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Reverse Happy Hour
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An event every week that begins at 9:00pm on Sunday, Monday, Tuesday and Wednesday, repeating indefinitely
Join us for Reverse Happy Hour from 9pm – close Sunday thru Thursday every week!
The best late night Happy Hour in town!!Poitin_HappyHour_


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Go to Indicator definition
This indicator provides the share of the population, aged 16-19, that neither are enrolled in school nor have a high school diploma in the neighborhood where the average child of different racial/ethnic groups lives. For instance, if the value is 10% for Hispanic children, this statistic is interpreted as "The average Hispanic child in this metro area lives in a neighborhood where 10% of the population, aged 16-19, neither are enrolled in school nor have a high school diploma ."
Children defined as under 18. Excludes metro areas with less than 5,000 child population of the specified racial/ethnic group.
U.S. Census Bureau, 2000 Census, Summary File 3 accessed through the Neighborhood Change Database. U.S. Census Bureau, 2000 Census, Summary File 1.
Institute for Child, Youth and Family Policy • The Heller School • Brandeis University
Waltham, MA • firstname.lastname@example.com
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Description:HP AMD Opteron 2220 DL145 G3(2.8GHz/2-core/2MB/95W)Full Processor Option KitPart Number(s)
Manufacturer Part# 440721-B21
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A Photo Glimpse of the Congo
As head of the Zoological Society of Milwaukee's Bonobo & Congo Biodiversity Initiative (BCBI), Dr. Gay E. Reinartz spends nearly six months each year in Africa's Democratic Republic of Congo. During her October-December 2009 field season, Dr. Reinartz and the BCBI team visited the Zoological Society's research station, Etate, in Salonga National Park. (Dr. Reinartz kept a field diary about her trip.) They trained new Congolese employees and delivered supplies. Other accomplishments included:
- The BCBI team delivered seeds and farming tools to several local villages neighboring the Salonga National Park for the agriculture cooperative that BCBI started and now helps run. An agriculture consultant who partners with the ZSM checked on the villagers' progress. In addition to rice, beans and manioc (a starch), the villagers will try to grow soybeans in 2010. Growing their own crops helps local residents to avoid poaching animals for food.
- The BCBI team also delivered supplies and provisions for guards who live at Etate year-round.
- Two new BCBI student teachers came to Etate to help teach biomonitoring techniques to park guards. See this for more on the teacher trainees.
- The primary schools at three villages supported by the Zoological Society received textbooks, pencils and other materials. For more on the schools and the farming cooperative, click here.
- Dr. Reinartz and the BCBI team met with a group of parents whose children attend the schools. The parent committee was given money to pay teacher salaries.
- The field team found bonobo nests in the forest. They also discovered poaching camps and evidence of elephant poaching.
Contributors to this slide show were Dr. Gay E. Reinartz (who provided the photos), Shawna Joachim and Julia Kolker.


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Hunger Games Read-Alikes
Article in Young Adult Fiction, Read-Alikes, and Adventure categories.
If you loved Katniss and Peeta and the struggle in Panem, try some of these similar titles:
- Feed by M.T. Anderson
A normal trip to the moon turns epic when Titus realizes that he doesn't have to live with the head implant that controls everyone he knows, except the mysterious Violet
- Ship Breaker by Paolo Bacigalupi
Scavenging metal from ships is dangerous, but the girl in the wreck may bring more trouble.
- Exodus by Julie Bertagna
Can Mara lead her people from the the floods of their homeland to the unknown sky cities?
- Beauty Queens by Libba Bray
Stranded on a desert island, 13 beauty queens fight each other, nature and evil forces . . . and prepare for the pageant.
- The Supernaturalist by Eoin Colfer
Cosmo, sick of being a guinea pig, busts out of his orphanage and meets up with a gang who are killing the Parasites that are invisible to most people. But are the Parasites the real enemy?
- Matched by Ally Condie
Cassie is thrilled that The Society has paired her up with her best friend Xander, but worries when her neighbor's face shows up on her match disk. The story continues in Crossed.
- The Maze Runner by James Dasher
Thomas appears in the Maze with no memory and off-schedule and has to fight both the other guys there and the creepy Gladers. But what are they to make of the first girl to show up and her mysterious message? Continue with The Scorch Trials and The Death Cure.
- Wither by Lauren DeStefano
When genetic tampering creates a world where men and women die in their twenties, girls are forced into marriages to repopulate the planet. Continue with the other books in The Chemical Garden Trilogy.
- Little Brother by Cory Doctorow
High school hacker Marcus turns his free gaming system into X-net to fight the excesses of Homeland Security after the bombing of the Bay Bridge.
- City of Ember by Jeanne DuPrau
Humans were forced into hiding in the city of Ember over 200 years ago, but the lights are starting to go out. It's up to Lina and Doon to figure out an ancient message and save the city. But should they stay?
- The House of the Scorpion by Nancy Farmer
Matt's a clone of an evil drug lord. But unlike other clones, he can still think for himself and must decide if he's brave enough to escape and fix the mistakes he's made.
- Incarceron by Catherine Fisher
A mad ruler, a living prison, an old legend: is there any escape? Follow up with Sapphique.
- Rash by Pete Hautman
Bo's accused of spreading a rash at school and sent to a work in a pizza factory in the tundra. His computer program, Bork, wants to free him, but can Bork be trusted? And does Bo want to go back to his highly-regulated old life?
- XVI by Julia Karr
In a future society that tattoos "16" on girls' wrists when they come of age, they become easy targets for sexual predators. Nina's world turns upside-down when her mother is murdered right before her 16th birthday, revealing a secret about her society that will change her life and make her question everything she knows.
- The Giver by Lois Lowry
In becoming one of only two people with his community's memories, Jonas is horrified to learn the truth no one else knows.
- Legend by Marie Lu
Are Day and June are on opposite sides, or do they have a common enemy?
- The Declaration by Gemma Malley
Children aren't needed when no one dies, but Anna's parents broke the rules. Should she break out of her dorm/prison and find them or keep her head down?
- The White Darkness: a novel by Geraldine McCaughrean
Sym's "uncle" Victor sneaks her into Antarctica. If she can't trust him, how will she survive at the bottom of the world?
- The Knife of Never Letting Go by Patrick Ness
The Noise germ caused all the men and boys to hear each other's thoughts and killed all the women and children. So what is Todd to make of Viola and the secrets his town holds?
- Hatchet by Gary Paulsen
All Brian has after a plane crash is a hatchet and the survival skills he learned. Can he keep himself alive?
- The Adoration of Jenna Fox by Mary E. Pearson
What extreme measures would Jenna's parents take to cure her? Would they break the laws of man and nature? Jump forward with The Fox Inheritance.
- Life as We Knew it by Susan Beth Pfeffer
Miranda's journal describes how her family and town comes together and fall apart when the moon falls out of orbit and life as she knew it ends.
- The Last Book in the Universe by Rodman Philbrick
An earthquake has destroyed most of earth, and most people's intelligece. Is Spaz brave enough to help Ryter publish a book?
- Mortal Engines by Philip Reeve
In a world where cities can move and take over smaller towns, Tom is betrayed and exiled to the Out-Country.
- Across the Universe by Beth Revis
Has someone tried to kill Amy while she's been cryogenically frozen on a space ship? Carry on with A Million Suns.
- Divergent by Veronica Roth
Everyone only has five choices for identity, but Beatrice doesn't fit into any one group. Could her society be wrong all along?
- Glow by Amy Kathleen Ryan
Waverly is part of the first generation to be born in space, and she is destined to marry future Kieran to do her part to repopulate the new planet they will inhabit. But Waverly isn't sure she wants to follow the path that others have laid out for her.
- Unwind by Neal Shusterman
Teens Connor, Ris and Lev are traveling the country so they aren't unwound, having the body parts used by others.
- Gem X by Nicki Singer
Maxo Strang lives comfortably in Tropolis, like the rest of the genetically engineered, perfect kids - until a crack appears on his perfect face. He is sent to a hospital for an antidote, but there's a bigger, more sinister plan afoot, involving the powerful government and its treatment of the "Dreggies", the natural, un-enhanced members of the population, who live in slums.
- Uglies by Scott Westerfeld
Tally thinks that becoming Pretty forever is a good idea, until she leaves the city and finds people who are fighting the system. Can she do it without betraying her friends?
Check out these links for other dystopian novels you might enjoy!
Lawrence (KS) Public Library's "Dystopian Flow Chart"
"Young Adult Dystopian Books" on Prettybooks Blog
"50+ Fantastic Young Adult Dystopian Novels" in Bart's Bookshelf


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For a while, it seemed that Wi-Fi was becoming a victim of its own success. In many cities, there are numerous active Wi-Fi networks on those preciously few non-overlapping channels—that's in addition to microwaves, bluetooth, cordless phones, and baby monitors, which all share the 2.4GHz band.
But since about 2007, Apple has also built support for 802.11n Wi-Fi on the 5GHz band into its computers and Airport line of Wi-Fi base stations. Now, the iPhone 5 and the latest iPod touch also have that support. (The iPad has had it since day one.) So, how do you set up a Wi-Fi network that makes the most of this confluence of Wi-Fi bands?
Not created equal
First of all, it's important to realize that the two bands are created very differently. The 2.4GHz band suffers from lack of non-overlapping channels and interference from other devices. But the lower frequencies pass through walls and floors reasonably well. The 5GHz band on the other hand, has a much larger number of channels—and they don't overlap—but the higher frequencies have reduced range, even in open air. In addition to this, Apple only supports using two channels as a single, double-speed wide channel in the 5GHz band. If all else is equal, 5GHz is twice as fast as 2.4GHz.
Older base stations, such as the first and second generations of Apple's Airport Extreme (released in 2007), support either 2.4GHz or 5GHz operation, but not both at the same time. If you have one of those, you have to choose. In a small apartment with thin walls, 5GHz has enough reach, and you'll benefit from the extra speed and reduced interference. Especially when you let the base station select the channel, because that way, more channels are available. But in a big house away from interfering neighbors, 2.4GHz gives you better coverage further away from the base station. You may also need 2.4GHz for compatibility with older devices that don't support 5GHz operation.
But fortunately, with newer Wi-Fi base stations, it's no longer necessary to make that choice: they support simultaneous dual band, operating in both the 2.4 and 5GHz bands at the same time. There are two ways to do this: having a separate 2.4 and 5GHz networks, or having one network that spans both bands. In the first case, you tell the base station you want a different name (aka SSID) for the 5GHz band. This means you can manually select the 2.4GHz network or the 5GHz network as needed. The downside is that if you join the 5GHz network, and then move away from the base station, you'll remain connected to the 5GHz network and get spotty performance at distances that 2.4GHz handles just fine.
For most people, the best choice is to set up a network that does both 2.4GHz and 5GHz as a single network. This is what Apple's Airport Utility sets up for you if you don't tell it to use a separate 5GHz name. The benefit to this is that a single dual band network allows wireless devices that support both bands to switch to the band that has the best signal dynamically.
The iPhone 5 supports 72Mbps at 2.4 GHz, but 150Mbps at 5GHz. Most of Apple's computers have two antennas, so they can do 144Mbps at 2.4GHz and 300Mbps at 5GHz. My iPhone 5 quickly jumps from 5GHz to 2.4GHz when I walk down the stairs, but when I return to the living room, it typically takes a few minutes for it to switch back to 5GHz. And sometimes devices or computers get stuck on the 2.4GHz band just when you want to transfer some big files.
Adding to the family
Things get more interesting if you have multiple base stations. If you give each of these their own settings, wireless devices will try to hang on as long as they can before switching to a different one, and when they switch, all ongoing communication gets interrupted. But it doesn't have to be that way. You can have your own multi-base-station Wi-Fi network with seamless roaming, just like a campus or enterprise network, but using regular base stations such as Apple's Airport Extremes or Airport Expresses. (I didn't test with non-Apple equipment, but it should work the same way.)
Seamless roaming between base stations happens when four things are the same between those base stations: the network name (SSID), the security settings, the DHCP server, and the router. This is easily accomplished by hooking up the second base station to a LAN port of the first base station and setting the second one up with the same network name and the same WPA2 password. Then, tell the second base station that it should operate in "bridge mode," rather than perform NAT or DHCP.
It's also possible to set up a second base station as a wireless network extender to get more reach without putting in additional Ethernet wiring, but that requires extra wireless hops for each packet, so it reduces speed. In the wireless extender configuration, the second base station needs to be on the same channel as the first one. But if the second base station has a wired connection, it should have its own channel for best performance.
Don't forget that you can install the Airport Utility for iOS on your iPhone, iPod touch, or iPad, which lets you reconfigure your Airport base stations as well as monitor signal strength, connection speed, and the use of 2.4 vs 5GHz for all of their wireless clients, including iOS devices. Don't select a base station too fast, though, because then the list of wireless clients may not be shown.
Bonus tip: if you want to see what other Wi-Fi networks are active in your area, use the following command on your Mac:
/System/Library/PrivateFrameworks/Apple80211.framework/Versions/Current/Resources/airport -s
I did some speed testing with an iPhone 5 and a fourth generation Airport Extreme base station. In normal Web browsing or e-mailing, there didn't seem to be a speed difference. On 2.4GHz, iTunes Wi-Fi sync topped out at 2.8 megabytes per second, while on 5GHz, this was about 50 percent faster at 4.3MB/s. However, I was able to transfer a file from the Air Sharing app using the Finder at no less than 10MB/s at 5GHz. The Speedtest app showed that the iPhone was able to saturate my 60Mbps Internet connection at 5GHz, but barely more than half that at 2.4GHz.
On the other hand, I find that when using a 5GHz-only network, dropping Wi-Fi connections and problems reestablishing a connection are much more common. In the dual band configuration, issues with 5GHz aren't an issue, because the wireless device simply falls back to 2.4GHz. Life is good with dual Wi-Fi bands.
Update: this story originally said 5GHz support was new in recent iPads, while in fact it was already present in the original iPad.


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Because the number of influenza cases has significantly increased throughout the region, children age 12 and under may not visit patients effective Wednesday, January 8. This applies to all Wake Forest Baptist inpatient locations and will remain in effect until the number of flu cases decreases significantly.Learn More.
Lyme disease is often associated with heavily wooded or grassy areas where mice and deer live. It's most common in the Northeast, the Pacific Northwest, and the northern Midwest states.
Lyme disease is caused by the bacterium Borrelia burgdorferi, which is found in small animals like mice and deer. Ixodes ticks (also called black-legged or deer ticks) that feed on these animals can then transmit Borrelia burgdorferi to people through tick bites.
Ticks are small and can be hard to see. Immature ticks, or nymphs, are about the size of a poppy seed; adult ticks are about the size of a sesame seed.
It's important to know and watch for symptoms of Lyme disease because ticks are hard to find and it's easy to overlook a tick bite — in fact, many people who get Lyme disease don't remember being bitten. The good news is that most tick bites don't result in Lyme disease.
Lyme disease can affect different body systems, such as the nervous system, joints, skin, and heart. Symptoms are often described as happening in three stages (although not everyone experiences all three):
The rash sometimes has a characteristic "bull's-eye" appearance, with a central red spot surrounded by clear skin that is ringed by an expanding red rash. It also can appear as an expanding ring of solid redness. It is usually flat and painless, but sometimes can be warm to the touch, itchy, scaly, burning or prickling. The rash may appear and feel very different from one person to the next, and it might be more difficult to see on people with darker skin tones, where it can look like a bruise. It expands over the course of days to weeks, and eventually disappears on its own. Along with the rash, a person may have flu-like symptoms such as fever, fatigue, headache, and muscle aches.
If you think your child could be at risk for Lyme disease or has been bitten by a tick, call your doctor. Although other conditions can cause similar symptoms, it's always wise to contact your doctor. This is especially true if your child develops a red-ringed rash, flu-like symptoms, joint pain or a swollen joint, or facial paralysis. That way your child can get further evaluation and treatment, if necessary, before the disease progresses too far.
There's no surefire way to avoid getting Lyme disease. But you can minimize your family's risk.
Be aware of ticks in high-risk areas like shady, moist ground cover or areas with tall grass, brush, shrubs, and low tree branches. Lawns and gardens may harbor ticks, too, especially at the edges of woods and forests and around old stone walls (areas where deer and mice, the primary hosts of the deer tick, thrive).
If you or your kids spend a lot of time outdoors, take precautions:
If you use an insect repellent containing DEET, always follow the recommendations on the product's label and don't overapply it. Place DEET on shirt collars and sleeves and pant cuffs, and only use it directly on exposed areas of skin. Be sure to wash it off when you go back indoors.
No vaccine for Lyme disease is currently on the market in the United States.
Lyme disease is usually treated with a 2- to 4-week course of antibiotics. Cases that are diagnosed quickly and treated with antibiotics almost always have a good outcome. A person should be feeling back to normal within several weeks after beginning treatment.
Lyme disease is not contagious, so it can't spread from person to person. But people can get it more than once from ticks that live on deer, in the woods, or travel on pets. So continue to practice caution even if you or your child has already had Lyme disease.
You should know how to remove a tick just in case one lands on you or your child. First, don't panic. The risk of developing Lyme disease after being bitten by a tick is only about 1% to 2%. On top of that, it takes at least 24 to 48 hours for the tick to transmit the bacteria that cause Lyme disease. (To be safe, though, you'll want to remove the tick as soon as possible.) This is why a daily tick check is a good idea for people who live in high-risk areas.
If you find a tick:
Tick bites don't generally hurt — that's part of the difficulty in knowing whether someone has Lyme disease because pain usually helps to call attention to problems. So be on the lookout for ticks and rashes, and call your doctor if you're at all concerned.
Reviewed by: Elana Pearl Ben-Joseph, MD
Date reviewed: September 2015
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text: Monday, January 14, 2013 HHS Announces 106 New ACOs Physicians and health care providers have formed 106 new accountable care organizations (ACOs), bringing the nationwide number of Medicare beneficiaries included in ACOs to about 4 million. According to the Department of Health and Human Services (HHS), the new ACOs include a diverse cross-section of physician practices across the country. Roughly half of all ACOs are physician-led organizations that serve fewer than 10,000 beneficiaries. Approximately 20% of ACOs include community health centers, rural health centers, and critical access hospitals that serve low-income and rural communities. The new group includes 15 advance payment model ACOs, physician-based or rural providers who would benefit from greater access to capital to invest in staff, electronic health record systems, or other infrastructure required to improve care coordination. Medicare will recoup advance payments over time through future shared savings. In addition to these ACOs, last year the Centers for Medicare and Medicaid Services (CMS) launched the Pioneer ACO Program for large provider groups able to take greater financial responsibility for the costs and care of their patients over time. ACOs must meet quality standards to ensure that savings are achieved through improving care coordination and providing care that is appropriate, safe, and timely. CMS has established 33 quality measures on care coordination and patient safety, appropriate use of preventive health services, improved care for at-risk populations, and patient and caregiver experience of care. Federal savings from this initiative are up to $940 million over 4 years. For more information on ACOs, visit www.apta.org/ACO/. Join your colleagues on March 8 for APTA's groundbreaking virtual event, Innovation Summit: Collaborative Care Models, which will focus on the current and future role of physical therapy in ACOs and other integrated models of care. Comments More specific information on how ACO will go about contracting with behavioral health care organizations in providing integrated health care for high-risk populations would be most welcome. Also, what kind of education will medical professionals need to better understand the revolution that the recovery model has created in behavioral health care. Finally, getting medical professionsals and peer support specialists to work as a team in a total health/wellness/recovery vision. Posted by Robert Rousseau on 1/30/2013 5:53 AM


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text: 20130521_184317_California StBy Jason Rabinowitz 29 May2013 Jason Rabinowitz CORRESPONDENT - NEW YORK, NY. Jason is an #AvGeek that does passenger experience research, data analysis, and writes things about airlines, airplanes and travel. Email: [email protected]. http://www.airlinereporter.com Leave a Reply Cancel ReplyYour email address will not be published. Required fields are marked * Participate in this conversation via emailGet only replies to your comment, the best of the rest, as well as a daily recap of all comments on this post. No more than a few emails daily, which you can reply to/unsubscribe from directly from your inbox.


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Post your feedback, opinions, ideas, and requests on anything from site support issues to suggestions on bobatl.com merchandise and anything in between, in this new thread.
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Post your feedback, opinions, ideas, and requests on anything from site support issues to suggestions on bobatl.com merchandise and anything in between, in this new thread.
Im 45 Years old And have been a rock & roll fan for 30 years my girlfriend turned me on to B.O.B a few months ago and I liked it we just returned from the Lawrence Ks show (our home town) and i must say it is not @ all what i expected It was great and closing the show with Kids Wow carry on you are going to go a long way.
Can't wait for the gigs in London - but how do you buy tickets? I can't find them on any websites. Thanks.
The site says there's a concert in Lawrence,KS on the 7th of October. Is this accurate? I can't find any information on how to buy tickets, how much tickets are, and other concert sites say nothing of this date and venue.
your site says youll be in NM (sunshine theater) on 10/17, Sunshine's site says youre gonna be there on 10/11. When is the correct date? Thanks
There needs to be more information about the October 30th show in Washington DC. It's the same day as the Rally to Restore Sanity/March to Keep Fear Alive, so there will already be a ton of people in the city, and I'd love to see the concert. Where is it, what time, how much do tickets cost, where do I get them? I can't find this information anywhere.
PAAHHLEASE come to New England! I missed your concert when you came to boston over the summer but I heard it was dope and my friend even rapped for you! I live in New Hampshire and would love to see you soon. I won't even ask you to come to University of New Hampshire because that is so far fetched but boston or ct or vt? If it was the summer and I wasn't in school I would easily drive to see you somewhere far!
hey this may have nothing to do with anything but does anybody know the name of the jacket b.o.b is wearing in the video to nothin on you?
I don't normally leave messages like this, but I just want B.O.B to know that he is one of the better artists that is doing somehing positive and original with music today. I appreciate his positive messages, and find him to be a breath of fresh air. Please continue to make good music. If you change only do it for the better, you have a gift, and I wish you all the success in the world.
God Bless
Can you PLEASE! play stuff of your mixtapes when you come to vegas!
use your love?
dont break my heart?
Merchandise: How about the jacket and/or shirt from the album cover?
More apparel! That's the main jist, I just want to rep more B.o.B
Feedback on the Past my shades, shades: after about 2-3 weeks of wearing them the writing on the side started to fall off. They were pretty cheap
You should come play an event for our fraternity at Wake Forest. Email me if it's a possibility or if you're interested.
You are an amazing rapper and i just got through listening to ghost in the machine and that song has become one of my favorite songs. I think at least once a day i have to hear that song lol. But really you are one of my favorite rap artist and my friend introduced me to you first when i listened to ill be in the sky. If i may so is a beast behind song. And then i heard your name on the radio once and it was for a new song of yours, nothin on you, which i instantly fell in love with and get hype to when i'm in the car. But to make a long story short, it would be really cool if you made a song feat owl city because i think it would be really cool to hear a song developed by you two.
I think you should come to chattanooga TN and play at the mckenzie arena I haven't been to any of your concerts but i plan to i hope i get to go to one of your concerts soon
(Continued from below)
Someone had to build it before us our parents or parents parents. Some of our parents never had a chance. We suffered from racial discrimination, inaccessible education, and other features of poverty. My mom came from the Philippines with nothing but a baby and severely schizophrenic American husband. Here I am trying to make it, and teach her how important it is to make it. She kicks ass and works unbelievably hard, but she still dont have shit. Really, though, I dont know if she even wants shit. She sends money back to the Philippines to educate kids in the family, buy food, and pay for health care like theres no tomorrow. Really, shes doing what she came here to do. Its me thats broken up, because I feel like Im struggling to make it. I need to appreciate that my life is good, way better than it could have been.
BUT, I WANT TO FUCKING MAKE IT. I just put myself through grad school. I earned my MBA at 30 three months ago and Im still check to check. What the fuck! Im just starting the road to making it. Im buying houses. I now have four, three that I rent. Im just starting to understand credit, and I want my friends to understand it too. They dont, and I cant get through to them. I dont know how I can explain that while its done nothing but fuck our lives up and our parents live up to this point, we can make it work for us. We can have something someday if we just do something about it. Im a realtor now, and Im trying to get my friends to buy into the idea that we can make money with our strong credit. We just gotta make it happen.
Damn, bro. I like your style. I'm listening to your jams now, and I like your lyrical focus. I wrote this after listening to some of your songs. Could you write one about this, please?
It makes me sad that we never had a chance. Were poor, and even though I work hard and my mom works hard and my friends dream hard, we still live check to check. We cant transcend. We still live threatened by bills and credit cards and taxes and its all too much. Others born with silver spoons avoid these fears all together. We make one mistake and take two months off and then all of a sudden everything begins to cost us more, because our credit rating suffers. We have no cash. We have no cushion. We could financially perish at any moment.
We still experience joy, and we can still be happy, but why must we live in peril. Its so bad that most of us dont even understand it our finances or try to understand how they affect our life. The sad thing is that understanding them is the only thing that will save us. Then, heres the kicker, we get to the point that we understand finances, and we still cant do anything about our situation. Its too late. Our credit is fucked and we dont have any money or credit to leverage. It seems hopeless, and that makes a person think that even getting up off their ass wont truly help. But, thats because we cant see that far into the future and weve never seen anybody do it before. So, we cant believe it can really happen unless we totally go against everything weve ever seen first hand.
(Continued in next post)
Bobby Ray, keep doing your thing, we need more people in the rap game like you, that aren't talking about blunts bitches and 40's. Love you man, keep educating the youth, Konya lost his way.


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Audra McDonald: Shaping 'Bess' On Broadway
This is FRESH AIR. I'm Terry Gross. The Gershwins' "Porgy and Bess" will have its final Broadway performance September 23rd. So with just a few weeks remaining, we're going to hear from Audra McDonald, who won a Tony for her performance as Bess. The production won a Tony for Best Revival of a Musical.
The opera "Porgy and Bess" was written by George and Ira Gershwin and DeBose Hayward. Although it's an opera, it's given us songs that have become pop standards, like "Summertime," "It Ain't Necessarily So," "There's A Boat That's Leaving Soon For New York," and "I Loves You, Porgy."
"Porgy and Bess" debuted on Broadway in 1935. It's set in a fictional, poor, African-American fishing community named Catfish Row on the South Carolina coast. Three characters disrupt the order of this hardworking community: Bess and her man, a stevedore named Crown; and Sportin' Life, a pimp and drug dealer.
When Crown kills a man in a fight and hides out from the law, Bess needs a man, so she takes up with Porgy, who is crippled and thinks of himself as less than a man. It's an act of convenience for her, but she falls in love with him. Here's the song in which they declare their love for each other, "Bess, You Is My Woman Now." Singing with Audra McDonald is Norm Lewis, who plays Porgy.
AUDRA MCDONALD: (As Bess) (Singing) Porgy, I's yo' woman now, I is, I is. An' I ain't never goin' nowhere 'less you shares the fun. Dere's no wrinkle on my brow, nohow, 'cause I ain't goin'. You hear me sayin', if you ain' goin', wid you I'm stayin'. Porgy, I's yo' woman now. I's yours forever, mornin' time an' evenin' time, summer time an' winter time.
NORM LEWIS: (As Porgy) (Singing) Mornin' time an' evenin' time an' summer time an' winter time. Bess, you got yo' man.
AUDRA MCDONALD AND NORM LEWIS: (As Bess and Porgy) (Singing) (Unintelligible).
MCDONALD: (As Bess) (Singing) Mornin' time an' evenin' time, summer time an' winter time.
LEWIS: (As Porgy) (Singing) Mornin' time an' evenin' time an' summer time an' winter time.
GROSS: Audra McDonald, welcome back to FRESH AIR. Congratulations on your performance. It's such a magnificent score. I know so many of the songs as pop songs. It's really so wonderful to hear them performed in the context of the opera. Would you just tell us, like, your personal history of "Porgy and Bess," what this opera, what the songs from it mean in your musical and personal autobiography?
MCDONALD: Well, Terry, my experience with "Porgy and Bess" goes back to when I was a child, and my parents had the Leontyne Price-William Warfield record, with Leontyne being very sassy on the cover in her red dress. And I listened to that a lot. And they also had the Houston Grand Opera recording with Clamma Dale and Donnie Ray Albert.
And then I went to Julliard, and while I was studying there, I was very depressed because I was studying classically, classic voice, and I was missing Broadway and thinking that's what I wanted to do, I wanted to do musical theater, but here I was studying classically and feeling like I was missing something.
And then I happened upon the Glyndebourne production of "Porgy and Bess" that had just been released, the recording has just been released with Cynthia Haymon as Bess. And I listened to it incessantly. I memorized it from top to bottom and thought wow, well, if I have to sing opera, here's one I'd love to sing, and here's a role I'd love to play.
And I had a friend who was in that particular recording, in that production and on the recording, and he was a teacher's assistant at Julliard in my ear-training class, and he was married to Cynthia Haymon. And I asked - he played Mingo.
And I asked him about it, and he told me all about working with Simon Rattle and how incredible the experience was. I said: What about Bess? And he said: It's a voice-killer. He said it's a very difficult role and a voice-killer. And I remember hearing that, just going whoa.
GROSS: Is he right? Is it a voice-killer?
MCDONALD: It's pretty close. It's very difficult. There's very few quiet moments for Bess. They're all very big, very emotional and very rangy, and to commit to that night after night after night is very difficult.
GROSS: Can you just give us an example of one of the twists in one of the songs that makes it so difficult?
MCDONALD: As a good example, I would use "What You Want With Bess," where she's singing with Crown, and she's on Kittiwah Island, and she's trying to get away from him so she can catch that boat and get back to Catfish Row. And she's struggling to get him off of her, and she has been singing in her middle voice, like...
(Singing) Now and forever, he can't live without me, he would die without me. Crown, won't you let me go?
And it's fairly loud, but it's in a duet moment. And then after all of that struggle, at the very, very end of the duet, she has to hit her highest, hardest moment. And there's been so much physical struggle that has happened up and to that point that by the time you get to that moment, for me I feel like I have run a marathon, and that's when I have to hit my highest, you know, longest sustained note, and it about kills me every night.
And I always wonder am I going to get there, am I going to hit some note a fourth lower? I never know. It makes the moment exciting for me because it's a challenge.
GROSS: Have you ever missed that note in a performance?
MCDONALD: Oh yes, it happens. Doing a Broadway show eight times a week, everything happens.
MCDONALD: And yes, I have missed the note. I've gone too high.
MCDONALD: And I've not gone high enough. And then on other nights, I actually hit the note.
GROSS: Well, you know, I love that song, and I love the performance of the song on the new cast recording. And, you know, it's interesting because this has become one of my favorite songs from the show, again this is a duet between you and Crown, and Crown is the man you've been with for several years at this point, and he's this, like, really hulking kind of guy.
I mean, he's a big man, a really strong man and a very tough man. And I think it's probably fair to say your character's been a prostitute over the years, and she's kind of getting older and feeling kind of used up. And so she's - she at this point wants to get back to Porgy, but Crown, who has committed murder and is hiding out from the law, wants Bess to come back with him, with Crown.
So your character Bess is trying to get away from Crown. He's trying to grab her. And eventually you give in.
MCDONALD: Bess gives in for a couple of reasons. Of course there is a huge sexual attraction to Crown. There has been from the beginning. And also, Crown is someone who has, you know, for better or for worse taken care of her. But she spends the entire scene trying to get away from him. The whole song is saying won't you let me go, I belong to Porgy now, I'm for him.
And physically, and just through argument, she's been trying to get away from him, and she finally just gives in because she's fought him off. She realizes the boat has left without her, and she's given up basically. So she just succumbs out of hopelessness, actually.
GROSS: OK, so let's hear an excerpt that will include the ending of "What You Want With Bess," and this is my guest Audra McDonald, and Phillip Boykin is Crown from the new Broadway cast recording of "Porgy and Bess."
GROSS: That's my guest Audra McDonald as Bess with Phillip Boykin as Crown in the new Broadway cast recording of "Porgy and Bess."
You know what I often wonder? Like when you're singing, you know, at full throttle in a duet, like you do with "What You Want With Bess" in "Porgy and Bess," and you and Crown are singing opposite each other, I just think, like, the airwaves must be pulsing so much because you're very physically close together, and you're both singing full-out, heavy volume, and, you know, it fills the theater.
Can you, like, physically feel each other's voices?
MCDONALD: Absolutely. Not only that, it's a strange sensation because your head is filled with so much sound, and there's so much sound - I mean, for me when I'm singing with Phillip it's because he's got such a big, ginormous, rich voice. This is going to not make sense, but I can't hear. It all becomes sensation. Like I physically cannot actually hear what's going on. It becomes just what's the sensation in my body and around me.
But because of all that sound, and then the blood is pumping, and you're, you know, you feel the sound vibrating, a normal sense of hearing kind of goes out the window, and it becomes more about sensation.
GROSS: My guest is Audra McDonald. She won a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." More after a break; this is FRESH AIR.
GROSS: My guest is Audra McDonald. She won a Tony for her performance as Bess in "Porgy and Bess." Now, in our previous interview, which was recorded I think around 2000....
MCDONALD: Oh, it's been that long?
GROSS: Yeah, too long. So you were saying that when you really young, you wanted to audition for "Showboat," and your parents said to you no, the characters in that are stereotypical African-Americans. The songs are very nice, but you shouldn't be a part of that production.
MCDONALD: Yes.
GROSS: And so you didn't audition. And it is a great show, I think.
MCDONALD: It's a beautiful show, absolutely.
GROSS: Yeah, with magnificent songs. But anyways, you know, I understand what they meant by that. Did you have any of that feeling at all about "Porgy and Bess," or are you, like, completely - obviously the show means so much to you and always has. Any reservations at all about the way the characters in it are portrayed?
MCDONALD: Well of course, and I'm not the first person to say this that, you know, regardless of the fact that DuBose Heyward - and he did do something incredibly revolutionary by portraying, especially at that time, when the novel was written, these characters in a way that was considered incredibly humane and three-dimensional and, you know, really trying to be an insider's look at this life and not just having African-Americans as an outsider that comes into, you know, a story that's based on Caucasian people, just as servants or whatnot.
He really tried to get into their mindset and their daily lives and their hopes and their dreams, and so that was an incredible feat at that time period. But it was still written at a time where blacks and whites were not commingling. It wasn't even legal.
So even though he researched as much as he possibly could, there were still just some aspects that he couldn't possibly know. He didn't live it, and it wasn't a time when blacks and whites could commingle so he could really experience it.
But people through the history of this piece have come down on both sides saying, you know, this is stereotypical, and this is archetypes. Sidney Poitier had an issue with having to do this, to play Porgy in the movie. Famous social historians have talked about it, Harold Cruse.
Grace Bumbry, who was the first person to sing Bess at the Met, when the Met finally did "Porgy and Bess" in, I think, 1985, with Simon Estes, and she had issues with it, as well.
So yes, I saw that there were issues that I had concerns with, but at the same time, I thought there was a lot to work with and help sort of fill in, I guess, to make these characters as human as possible and not just stereotypes. And for me, the manna was going back to the novel.
I found so much information about Bess that was left out of the opera...
GROSS: Yeah, we should explain that DuBose Heyward wrote a novel called "Porgy" that - and then did a play called "Porgy" and then...
MCDONALD: Yes because of his wife Dorothy. Dorothy was the one who pushed him to turn it into a play, and she co-wrote the play with him. And the play was very successful, and then George Gershwin got a hold of the play and the book and said I want to do this.
But a lot of stuff was left out of the opera that was - a lot of historical information about these particularly characters, you know, that I thought was incredibly useful. It was actually very helpful to go back to the novel.
GROSS: So give us an example of something that you thought that was maybe a little problematic or stereotyped or, you know, not fully formed in the opera that you feel you were able to bring something to and be more expansive about because you read the novel so many times and got to know Bess as she was described in the novel.
MCDONALD: Bess just kind of pops on the scene, and we know very little about her history. We know very little about Crown's history. But in the novel, DuBose Heyward gives us a lot more sort of clues into Bess, for example that she has a scar, this ugly scar on her left cheek.
When we first see her, she - I don't know the exact quote, but it's something about, you know, the eyes of utter degradation, the acid of utter degradation was in her face. Throughout the novel, we find out that she's been struggling with her, you know, addiction to happy dust for a while. In the novel, she gets into a fistfight with the women of Catfish Row because she gets high on happy dust.
She gets thrown into jail. While she's in jail, they say that they've seen her before in that jail, the white cops, like we've seen her before. It's hard to tell with these women, but we're pretty sure we've seen her before. A lot of these things, for me it was just, like oh, well, that's a bit of a background.
We see that she's very haughty in her carriage even though she's a dog in the way she's treated. There's still a haughtiness to her carriage. So all of that just gave teeny, tiny little clues, you know.
GROSS: I'm glad you mentioned the scar on her face because as I recall, I saw the opening night of the previews in Boston, and then I saw it on Broadway about, I don't know, a few weeks after it opened. And I didn't remember seeing a scar in Boston; I did remember seeing it on Broadway, but I think I only saw it, like in the first act. Did it fall off one night?
MCDONALD: Oh, that's interesting. No, no, it's a solution. No.
GROSS: Did it heal? OK...
MCDONALD: It's a solution that you wipe on your face that then dries and grabs your skin and pulls it together. So it looks like your skin has been indented and cut. So it's - we experimented with different placement in Cambridge, and we found that in Cambridge, we were placing it in a place that was too in line with my cheekbones. So it just looked like, you know, like I had really great cheekbones or something.
MCDONALD: So we had to change the placement to make sure that it read more as a scar. And throughout the show, I start out very heavily made-up, and I take lots of my make-up off as the show goes along. So maybe it starts to look a little lighter because the rouge comes off, the heavy eye make-up comes off. So by the end, Bess has no makeup on at all, not even any lipstick.
She goes - as she's sort of transforming into, you know, a softer woman, she loses all that harshness.
GROSS: Ah, OK.
MCDONALD: The solution is really hard on my skin. So I have to keep switching it. So people who have seen the show a couple times say wait a minute. It's like the hump. What hump? That hump was on the other side. The scar keeps kind of switching cheeks.
GROSS: We'll hear more from Audra McDonald in the second half of the show. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to our interview with Audra McDonald. She won her fifth Tony for her performance as Bess in the Gershwin's "Porgy and Bess." Her other Tonys were for her performances in "Carousel," "Ragtime," "Master Class" and "A Raisin in the Sun." "Porgy and Bess'" closing performance is September 23rd.
Let's hear another song from the new cast recording of "Porgy and Bess." And this time, I think we should hear, like, what's probably the most famous song as a pop song with a life independent from the opera or show, and that's "Summertime."
Now, "Summertime" is first sung by the character of Clara, but you get to reprise it later in the show. And you sing it quite beautifully. And as we'll hear, in this production, there's an accordion behind you, which I think is very effective.
MCDONALD: Mm-hmm.
GROSS: This show - this song has been sung so many, so many, so many, so many times...
MCDONALD: Yes. Yes. It's I think it's the...
GROSS: ...in every context imaginable.
MCDONALD: It's the most-covered song, I think...
GROSS: Absolutely. Yeah.
MCDONALD: ...American song we have.
GROSS: And I'm sure you want to bring something fresh to it when you're singing it, you know, in this production. How did you approach the song so that...
GROSS: ...you know, seriously, so that...
MCDONALD: No. No. No. I'm laughing because, yes, I did want to bring something fresh to it. But in terms of, like, being another very difficult moment for me, I've been doing an entire night of heavy, heavy, heavy, heavy, hard, hard, hard, full-throttle singing. And then the last, sort of, melody that I have to sing in the show after an entire night screaming and being raped and being kicked and beaten and all this stuff is "Summertime," and it's a lullaby and it's high and it has to be quiet and pretty and sung to a baby. And it freaks me out every night, because like, oh, after all this I've got to sound high and pretty and fresh...
MCDONALD: And I'm always, you know, right before the moment, holding onto that baby, going OK, I know you're just a doll, but help me.
MCDONALD: But yeah, you know, it's - I love it because, you know, it's a moment, it's a happy moment for Bess. It's a tentative happy moment for Bess, where she's embracing motherhood. She now has this child. She really feels like she's going to be able to have the happy ending. She thinks Crown is dead. She...
GROSS: And it's another woman's child, another woman who has died. Yeah.
MCDONALD: It's another woman's child who has died. But that woman has handed that child to Bess and said you take care of my baby until I get back - actually, a side note. This is something that we borrowed from the novel, as well. So in the opera, of course, we hear Bess, take care of my baby for me till I get back. In the novel, a couple of days, I think, after the storm, where the young lady is lost and Bess now has the baby, some of the other ladies of Catfish Row try and come and take the baby from Bess.
And Bess says to them: Has Clara come back from the dead? No, she hasn't. What were her last words? Her last words were for me to take care of this baby. So until she comes back from the dead and says someone else take care of this baby, this baby belongs to me.
We thought that was a really powerful thing. And so Suzan-Lori Parks added that to our show, which is not - those words, or that scene, is not in the opera, but we thought that was a very powerful and an important thing to add, to see that, you know, Bess says no, no, no. This is mine - which I think really shows that she wants this and she's going to hold onto this.
So "Summertime," for me, is knowing that she's got to quiet this baby and trying to bond with this baby and making sure that Porgy feels a part of this family, and just really trying to create her little family now. She's got this family for the first time in her life. It's something safe and warm, and that's kind of how I'm approaching the song when I sing it to the baby.
GROSS: So is it - was...
MCDONALD: And it all goes to hell.
MCDONALD: Crown comes back. It all goes to hell.
GROSS: Was it easier to sing "Summertime" on the cast recording, because it's not the end of a really long, hard night of singing?
MCDONALD: No, because we did it after the end of a very long, hard night of recording the album. We recorded the album in two days, so...
GROSS: Oh, gosh. OK.
MCDONALD: But, you know, in some sense, yes, it was, because I could just stand there in the booth and focus, you know, in my mind and stand still and not have to worry about, you know, anything else but the moment. And I could do three or four or five or six or 5,000 takes until I got it right.
GROSS: OK. So here's Audra McDonald singing "Summertime" from the new cast recording of the Broadway revival of "Porgy and Bess."
GROSS: That's Audra McDonald on the new cast recording of "Porgy and Bess," from the new Broadway production.
So after the show opened, you were on "The Colbert Report."
GROSS: And you sang a duet of "Porgy and Bess" with Stephen Colbert.
MCDONALD: Yes.
GROSS: And I'm just going to play a little bit of that.
GROSS: OK. So that's Audra McDonald and Stephen Colbert on "The Colbert Report." That was so much fun. So how did you and Stephen Colbert work out how you were going to do "Summertime"?
MCDONALD: Well, it was not planned. That's the funny thing. I went in to do a sound check. And it was on my day off, so it was a Monday, and I was feeling a little exhausted after singing eight shows and knowing that I had to come in and sing "Summertime" on TV in a pretty dress. And I love "The Colbert Report." I love Stephen Colbert, and I watch "The Colbert Report" religiously.
So, in the sound check, you know, I was singing. And then he came in during the sound check and he listened, and then he was very complimentary afterwards. And I just said, man, I wish you'd sing this with me. Come on. He was, like, what? I was like come on. He was like, uh - because he kind of started singing along a little bit as a joke. I was, like, seriously. You want to sing this with me?
He was, like, well, what would I do? So I was, like, you will? You will? So I said, will you just come in and sing? He's like all right, all right. So he's talking to the pianist like, OK, tell me what to sing. Tell me what to sing. And so it just kind of happened on the fly in the sound check, and then he said, OK. I'll do it.
But the whole tell your story, whitey, that just kind of came out in the moment in the interview, because you don't really do a pre-interview with Steve, you know. You just start the interview. And so in the interview he had said to me, in talking about what's politically correct, he's like, you know, making a joke about saying, you know, we don't like to be called that.
You can call us - I can't remember what he said - or white or whitey, but that's what we like to call each other. You can't call me whitey, but, whatever. So then I just ran with it and said it when we were singing.
GROSS: Well, that was very funny.
MCDONALD: He's such a fantastic man.
GROSS: That was very, very funny.
MCDONALD: It was so much fun. Yeah, it was fun.
GROSS: Audra McDonald. She won a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." Our interview was recorded last May.
Coming up, David Alan Grier talks about playing Sporting Life in "Porgy and Bess."
This is FRESH AIR.
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text: Thursday, April 04, 2013 California PTs Rally Against Senate Bill 381 California physical therapists (PTs) are preparing for a key hearing and possible vote on legislation aimed at prohibiting them from performing joint manipulation. California Senate Bill 381 (SB 381), authored by state Sen Leland Yee and sponsored by the California Chiropractic Association, is scheduled to be heard on Monday, April 15, at 1:00 pm, in the California Senate Business, Professions, and Economic Development Committee in Sacramento. The legislation would prohibit anyone other than a chiropractor, physician, or osteopath from performing joint manipulation in the state and make the term "joint manipulation" synonymous with "joint adjustment." Under SB 381, any health care practitioner other than a chiropractor, physician, or osteopath who performs a joint manipulation in California would be considered to be engaged in the unlawful practice of chiropractic and result in the possible revocation or suspension of the health care practitioner's license. The legislation has been introduced under the guise of "public protection," despite that fact that there is no data or evidence suggesting that there is a greater threat to patient safety from physical therapists performing joint manipulation techniques. The performance of joint manipulation by physical therapists is different from a joint adjustment performed by chiropractors. The legislation is part of an ongoing turf battle against qualified physical therapists who perform joint manipulation. APTA and its California Chapter strongly oppose SB 381, as treatment interventions do not fall under the exclusive domain of any one specific profession. Physical therapists, chiropractors, medical doctors, and osteopathic physicians are all educated and trained to employ joint manipulation within the scope of their respective licenses and in a manner that protects the public's health, safety, and welfare. Unnecessarily restricting any qualified licensed health care providers whose education and scope of practice includes joint manipulation from being able to provide joint manipulation is anti-competitive, and would diminish patient choice and increase health care costs. California Chapter members are encouraged to contact their state legislator and the members of the Senate Business, Professions, and Economic Development Committee to oppose SB 381 and, if possible, attend the April 15 hearing at the state capitol in Sacramento. Meanwhile, the chapter has a number of other contentious legislative battles looming this year: legislation to provide for full patient access (Assembly Bill 1000) was recently introduced in the California Assembly, while legislation to repeal its current anti-POPTS law (Assembly Bill 1003) also has been introduced. Comments Really wonder what is the argument against PT's performing these procedures. Where is the data that proves that it is not safe for PT's to do it?? Posted by dano napoli on 4/4/2013 3:26 PM The sooner we can stop this nonsense, the better. Please help by faxing letters of opposition to SB 381, and placing phone calls to members of the Senate Business and Professions Committee. Even if you don't practice in CA, you can support us by saying that PT's across the country are trained and safe in manipulation techniques. THANK YOU! Rob Landel, PT, DPT, OCS, FAPTA Director, DPT Program University of Southern California Senator Leland Y. Yee (Author and Committee member) – Phone: 916-651-4008 Fax: 916-327-2186 Senator Curren Price (Chair) – Phone: 916-651-4026 Fax: 916-445-8899 Senator Bill Emmerson (Vice-Chair)- Phone: 916-651-4023 Fax: 916-327-2272 Senator Marty Block – Phone: 916-651-4039 Fax: 916-327-2188 Senator Ellen Corbett – Phone: 916-651-4010 Fax: 916-327-2433 Senator Cathleen Galgiani – Phone: 916-651-4005 Fax: 916-323-2277 Senator Ed Hernandez – Phone: 916-651-4024 Fax: 916-445-0485 Senator Jerry Hill – Phone: 916-651-4013 Fax: 916-324-0283 Senator Alex Padilla – Phone: 916-651-4020 Fax: 916-324-6645 Senator Mark Wyland – Phone: 916-651-4038 Fax: 916-446-7382 Posted by Robert Landel -> ALU`C on 4/4/2013 5:32 PM Yee must have gotten a large monetary incentive from the Chiropractic Association. Otherwise, why would he care? Posted by carol on 4/5/2013 12:54 PM These chiropractic "professionals" should be ashamed of themselves for presenting such nonsense. Their state board should hold them accountable for claiming professional superiority and degrading another profession. Posted by Burton Ford on 4/5/2013 2:51 PM Gotta love the chiropractic profession! Too bad they don't have the same sense of urgency to "solve" false claims of providing physical therapy (without a PT on staff), proving that "manipulation" of infants has any medical justification....I could go on and on. Posted by Greg Given on 4/5/2013 3:50 PM PT's have extensive training and knowledge of body mechanics. Many are better than medical doctors because they spend more time with you, and work within your physical limits to improve. Posted by Joan Nygren on 4/5/2013 5:40 PM California SB 381 should be debated on the real merit of patient safety or harm not "turf war" lodged by the chiropractic profession for many years now. PTs are educated and skilled to perform manipulation. One of their own, Scott Haldeman, DC, MD once aptly commented "determing which professions will be allowed to practie manipulation in the future will depend in the scientific knowledge and the clinical skills of its practitioner." I believe APTA should do a national PR campaign so set the record straight. Posted by Jesse Resari, PT, DPT, OCS on 4/5/2013 6:54 PM Provide me with a cirriculum that adequately trains PTs to adjust the spine. Safety may only be a small part of it. The art that comes with EXTENSIVE applied training under careful supervision is where I see PTs lack. Having practiced 30 years as a DC,the approach that your profession appears to take is one of just another modality. There is so much more. Knowing where and when to adjust, takes years to become truly proficient. Having looked at a number of PT cirriculums, I have seen nothing to support your wishes that PTs should be adjusting the spine. The choice and style of research displays a certain lack of specificity in techniques investigated, that Fritz and others publish. The critical statement in Haldeman's statement is "clinical skills"...which are NOT provided in your education. The "skills" take hundreds of hours, minimum, people. The irony is that not too long ago, most PTs were dissing chiropractic as unscientific, now you want to OWN it! Posted by Bob Chatfield DC on 4/6/2013 1:17 PM Local chiropractor here in Texas did weekly spinal manipulations on a child for an entire year from age 1 to age 2. Insurance company required them to have evaluation in outpatient pediatric PT in order to continue paying for chiropractor after the first year. We evaluated this infant and determine that they had a typically-developing posture & movement system, no asymmetries imposture, no concerns for anything wrong. The parents had no concerns except that yhe chiro had told them they needed to come back for more joint manipulation. The only prognosis for this child was that they were at risk for secondary impairments due to joint laxity caused by the chiropractor over the past year. My sister in law, a PT gets people better in six months whereas before they came to her hey had received 20 years worth of a chiropractor's "intervention" to no avail. The more I hear the more I believe the APTA should be sponsoring a bill prohibiting chiropractors from practicing joint mobilizations unless under the direction of a physical therapist. Who else will protect society from chiropractors? Posted by Ehren Howard, PT, DPT, C/NDT on 4/6/2013 2:02 PM First CA, then which other state! This non substantiated,very detrimental to our profession nonsense must be nip in the bud! Are we really talking about patient's safety here or monopoly of practice. NO to SB 381 Marie McAndrew PT Posted by Marie McAndrew on 4/6/2013 4:13 PM Bob Chatfield, DC PT's are not trying to be artistic with manipulation. PT's are not trying to own manipulation. We're trying to be scientific and use manipulation when it's indicated and have the right to offer it to the patient. There's a difference between providing manipulation and chiropractic. They're not one in the same and PT has no interest in claiming to provide chiropractic. There isn't justification in spending thousands of hours in "training" someone in manipulation IMO, training in a handful of techniques to use appropriately and spending other time on different things makes more sense. If one wants to spend thousands of hours chasing the greatness of manipulation for everything under the sun, fine go for it, but projecting that onto another profession for the sake of artisticness is not appropriate. How often do people get manipulation from chiropractors when they present with c/o LBP? How about from physical therapists? My bet would be about 95% + from chiros and about 10-20% from PT's. Categorization/subgrouping of patient's with LBP places one in a manipulation group about 20% of the time. The majority fall into a group of repeated motion or directional preference exercise. To me, far more time should be spent on exercise interventional training for practitioners who see patient's for LBP NMSK complaints amenable to conservative care, and only 20% on manipulation/mobilization. Posted by Burton Ford on 4/6/2013 9:17 PM Bod Chatfield, DC please let me correct your misguided assertions. First, we don't "adjust" because we are not chiropractors, so you can have that term. Secondly, we don't want to "own" it because unlike your profession, we fully understand based on history and evidence, no one profession owns manipulation, so lets end that baseless claim right here. Thirdly, our professions differs immensely in terms of philosophy and curriculum. Manipulation is only one intervention we are taught and trained. We follow an outcome based curriculum model not based on hours and procedures. We have tons of post professional training available via CEs, residencies and fellowships to improve our psychomotor and clinical decision making skills. We don't manipulate for the sake of manipulation. We manipulate based on the history and clinical presentation of the individual patient. We don't use it to cure diseases like hearing problems or subluxation that your profession claims (that's probably why your profession is still not fully integrated in the medical field). You cited Fritz and others for publishing nonspecific techniques. Show us studies that you've published or better yet studies that shows the difference in outcome of nonspecific and specific manipulation. Bob we have the skills but your profession just don't want to admit it. I encourage you to visit www.capteonline.org for more detailed information about our education. Thanks for your comment. Posted by Jesse Resari, PT, DPT, OCS on 4/7/2013 9:31 PM Physical Therapists are more than qualified to perform joint mobilizations and we use it as an accessory to treatment, not the main staple as chiropractors. Chronic "adjustments" by chiropractors cause ligament laxity as I have seen and had to correct thanks to chiropractors. This fight is about money and patient access, not "clinical skills." And with all due respect Dr. Chatfield, we don't want to "OWN it!" but simply use it as other practitioners do. I personally had a chiropractor cause a ligament sprain in my lumbar spine due to his "EXTENSIVE" training and it was a PT that identified and helped correct my chronic SI jt pain. :) Posted by Matt Kellum, PT, DPT, MEd on 4/8/2013 10:19 AM The utter nonsense posted by Bob Chatfield DC is a perfect example of the mindset present in the Chiropractic lobby. They are aware that the scientific leterature does not support the majority of their interventions and so they are attempting to legislate themsleves a monopoly on "joint manipulation" to protect their turf and limit the competition. Leland Yee should be ashamed of himself for allowing the political process to be hijacked by the chiropratic lobby in such an unethical and inappropriate manner. Posted by Daniel Shapiro -> =OUcDL on 4/8/2013 2:13 PM It's all about the money. PTs are rightfully drawing a line in the sand and the chiro's piece of the pie is shrinking. Chiro schools are closing, health care is starting to look out outcomes and the fact is the chiros just don't have the data to support their practice. Posted by David Straight, PT on 4/9/2013 11:56 PM I know I am a little late to the party here. I am very glad to see so many therapists across our state rallying to end this nonsense bill, obviously paid for bill. I would like to pose a question to the chiropractors who support this bill: why are physicians not included? Last I checked, they do not get "extensive training" if at all to perform manipulations or joint adjustments. The reason: you know the AMA and the physicians in California would destroy you from a political standpoint if you even remotely tried to limit what they can and cannot do. You can't use the same argument just for therapists. We have much more training in joint mobilization and yet you single us out. If the sole reason is patient safety and that we are not adequately trained, then everyone should be banned, including MD's. It is amazing how corrupt politics can be. From Mary Hayashi being paid off to now Senator Yee. I would hope someday we will have policians in place who are looking out for the best interest of the patient and not the group lining their campaign pockets. Posted by Greg Van Camp, DPT, ATC on 5/29/2013 3:18 PM


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text:
Last weekend I was contacted by Erin Koch of the Garrison Institute, the people who put on the Buddhist Maha Teacher Council I wrote about on Suicide Girls. She said:
"I respect and appreciate the teachers I have worked with for the past year I also respect difference and open communication. I am very sorry you did not receive your invitation. I have a record of your invitation (Dec. 9).
"I do wish you had corrected your blog and facebook page to reflect the truth. Criticism of the event aside, you were invited and your contributions would have been welcome. Noah Levine asked me to invite you which I did on Dec 9. I think of you as sangha and I want the dharma to be of benefit to us all.
"I feel that your post has given the Garrison Institute a negative appearance to many people who had not previously heard of us and this is upsetting to me. Critiquing the event would have been fair and interesting, but suggesting we are closed network that excluded you is just not correct. Even if you had not been invited, you could have contacted us. Many teachers that were unintentionally excluded from the invite list asked to come and none were turned down.
"I wish you and your students all the best and harbor no bad feeling."
So first off, I apologize to Erin Koch and the Garrison Institute for unintentionally misrepresenting them. I don't recall receiving their invitation. But if she says they sent me one, then they must have sent me one. So I was wrong when I said they didn't invite me -- although I didn't know I'd been invited.
But my being invited or not wasn't really the point of the article. I'd wanted to write about the Maha Council event from the first time I heard about it, which was about one week before the event happened. That seems to be about the time they went public with the fact that it was happening, at least as far as I have been able to find out.
When someone on Facebook asked if I was criticizing the event because I was "butt hurt" at having not been invited, I thought that was a good angle to use to say what I wanted to say. Judging by the comments the article received both here and at Suicide Girls, and the emails I got about it, it seems like most readers understood that my not having been invited (or so I thought) was not the main point.
Most of what I wanted to say about the event was covered before I even wrote my article in Marnie Louise Froberg's blog post. It's a bit long. But I think she's on the right track.
My objections to the Maha Teacher's Council probably had as much to do with the event's title as anything else. To call something a Maha Teacher's Council seems to be an attempt to relate it back to the very earliest council's held by Gautama Buddha's followers after Gautama's death. These meetings were intended to unify the teachings and to create a single religion based on what the man had said. In a way that might have been the beginning of the end for Buddhism. But, on the other hand, we wouldn't have Buddha's teachings today if not for those early Maha Teacher's Councils. Stephen Batchelor's new book Confessions of a Buddhist Atheist really does a good job of addressing this particular issue.
I have mixed feelings about these kinds of events. But since it seems to me that most of the people in American Buddhism Land are falling all over themselves to applaud them, I wanted to point out the other side. I feel there is a real danger of people wanting to set up some kind of an American Buddhist Vatican. I truly believe they will eventually succeed in doing so. It's not there yet. But the seeds have been sown. I would like to be remembered as one of the voices that opposed this.
For those who may be wondering, yes, I probably would have gone to the event if I'd received the invitation. I'd have wanted to see how it worked. I'd have wanted to be able to report my findings. I'd have been just as skeptical if they'd invited me as I was when I believed they had not. But saying anything more than that would be to enter into the realm of speculation, and you can't really learn much there.
So I do apologize to the Garrison Institute for misrepresenting them. I suppose I could have asked to join since Ms Koch says, "Many teachers that were unintentionally excluded from the invite list asked to come and none were turned down." But I only heard about it a scant six or seven days before it began. I couldn't possibly have gone at that point even if I'd wanted to. I have to assume the unintentionally excluded teachers she refers to either lived in upstate New York or were independently wealthy and free in their schedules. Good for them!
Still, I think it's absolutely necessary to look critically at events like this and ask important questions about them.
Anyway, my computer is in the shop and I'm writing this on an old machine I keep as a back-up. It's really sluggish and unwieldy so I'm going to stop here.
If you're in New York and want to talk to me about any of this come see me on Saturday:
Saturday June 18th at Noon at Ordinary Mind Zendo
107 West 74th Street
between Columbus and Amsterdam Avenues
Apt. BR
New York, NY 10023
(zazen starts at 10 am, talk comes after that)


text:
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Ron Branch
Tifton, GA
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Ron Branch
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