like every syllable contained worlds of "I can't believe I'm having to say this." In The New York Times we used to be "avowed homosexuals." There's something sort of quaint about it in a way.
The two main characters who are LGBT members are a brother and a sister. The brother is a homosexual. "The Intelligent Gay Man's Guide" sounds like a self-help book. And while I don't necessarily agree that it's equivalent to the "N word," I don't think it shocks us in the way that it did when we were still mortified and embarrassed and nobody ever said "gay" or "homosexual" or anything in public.
When I was in Minneapolis and the play was opening there, the Guthrie Theater put the title on all these buses all over Minneapolis and they made the words "Homosexual" and "Socialism" really big. So these buses were zipping around and I called my husband Mark who was in New York and I said if I've accomplished nothing else at least I've made something that makes buses all over Minneapolis, Minnesota driving around and all you can read is "homosexual socialism."
AB: In the play there's this whole huge question of unionism and the labor movement as one of the big themes.
TK: Yeah, basically the play is about a retired longshoreman who is also a member of the Communist Party and has been, and whose family, the last name is Marcantonio. He's a cousin, a second cousin, of Vito Marcantonio the communist who was an actual historical figure, a six-term communist congressman from East Harlem. He was not actually a member of the Communist Party, but he was a radical, he said it on the floor of the House of Representatives, "I'm a radical." And he was a pretty remarkable figure.
This is a branch of the family connected to his, it's the branch of an Italian American family, they live in Brooklyn, have a brownstone in Brooklyn and they're very politically left and have been for generations. And the play is set in the summer of 2007. This retired longshoreman's name is Gus Marcantonio, brings his three adult children home because he intends to commit suicide and he tells them that he's going to do that and various things ensue. It's very much a play about unionism, it's a play about communism and Marxism and socialism. And it's about despair and death and it's about sex. It's a big play. I'm enjoying working on it and I've had an amazing cast.
AB: It has a shorthand "iHo?" Is that an iPhone app?
TK: There's stuff in the play about iPhones. So everybody gets tired of saying "The Guide," or "The Intelligent Homosexual," so we eventually found this short hand "iHo," which we thought was funny. For a little bit, I was even thinking of making that the title of the play but I decided to stick with my long title.
AB: So this question of unionism is so politically current. Maybe in 15 years we'll come back and talk about how it wasn't really of this particular moment, but it's such a huge discussion right now because of this question of pensions and what public sector workers are entitled to and it is exactly landing, when the discussions are in a frenzy in New York and other states about what should public sector workers get.
TK: I just watched a documentary from last year about education in this country. And there's a sort of "the problem is unions" mentality in it. There may be serious problems within unions, there almost always are, but the problem is not having unions. The problem with education in this country is not teachers' unions. The problem with outsourcing of jobs is not unionized labor. The decline of union membership across the board is maybe slowing down or reversing in some sectors is I think again a great tragedy.
And 15 years from now, I hope we'll be saying the play turns out to have staying power. But the issue of whether workers should unionize goes to the absolute heart of questions about the nature of human society and what it is, of what is the glue that holds human society together which in a certain sense [is] what Marx is asking. And in a certain sense, even though many trade unions are not Marxist, it's what trade unionism is asking--what's the relationship? This longshoreman was a member of the strikes in the '70s about containerization and the Brooklyn waterfront.
Or to use a more recent example, one of the things that galvanized me to write the play was the stagehand strike on Broadway when [International Alliance of Theatrical Stage Employees] Local 1 went out on strike and I was shocked to hear people who were playwrights and actors sounding--and you should pardon the expression but I think I can say it--uncharacteristically sounding like Reagan Republicans, like P.A.T.C.O. [Professional Air Traffic Controllers Organization] union-era union smashers.
AB: Okay, you're going to have to explain that for some people.
TK: What?
AB: What are you talking about? P.A.T.C.O.?
TK: Really? People don't remember P.A.T.C.O.?
AB: Oh, come on. Everything has a context. When I saw "Angels in America" with my daughter, I had to explain to her--when you got AIDS in those days, you were going to die. But then along the way she was nudging me, who's Ethel Rosenberg and who's Roy Cohen? P.A.T.C.O.--definitely. People are going to be seeing this play who weren't born when P.A.T.C.O. happened.
TK: Yeah, yeah, great. I think that part of the thrill of watching a play is that things fly by you and you either put a mental post-it on your head or you don't. Or, you try to remember it in the lobby at intermission. And my plays have two intermissions, so you have a lot of chance to do that. You try to figure out what you just heard and you buy the play and read it. But I don't think there's any play that I've seen that I really liked where I kind of got everything just as it was happening. And if it's asking people like your daughter to say 'Who is Ethel Rosenberg?,' great. We should never forget who Ethel Rosenberg or Roy Cohn is, we should never forget the P.A.T.C.O. strike was the air traffic controllers' strike and Reagan wouldn't negotiate with the air traffic controllers and broke the union. I do know that it was a signal to business, which is what it was intended to be, that all bets were off and that government was not going to be in the business anymore of protecting the rights of workers to unionize.
AB: Without going into easy shorthand about who's at fault, this anti-public sector union sentiment is definitely tapping into something deep with people who do not have unionized jobs and do not have benefits and are just struggling to get by. I spent a lot of time out in the swing counties before these elections. One of the things that kept coming up as a theme was people saying: "I have nothing. I have lost my job, I'm eking by or I'm partially employed. The taxes that I do pay are going for these other people to have this thing that I don't have." And I'm wondering how you speak to that?
TK: In so many ways. For one thing, you go right after the absolute lie that most of what anyone in this country pays in taxes go to pensions for federal workers or go to any kind of domestic spending of any kind of constructive sort whatsoever. They don't.
A lot of what your taxes pay for in terms of productive dollars go to things you don't really want to lose: federal highways, safety control, the E.P.A. (Environmental Protection Agency), things that you're really relying on even though you don't know you're relying on them, because they keep your world as habitable as it is and as livable as it is.
But you also say, "It's terrible that you have nothing." You should be angry. Really look at where the money's gone. Look at the fact that the discrepancy between the poorest in our country and the richest in our country is greater now than it has ever been in our country's history.
What it's tapping into deep is the sense that people are working very hard and they can't send their kids to college and they can't save up for their own retirement and they can't, they are not living lives that are dignified and safe and, you know, they have a right to be angry about that.
Union abuse of power--any human organization is susceptible to that. Any time that you have elections and people ascending into hierarchies of power you have to be careful, you have to watch out, you have to police these things, you have to have government oversight so that unions don't fall, don't become quasi-criminal organizations. There's obviously a history and a tendency of that. But again--that's never been the problem.
The central problem is, in a capitalist system, where people have to sell their labor on the market to make a wage, if you don't give people the right and make it not only a right but a protected activity, a privileged activity, to group together and to unionize, individuals on the market selling their labor are going to be at a hideous disadvantage and are going to work in jobs that are inadequately recompensed, dangerous and this will eventually result, as it has, in the immiseration of huge swaths of the population.
AB: I understand that the lesbian character falls in love with a man or has sex with a man or there's some kind of The Kids are All Right theme here?
TK: No. There's no The Kids are All Right theme, nobody falls in love with a man. There's a lesbian, I mean, I wrote the play in 2007/08 so I didn't take this idea from The Kids are All Right.
AB: No, I didn't think...
TK: There's a character, one of the main characters is a lesbian and she has an ex-husband and I don't want to give away too much also. But yeah, something like that happens. Believe me—it doesn't in any way resemble The Kids are All Right.
AB: Have you heard the swirls of discussion about The Kids are All Right?
TK: I like The Kids are All Right.
AB: I like The Kids are All Right, too.
TK: Wonderful film.
AB: But there has been a sort of undercurrent of disgruntlement from some quarters, you know, why do you have basically these lesbians who only have bad sex, and then the only good sex in the movie is between Julianne Moore and Mark Ruffalo. I just wondered if you had heard that?
TK: I don't know. I mean, my read of that was that, and this may be my middle-aged read, but Julianne Moore and Mark Ruffalo, I mean, first of all there is good sex. I mean, Annette Bening and Julianne Moore are doing their thing with the porn tapes and they're, you know, they're doing it. It's not as robustly depicted as the forbidden sex that she has with, the stupid, self-destructive, forbidden sex that she has with Mark Ruffalo which, you know, something being forbidden and stupid and self-destructive is frequently a real turn-on for most people, so there's a hotness to it.
On the other hand, I think there's no question, the filmmakers are very clear, that Annette Bening and Julianne Moore have a sexual relationship, and what matters to me is that while she has a couple of wild afternoons in bed with Mark Ruffalo, and who wouldn't want to have a wild afternoon in bed with Mark Ruffalo? Or Julianne Moore for that matter.
The thing that she has with Annette Bening, which is a marriage and a family, Julianne Moore who I feel is a, I mean, I think Julianne Moore's performance in that film is astonishing and you see her reaction when it's discovered is so devastated and so heartbroken and you see what really matters is this connection. A married couple that's been together for decades or however long these two have been together doesn't have sex the same way that you might have if you go out and cheat. That's why people cheat.
There's a great deal of dissatisfaction on the part of disenfranchised or dispossessed communities that have been chronically under-represented, as absolutely lesbians have been in film, that when a film appears, and it's a relief that here's a film, an important popular film, in which the big central love story is between two women. And that's a relief. And then that relief, I think, allows all of your feelings of frustration, you know, when you don't think there are ever going to be films about lesbians, you grumble to yourself but you sort of learn to pack it away, you can't even afford to feel frustrated because you can't even imagine that there's going to be a time in your lifetime when this is going to happen, when you see this on screen.
Then you see this on screen and I think that gives you hope and right along with the hope comes the "But why aren't they more like this or that," "Why aren't they more like the lesbians that I know? Or me?" and I think that's absolutely legitimate, but I think maybe it's also legitimate to stop and say "Okay, so this doesn't answer everything, but maybe it's a beginning."
AB: Does this ring a familiar cord? You were the guy whose big gay play had a gay man who left his lover with AIDS?
TK: And, you know, I don't really remember that much, I remember a couple of people, I won't name who, but activists who kind of grumped about it, but I--and it was scary to write it because nobody else had written, everybody else, the characters were mostly doing what most gay men did at the early years of the epidemic, which was to take care of the people who were sick. But I felt I was hearing a lot of anguish and stress and duress and unhappiness and a couple of times I heard about people walking out because men are not really culturally conditioned to be very good at caretaking, and I thought this was a paradox because this was the heart of the Reagan years when we were suddenly being told that selfishness was a virtue and being indifferent to the sufferings of others was a way of making, you know, you take care of yourself and that will take care of everybody else somehow magically.
And I felt this is an interesting paradox, what if I make a character who in a certain sense says "I want to try what everybody's talking about, which is being a selfish bastard and running with my fear away from the people I love instead of fighting my fears and staying with the people I love," and that's what Louis does. I thought that was interesting. I don't think I got a lot of flack from it. I got flack from other things, but it's also, you know, again, a play and a movie, you want to be socially responsible as an artist, but you're not making a campaign poster or a pamphlet. You're not writing an essay.
There's a way in which, if the play is good, if the film is good, it's going to do things that you may not always want it to do, and I think it may not always be a good idea, in fact it's frequently a very bad idea to say to yourself, "Oh, you can't do that, you'll get in trouble," "Oh, that's not good for the cause." I think it's a good thing to be able to say, "That's not good for the cause," or for things that you believe in that's going to injure people you don't want to see injured. But once you've marked that, I think you then also need to be able to say "But, maybe, as this unfolds, the idea will turn into something else and I'm not going to try to make it absolutely toe the line in every instance." That's not the same as being irresponsible or indifferent, but I think that it's, you know, plays, works of art, have their own deep internal logic that ultimately I think you have to have the faith will result in something useful for people who are struggling for justice and for progress and equality. And you have to believe that if you believe that is ultimately where the human race wants to go, and I do believe that.
AB: It was interesting to me when I went to see "Angels in America," I was so convinced that "Angels in America" was a play of its time and I, you know, I also obviously knew that it had many timeless themes. But what surprised me when I saw it in late 2010, early 2011, was that none of that punch was diminished. Why do you think that is?
TK: I've always felt that if you write as deeply as you're able about political questions, that those questions are as deep as any other questions. That everything else that is interesting to people and that are more usually what we think about when we think about timeless subjects--psychology or philosophy or theology--are all implicated in politics and involved in politics. So, if you think about what's going on in any given moment, you find I think all of life's greatest questions are presenting themselves and you probably won't be able to answer them in the moment, but what's going on in the world around you, in your immediate vicinity and elsewhere at any given moment, will sort of throw you back to those questions and force you to consider them and even give you new information that may allow you, if not to answer them, then to progress towards a deeper understanding of ways in which they might be answered or at least what the questions actually are.
Why do we still watch "A Doll's House"? I mean, women still have, I mean I was just reading this thing about women in shelters in Afghanistan, which was so horrifying, women all over the world still have it really rough, and in some places in the world they have it much rougher than Nora had it in "A Doll's House", but in America and most of the industrialized world, feminism has made significant advances and there's a very different set of questions and problems confronting women than were confronting women in late 19th-century Norway, and yet "A Doll's House" is as gripping and moving and important a play as it ever was, because liberation is, in a certain sense, specific, but also very much universal. It's political but it's also a personal issue, and you may watch "A Doll's House" thinking about women in Afghan shelters, or you may watch "A Doll's House" thinking about a way in which you haven't liberated yourself from some personal struggle. But because Ibsen did such an extraordinary job of tracing the steps toward Nora walking out that door, you watch the play in 2011 just as moved as I imagine people were in 1897, and people will be watching it in 3011, if there are any people left on the planet, because it speaks the truth, it gets at some very deep and complicated truth.
So, that's what you aspire to, and I mean, I hope that if "Angels" has survived, that's part of it. I'd also say that the depressing side is that some of it still feels current, because we're still stuck in the same horror that we were stuck in when I wrote the play in, you know, 1988 was when I started writing it. I mean it would be great to say since 1993 or '94, we've made so much progress toward addressing climate change, that we're fine and this, but, you know, we haven't.
AB: Except that this specific issue of that play, the ozone layer, in some ways that was addressed--
TK: Well, the ozone layer was addressed in that the hole didn't do what we were most afraid it was going to do, it kind of sealed up, we think. But what it was the first measure, one of the first really sort of shocking measurable signs of--has now been producing apocalyptic signs on an almost monthly, if not daily, basis that we're, the play was never about the hole in the ozone layer over Antarctica, it was about the collapse of this incredibly intricate system that we've interfered with.
Of the most upsetting moments now in the play for me is the angel's speech at the very end of the play when Prior is in heaven and she starts talking about, you know, "Don't go back to the planet because you have no idea how bad it's going to get." When she starts to talk about the life, you know, I mean the line that she has "Before life becomes merely impossibly for a long time before it'll become completely unbearable." I mean, I hope we're not headed toward that, but we're in very, very, very serious trouble.
The global pandemic of AIDS it's, if anything--the number of people who we know of who have AIDS now on the planet is, is, tenfold the number when I wrote the play. And, in a certain sense, the play is about a time when the epidemic was not being responded to by the Reagan administration, not being responded to by the country or by the planet, that homophobia was keeping its silence. We've been in a very dark and difficult place, our country and our world, since the play first appeared, and some of what it's expressing concern about is, you know, very much with us.
AB: I was sobbing at the end for that very reason, because even though as I just mentioned, the play felt so of the moment, the very final scene where they're at the Bethesda Fountain and the theme of that is: we've found our way out, sort of. We're oriented toward the light. And then I really started to feel very upset because I thought--we didn't know anything then! I mean those problems seem so grave, and now look.
When we sat down shortly after that was written and I said to you, "Are you optimistic?" And you said "Oh, you have to have hope." So, how do you feel now?
TK: Well, I feel the same way, I mean, I said, I think I may have said it first to you, that I think that hope is a moral obligation and I've been saying that for a long time now, I don't think that hope is just a feeling state. I think that hope is a choice that you make. It's not a choice to deny reality, but it's a choice to use your intelligence to examine the world in front of you and the obstacles to progress and to try to identify places from whence progress can reasonably be anticipated and to try to put your efforts into making those--I mean that, to me, is what hope is, it's an activity, it's an action in the world. Just as I think despair is, I think that both take effort.
And I remain optimistic, I think there is still work to do, I think there is still struggle to be undertaken. I mean, I find the epilogue of the play kind of moving because of the way that Michael Greif and the actors worked on it. They did something with it that I didn't know that you could do, which is to make it in a certain sense this sort of statement of fragility, rather than confidence. I mean, interestingly, I watched the play recently right after Don't Ask, Don't Tell was overturned. And, when Prior says in the epilogue "We'll be citizens," that's so much more plausible now than it was in 1992, I mean it was completely plausible then, but not in any way something that was imminent. And I don't think it's imminent yet like it's going to happen tomorrow, but I think that the, I think that there's been immense progress.
When I wrote the thing, it was very important to me, the epilogue, it was very important to me to show that Prior five years later was still alive. Because everything that I saw and every fiction that I read about the epidemic always ended with the character who has AIDS dying, and at the time it was very important for the P.W.A. community--the People With AIDS community--to show not only the toughness of the struggle, and its fatality, but that some people survived.
And I wanted to show--Roy Cohn died in the play--but I wanted to show Prior alive, and I remember the way that Steven Spinella did it, it had this incredible sense of life refusing to let go. And it still has that, but with, I think, Michael and the cast made the decision that you saw that he was alive, but you also see that he may not be alive for a lot longer, which I always thought was the case in 1990, not many people lived for more than three or four years from first diagnosis.
AB: So much of your writing and your art has been defined by someone you don't like as president. So I was dying to say, "Okay, Tony Kushner, what are you going to do now that Barack Obama is president?" But things went so quickly, from Obama won this landslide historic presidency to a pretty loud rebuke.
TK: There's always going to be a backlash, there's always going to be a mobilized right any time there's a progressive victory, there's no point in American history when that wasn't true. I think the dialectic insists in fact that whatever viewpoint is carrying the day, whatever ideology dominates, there's going to be resistance and opposition.
Meanwhile, Obama seems to me to be handling it splendidly, I mean the big news cycle said "Oh my God! The country's turned their back on him and he's over and he's done and blah blah blah" didn't happen. He knew exactly what he was doing.
For me, the, this is a very talented, very smart politician, I'm not saying he's perfect, I'm not saying he's God or Abraham Lincoln. But he's closer to Abraham Lincoln than anything we've had in a really long time, I think. And one of the ways he seems to me to resemble Lincoln is that he understands that it's absolutely essential to keep the conversation going to keep the wheels of government functioning. So, when he announced that he was going to make a concession on the Bush-era tax cuts, and the progressive community rose up in this unified scream of horror, that it was really now just completely over with him and he's just revealed himself to be nothing more, that he's no better than Bush. And then, you know, five minutes later he's the first person to really use a lame duck session to get serious change to happen in this country, including the repeal of Don't Ask, Don't Tell.
AB: One moment where I was really sobbing during "Angels in America" is where Louis says the Mourner's Kaddish over Roy Cohn. And I was like "Wow. You can really forgive anybody anything."
TK: I think struggling with forgiveness is an issue. I think that when Louis says the Kaddish over Roy Cohn which, I want to remind you, ends with both Ethel and Louis calling Roy a son of a bitch, there's a, you know, when I think about forgiveness I always go back to the Greeks, I always go back to the Eumenides--the end of the "House of Atreus" cycle when Orestes having murdered his mother is being chased by these fiendish furies all over the planet and not being allowed to rest and finally in the amenities and this thing that I find just tremendously moving, it's resolved by making a kind of deal with them. Apollo says to Orestes, "Build them a nice temple so they can feel honored and rest," and then says to the amenities, who are called the kindly ones but who are actually these snake-headed women with puss dripping out of their eyes who chase him around the attic lands not letting him rest. Apollo says to them, "If he builds you a nice temple, you'll leave him alone, right?" because what are we going to do? If there's no way, you know, you can't.
It's the truth and reconciliation commissions in South Africa or Chile. It's what eventually has to happen in Israel and Palestine. It's what's going to have to happen to some extent in a different way but certainly going to have to happen in Afghanistan and in Iraq. At some point you say, you can't get perfect justice in this world. You have to be willing to sort of say "Okay, I, you know, as long as we are now on the path toward a better world, I'm not going to try to go back into the past and try to get vengeance for the wrongs that were done to me or the people that I love who are no longer here." That will only lead to more suffering and more horror.
AB: Is that what you feel--do you feel that you accomplished that in Munich?
TK: Did I accomplish that?
AB: I mean, that was about that cycle, a cycle of vengeance, right?
TK: I don't know that I, I mean, I'm very proud of Munich and what I feel that Steven [Spielberg] and I feel we succeeded in doing it, which was a difficult thing, which was to talk about a horrendous act, a horrendous crime, and you know, not turn the perpetrators of the crime into cartoon figures, which is what I think upset people most--they wanted them to be cartoons, the guys, you know, again, the people that went into the Olympic Village and are seriously damaged, borderline demented people. Is there an origin to that?
You know, the people who murdered the Israeli athletes are dreadful, monstrous people. But they're people. So, is it useful to try to understand them and to try to understand what causes that kind of aberration in humans? Yes. Is it useful to try to understand the kind of aberration, what causes the kind of aberration that made those Chechnyans murder those children in that Russian school a few years ago? Absolutely. It's not that understanding implies forgiveness. Understanding implies an attempt to try to alter the circumstances.
AB: And yet, thinking about this issue of hope, the very final scene in Munich is there in a park in Williamsburg. Right? Looking on lower Manhattan. Queens? And there in the distance are the World Trade Center towers and people who I know who aren't New Yorkers don't even get that scene, it goes right by. But there is that whole discussion at the end--nothing to do with the World Trade Center, but there are the Twin Towers.
And it's just this moment of incredible foreboding, like more bad is to come. So pretty much kind of a--I don't know, I wouldn't call it cynicism--but there's certainly an anti-optimistic moment there.
TK: Well, it's a very painful moment because, of course, what's being discussed is a guy who's an Israeli, a very proud Israeli, and his decision to not return to Israel. Because, you know the play, the film, is also about the policy of targeted assassination that Israel undertook in reaction to the Munich murders, and the question which we felt and I still feel in the years immediately following 9/11 was an immensely important question: Do you believe in law? Do you believe in justice? Do you believe in international law?
Or do you believe that each nation has a relationship to other nations that is essentially an outlaw relationship? Do we simply, you know, is each nation a cave person with a club and whoever has the biggest club?
I don't believe that. Steven Spielberg doesn't believe that. Most people don't really believe it or wouldn't want to believe it if they thought long enough about what the implications of that are. The population of the planet has been struggling, maybe not spectacularly successfully, but we've certainly been struggling since the 18th century to develop a field of international relations and international law, that there are laws that exist on the planet that nations agree to and submit to. And you know does this mean that bad people go unpunished? Absolutely.
Sometimes bad people go unpunished. You know, nobody's really gone to prison for what happened, except for Madoff who absolutely should have gone to prison, but there are a lot of other people who should go to prison for the sub-prime mortgage crisis and so on and it's like--didn't happen. And ordinary petty criminals who get away with it. That happens. But the law is very important. And so, you know, what Steven and I are trying to say is, you know, do you have international law, can a country make a decision to send assassins into another country and shoot a foreign national on another country's soil and if you agree to that, then, what else are you agreeing to? What about torture?
What about rendition? And all these things that have become issues for us. And I think that the film tries to address that. And the ending doesn't feel cynical to me. It feel scary, it should have felt scary, it was a scary, and we were embarking on a scary, you know, but again, you go back to the root causes, I mean, for me the heart of Munich, of that film, is that conversation he has in the safe house with the Palestinian terrorist about, really about, do you really want this land so much and do you really, you know, care about it? It's a scene I'm very, very proud of, I think Steven filmed it spectacularly, I think the acting is really great, and I think it's, you know, these I think are incredibly important questions. What are we, you know, what are we hoping for in the world ahead?
Had, you know, when you go back to what Clinton accomplished in terms of the peace talks between Israel and the Palestinians and you go back, you know, you were saying when you were watching the end of "Angels" and remembering how much simpler now the problem of the world seem than the ones that we're facing today and I agree with you. They weren't simple, but I wish we could be, you know, oh my God, grappling with things on that scale instead of things on the overwhelming scale that we're dealing with now, well, go back to everybody throwing up their hands in horror and disgust when the Camp David talks fell apart and you know so on and so forth. But when Rabin and Arafat and Clinton were really working on this stuff, and even after the assassination of Rabin when Ehud Barak was following or trying to follow in the footsteps.
You know, in 2000 before Bush became president, even though Clinton was gone, on their own Israelis and Palestinians got together in Taba and started really trying to hammer something out, they were really in the spirit. Diplomacy works, it has an effect.
And what peace in the Mideast could have brought, would it have stopped the towers from being attacked and destroyed and all those people being murdered? No, I don't think necessarily that it would, but you know, it was a loss of a kind of progress that I think is really hard to contemplate. And I think the reason we need to think about it is, you remember for the purpose of knowing, hoping to learn something that will help you move ahead.
AB: In "Angels in America," Louis says to Prior, "What does it feel to be a child of the zeitgeist?" Do you think that you've ever really been able to answer that?
TK: There's no way to actually--I mean, we're all of course child[ren] of whatever zeit we happen to be geists of, or whatever the geist of our particular zeit happens to be, I should say. When Louis asks that question of Joe, he's asking himself as well, he's talking about Reagan's kids but he's talking about, you know, if this guy is as he said the American animus, then as Americans what are we, and he tries to answer it. And that's all you can do. You know, you write a play or a movie or a novel or poem and you're attempting in some way to make yourself open to a kind of energy in the world, a kind of mood, geist is spirit, so maybe spirit, I don't know. There's a way of, Tennessee Williams says becoming the nervous condition of society, of the human race, to be available to be the breakdown that the world is having to at least find a way to articulate, to put on stage the bad dreams the world is having at the moment that they can recognize as the bad dream. As is the case when people dream they can make the decision--well, "I kind of hear what this is and I'll do something about it," or "I don't recognize this and I won't." Whatever. But I think that that's what you're trying to do. It always fails. I mean, the ultimate aim of art, I think, is to resurrect the dead. That's what Orpheus tried to do. And that doesn't succeed, you can't do that. But the failure is what we call art. Really great failure is really deep, rich spectacular failure, are the deep, rich spectacular works of art of our time. I hope that answers the question.
AB: Is there anything else that you want to say about your new play or any of your new productions that I didn't ask you?
TK: I have been for a while now, I've become the editor for Author Miller's plays for Library of America, so I've spent a lot of time with Miller, and I've been working on a screenplay for quite some time about Eugene O'Neill, so I've spent a lot of time with O'Neill, I just finished an introduction for a new addition of the "Glass Menagerie" so I've spent time with Tennessee. And I'm 54 years old and I started this play three years ago right after I turned 50. And I'm an American playwright, I've been writing plays for 30 years. And I think there was a part of me that felt--the big three: "Streetcar," "Long Day's Journey into Night" and "Death of a Salesman," are family plays and they're an old kind of, they're plays that I revere. And wouldn't it be interesting to write a big family drama. And I'm interested in the fact that in the last two to three years, right around the time that I started working on "iHo," family dramas have kind of come back, family dramas that are kind of political. Lisa Kron's remarkable play "The Wake." Richard Nelson's play about the elections recently. Maybe.
There's been a lot of sort of "Maybe those giant plays are now old enough so they don't have to scare us as much as they used to." We're sort of going back to them and going, "That's an interesting form." That was sort of the way in which American theater finally kind of announced its maturity to the world, with those post-war masterpieces. And we've all been defining ourselves against it in a certain way and some other masterpieces have been written since then, I don't know if as great as those three plays but certainly some great stuff. And, I felt--and I think it's clearly an impulse that I share with other playwrights--let's go back to the family drama that's mostly set in a room in an apartment somewhere, in a house, and see what's in that unit and in that world that attracted the titans of our profession and maybe now of interest to their decedents--us.
AB: What's the answer to that? What is so compelling over and over again about that form?
TK: I have a lot of different theories. You could say that the family drama starts with Aeschylus, so it's not exactly invented by Arthur Miller. It's interesting to me that "Angels in America" is not about--there's a mother and a son. Other parents are referred to. And then there are, Roy talks about being a father to Joe. Hannah talks about, becomes something to Prior. There are new families that get built. But it's not family drama in that sense. I think maybe because we're in a period of transformation and crisis but also hope that people are returning to central units. You can write monologues, but drama is always more exciting when it's--unless you're Samuel Beckett--always more exciting when it's two or three people on stage. And I think that there's a question of saying, "Let's return to this particular contested terrain which is about relationships, blood relationships, a community that you're born into, a tribe." And examine what the fundamentals of tribalism of connectiveness of society are, which I guess originate in family units.
The family is a contested, politicized terrain now. The family, lesbian and gay adoption of kids and marriage, and I mean all these issues now are all very politicized, and always have been. So, the family is an interesting way to return to something that's supposed to be a haven from that old Victorian notion that's still with us--that the family is that fortress against the outside world, against the world of politics. But of course, it isn't in any way.
AB: Is that something that you ever think about for yourself, in terms of your own family, kids?
TK: Oh, I have a family, I have my brother and sister, my brother-in-law, my father, aunts and uncles and cousins that I love and I have my husband who is my family, who I love. And I have very close friends. I have seven god kids and my two nieces who I adore. I don't feel like I am family-less.
Mark and I have talked about it and I'm not going to have, we're not going to have children. I'm 54 years old. I have a lot of work that I really want to do. I don't feel that it would be a good idea for me right now. Of course, I won't pretend that I don't miss it. I love kids, I love babies. That's something that I wish I had that I don't have, and I am sure there are also people with many wonderful children who also wish that they had other things. You never get everything you want in life. I'm a very lucky person. I don't feel deprived about it. I don't think that it's something that either Mark or I feel the need to do.
AB: The baby part is very fleeting.
TK: What?
AB: That goes very quickly. The baby part.
TK: I know, I know. It's hard.


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On August 15th 1787 Henri Reboul and Jean Vidal climbed a peak of 3000m in the Pyrenees. They didn't knew but it was the first ascension of a peak of 3000m in this range with documentation. They climbed the Turon de Néouvielle in order to make a map of the area but we don't know if somebody stayed on the summit before. The access to the summit is easy from the North and it's a climb very popular in the area. The right East is join to the Pic de Trois Conseillers and it's the image that you see from Cap de Long as an impressive wide wall between both summits.
The normal route (F) is from Barèges across Refuge de la Glère spending the night the previous day in the refuge. It's a very long hike to climb in only one day. It's the perfect election to hikers.
The ridge from Pic de Trois Conseillers is easy (F.+) but it's very exposed and it's a climb only for mountaineers. The point of entry to the ridge is the Breche de Néouvielle, the important col between Néouvielle and this ridge. You have two options to reach the Breche, from Cap de Long (P.D.-, with a lot of stones, helmet is advisable) or from Refuge de la Glère (F, without path with a lot of stones, blocks and scree).
Ski cross county: In the first weeks of Spring some people use skies to the summit from Cap de Long across Breche Chausenque. It's a long but beautiful route. On summer it's not a good idea. Important: the road is close in winter and you must wait to May. June is the best month to ski generally.
Secondary summit
The aiguille South has the name Pointe Reboul-Vidal (3.007m) remembering the first climb of Turon. The easier route is the descent from the summit of Turon (F.sup.) on a sharp ridge.
Getting There
Approach to Barèges:
-Barèges is a small village in the west side of the famous Col du Tourmalet, between Luz-St-Saveur and Bagnères de Bigorre. The shorter access is from the highway to Tarbes. You take exit 12 to Lourdes, Argeles-Gazost, Pierrefitte, Luz-St-Saveur and barèges. Two km after Barèges is the road to Plateau de Lienz where the road ends and it begins the forest track of 4 km to the end in a small parking. The track follows but it's forbbiden to drive.
From this point you must walk 1h30m to Refuge de la Glère (2.150m).
Red TapeThe peak is in a reserve natural with rules.
The areas of camping with tent are signalled in the East side of Lac de la Glère.
The best option is the kept Refuge de la Glère (2.150m).
Refuge Packe: free small hut in the col de Rabiet at West of the Turon de Néouvielle. The access to the normal route is without path entering in the area of Coume de l'Ours. It's a little confuse and it's not a very good idea except if you use the hut to climb Pic Long or Bugarret another day.
External LinksIgertu: Turon, interesting collection of pictures and maps of the route (text in Spanish).
esquidetravesia.net: ski cross county from Lac d'Aubert (text in Spanish).
mendikat.net text in Spanish.


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1/4 cup reduced-fat mayonnaise *
1 Tbsp. fresh lime juice
1 tsp. grated lime peel
4 8-inch whole-wheat flour tortillas
2 cups fresh spinach leaves, washed and well-dried with stems removed
1 small ripe avocado, peeled, pitted and cut into slices
1 medium red bell pepper, seeded and cut into strips
1 medium carrot, cut into strips
In a small bowl, combine the mayonnaise, lime juice and lime peel. Heat the tortillas in the microwave for 15-20 seconds on high to make it easier for you to roll them. Spread each tortilla evenly with the mayonnaise mixture. Arrange the spinach leaves on top of each tortilla, then the avocado slices, bell pepper and carrots. Roll the tortillas up tightly. Place the seam sides down on the serving plates.
*Note: As an alternative to the mayonnaise lime mixture, use a prepared hummus, yogurt-cucumber dip, low fat flavored cream cheese, salsa, baba ganoush, or mustard.
Other Options: Try arugula instead of spinach. Add any type of bean, grated zucchini, tomatoes, shredded cabbage, onions, mushrooms and/or chopped cucumbers.
Makes 4 servings. Per serving: 198 Calories, 10 g Total Fat (2 g Saturated Fat), 31 g Carbohydrates, 5 g Protein, 7 g Dietary Fiber, 323 mg Sodium.All active news articles


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Zilco heavy duty elastic race girth and surcingle set. Made from 50mm (2") wide heavy elastic, with stainless steel buckles. The girth includes a centre loop to help keep the surcingle in place, and the surcingle includes two keepers for tucking away the excess surcingle strap when fitted.
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Is chronic pain in the brain?
25/07/2012 , 9:34 AM by Hannah Thompson
One in five Australians suffer from chronic pain, and it is now classified as a chronic disease in itself.
This week, doctors and health professionals from around the country and around the world are meeting in Canberra for a workshop called "Painful Truths."
They're exploring how General Practitioners can seek the best outcomes for their patients, and are asking the Federal Government to start debating the impact of chronic pain on Australians.
One of those attending was Dr Chris Hayes, Head of the Hunter Integrated Pain Service, but before attending the workshop he joined Jill in the studio to shed some light on chronic pain.
Watch Hunter Medicare Local's video on new evidence based approaches to chronic pain management, and listen to the interview with Dr Hayes below.
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Well, I got my new Bobamaker helmet in the mail last week. It took my about 4 days to full paint it. It's not 100% yet (I need to add some grey to the lower cheeks) but I think it's a big improvement over my last paintjob. I've included some side by side photos with my old Sgt Fang bucket.
The Sgt Fang is on the left. I used a layered method; primer grey uncoat, followed by metallic silver and a clear coat. Latex paint masked off areas, and the the colours were added one at a time. Some of the red, grey, and yellow highlights were added via brush, esp on the left ear.
Here's a good pic of the mannequin display; so far I've gotten the new helmet, and repainted all of the armor.