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Tydirium's WIP Collection Project
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Tydirium's WIP Collection Project
June 21, 2004, 08:57 PM »
Ive been prepping my collection for a revived display soon and decided Id start logging some of the steps and research Ive been doing here at JD. CorranHorn's cool thread inspired me to share my endeavor.
My collection of Star Wars items is primarily modern-era 3 ¾ Kenner/Hasbro offerings. I prefer loose, but also maintain a carded/boxed collection as well. My loose collection is complete and the boxed collection is missing a few early POTF2 vehicles. I also have most of the Marmit and Kotobukiya figures, a collection of posters ranging from 2-sided theatrical releases, UK subway posters, various Art of Star Wars posters from the US and UK, and PT banners. I also have an upright Atari Star Wars machine thats in limbo at a place in Culver City. Once I get a chance I plan on diving back into vintage Kenner stuff.
Like most others, Ive found attempting to display a complete collection of carded and loose modern figures a space-consuming task. Since Ive moved three times in the last two years, the practicality of assembling, disassembling, and reassembling the collection has daunted me into putting most of it into storage until I find an apartment or house that Ill be comfortable in for the long-term (and also has a large enough room to house the collection).
Stepping away from the collection for a while has given me some clarity about what I actually want out of my Star Wars Room once it returns. Here are my goals:
- The entire display esthetic must be elevated above the room of toys feel it has to have a classy, almost museum display quality to it.
- Emphasis will be on loose items with modest use of carded/boxed items to punctuate certain eras/line changes.
- Display must be behind glass using consistent furniture color and style with high-visibility (all glass, preferably).
The second and third objectives are easy enough to follow. Nailing the first objective is the challenge how do you present a bunch of plastic toys in a reverent way that even non-collectors can look at and understand the importance of the line to you, personally?
Ill be trying to answer that from several different approaches, and each answer will be different for each section of the line. Since I dont have an actual room to work in right now, I can only prep components for eventual, well, implementation.
Carded Figures
Since the emphasis is on the loose collection, the carded and boxed collection is going to stay, by and large, out of sight. Only select carded figures will be used. Which ones? Ideally, one of each modern cardback will be used, which when you count them up to today, is around 22 too many for my eventual display. A realistic number is probably closer to 6-8. That can be determined later, but what I am working on now, and believe I have my answer, is how to properly display these showpieces.
I am using AFA-graded figures in their sealed acrylic cases, mounted on an acrylic base easel. I documented this process in a thread
Over the next few months I plan to do this to TF Vader, Sacul, one OTC figure, one POTF2 orange card figure, and a couple others that are to be determined.
The stand is from Aaron Brothers.
Im happy with the results of this process for select figures. I believe it elevates their presentation to the museum feel I am shooting for.
Loose Vehicles Small to Mid scale
With the idea of using an all-glass display case to feature the loose collection, and considering the amount of vehicles that should be presented, there are a few challenges that need to be solved to maintain the museum feel. To me, lining them up on a single row, repeated on and on, wont work from a space-usage standpoint nor an esthetic presentation perspective.
My idea to solve this is to present vehicles using foreground and background heights. Some vehicles will be sitting directly on the glass shelf with landing gears down. Others will be placed on square acrylic risers on the background row.
Still others will be displayed in-flight which I think is a necessity for several of the vehicles that dont have proper gear-down modes, like the Naboo Starfighter, any of the TIE vehicles, or the Pod Racers. This may also be my solution for vehicles with repaint variants, like the A-wing and the upcoming Y-wing, where I will display one gear-down and one in-flight.
I found an art display armature at an online shop recently and ordered one to test. The basic construction is a clear acrylic base with a single black metal rod inserted into it, with two flexible metal bars making a T section at the top of the rod. You bend the rods as you need to fit what you are mounting. It arrived today and I tested it out with two different ships:
Im really happy with how it worked! This is a pretty close approximation of how the ILM TIE models are displayed at various venues. Again, this is a step in realizing the elevated presentation level Im shooting for.
Next Steps
Thats all the tinkering Ive done up till now. Im months away from moving again, so in the meantime Ill be continuing my search for display cases, forming a presentation strategy for the loose figures, and testing out these display armatures on larger ships (which I think will need two supports). Id like to display Slave 1 in flight mode.
Any comments on the project would be appreciated!
Materials Links
Acrylic T-Arm stands from
Art Display Essentials
Novus scratch remover from
Carded figures graded at
Last Edit: June 21, 2004, 10:36 PM by Tydirium
Re: Tydirium's WIP Collection Project
Reply #1 on:
June 21, 2004, 09:15 PM »
Also in the process of getting ships ready for display, I've found this to be great for removing any blemishes, scratches, or other unwanted marks on vehicles:
It's restored many a clear cockpit cover to perfect condition.
Jedi Knight
Posts: 3653
Re: Tydirium's WIP Collection Project
Reply #2 on:
June 21, 2004, 09:38 PM »
sounds like you have a very well thought out plan of attack for your collection room jared. since i am in the process of doing this myself (although i started before jason's brilliant idea of documenting it from start to finish, so i'll just take some "after" photos, uhmmm.... after) i know how important a well thought out plan can be. and i know this why? because i don't have one. and it sucks.
i really, really, really should have put more thought into this whole idea before i started. what should have been a weekend project, or at most two weekends, has now expanded into over a month long ordeal of fighting with my room. thinking things will fit in certain places, only to find out that they don't.
those stands for your ships are very cool looking. where did you find them, and how much did they cost if you don't mind me asking. after several failed ideas on how to display my various vehicles, i ended up with the old standard 12 year old bedroom look - hanging them from the ceiling.
but those stands are quite nice, and i might look into changing my display around if i can get enough of them at a decent price.
thanks for sharing, and i can't wait to see (and hear) more of your collection plans.
Re: Tydirium's WIP Collection Project
Reply #3 on:
June 21, 2004, 10:29 PM »
Thanks for the comments Dave - I have an idea in my head of what it looks like, but it's just trial and error finding all the items to actually make it happen. It took
having the collection around to really help visualize what I wanted. All my previous attempts were done just trying to fit everything into the room ATF. I've thrown away many different shelving systems over the years.
I'll start a little links section in the 1st post for all my materials. I paid 11.00 for the stand. They have some other stuff I'm going to try, including an ornament stand that's a base with a curved support that you can hang things from. I'm going to try putting the Ewok Glider on it.
Jedi Knight
Posts: 3653
Re: Tydirium's WIP Collection Project
Reply #4 on:
June 21, 2004, 11:25 PM »
cool, thanks for the link jared. i might have to invest in a few of those. not really sure where i would put them after i put them on the stands tho, since wall/shelf space is definitely at a premium in my apartment right now. so hanging from the ceiling they stay at the moment.
i actually have a few of those types of ornament hangers, and they are actually holding some ornaments that i picked up over the years at places like the disney store and the warner bros. stores. they work well, and that would probably do nicely for the ewok, as well as (maybe) speeder bikes. not sure how exactly you would attach the ewok to that stand, but i'm sure you'll figure something out.
Jedi Apprentice
Posts: 1892
I can't think of anything witty to say...
Re: Tydirium's WIP Collection Project
Reply #5 on:
June 21, 2004, 11:26 PM »
I'm glad to see my chronicle has been of some inspiration to you in prepping your collection room. You've certainly put a lot of thought into the project, I suspect in the end you will have put more thought into it than I have with mine.
The museum-esque quality will as you mention, be the hard part. I've done my best to display things in a way that just doesn't seem to be thrown together, but in many cases it's too difficult. I think I've only truly succeeded with my ships and my Jedi Luke focus.
Those t-arm stands sounds very intriguing, the problem for me at least comes to the cost. I'm trying to limit how much money I throw into my collection room, something that may come to bite me in the ass if I can't throw enough cash together to get the glass cases I want for my vintage. But the stands do seem like a good fit, have you had any stability issues?
As time goes on I hope to see more of what you have come up with, so far it's been quite insightful.
Jason F.
- Vintage Needs: Micro Collection Snowspeeder box and pilots, Micro Collection X-Wing pilot
Jedi Knight
Posts: 3653
Re: Tydirium's WIP Collection Project
Reply #6 on:
June 21, 2004, 11:33 PM »
jason, what kind of cases are you thinking about getting for your vintage collection (shouldn't this be back in
)? i went a little on the cheap side, because i needed to get so many cases for my loose collection (both vintage and modern). i ended up buying 13 of
cases from ikea. they are made of wood, but have sliding glass doors on them, to hopefully keep out a lot of the dust. i wanted something with a little more glass to them, like glass on all sides, maybe with a mirrored back as well, but in the end i opted for these.
Pretty in Pink
Retired Staff Member
Jedi Sentinel
Posts: 14572
Re: Tydirium's WIP Collection Project
Reply #7 on:
June 22, 2004, 12:19 AM »
Hey now, don't forget to mention your collaborative planning buddy here, lest folks think I copied your ass years down the road when I finally put
collection room together!
The killer is those $800 Curio cabinets though...
I definitely dig how those ship "stands" turned out. I'll have to check 'em out in person next time I'm over to see just how they work. Looks like good stuff though, and should definitely help stagger the ship display a bit. Cool find.
Now how's the progress coming on the tiered acrylic stands though? That's where it's at! But you're definitely off to a good start J. Keep it up bud!
Re: Tydirium's WIP Collection Project
Reply #8 on:
June 22, 2004, 06:57 PM »
Yeah, the T-arms might end up being a bit pricey and there's one problem I've already noticed with the TIE, which I have sitting on my desk atm - it's a bit wobbly. Apparently the metal is designed to be cut to size, so I could lop off an inch of the post and see if it adds some rigidity. I'll probably wait until I have a few more before I try, though.
Oh dear Matt, youve just admitted that weve been furniture shopping together.
Ahem. Those curio cases are the killer. And how many did you and I look at? Theres still not a single one that jumps out at me as perfect. Most seemed to have 14 depth, right? Im thinking something deeper may be needed. Also, I definitely want high visibility and that means, I think, that I have to go with a more industrial store-display style cabinet, or really dig deep into the curio research.
Heres a few that I bookmarked. I like one on a certain day, another on the next, then hate them all shortly after. (Or am terrified by the cost).
Too much metal.
Too thin.
Too expensive, too small.
Kinda neat, but not big enough.
This would be ideal if the room was big enough. How cool would it be to walk all the way around the ship display?
Im not too worried about the acrylic stands for the figures, honestly. It seems like a simple custom job for any of those acrylic designers to handle. Were only talking about a longer version of a riser that most already make unless a tier shelf is added (I cant remember what we talked about being the ideal way last). At the moment, Im of the mindset of simply doing a row of figures on the glass shelf, then a second row in the background on a riser that runs the width of the shelf. Keep it really open, with about ½-3/4 space between figures. I think its going to have to wait until after those cases are decided on.
Thanks for all the encouragement guys!
Last Edit: June 22, 2004, 07:01 PM by Tydirium
Jedi Apprentice
Posts: 1892
I can't think of anything witty to say...
Re: Tydirium's WIP Collection Project
Reply #9 on:
June 22, 2004, 09:31 PM »
Yeah the problem with those cases for me at least is the price, something like that would be too expensive for me. Though they certainly look great, I think the last one looks perfect, but the 2nd one looks nice too, can't tell why you said it was too thin. Did you mean the glass in general?
The kind of case I'm interested in is at all places WalMart. It's a cherry wood design, similar to the cases I have now, but it has a door with a big glass window in it. Goes for about $80 or so and might do the trick. Don't wanna steal the thread away from Tydirium, but to reply to Dave, those small cabinets you linked from Ikea actually look really cool for figures and mini-rigs, I may look into them if the big glass cases don't work out for me.
Jason F.
- Vintage Needs: Micro Collection Snowspeeder box and pilots, Micro Collection X-Wing pilot
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Edward Little Professor of the English Language and Literature
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"Faunus and Melliflora Revisited: A Pastoral Knot Untied," in Explorations in Renaissance Culture, Vol. VIII-IX (1982-83).
"His Master's Voice" in The Virginia Quarterly Review, Vol. 60 (1984).
"Parrots, Poppinjays, and Paraquitos: Of Words and Birds in I Henry IV" in Shakespeare: Text, Subtext, and Context (Associated University Press: Selingsgrove, 1989), ed. Ronald Dotterer.
"Gertrude the Poet" in Hamlet Studies, Vol. 13 (1991).
"The Vandyke Portrait of Washington Irving" in Studies in the American Renaissance (University of Virginia Press: Charlottesville, 1992).
"Gerontion as Jokester: Humor and Anxiety in Robert Frost's 'Directive'" in The Robert Frost Review (Vol. 1, no. 1, 1992).
For the Dark (Mellen Poetry Press), 1992.
" 'Once more o ye laurels': 'Lycidas' and the Psychology of Pastoral" in Milton Quarterly, Vol. 27 (May, 1993).
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" 'A Quiver of Moonbeams': The Haunting of the Hawthornes" in The Bowdoin Magazine, Vol. 69, no. 2 (Winter 1998).
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There were other medical suspensions, though they were not as severe:Read More DIGG THIS


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MIAMI SHORES, Fla. -- Barry University women's tennis team is ranked No. 2 in NCAA Division II, according to the Intercollegiate Tennis Association poll released Wednesday.
The poll was compiled with records prior to last weekend's match against No. 1 Armstrong Atlantic. Barry (18-0) beat Armstrong, 5-4, to end the Pirates' 43-match win streak at Buccaneer Tennis Center.
The Pirates remained No. 1 in this month's poll. The next Division II poll is not scheduled to be released until May 1.
Barry jumped from two spots in the poll, having been ranked No. 4 last month. The Bucs were ranked No. 5 in the preseason.
Freshman Elisabeth Abanda is ranked No. 28 in singles. Sophomore Linda Fritschken is 33rd, and freshman Emma Onila is 41. Abanda and Onila are No. 11 as a doubles team.
The Buccaneers host No. 8 Lynn (11-2) at 3 p.m. Monday in Miami Shores.


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Commercial varieties of Roundup Ready alfalfa are expected to be available to California forage producers next year.
A team of University of California Cooperative Extension farm advisors have been evaluating this new technology for the past four years and two of those specialists, Fresno County farm advisor and weed specialists Kurt Hembree and Ron Vargas, his counterpart in Madera County, are convinced alfalfa tolerant to glyphosate will be a valuable new tool for forage growers.
The two farm advisors told a standing-room-only alfalfa field day at the UC Kearney Ag Center in Parlier that the only question remaining is the economic benefit—what will Monsanto and Forage Genetics International charge for this new technology. They have not tipped their hand to Vargas and Hembree.
Hembree and Vargas said there are stewardship issues with this new technology. However, those concerns can be managed for growers to apply glyphosate over the top of alfalfa to kill weeds without damaging the crop. It will be third major crop in the West with this technology. Corn and cotton varieties are the other two.
"Roundup Ready alfalfa will not be a panacea, but it will be a real good tool for alfalfa growers" in establishing alfalfa and producing quality hay for the life of a stand, said Hembree.
Hembree said it will be easier to establish a weed-free stand of alfalfa with the technology and it should remain weed free for its life span of three to five years in the central San Joaquin Valley.
Better quality
Hay quality should improve with fewer weeds and animal welfare should improve with the control of poisonous and other undesirable weeds, he added.
However, Roundup will not control all weeds. Cheeseweed, nettles, fleabane, filaree, henbit and marestail are not effectively controlled Roundup, said Hembree.
Tank mixes will be necessary to cover all weeds. Hembree said form his tests in Fresno County, he expects a tank mix of Roundup and Pursuit to be the standard for alfalfa weed control.
That is not all bad. Vargas and Hembree continually raise red flat of weed resistance with constant Roundup treatment. They both say the technology will offer longevity only if growers rotate weed control chemistry and tank mixing.
"Roundup should not be used every year for the life of the stand. Consider rotating with other chemistry and tank mixing to prevent resistance," said Hembree, who reminded grower and pest control advisers at the field day that there are 5,000 acres of ryegrass in California identified as resistant to glyphosate. In the Midwest, there are at least 500,000 acres of Roundup-resistant marestail.
"We are seeing reports from the U.S. cotton Belt of Roundup resistance in lambsquarter," said Vargas, who was called to an almond orchard in Madera County where the berms were "solid lambsquarter" after two glyphosate applications. Other growers have reported to Vargas that they are beginning to have difficulty controlling lambsquarter with Roundup.
'Weed shifts'
Using Roundup will also result in "weed shifts." Weeds not controlled by Roundup will become more dominant and that can change a grower's weed control strategy.
While there has been considerable discussion about emerging resistance to Roundup since the introduction of herbicide-resistant crops, Roundup has been identified as a herbicides with a low risk of resistance buildup.
Herbicide resistance is not exclusive to Roundup, Vargas noted. There are reports from California's Imperial Valley of weed resistance to the newer grass herbicides as well as resistance to ALS inhibitor herbicides elsewhere.
"Rotate herbicides with different modes of action. If you rotate Roundup and Touchdown, you are not rotating herbicides," said Vargas
And, use recommended rates. A University of Nebraska study revealed a rapid buildup in herbicide resistance when growers cut rates to sub-lethal doses.
"Monitor for resistance. Make note of clumps of weeds," said Vargas.
"And know what weeds you are trying to control," said Hembree. This will allow for best herbicide selection to control the weeds.
Hembree said the Forage Genetics varieties released in 2005 are expected to be in dormancy classes 3 and 8. "We have been working with some of the new varieties at the West Side Research and Extension Center at Five Points and they look pretty darn good," he added.
Expect a 5 percent loss at stand establishment with herbicide-resistant variety because seed lots will not be 100 percent pure, said Hembree.
The Fresno County farm advisor said one pound active ingredient is just as effective as two pounds, but application timing is critical. The three-to-four trifoliate stage is ideal. Applying Roundup at the first trifoliate is too early because a second weed flush is likely. Treat at the six-to-nine trifoliate stage and the crop canopy will prevent Roundup contact with the weeds.
Add flexibility
Roundup Ready alfalfa will offer more flexibility to growers in weed control and possibly stand establishment. Typically, alfalfa stands are established in the fall. With this new technology, Hembree said it may be possible to establish alfalfa in the spring if a grower finds himself kept out of the field in the fall. That is usually precluded now by the threat of weeds taking over the stand before it is well-established.
Gene flow does not seem to be an issue with isolation of 900 feet between conventional and Roundup Ready alfalfas for forage production. The isolation between seed fields needs to be at least 1,500 feet.
Feral alfalfa, however, poses a challenge. This can develop into a problem along roadsides where feral alfalfa is common. County road crews now use Roundup to control this alfalfa, but with herbicide resistant alfalfa, this could be a new challenge in keeping roadsides clean, said Vargas.
Feral Roundup Ready alfalfa could be problem if is part of a rotation with Roundup Ready cotton and corn. Vargas' recommendation is to avoid rotating glyphosate crops.
"You do not want to lose this technology," said Vargas.
Glyphosate is used to take out conventional alfalfa stands. Vargas said 2, 4-D and Dicamba will take out herbicide-resistant stands in the fall, but that may be a touchy issue since there are times when phenoxy herbicides are banned in the valley and others areas.
Marketing Roundup-resistant alfalfa is not expected to be a major issue since the majority of California's hay is sold domestically. However, Vargas pointed out that Japan is a prominent destination of hay exported from the U.S. Japan has been reluctant to accept genetically modified crops.
Four years of research by the UC team has well-identified the problems associated with Roundup Ready alfalfa. Hembree and Vargas are convinced the benefits far outweigh the risks.


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This interview was originally broadcast on Feb. 10, 2011.
The British hairdresser Vidal Sassoon, who created some of the most iconic hairstyles of the 20th century, died on May 9 at his home in Los Angeles. He was 84.
Sassoon's creations included the geometric, the Wash-and-Wear, the short bob Nancy Kwan wore in The World of Suzie Wong and Mia Farrow's famous pixie cut for Rosemary's Baby.
In 1957, Sassoon developed one of his most singular looks — the asymmetric five-point, a modified version of the classic bob that came to define 1960s fashion.
"I had an idea that If I work on those angles [of the head] properly, I should get something special," he told Fresh Air's Terry Gross in 2011. "It was geometrically the hardest thing I'd ever done."
Fashion models regularly flew from Paris to London, where Sassoon had his shop, to get the five-point cut. And a few years later, the director Roman Polanski approached Sassoon and asked him to develop a hairstyle for Mia Farrow, who was set to star in the film Rosemary's Baby. Sassoon replied that he had recently cut Farrow's hair — because she was one of his clients.
"[Polanski] said, 'Well, there will be something to take off.' I said, 'Yes, I guess you're right,' " Sassoon said. "Now Mia had cut into her own hair. She came to the salon and said, 'What can you do for me?' And I said, 'Take it very short. It's the only way. I can't pull the short hair long, but I can make the long hair short.' And we did it, and it suited her marvelously because she had a shaped face and bone structure that was just perfect."
Both Farrow's haircut and the asymmetric five-point were copied not just in Sassoon's salon, but in salons all over the world. Sassoon said he was flattered by the imitations.
"You either create something and you keep it a secret and you die with it, [or] you can benefit the craft," he said. "And in essence ... you're doing something for fashion worldwide. I think that's so much more important — it's something that you leave behind that you probably will be remembered for."
Interview Highlights
On going to a vocal coach for three years to lose his Cockney accent
"I couldn't get a job in the West End. They would say, 'Learn the language. And by the way, the language is English.' It was that kind of thing. Georgia Brown, who played Nancy in Oliver, we grew up together. And she said, 'Vid, take some elocution lessons. It will be very good for you. Especially if you will be speaking in the future.' I went to [a voice coach], and she looked at me and said, 'I don't take hairdressers. I work with actors. But be at the Old Vic at 2 o'clock on Thursday.' ... For three years, when we weren't on the road doing shows, I was [taking vocal lessons] twice a week."
On giving Nancy Kwan her signature look for The World of Suzy Wong
"She had almost 4 feet of hair, and being rather small, she almost sat on it. So you had to be very careful when you put your hands through her hair; otherwise, you'd be feeling parts of her bottom, and that would not have done.
"But [she] was making a new film in London. And [the producer] wanted a whole new look. ... I looked at her bone structure, and I thought we could do almost anything with Nancy. And I started to cut at the very back of her head and I said, 'Great neckline; I'll go shorter.' And I went short in the back and graduated into more length at the sides, and I suddenly realized we had a bob that could be international. It was a very professional cut in the sense that it was layered beautifully — and it had to be layered, not just from the back to the front, but when she shook her head, it had to fall back naturally."
Vidal Sassoon, the hairstylist who changed the way women looked in the 1960s, died last week in Los Angeles. He was 84 and had leukemia. Though says so style the hair of jet-setting movie stars and models, he grew in a family so poor that his mother put him in a Jewish orphanage for several years.
Sassoon is remembered for popularizing short haircuts that went with the miniskirts of the 1960s and for geometric and asymmetrical designs that complemented his subject's facial features. He's also known as the stylist who gave women simply wash and wear styles that freed them from lacquered hairdos and wearing curlers to bed. Sassoon also created a chain of beauty salons and a popular line of shampoos and conditioners.
Terry spoke to Vidal Sassoon last year when he published a memoir and was featured in a documentary film. Terry asked him about his first really famous haircut, which he gave to actress Nancy Kwan after she made her movie "The World of Suzie Wong." She had long straight hair.
VIDAL SASSOON: You know, I never looked at beauty as beauty. I always looked at bone structure and the way the face was created; it's quite fascinating for me. And I thought: We could do almost anything with Nancy. And I started to cut the very back of the hair and I said, great neckline, I'll go shorter. And I went short in the back and graduated into much - into more length at the sides. And I suddenly realized we had a bob that could be international. And it caught on. It caught on to the extent that people were coming in and asking for it over time - not only with us, with many hairdressers. It had to be not only layered from the back to the front, but when she shook her head, it had to fall back naturally. So...
Now did you set it at all or was it just in the cut that it fell that way?
SASSOON: Oh, never set those kind of heads. We, you know, setting was going out at the time - far out...
GROSS: So, what did you think when The Sassoon spread to people like me, who got their hair cut in the neighborhood, you know, in the neighborhood salon and it wasn't the work of art that you had done, but it was a very popular haircut, very, you know, easy to take care of, look good. How did you feel about the neighborhood cuts?
SASSOON: We were totally flattered, you see. It was, you either create something and you keep it a secret and you die with it - what's the point? If you can benefit a craft, and in essence from that benefiting of the craft, you're doing something for fashion worldwide, I think that's so much more important. It's something that you leave behind that you probably will be remembered for.
DAVIES: When you started cutting hair, what were the hairdos that were popular?
SASSOON: Oh, flips and lots of lacquer...
GROSS: Mm-hmm.
SASSOON: ...which was very difficult, updos, you know, the ladies that lunch, those updos. But, well, the cutting wasn't there, number one, as it should've been. It was early.
GROSS: You mean it was mostly about setting and spraying?
SASSOON: It was setting and spraying. Yes.
GROSS: And the hairdos?
SASSOON: Look, some of them looked very, very pretty but I wasn't after pretty. I was after bones, getting into that bone structure, making it work.
GROSS: And the teased hair and the...
SASSOON: Well, it was a joke, really. Teasing people's hair like that and making it look very presentable for the day, but what do they do the next day, you know? From '54 to '63, when I went into my own first salon, I just said we're not doing any of that old stuff anymore. It's very pretty and nice, but...
GROSS: When you started doing hair professionally, you went to a vocal coach, a speech coach, because you grew up poor.
GROSS: You grew up in an orphanage part of the time. You had a Cockney accent, and you wanted to lose it. So you went to a teacher who actually worked with theater actors.
SASSOON: Yes.
GROSS: Why was your accent important enough to you to study for three years?
SASSOON: I couldn't get a job in the West End. They would say, go and learn the language. And by the way, the language is English. I mean, it was that kind of thing. And...
GROSS: What did you sound like before?
SASSOON: Bit like that, then darling. 'Ello. 'Ow are you, love?
SASSOON: It was a bit Cockney.
GROSS: Now, you became a shampoo boy when you were 14. You say in the documentary about you that it was your mother's idea for you to become a hairdresser. She had some kind of dream or...
SASSOON: Premonition.
GROSS: ...premonition or something that you should be a hairdresser.
SASSOON: Premonition. Yes. Absolutely.
GROSS: How old were you, and how did she say to you, I've had this dream, son, you should be a hairdresser?
SASSOON: I looked at her in horror. My response was no, never. Well, what do you want to do? I don't know. But at 14, to become a hairdresser...
GROSS: Why was that horrifying to you at the age of 14?
SASSOON: It just wasn't what I wanted to do. I wanted to play soccer and I wanted to - I was always into - you know, I won the school championship in running, and I was into all that kind of thing where sport was concerned. I was useless as a student, absolutely useless.
GROSS: Had you...
SASSOON: I never could learn anything that I didn't like.
GROSS: So when she took you to a hairdresser for you to apprentice and you became a shampoo boy at the age of 14, what did you like about it? What changed your mind and made you think, yeah, this is for me?
SASSOON: The pretty girls.
SASSOON: It's the truth.
GROSS: Mm-hmm.
SASSOON: There were so many pretty girls coming into the salon as clients, and others working in the salon. And I thought, hmm. This is rather nice. But I was a very average shampoo boy, in the sense. I could shampoo, but, I mean, I was a very average apprentice. I wasn't any better than anybody else.
GROSS: So, when did you realize you wanted to make this your life?
SASSOON: Well, I was politically involved with the anti-fascist group, 43 Group. And that meant that sometimes you got into a little trouble. At the age of 20, I joined the Israeli Army. I was in the Palmach, which was one of their great groups and founded by, actually, Rabin and Orde Wingate and a whole bunch of marvelous people.
I spent a year there, came home, had nothing. The only thing I knew what to do was hairdressing, and I was really quite bad at that. And then I decided, well, if I'm going to have to be in hair, let me change my attitude. Let me see if I can do something worthwhile. And, well, things started to happen.
DAVIES: Vidal Sassoon died last week at the age of 84. He spoke with Terry Gross last year. Coming up, we remember Mexican writer Carlos Fuentes. This is FRESH AIR. Transcript provided by NPR, Copyright National Public Radio.


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Larry Collmus is new announcer at Churchill Downs
Larry Collmus is new announcer at Churchill Downs
LOUISVILLE, Ky. —
Larry Collmus will replace Brit Mark Johnson as the race caller at Churchill Downs starting on April 26.
Among Collmus' duties will be announcing the Kentucky Derby on May 3. He becomes the seventh announcer at the historic track.
Collmus will continue as the race caller for NBC Sports on its telecasts of the Kentucky Derby, Preakness and Belmont stakes, and the Breeders' Cup.
Johnson leaves after five years, having been the first British announcer to call the Kentucky Derby.
Collmus currently works as track announcer at Gulfstream Park in Florida, and will continue doing so after he handles Churchill's spring, September and fall meets. The 47-year-old has also called races for the last 20 years at Monmouth Park in New Jersey.


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An entity called Memphis Winset LLC has paid $2.5 million for the 496-unit Somerset Park Apartment Homes in Oakhaven.
The company bought the property in a June 6 warranty deed from JMC Memphis LLC, which had paid $1.7 million in December 2012 for the property from Hollywood, Fla.-based Investments Australia LLC.
The apartment complex's four parcels are 3443 Winchester Road, 3471 Winchester Road, 3649 Lake Park Drive and 6431 Arrowbrook, according to the Shelby County Assessor of Property.
Built in 1972, the Class D complex contains more than 500,000 square feet and sits on 24.5 acres on the south side of Winchester Road, just east of its intersection with Tchulahoma Road. It has a combined 2012 appraised value of $1.9 million, according to the assessor.
The complex's largest parcel is 6431 Arrowbrook, which contains 196 units and 200,400 square feet in multiple buildings that sit on 10.9 acres, and has an appraised value of $866,700.
Next is the 3649 Lake Park Drive parcel, which sits on 7.2 acres, has 160 units and 179,980 square feet with an appraised value of $576,600.
The 3443 Winchester Road parcel sits on 3.9 acres, has 72 units and 70,200 square feet with an appraised value of $291,500. And the 3471 Winchester Road property (listed as 3474 Winchester on the warranty deed) sits on 2.5 acres, has 44 units and 40,396 square feet with an appraised value of $203,200.
Memphis Winset filed a $2.5 million loan through the seller. Javier Montiel Brito and Carlos Bryan Lopez signed the trust deed on behalf of the borrower and its member entity, Mission Group Holdings LLC.
Source: The Daily News Online & Chandler Reports
– Daily News staff
Pyro's Fire Fresh Pizza will be opening a third Memphis-area location in the next several months.
Pyro's is leasing 3,200 square feet at 2286 N. Germantown Parkway, which is being developed by Utley Properties.
Pyro's currently has locations at Park Place Center in East Memphis and at 2035 Union Ave. in Midtown.
Shawn Massey of The Shopping Center Group brokered the Pyro's lease.
– Amos Maki
As part of a Federal Emergency Management Agency grant awarded in 2012, the Fire Museum of Memphis has completed renovations to its arcade room exhibit with help from local businesses Mind Over Data and Design 500.
According to museum general manager Penny McKinney Smith, benefits of the exhibit include the ability to track data to test the effectiveness of the museum's and Memphis Fire Department's public education program. While visiting school students are playing educational games at the museum, for example, the museum is extrapolating information that will help continue to save lives and property, information that also can be shared with teachers.
The arcade exhibit, which has been undergoing renovations for the past 12 months, is located on the second floor of old Fire House No. 1.
– Andy Meek
Bartlett alderman Emily Elliott has filed for re-election to her Position 2 seat in the Nov. 4 suburban elections.
And Bartlett school board member Erin Berry has filed for re-election to Position 2 on the school board.
Both filings are in advance of the Aug. 21 deadline for candidates in the Bartlett, Millington, Germantown and Collierville municipal elections.
– Bill Dries
Mississippi has sued credit reporting giant Experian, alleging sweeping errors in the company's data and routine violations of consumer protection laws. Mississippi's action – and a previously unreported multi-state investigation of credit bureaus led by Ohio – represent a significant new legal challenge to the industry.
Mississippi Attorney General Jim Hood's complaint against Experian Information Solutions was filed without fanfare last month in a Biloxi state courthouse and transferred to Mississippi federal court late last week. The lawsuit accuses Experian of knowingly including error-riddled data in the credit files of millions of Americans, jeopardizing their ability to obtain loans, employment-related background checks and sensitive government security clearances. Experian has even wrongly reported that consumers are on a federal terrorism watch list, the lawsuit said.
Both Experian and a spokesman for its trade group, the Consumer Data Industry Association, declined to discuss the litigation or related questions about the quality of the company's data.
Experian warned investors earlier this year that the U.S. Consumer Financial Protection Bureau and its British counterpart were regulatory agencies responsible for protecting consumers and said, "It remains uncertain how these bodies may affect our credit and consumer business processes and business models in the future."
– The Associated Press
U.S. medical device manufacturer Medtronic has agreed to buy Ireland-based competitor Covidien for $42.9 billion in cash and stock.
The combined company would have its executive offices in Dublin, where it could benefit from Ireland's lower corporate tax rates. But the merged company would continue to operate in Minneapolis, where Medtronic employs more than 8,000, the companies said late Sunday in a statement.
Medtronic is paying a 29 percent premium on Covidien's stock price as of Friday. The shares had closed at $72.02 on the New York Stock Exchange.
The deal is the latest in a series of acquisitions by medical-device manufacturers. The companies are seeking to expand their offerings and contain costs in response to price curbs forced by the nation's new health care law.
In April, Zimmer Holdings, an orthopedic device maker, announced that it was buying Biomet in a $13 billion deal.
As a result of savings from the deal, Medtronic said it would spend an additional $10 billion over the next decade in investments, acquisitions and research and development in the United States.
"The medical technology industry is critical to the U.S. economy, and we will continue to invest and innovate and create well-paying jobs," Omar Ishrak, Medtronic's CEO, said in a statement.
Efforts by domestic companies to use mergers to reincorporate overseas for tax reasons have raised concern among some U.S. lawmakers. Ireland taxes corporate income at 12.5 percent, compared with a top marginal rate of 39.6 percent in the United States, according to the tax advisory firm KPMG.
When Federal Reserve officials gather this week and Fed Chair Janet Yellen speaks with reporters, investors will be seeking clues to two big questions:
When will the Fed finally start raising short-term interest rates?
And how – and when – will it start unloading its vast investment holdings?
The answers will affect loan rates for individuals and businesses – and perhaps the direction of the economy. Yet few expect to hear anything definitive.
The Fed remains in a tentative wait-and-see stance.
Though the central bank has signaled optimism, officials are unsure how much the economy will strengthen the rest of the year. On Wednesday, the Fed will update its forecasts, and it may downgrade its estimate of growth for 2014 after the government said last month that the economy shrank in the first quarter, depressed by a harsh winter.
On Monday, the International Monetary Fund predicted that the U.S. economy will grow a modest 2 percent this year, below the IMF's previous estimate of 2.7 percent.
Yellen has suggested that the U.S. unemployment rate, now 6.3 percent, overstates the health of the job market and economy. She's also expressed concern that a high percentage of the unemployed – 35 percent – have been out of work for six months or more and that pay is scarcely rising for people who do have jobs.
Yet the Fed is getting closer to acting. The minutes of its last meeting in late April indicated that the Fed has begun discussing the tools it could use to finally pull back the extraordinary stimulus it's provided the U.S. economy since 2008.
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by The Daily News Publishing Co. Inc. - All Rights Reserved


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Producing Televised Classical ConcertsHow Can Orchestras Look and Sound Their Best?
|Music Director Gerard Schwarz leads the All-Star Orchestra
Photo courtesy The All-Star Orchestra
A recent example of success in this realm arrived on March 30, when All-Star Orchestra took home two Emmy(r) Awards at the 57th Annual New York Emmy(r) Awards. "Music for the Theatre," the first program in the eight-episode classical music concert series, won in both categories for which it was nominated: Special Event Coverage (Other than News and Sports) and Audio: Post Production. The series features top musicians from across the country performing major symphonic masterpieces and works from leading contemporary American composers and premiered nationwide on public television in September 2013.
Each of the All-Star Orchestra's eight one-hour programs, recorded over four days, was taped at New York's historic Grand Ballroom at the Manhattan Center where conductors including Leonard Bernstein, Pierre Boulez, Zubin Mehta, and Arturo Toscanini made their classical music recordings. Nineteen high-definition cameras were allowed to roam freely during the All-Star Orchestra's recordings, creating an unprecedented "up close and personal" experience.
"We were pleased when All-Star Orchestra chose to perform and film at our venue," said OBie O'Brien, Director of Audio & Video Production at Manhattan Center Productions. "We share their commitment to preserving the art of classical music and we were able to capture the essence of blending classical pieces with contemporary masters."
|The video studio in New York City's Manhattan Center during The All-Star Orchestra recording sessions
Photo courtesy The All-Star Orchestra
O'Brien goes on to note that there is no excuse for bad quality in a televised orchestral performance. Done right, a televised performance can work wonders in taking things to the next level for an orchestra, by featuring it effectively and entertainingly. Having a powerful telecast that conveys the orchestra's virtuosity to classical audiences has never been more crucial for an orchestra's reputation.
Of course, there are many questions an orchestra's musical director needs to answer before starting on the process of having a televised performance produced. For example: How should the specific music to be performed best be presented on a small screen? What camera and microphone configurations will show off the orchestra to optimal effect? A longer performance will obviously necessitate a longer televised performance, which means it must be sufficiently creative in its production to hold the audience's interest from start to finish. Regardless of the musical director's goals for the performance, professional guidance should always be sought to get the best result, whether the orchestra is to perform live or recorded.
What does an orchestra's musical director need to do to answer these questions and ensure that his or her orchestra's performance stands out? This is key: the more professional the end product, meaning the higher its production values, the more well-received the performance-and the orchestra responsible for it-will be. To that end, the orchestra and its management should always leave the heavy lifting to the professionals.
|In the Grand Ballroom of Manhattan Center
Photo courtesy The All-Star Orchestra
This is precisely where an accomplished facility with a long track record of state-of-the-art video and audio production enters the mix. Have they been the facility of choice for classical artists in the past, and were those artists satisfied with the end result? Does the studio team at the facility have substantial experience in working with classical music to make sure that the production values are appealing and television-worthy? If the answers are yes, the musical director can be reasonably confident that his or her orchestra has landed in the right facility.
One more consideration: orchestras should look at the equipment at the disposal of the production facility they are considering. If the facility hosts state-of-the-art video recording technology, and multiple audio and video editing suites-all with tools and staffing to satisfy the most demanding clientele-then they are better equipped to assist orchestras with their televised performances. A facility such as those described above is genuinely in the business of turning an orchestra's vision for its performance into reality.
To create a great musical performance, orchestras have to know what they're doing, not only creatively but also technically. Some don't fully realize this until it's too late. That's why the proper facilities, services and experienced personnel are needed to make sure an orchestral performance is exactly right. Nothing draws classical music aficionados in more effectively than a televised performance that conveys an orchestra's specific talents well.
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Sebastian Thaler is a freelance science and
technology writer based in New York City
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Delta Air Lines has postponed its "media day" that had been planned to take place this week in New York City.
The move is the latest fallout from a month of bad press that's hit the U.S. airline industry since an April 9 passenger-dragging incident on a United Express flight made headlines around the globe.
In a statement posted to its website for the event, Delta communications chief Ned Walker said "we have made the difficult decision to postpone our International Media Day until later this year."
Since the United incident, subsequent customer-service incidents have also put American and Delta in the spotlight. Delta's incident was the most recent to come to light. It came when a family posted video of a dispute they had on flight from Hawaii. The family was ultimately removed from the flight.
And just last week, Congress grilled executives from several airlines about the incidents and about the general state of flying today. Several lawmakers threatened legislative action if the industry did not improve customer protections on its own.
"With the recent focus by Congress on airline customer service issues that have gone viral on social media, we decided that the timing is not right to showcase Delta's product innovations and global strategy," Delta's Walker added in the statement about the company's media day. "We are reviewing our plans to reschedule the event and will keep you informed."
Such "media day" events are common within the airline industry. Typically, carriers will use the occasion to highlight new initiatives and to make their top executives available to the media.
At Delta's event last year, CEO Ed Bastian and other top executives briefed the media and took questions on a broad range of topics at the company's headquarters in Atlanta. It was at that event, for example, that Delta revealed its intent to add an international-style premium economy section. Delta also disclosed details of large aircraft orders, including one for Bombardier's new C Series plane. Delta flew in a model of the plane to show off to the media.
Prior to the wave of bad airline news that began in April, Delta was expected to focus on items like planned cabin upgrades and new airplanes due to begin arriving at the carrier in the coming years.


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My Opinion
I have a good life. I enjoy my son like crazy. My main priority is my husband and son and taking care of my neice. I'm opinionated, spoiled, healthy, and loved. I travel more than most....except not in a plane :scared:
I've been gone for over a year. Alot of sadness in the last 4 years but all of my family have pulled together and we have surprised ourselves with inner strength. I'm thinkin that most people wouldn't believe the things that have happened since '06., but my future looks very bright and exciting!
I hope to meet new people on here as well as reconnect with the ones that have been on here almost from the very beginning.
I have no interest in people that have a jealous streak a mile wide. It's stupid and a waste of time. I really like every person on my friends list and wish that I could meet them all.


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Water Hyacinth, or water lilies, are free-floating perennial aquatic plants abundant in the Philippines. Its abundance has proven to be beneficial to both its aquatic environment and the people of the Philippines. Creativity has now turned this plant into beautiful material for interior wall coverings. MDC Hyacinth is composed of paper backing, water-based adhesives, and coatings.


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BANGKOK (AP) — Asian stock markets rose Wednesday as investors became increasingly convinced that U.S. political leaders will reach a budget deal that avoids a major hit to the world's No. 1 economy.
Negotiations between the White House and the U.S. Congress have been revving up in recent days in order to reach a deal aimed at averting the so-called fiscal cliff — a series of sharp government spending cuts and tax increases that begin to kick in Jan. 1 and could cause a recession.
Despite political posturing and a deep divide on critical issues, most analysts think a deal acceptable to both President Barack Obama and congressional Republicans will be cobbled together before the end of the year.
Analysts at DBS Bank Ltd. said that "the US fiscal cliff is viewed as political theatre and not as an imminent threat to the US economy."
"Unlike 2010, both the White House and the Republicans have been careful in communicating that, despite the differences in opinions over how to rein in the fiscal deficit, the door is open for a compromise solution by the end of the year."
Japan's Nikkei 225 index rose 0.1 percent to 9,443.65. Hong Kong's Hang Seng jumped 1 percent to 22,022.56. South Korea's Kospi added 0.4 percent to 1,943.15. Australia's S&P/ASX 200 gained 0.3 percent to 4,517.10.
Wall Street fell Tuesday as investors waited for developments in the budget talks. The Dow Jones industrial average fell 0.1 percent to close at 12,951.78. The Standard & Poor's 500 index fell 0.2 percent to close at 1,407.05. The Nasdaq composite fell 0.2 percent to 2,996.69.
Investors are also focused on U.S. economic data due for release later in the week. On Friday, U.S. nonfarm payrolls figures for November — a key gauge of employment — will be released. The figures could be distorted by the impact of superstorm Sandy, which battered much of the eastern seaboard.
There's already evidence the storm has had an impact on the U.S. economy. Monday's monthly manufacturing survey from the Institute for Supply Management was far weaker than anticipated.
Benchmark oil for January delivery was up 16 cents to $88.66 per barrel in electronic trading in the New York Mercantile Exchange. The contract fell 59 cents to close at $88.50 per barrel on the Nymex on Tuesday.
In currencies, the euro rose to $1.3103 from $1.3101 late Tuesday in New York. The dollar rose to 82.18 yen from 81.84 yen.
Follow Pamela Sampson on Twitter at http://twitter.com/pamelasampson


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We could all use a visual reminder of how many lives are lost to guns in Philadelphia. This one is a stunner. It depicts, in T-shirts, each gun murder of 2012. You can see it on the front lawn on the Presbyterian Church of Chestnut Hill. It was erected on Saturday.
Here's info about the memorial, from a press release distributed by Heeding God's Call:
This project, intended to demonstrate to passersby on heavily trafficked Germantown Avenue, was the vision of Rev. Jarrett Kerbel, Rector of St. Martin in the Fields Episcopal Church in Chestnut Hill. The plan is to move the memorial every few weeks to another faith community, so many Philadelphians can get a graphic idea of the enormity of the destruction visited upon the city by rampant gun violence.
Yesterday's construction of the memorial was accompanied by song and prayer and a blessing of the memorial and all who worked to make it by Rev. Cindy Jarvis, Senior Pastor of the Presbyterian Church of Chestnut Hill.
Immediately upon its completion cars driving by on Germantown Avenue began slowing to view it and to read the signs describing its purpose. Rector Kerbel said: "Our hope is to dramatize the sad and amazing loss of life from guns our city faces each year, month and day. We want people to understand that gun violence is more than back page news reports, more than black and white statistics on a page. We hope that people witnessing our memorial will take the need for change to heart and wil so demand that our political leaders, starting with Mayor Nutter, will take on the courage of Martin Luther King, Jr. and work for real and meaningful change, not just talk."
Bryan Miller, Executive Director of Heeding God's Call, the faith-based and grassroots movement to end gun violence, said: "I hope others are as stunned by the memorial as I was. We hope faith communities across the city will seek to host the memorial at their places of worship. And, we hope that people and communities of faith beyond Philadelphia will learn about the memorial and construct similar memorials of the murdered in their cities. We hope to hear from many."
Heeding God's Call is the faith-based and grassroots movement to prevent gun violence. Headquartered in Philadelphia, Heeding is growing rapidly and has active chapters in Northwest, Northeast and West/SW Philadelphia, on the Main Line, in Harrisburg, Baltimore and Washington, DC. Heeding seeks to bring faithful and public pressure to bear on gun shops in order to persuade them to avoid selling to those who would put guns on the street. Heeding was instrumental in bringing federal authorities to shutter notorious Colosimo's Gun Center on Spring Garden Street in late '09. Heeding is currently active at two gun shops in Northeast Philadelphia and one in Washington, DC.


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If a Christmas rally wants to form from lower levels… then those lower levels will probably need to be met Monday and/or Tuesday, or else there might not be sufficient time to absorb and recover a later dip.
Pattern points… (Setups and technicals)
1412.00 resistance was tested by a lot of bounces Friday. Almost any accumulation pattern could have leveraged all that chipping away at resistance, whether to launch a rally or only a short-squeeze. But there was never any accumulative action, so no buy signal was ever identified.
Anyway, the morning's unfinished business below at its 1404.25 bias-down target remained outstanding. And the session had been chipping away at 1409.00 support — while also forming a distribution pattern. Guess which way the market broke.
Sellers gained traction for their efforts — Friday's close was still testing the morning's lows, but it was under the noon hour's lows and no prior high was recovered. So long as Monday doesn't recover 1412.00 immediately or after fulfilling 1404.25, this downleg would next target 1397.75, and could extend to 1391.00-1392.00.
What's Next… (Outlook and opportunities)
Don't forget to join us this weekend for the Saturday Strategy Session at 9:30am ET. Its link is found in the blog's sidebar… Also, this Thursday will be our "January Effect" discussion. Its start time is tentatively scheduled for 7:00pm ET.
Look for at least one update overnight or ahead of the Morning Market Tour… My thoughts on the day's econ calendar are linked here.


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Updated: New Knoxville School Evacuated
NEW KNOXVILLE — Students at New Knoxville School were evacuated Tuesday afternoon and the building searched by an area bomb squad.
Auglaize County Sheriff Al Solomon told The Evening Leader a phone call at 1:54 p.m. by a school employee triggered an investigation that included the Lima Bomb Squad searching the school. Solomon said the students were evacuated a "safe distance away" from the school and parents were notified via the school district's policy.
"The Lima Bomb Squad was called in to do a search of the building with personnel from the school," Solomon said. "Class was in session when they evacuated the school. Parent pick-up was controlled from outside the building by law enforcement and school personnel."
Solomon said members of the bomb squad did not find anything and cleared the scene at approximately 4 p.m.
Superintendent Kim Waterman said students told her and Principal Linda Tebbe about a threatening message they found on a top floor bathroom wall.
"Around 1:40 (p.m.), two students asked for Mrs. Tebbe and myself to check some writing on the wall," Waterman told The Evening Leader. "We went to check the location on the wall and it was a threat. We proceeded to get everyone out of the building."
Students confirmed that the message had been on the wall since Monday, she said, so school officials evacuated students as if it were a fire drill, and the Auglaize County Sheriff's Office was notified immediately by a school custodian. Waterman noted for their safety, students were not allowed to go to their lockers or gather their belongings and were evacuated quickly.
"We got the students out right away," she said.
Waterman issued a One Call Now announcement to notify parents of the situation at approximately 2:20 p.m.
"I placed a One Call Now to let the parents know that the students were being dismissed early," she said, noting that buses came early to pick up the students and the walkers were released.
Waterman noted the sheriff's office and the New Knoxville Fire Department responded quickly to the incident.
"The sheriff's office was here really quick," she said. "The fire department was already suited up and ready to go."
School officials then waited for the arrival of the bomb squad and took it through the building, which was checked thoroughly.
"We waited for the bomb squad to arrive and took them through the building," Waterman said. "It was checked thoroughly — the classrooms, the hallways, the lockers, anywhere that a child had access to was checked."
After the search, the school was cleared of any threat. Waterman said the evacuation went smoothly, but there is always room to improve.
"You can always improve on what's been done," she said. "You rethink what's been done and what could have been done better."
She noted the staff helped keep the process organized.
"We're blessed to have a fireman and a few military men on staff to help keep things organized," Waterman said.
An investigation into the incident will follow, Waterman said.
"We're blessed because of the renovation to have cameras in the hallways," she said, noting that the video will be looked through. "It's upsetting that this happened, so you want to catch the person that did this because school should be a safe place for students … You don't want them to fear."
The sheriff's office responded to the school along with the New Knoxville Police, New Knoxville Fire, St. Marys Fire/EMS and the Ohio Department of Natural Resources. The investigation into the incident continues.


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H. Gilbert Welch, MD, MPH
Professor of Medicine
Professor of The Dartmouth Institute
Professor of Economics
The Dartmouth Institute
Harvard University, BA 1976
University of Cincinnati, MD 1982
University of Washington, MPH 1990
The Dartmouth Institute for Health Policy and Clinical Practice
Contact Information:
35 Centerra Parkway
Lebanon NH 03766
Phone: 603 653-0836
Email: firstname.lastname@example.com
Asst. Phone: 603 653-0836
Professional Interests:
Dr. Welch is a general internist at the White River Junction VA and a professor of Medicine at the Dartmouth Institute for Health Policy and Clinical Research.
For the past two decades, Dr. Welch's research has focused on the problems created by medicine's efforts to detect disease early: physicians test too often, treat too aggressively and tell too many people that they are sick. Much of his work has focused on overdiagnosis in cancer screening: in particular, screening for melanoma, thyroid, lung, breast and prostate cancer. His first book, SHOULD I BE TESTED FOR CANCER? Maybe not and here's why (UC Press 2004) was written while he was a Visiting Scientist at the International Agency for Research on Cancer and was one of the six "best books" listed by Malcolm Gladwell in The Week. He has recently published his second book, OVERDIAGNOSED: Making people sick in the pursuit of health (Beacon Press 2011).
Courses Taught:
@ TDI: Epidemiology and Biostatistics
@ Dartmouth College: Health Policy and Clinical Practice
@ Tuck: Science of Inference – Basic Skills & Disturbing Truths
Selected Publications:
Black WC, Welch HG. Advances in diagnostic imaging and overestimations of disease prevalence and the benefits of therapy. N Engl J Med 1993;328:1237-1243.
Welch HG, Schwartz LM, Woloshin S. Are increasing 5-year survival rates evidence of success against cancer? JAMA 2000,283:2975-78.
Welch HG, Schwartz LM, Woloshin S. Prostate-specific antigen levels in the United States: implications of various definitions for abnormal. J Natl Cancer Inst. 2005;97:1132-7.
Welch HG, Woloshin S, Schwartz LM. Skin biopsy rates and incidence of melanoma: population based ecological study. BMJ 2005;331:481-4.
Davies L, Welch HG. The increasing incidence of thyroid cancer in the United States, 1973-2002. JAMA 2006;295;2164-7.