9/28/10
9/23/10
9/22/10
i recommend fivestripes:
Fivestripes is the vision of Frank Weeden, who first created the Striped Candle for his company: Ana Design Candles.
Frank has long been a stripe aficionado and can’t help but notice them everywhere he goes; so he created a venue where stripe lovers can find the best stripes from around the world. To kick off his new venture, Frank is offering special gift items, personal accessories, home products, and other favorites he's come across during his travels. From Meg Cohen’s super fine cashmere scarves to William Bounds’ smart pepper mills to Ana's Striped Candles … there are even some knick-knacks thrown in for fun.
Frank says, "Stripes have been part of the human aesthetic ever since the first weavers and potters started introducing patterns into their craft. From subtle and refined to bold and brash, stripes continue to inspire boundless creativity".
http://www.fivestripes.com/
Frank says, "Stripes have been part of the human aesthetic ever since the first weavers and potters started introducing patterns into their craft. From subtle and refined to bold and brash, stripes continue to inspire boundless creativity".
http://www.fivestripes.com/
9/18/10
In 1987 I had my first Banya or Russian bath at the above location in the East Village of NYC. It became a cherished ritual on my days off from work and still stands out as one of my favorite New York experiences.
Heating up the body is good and here's why:
1. to increase muscle flexibility
2. to release toxins through sweat
3. to increase heart rate
4. to enhance vasodilation (strengthening your immune system)
5. to speed up breakdown of glucose and fatty acids (helps with weight loss)
So, don't be afraid to sweat, in fact try to sweat each and everyday, it's that good for you.
And if you travel to New York City and want to embark on an unforgettable mind/body journey, I highly recommend:
http://www.russianturkishbaths.com/enter.html
http://www.russianturkishbaths.com/enter.html
9/17/10
i heart bodyvox:
Busy, Busy BodyVox
The dance company gears up for two big productions
The dance company gears up for two big productions
By Rebecca Ragain
It’s no small feat to keep a dance company running for more than a decade. But BodyVox co-artistic directors Jamey Hampton and Ashley Roland have done it—and then some. Not only does BodyVox perform and teach locally, as well as tour, this year marks the company’s second season in its own 11,000-square-foot dance center.
It all began 13 years ago, when Hampton and Roland choreographed Carmina Burana on commission for the Portland Opera, at the behest of Christopher Mattaliano, who later became the opera’s general director.
Paired with Pagliacci, Carmina Burana was a triumph. Oregonian writer Catherine Thomas called it the hit of Portland Opera’s 1996-97 roster; Portland Opera’s own description dubs it “one of Portland’s all-time favorites.”
Hampton and Roland, along with five other dancers, created BodyVox to build on that success. “It’s the piece that started the whole ball rolling,” says Hampton. “It will always have a special place in our history and at the heart of BodyVox.”
Eric Skinner, one of BodyVox’s founding members, says about dancing Carmina Burana: “It’s a really amazing experience, to be there with all the voices [of the opera singers], with the live music, and to have this raw, physical energy of dancing.”
Over the years, Portland Opera’s production of Carmina Burana has been presented by other opera companies including Atlanta Opera, Opera Omaha and Minnesota Opera.
“It had a really long run … which shows that it’s a piece that has a lot of strength and truth to it, and that it still resonates for audiences,” says Hampton.
Now, for the first time since 2000, Portland Opera is bringing Carmina Burana back to the stage, at the end of this month. The production marks the beginning of the opera’s 46th season.
When they’re not rehearsing with the opera, BodyVox dancers are learning choreography for a new holiday show.
Hampton and Roland are too savvy to compete with the beloved performing arts productions centered on December’s monster holiday, such as The Nutcracker and Do Jump’s long-running holiday show. Instead, BodyVox is creating a Halloween show.
The company had been talking for a while about doing a Halloween show, but they knew the time was right when the perfect moniker for the production came up during a planning meeting last year.
Someone in the meeting said a Halloween show could be called “BloodyVox.” “Everybody started laughing,” says Hampton. “Since we had a name for it, we knew that we had a show.”
Although BloodyVox is still a work in progress, Hampton can say that it features moments of dark humor and absurdity. Choreography is by Hampton and Roland, with contributions from Skinner.
One of Skinner’s contributions is a duet with him and Hampton, a previously choreographed dance that “we’re going to spook up a little bit,” says Skinner. Skinner is also creating a new piece, featuring a creepy clown named Krebby.
Skinner confesses a fear of clowns that has plagued him since childhood. He says: “I used to have these awful nightmares … a spooky clown was putting a ladder up to my window, jiggling the window and trying to get into my room. I’ve hated clowns ever since then.”
Scary clowns aside, BloodyVox is being advertised as a family-friendly show that leans toward the eerie and spooky, not the horrific.
Even Skinner, who claims Halloween as his least favorite holiday, thinks thatBloodyVox will be a fun show. He says that BodyVox fans are already abuzz about it: “They know we do funny and offbeat things; they’ll be very curious to see what we come up with to celebrate Halloween.”
If BloodyVox is a hit, Hampton is open to producing an updated version next year. He adds, “This is version 1.0. We’ll see where it goes.”
Skinner expands on the project’s potential: “If it is popular, it could turn into one of BodyVox’s annual shows … a BodyVox kind of Nutcracker, which tends to be the bread and butter for a lot of companies.”
It’s this kind of forward thinking that keeps a dance company in business in an environment where producing interesting and high-quality art is rarely enough; company leaders also need to consider the realities of the market and determine how they can stand out in audiences’ minds.
Hampton and Roland have proven adept at remaining relevant to their audiences, year after year. They’ve not only kept BodyVox alive but also kept it quirky enough that it seems perfectly appropriate for the company to celebrate its 13th year with a bloody Halloween show.
“That’s one thing that’s awesome about BodyVox: We’ve worked hard, we’ve played hard,” Skinner says, in reference to being with the company since 1997. “It’s a really special company to be a part of.”
Portland Opera perform Pagliacci/Carmina Burana, featuring BodyVox in the latter opera, Sept. 24, 26, 30 and Oct. 2, Keller Auditorium, 222 SW Clay St. Tickets start at $26. Visit portlandopera.org.
BodyVox presents BloodyVox Oct. 21-23 and 28-30 at the BodyVox Dance Center, 1201 NW 17th Ave. Tickets start at $20, at bodyvox.com.
It’s no small feat to keep a dance company running for more than a decade. But BodyVox co-artistic directors Jamey Hampton and Ashley Roland have done it—and then some. Not only does BodyVox perform and teach locally, as well as tour, this year marks the company’s second season in its own 11,000-square-foot dance center.
It all began 13 years ago, when Hampton and Roland choreographed Carmina Burana on commission for the Portland Opera, at the behest of Christopher Mattaliano, who later became the opera’s general director.
Paired with Pagliacci, Carmina Burana was a triumph. Oregonian writer Catherine Thomas called it the hit of Portland Opera’s 1996-97 roster; Portland Opera’s own description dubs it “one of Portland’s all-time favorites.”
Hampton and Roland, along with five other dancers, created BodyVox to build on that success. “It’s the piece that started the whole ball rolling,” says Hampton. “It will always have a special place in our history and at the heart of BodyVox.”
Eric Skinner, one of BodyVox’s founding members, says about dancing Carmina Burana: “It’s a really amazing experience, to be there with all the voices [of the opera singers], with the live music, and to have this raw, physical energy of dancing.”
Over the years, Portland Opera’s production of Carmina Burana has been presented by other opera companies including Atlanta Opera, Opera Omaha and Minnesota Opera.
“It had a really long run … which shows that it’s a piece that has a lot of strength and truth to it, and that it still resonates for audiences,” says Hampton.
Now, for the first time since 2000, Portland Opera is bringing Carmina Burana back to the stage, at the end of this month. The production marks the beginning of the opera’s 46th season.
When they’re not rehearsing with the opera, BodyVox dancers are learning choreography for a new holiday show.
Hampton and Roland are too savvy to compete with the beloved performing arts productions centered on December’s monster holiday, such as The Nutcracker and Do Jump’s long-running holiday show. Instead, BodyVox is creating a Halloween show.
The company had been talking for a while about doing a Halloween show, but they knew the time was right when the perfect moniker for the production came up during a planning meeting last year.
Someone in the meeting said a Halloween show could be called “BloodyVox.” “Everybody started laughing,” says Hampton. “Since we had a name for it, we knew that we had a show.”
Although BloodyVox is still a work in progress, Hampton can say that it features moments of dark humor and absurdity. Choreography is by Hampton and Roland, with contributions from Skinner.
One of Skinner’s contributions is a duet with him and Hampton, a previously choreographed dance that “we’re going to spook up a little bit,” says Skinner. Skinner is also creating a new piece, featuring a creepy clown named Krebby.
Skinner confesses a fear of clowns that has plagued him since childhood. He says: “I used to have these awful nightmares … a spooky clown was putting a ladder up to my window, jiggling the window and trying to get into my room. I’ve hated clowns ever since then.”
Scary clowns aside, BloodyVox is being advertised as a family-friendly show that leans toward the eerie and spooky, not the horrific.
Even Skinner, who claims Halloween as his least favorite holiday, thinks thatBloodyVox will be a fun show. He says that BodyVox fans are already abuzz about it: “They know we do funny and offbeat things; they’ll be very curious to see what we come up with to celebrate Halloween.”
If BloodyVox is a hit, Hampton is open to producing an updated version next year. He adds, “This is version 1.0. We’ll see where it goes.”
Skinner expands on the project’s potential: “If it is popular, it could turn into one of BodyVox’s annual shows … a BodyVox kind of Nutcracker, which tends to be the bread and butter for a lot of companies.”
It’s this kind of forward thinking that keeps a dance company in business in an environment where producing interesting and high-quality art is rarely enough; company leaders also need to consider the realities of the market and determine how they can stand out in audiences’ minds.
Hampton and Roland have proven adept at remaining relevant to their audiences, year after year. They’ve not only kept BodyVox alive but also kept it quirky enough that it seems perfectly appropriate for the company to celebrate its 13th year with a bloody Halloween show.
“That’s one thing that’s awesome about BodyVox: We’ve worked hard, we’ve played hard,” Skinner says, in reference to being with the company since 1997. “It’s a really special company to be a part of.”
Portland Opera perform Pagliacci/Carmina Burana, featuring BodyVox in the latter opera, Sept. 24, 26, 30 and Oct. 2, Keller Auditorium, 222 SW Clay St. Tickets start at $26. Visit portlandopera.org.
BodyVox presents BloodyVox Oct. 21-23 and 28-30 at the BodyVox Dance Center, 1201 NW 17th Ave. Tickets start at $20, at bodyvox.com.
9/14/10
oh, my aching knees: by elizabeth goodman
Each year, Americans log roughly 19 million visits to orthopedic surgeons due to knee discomfort. That weight-bearing joint is the source of so many problems because it is the one most frequently affected by degenerative diseases including osteoarthritis—the painful condition that occurs when the cartilage in the knee wears away and the bones scrape against one another.
More than 10 million people in the U.S. have osteoarthritis of the knee, and your lifetime risk of developing it is nearly one in two. But there is good news: Experts keep finding more steps that people can take to reduce discomfort and to prevent, delay, or slow osteoarthritis.
1) Achieve a healthy weight
According to one national survey, obese women had nearly four times the risk of getting osteoarthritis of the knee than their lighter peers; obese men had five times the risk. However, you don’t need to shed a huge amount of weight to benefit your knees—losing just 10 pounds can significantly reduce your chances of developing the disease.
2) Strengthen your muscles
In a recent University of Iowa Hospitals and Clinics study, women with stronger quadriceps, or front thigh muscles, were better protected from knee osteoarthritis than weaker subjects. To build up your quads, do low-impact exercises like leg raises, wall sits, and squats.
3) Get moving
A lack of joint mobility has been directly linked to knee pain. Why? If you have difficulty bending your knees when you walk or run, you end up placing excess pressure on a small area around the kneecap. Regular exercise sessions have been found to help increase one’s range of motion. As an alternative, suggests Dr. David Teuscher, an orthopedic surgeon in Beaumont, Tex., “ you can add at least 10 minutes of stretching to daily workouts.”
4) Pick knee-friendly footwear
Clogs and stiff-soled walking shoes may feel comfortable, but they can actually cause your knee joints to carry loads up to 15% greater than flip-flops or sneakers with flexible soles do, according to a new study from Rush University Medical Center in Chicago. High heels have also been shown to increase the load on knee joints.
More than 10 million people in the U.S. have osteoarthritis of the knee, and your lifetime risk of developing it is nearly one in two. But there is good news: Experts keep finding more steps that people can take to reduce discomfort and to prevent, delay, or slow osteoarthritis.
1) Achieve a healthy weight
According to one national survey, obese women had nearly four times the risk of getting osteoarthritis of the knee than their lighter peers; obese men had five times the risk. However, you don’t need to shed a huge amount of weight to benefit your knees—losing just 10 pounds can significantly reduce your chances of developing the disease.
2) Strengthen your muscles
In a recent University of Iowa Hospitals and Clinics study, women with stronger quadriceps, or front thigh muscles, were better protected from knee osteoarthritis than weaker subjects. To build up your quads, do low-impact exercises like leg raises, wall sits, and squats.
3) Get moving
A lack of joint mobility has been directly linked to knee pain. Why? If you have difficulty bending your knees when you walk or run, you end up placing excess pressure on a small area around the kneecap. Regular exercise sessions have been found to help increase one’s range of motion. As an alternative, suggests Dr. David Teuscher, an orthopedic surgeon in Beaumont, Tex., “ you can add at least 10 minutes of stretching to daily workouts.”
4) Pick knee-friendly footwear
Clogs and stiff-soled walking shoes may feel comfortable, but they can actually cause your knee joints to carry loads up to 15% greater than flip-flops or sneakers with flexible soles do, according to a new study from Rush University Medical Center in Chicago. High heels have also been shown to increase the load on knee joints.
9/8/10
about that achy lower back:
Colin Hoobler (physical therapist): Treat cause of chronic low back pain with effective exercises
Dear Colin: My low back has been hurting for the last five months and my doctor isn't sure why. I've tried chiropractic, physical therapy, acupuncture, even hypnosis and nothing seems to help except for pain medication. The MRI and X-rays of my back show only "mild arthritis" that, according to my doctor, isn't likely causing the degree of pain I'm having (it worsens when standing, relieved when sitting). I'm desperate! Is there anything else you recommend?
-- Rachel W.
Dear Rachel: While it's impossible to provide specific recommendations without doing a formal examination, I have three suggestions that are "common denominators" for treating chronic low back pain (CLBP) when imaging studies show no clear reason for pain.
1. Maintain a proactive approach. Most people's instincts tell them to do less when CLBP is involved, which will only make it worse (Spine 2001, 2004). If your pain worsens with movement, you're moving unsafely and should get professional guidance from a physical therapist to strengthen and stretch specific muscles responsible for your pain. This way, you're addressing the cause of pain as opposed to just treating the symptom. Interestingly, the idea of "core strengthening" is not preferred, as studies show more impressive results with strengthening the hips and thighs as opposed to trunk muscles (Journal of Orthopaedic & Sports Physical Therapy 2007). A key exercise to gain protection for your low back via leg strength is the squat. When done correctly, the leg muscles protect the spine from high forces during daily tasks.
2. Involve a pain specialist. A pain management specialist is a doctor trained in the diagnosis and treatment of pain. A public perception that a pain management specialist only prescribes narcotics is not true. The specialist works closely with your regular doctor and physical therapist using various methods to alleviate pain. Dr. Carl Balog, a pain management specialist in Portland, says, "Although CLBP can be difficult to treat, there are effective ways to prevent it which include effective exercise followed up with adequate rest. With pain onset, this becomes even more critical." Given that the majority of CLBP cases are caused by overuse, the working relationship between medical providers is crucial so you address the cause (such as poor movement mechanics or weakness) rather than relying on costly pain medications.
3. Be patient. Probably not the sexiest two words you'll hear today, but still key, because there isn't a "cure" for CLBP. Remember, when you have CLBP and imaging studies are normal, it is probably being caused by overuse. In other words, you have to start moving in different ways to better protect your back or it will continue to worsen. This takes time. Eventually, however, exercises designed to help protect your back get easier to do, which usually correlates to less pain.
(published in The Oregonian, 9/8/10)
Dear Colin: My low back has been hurting for the last five months and my doctor isn't sure why. I've tried chiropractic, physical therapy, acupuncture, even hypnosis and nothing seems to help except for pain medication. The MRI and X-rays of my back show only "mild arthritis" that, according to my doctor, isn't likely causing the degree of pain I'm having (it worsens when standing, relieved when sitting). I'm desperate! Is there anything else you recommend?
-- Rachel W.
Dear Rachel: While it's impossible to provide specific recommendations without doing a formal examination, I have three suggestions that are "common denominators" for treating chronic low back pain (CLBP) when imaging studies show no clear reason for pain.
1. Maintain a proactive approach. Most people's instincts tell them to do less when CLBP is involved, which will only make it worse (Spine 2001, 2004). If your pain worsens with movement, you're moving unsafely and should get professional guidance from a physical therapist to strengthen and stretch specific muscles responsible for your pain. This way, you're addressing the cause of pain as opposed to just treating the symptom. Interestingly, the idea of "core strengthening" is not preferred, as studies show more impressive results with strengthening the hips and thighs as opposed to trunk muscles (Journal of Orthopaedic & Sports Physical Therapy 2007). A key exercise to gain protection for your low back via leg strength is the squat. When done correctly, the leg muscles protect the spine from high forces during daily tasks.
2. Involve a pain specialist. A pain management specialist is a doctor trained in the diagnosis and treatment of pain. A public perception that a pain management specialist only prescribes narcotics is not true. The specialist works closely with your regular doctor and physical therapist using various methods to alleviate pain. Dr. Carl Balog, a pain management specialist in Portland, says, "Although CLBP can be difficult to treat, there are effective ways to prevent it which include effective exercise followed up with adequate rest. With pain onset, this becomes even more critical." Given that the majority of CLBP cases are caused by overuse, the working relationship between medical providers is crucial so you address the cause (such as poor movement mechanics or weakness) rather than relying on costly pain medications.
3. Be patient. Probably not the sexiest two words you'll hear today, but still key, because there isn't a "cure" for CLBP. Remember, when you have CLBP and imaging studies are normal, it is probably being caused by overuse. In other words, you have to start moving in different ways to better protect your back or it will continue to worsen. This takes time. Eventually, however, exercises designed to help protect your back get easier to do, which usually correlates to less pain.
(published in The Oregonian, 9/8/10)
9/6/10
9/2/10
stretch appeal featured in the pearl district business association:
Health and Wellness Spotlight: by Laure Redmond
The Road to Stretch Appeal
When I moved from New York City to Portland in 1997, my career was in transition. I had closed my boutique fitness studio on the upper west side of Manhattan, the fitness products I endorsed on QVC were getting less interesting, I had just sold my book, Feel Good Naked and needed to write it and I fell in love with a Portlander who had two small children.
Although I had fifteen years of experience as a fitness instructor, dancer and weight trainer, I decided to take a break from teaching to devote my time to writing my book and working with women one on one, as well as exploring the movement industry as a student looking for new, inventive ways of moving and grooving. After my book was published in 2001, public speaking, conducting workshops and teaching my Self-Esteem Saves You program to teenage girls monopolized my time. Along the way I began to develop Stretch Appeal.
Stretch Appeal is a program or practice as I prefer to call it that combines movement and basic dance with isometric muscular contractions, balance sequences, basic Yoga, Pilates inspired floor work and deep relaxation. My methodology embraces the notion that stretching means to awaken, to move, to warm up from the inside out; ultimately to activate the body's small and large muscle groups from different angles, while keeping the heart rate up in order to achieve a lean, strong, defined and happy body. The moves are tailored to the beats and rhythms of popular music, which inevitably becomes a contagious motivator for the group at large. It is a huge thrill to witness in others their own body/mind transformations that evolve through this regular practice.
BodyVox's reputation as an international touring dance company that uses athleticism and adventure as an approach to movement and theatre, not to mention their brand new studio, made it a natural fit for Stretch Appeal.
Something magical happens each time we all come together and it's never the same, but it's always one step closer to the very heart and soul of this vessel we call our bodies and for that, I am grateful.
BodyVox's reputation as an international touring dance company that uses athleticism and adventure as an approach to movement and theatre, not to mention their brand new studio, made it a natural fit for Stretch Appeal.
Something magical happens each time we all come together and it's never the same, but it's always one step closer to the very heart and soul of this vessel we call our bodies and for that, I am grateful.
BodyVox Dance Center
1201 NW 17th Ave.
503.229.0627
503.229.0627
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