John Green Shares Recipe for the Good Life

HOW refreshing it is when one actually speaks the truth – straight, no chaser – in this culture. How utterly wonderful when we are told like it is. For instance, what constitutes true greatness.

That is what best-selling author John Green did when he delivered the commencement address to the Butler University (Indiana) Class of 2013 nearly two weeks ago. His speech has not gone unnoticed. In fact, it is on a trajectory to go as viral as the YouTube videos that he created with his brother Hank. (See commencement speech video above).

“I just want to note that the default assumption is that the point of human life is to be as successful as possible, to acquire lots of fame or glory or money as defined by quantifiable metrics like number of Twitter followers or Facebook friends or dollars in one’s 401K.

“That’s the hero’s journey, right?,” the man who has all of these things asks rhetorically. “The hero starts out with no money and ends up with a lot of it. The hero starts out an ugly duckling and becomes a beautiful swan. Or starts out an awkward girl and becomes a vampire mother.”

Vlogbrothers Hank and John Greene. Photo by Gage Skidmore.

JG rejects this notion, asserting to a laughing audience that this is not the real hero’s journey, the one from weakness to strength. It is unclear from the video whether the young people, who likely imagine themselves future masters and mistresses of the universe, are laughing out of nervousness or whether they think the speaker is joking, though some of his remarks are rather caustic.

In this Great Recession and in this era of unprecedented student loan debt, “The Fault in Our Stars" author is serious and one hopes that all who have ears – young, middle and old – will really hear him.

“Your student loans will come due and you will need a very good answer for why exactly you went to college in the first place,” he asserts.

“Which answer you will have a hard time coming by as you sit in your, job provided you are lucky enough to have a job and suffer the indignity of people calling you by the wrong name or if you are forced to wear a nametag, the indignity of people calling you by the right name too often … And that is the true hero’s errand, the journey from strength to weakness.”

Ansel Elgort will play the male lead of Gus in the film adaptation of John Green's "The Fault in Our Stars." Archive photo

It is in this space, JG promises his listeners, that they will acquire the empathy and humility necessary to be heroes living the good life.

“You are probably going to be nobody for a while. You are going to make that journey from strength to weakness and while it won’t be an easy trip, it is a heroic one. For, in learning how to be a nobody you will learn how not to be a jerk and for the rest of your life if you are able to remember your hero’s journey from college grad to underling, you will be less of a jerk.”

In closing comments JG, who specializes in young adult fiction, imparts “rock-solid advice about proper adulthood” from practical to deep to funny. The soon-to-be graduates are admonished against worrying too much about the lawn and encouraged to fade away rather than burn out. He also suggests they use their knowledge about the Internet against “old" people, presumably those 30 and up. Further, JC recalls the story of a Kuwaiti roommate during a time of strife in the former’s country to make a point about empathy

“For the rest of your life you will have a choice to read graffiti in a language you do not know. And you will have a choice about how to read the actions and intonations of the people you meet. And I would encourage you as often as possible to consider the ‘Happy Birthday, sir, despite the circumstances’ possibility.”

Visit http://www.johngreenbooks.com/ to learn more about John Green. Rx

NYCB Has a Delightful and Democratic 'American Season'

Dancers in Peter Martins' "Thou Swell." Photos by Paul Kolnik.

BY TAMARA BECK

BALLET as an artform adheres to strict rules of movement and occasionally arcane terminology to describe its steps.

However, be assured that not knowing a tendu from an arabesque won’t diminish the pleasure of watching the athleticism and glory of the dance.

Programming at the New York City Ballet ranges from the strictly classical to the completely jazzed and lots in between. A recent afternoon offered a perfect example when NYCB, at Lincoln Center’s David H. Koch Theater, undertook dances set to music by Richard Rodgers. In this “American Season,” NYCB seeks to be utterly accessible to fans and neophytes alike.

Ballroom meets ballet in Peter Martins’ “Thou Swell,” a perennial favorite that premiered in January 2003 and that will not be in the repertory in the near future. Whenever it does resurface, this reviewer’s advice is to go see it. In it, PM has found his groove. It is romantic and wistful.

Set in a nightclub, where four couples come to spend the evening, “Thou Swell” is dazzling, featuring guest singers Chloe and Joe Paparella, the lyrics of Lorenz Hart, strategically placed mirrors (scenery by Robin Wagner) and a lovely young chorus of waitresses and waiters.

Some men are made to wear a cummerbund, and Robert Fairchild is decidedly one of them. Not that anyone in this cast – women in resplendent gowns and men in tuxedos – isn’t picture perfect. No one has more fun than Amar Ramasar whose date is Jenifer Ringer, playing a sexy femme fatale. The sumptuous costumes designed by Julius Lumsden, complete the elegant ambience of PM’s best work.

The Company in Christopher Wheeldon's "Carousel (A Dance)."

On the other hand, Christopher Wheeldon’s “Carousel (A Dance)” is reappearing on the schedule for two performances on Saturday (25 May) as part of programming NYCB is labeling “A Tribute To Broadway.”

As the curtain rises there’s a stage full of Julie Jordans and Billy Bigelows, the girls hopeful, the men’s roughness softened into tender waltzing. “Carousel (A Dance),” which premiered in 2002, is inspired by RR and Oscar Hammerstein II’s musical, “Carousel.”

Early on in this classic melodrama, based on Ferenc Molnár's 1909 play “Liliom,” it’s clear that Billy (danced by Andrew Veyette) is trouble. Julie (Tiler Peck) is smitten. AV and TP perform their parts poignantly. A genuine high-point of “Carousel (A Dance)” is when the troupe become the carousel, spinning under a spray of lights. It’s really quite flawless, more like a tribute than an interpretation.

Maria Kowroski and Tyler Angle in George Balanchine's "Slaughter on Tenth Avenue."

Last on the program of dance set to RR’s scores is “Slaughter On Tenth Avenue,” scheduled to again appear in the NYCB repertory in October. Those unaccustomed to ballet and George Balanchine, will be surprised at the humor and hijinks.

Ballet that’s both simple and utterly profound is a complete joy.

Visit http://www.nycballet.com/ to learn more about the New York City Ballet. Rx

Hurdling Toward Hell At Warp Speed, Is 'Star Trek Into Darkness'

”STAR Trek Into Darkness” goes where no other “Star Trek” film has gone before – into 3D, IMAX and action overload.

All were wholly unnecessary and bear no resemblance to a “Star Trek” film, except maybe its predecessor, 2009’s presumptuously titled “Star Trek,” the 11th entry in the classic film franchise. The result is a hackneyed science fiction B film made with as much of the state-of-the-mart technology that could be squeezed into its 2¼ hours. (WARNING: Once you put on those IMAX glasses, you are committed. Take them off and things become blurry; see video above).

What director J.J. Abrams and writers Roberto Orci, Alex Kurtzman and Damon Lindelof seem to have forgotten is that “Star Trek” is much less about gimmicks and gizmos than it is about clever interaction among the various characters. Of course, gadgetry has its place, but not all over the place

An aside: For a film with three writers, "Star Trek Into Darkness" is very light on engaging dialogue. “You’ve been played”? Seriously? Is this the way a Starfleet admiral speaks in the 23rd or any century? The film has been dumbed down in too many ways to count. It has a coarseness to it that is decidedly not Trekian. Surely, Gene Roddenberry is rolling his eyes in his grave.

A meeting of the minds before the madness at Starfleet Command in "Star Trek Into Darkness." Photos courtesy of Paramount Pictures.

“Star Trek Into Darkness,” which makes its U.S. debut today, has more in common with a “Fast & Furious” than the latest entry in the Star Trek movie franchise. On one hand, it is not so surprising.

JJA – a renaissance man of sorts who dabbles in TV and film as a director, writer and producer – directed “Mission Impossible III.” Ditto for the TV series “Alias” and “Lost” on which he wore several others hats, too. He also has an interest in the TV series “Person of Interest.” On the otherhand, the TV projects didn’t/don’t skimp on intelligence.

Alas, most of the intelligence has been suctioned out of “Star Trek Into Darkness.” How unfortunate, because there are many opportunities for it to flourish in this second installment in the trilogy that JJA&Co. have planned. Take the romance between Uhura (Zoe Saldana) and Spock, played to perfection by Zachary Quinto. Yes, Spock and Uhura, not Uhura and Kirk (Chris Pine).

There is too little of this interplay, and much of what there is of it casts Uhura in the mold of a shrew. This is as much out of character as is Uhura and Spock as a couple. At least, though, the latter scenario is interesting. Exploring this relationship in any real depth or cleverness would also be veering toward the quadrant of chick flickdom. Make not mistake. “Star Trek Into Darkness” is meant to appeal to males between 12 and 50.

Dr. McCoy (Karl Urban, right) takes the measure of the man called John Harrison” (Benedict Cumberbath) in "Star Trek Into Darkness."

Indeed, a treasure trove of thoughtful dialogue could have been excavated from the basic plot and subplot of rogue agent “John Harrison” (Benedict Cumberbath) attacking Starfleet headquarters, then fleeing to the Klingon homeworld of Kronos where newly reinstated Captain Kirk is permitted to lead an away team to pursue and destroy him.

Any “Star Trek" film featuring Klingons has instant swagger. They are the coolest bad boys and bad girls in the known universe, and they are dressed to kill! Here, they get about two minutes of screen time before they are vanquished, mostly by John – “Khan?!” – yet another plot twist that gets insufficient exploration in the name of action. What a waste!

Unlikely lovers in "Star Trek Into Darkness": Spock (Zachary Quinto) and Uhura (Zoe Saldana).

Incidentally, one place that "Star Trek Into Darkness" does not spin out of control is in the casting. The actors playing the primary characters, from Captain Kirk to Mr. Chekov (Anton Yelchin), strongly suggest their predecessors in their physical characteristics. However, Kirk is a touch too brash and bull-headed, whereas Mr. Chekov is uncharacteristically a harried, almost feckless sort.

But here’s the deal. Anybody who wants to see a sci-fiesque film with little talk, even less plot development and near wall-to-wall shootouts, firefights and fisticuffs brought to you with just about all the technology the market offers, purchase a ticket to “Star Trek Into Darkness.”

Otherwise, this is not your film, especially if you are a Trekkie. Consider yourself forewarned, Trekkies.

“Star Trek: Into Darkness” is PG-13 for intense sequences of sci-fi action and violence. Visit http://www.startrekmovie.com/ to learn more about the film. Rx

Honey, You Can Think the Worse, But I'm Not Going There

David and Iman: A model, musician relationship since 1992 (marriagewise). Archive photos.

BE mindful of your thoughts during a tiff with your romantic partner, that is if you have any interest in having a long, happy relationship.

Gloria and Emilio have been in sync since the late '70s.

Any number of factors contributes to relationship dissatisfaction but one that is sure to put a damper on things is negative thinking.

Conversely, few or zero negative thoughts lead to happy. ‘Tis the upshot of a study published in the Spring 2013 issue of the journal, Communication Monographs (http://www.bit.ly/13jXOC6).

Alas, it was short and bittersweet for Shannen Doherty and Ashley Hamilton whose marriage lasted less than six months.

“Among happy couples, when one partner is thinking a lot about disagreement or anger, the other instead may be thinking about how to understand his or her partner or how to resolve the conflict,” says study leader Anita Vangelisti, professor of communication at the University of Texas at Austin in an article titled Couples’ Online Cognitions during Conflict: Links between What Partners Think and their Relational Satisfaction.”

Paul Newman and Joan Woodward had one of the longest marriages in the history of Hollywood until Paul's death in 2008. They wed in 1958!

Let those who have eyes see the way forward if they wish to have a Bill- Camille Cosby, Joan Woodward-Paul Newman and Brad Pitt and newly inspirational Angelina Jolie bond instead of a Shannen Doherty-Ashley Hamilton split.

Vangelisti&Co. reached these conclusions after observing verbal interactions, as well as tape recorded and typed messages of 71 young unmarried heterosexual Texas couples who had been together an average of three years.

Bill and Camille Cosby have been working it out for 48 years.

Investigators tailored questions around common topics of disagreements that the couples listed on a questionnaire about conflicts. Couples also completed a questionnaire about relationship satisfaction. Hot topics included money, past relationships and relationships with friends and family.

“We don’t have data on what happens when partners change their thoughts, but our findings certainly do suggest that thinking about how angry and frustrated you are – or thinking about how much power is being wielded during a conflict – is not beneficial for the relationship,” Vangelisti said.

Sam Jackson and LaTanya Richardson have worked their way to smiling faces during a union dating to 1980.

Hard to imagine that Gloria-Emilio Estefan and Iman-David Bowie are enduring without wielding the power of positive (or at least neutral ) thinking.

Visit http://www.bit.ly/13jXOC6 to learn more about the article in Communication Monographs, a journal published on behalf of the National Communication Association (http://www.natcom.org/). Rx

Lots of Stars at Christie's Impressionist & Modern Art Sale

Andy Williams liked to look a his art every day, including Picasso's
Composition (Figure féminine sur une plage). Images provided by Christie's.

8 May 2013/NEW YORK – AUCTIONS can be pretty dry affairs, but not always. Take the Christie’s Evening Sale of Impressionist & Modern Art on Wednesday, for instance. (A day sale in the same category came the following morning).

An extra shot of excitement was injected into the proceedings because at least three of the works up for sale were from famous entertainers, rather than wealthy, anonymous collectors who are/were not household names. Imagine the hoopla at Christie’s when it sold the possessions, including art and jewelry, of Elizabeth Taylor in 2011!

In the history of the auction house, it had not witnessed that level of public curiosity and enthusiasm, noted a press officer sitting in on the evening sale a few days ago. (http://www.bit.ly/VyqWq8)

The first lot up for bid Wednesday night was Picasso’s Composition (Figure féminine sur une plage). It is a miniature painting, approximately 7 X 7, featuring a distorted female figurine on a beach. The bidding was spirited and the work quickly went for $1.2 million (hammer price), the top estimated selling price.

Fernand Leger’s Les deux figures held great appeal for the Pecks.

Composition (Figure féminine sur une plage) is from the collection of entertainer Andy Williams who died last year. Few outside of the art world knew that the singer had a massive love for art. "I could not imagine a life without paintings. I look at my paintings every day … I could not imagine a room without art," he said, according to auction text notes. The Iowa native also collected Juan Gris, Braque, de Kooning and other notables. A de Kooning, Richard Diebenkorn and several other pieces will be up for bid next week (15 May) as part of the Post-War & Contemporary Art evening sale.

Lot 22 in the Impressionist & Modern Art sale is Fernand Leger’s Les deux figures, featuring two women – lovers, perhaps – staring vacantly (or defiantly) at the viewer. It is from the collection of Veronique and Gregory Peck. “For me, Les deux figures will always tell the story of the abiding love between my parents,” according to a blurb in the notes quoting their daughter Cecilia Peck Voll.

Another Hollywood legend, Greta Garbo, once owned Lot 30, Renoir’s Confidence, an oil on canvas depicting a woman and man in private conversation. It sold for $3.1 million (hammer price).

Greta Garbo was once held Renoir's Confidence.

So far, 2013 has been a good year for Christie’s. Many of its sales have been a success, often with record-breaking results. The combined sales of 8 and 9 May realized $190.2 million. In the evening sale of Impressionist & Modern Art, a record came in the form of a piece in which Christie’s has a major interest: Chaim Soutine’s Le petit patissier.

Featuring a pastry chef – a beautiful young boy – with hands on hips, expression slightly haunted, it sold for $16 million (hammer price), $18 million after all applicable fees. Heretofore, the largest haul for a Soutine work was L’homme due foulard rouge. It sold for $17.2 million in 2007 at Sotheby’s London.

Soutine's little pastry chef is a record-breaker.

One of the night’s disappointments, Derain’s demure Madame Matisse au kimono, only attracted $13 million (hammer price). The low estimate was $15 million. At the press conference following the auction Christie’s officials expressed confidence that a buyer would be found, and so it was.

“As a fitting finale to a great week of sales, I am pleased to report Derain's spectacular portrait of Madame Matisse already sold to a private collector after the sale," Brooke Lampley, head of Impressionist & Modern Art, noted in a press release issued on Friday (10 May).

Visit http://www.christies.com to learn more about the Christie’s Impressionist & Modern Art evening and day sale.

Oh Happy Day: Lamborghini – Grande Giro

11 May 2013/SANT'AGATA BOLOGNESE, Italy – WHAT a spectacle! A convoy of more than 300 automobiles, nearly three miles in length, snaking along highways from Milan to its final destination of the Emilia Romagna region for a grand party and big reveal.

Celebrating 50 years in the sports car business, Lamborghini went big, gathering owners of every model it ever made from all over the globe to join the four-day grand procession. It passed through some of Italy’s most beautiful cities, including Tuscany and Rome. (See video above).

Lamborghinis from all over roll into town. Photo from Wolfango.

The final leg of the 50th Anniversary Lamborghini – Grande Giro motored from Bologna to Sant'Agata Bolognese, the town where founder Ferruccio Lamborghini produced the 350 GT in 1963. At Sant'Agata Bolognese, the celebration swung into its highest gear with the reveal of the newest Lamborghinis – Gallardo and Aventador.

Happy birthday Lamborghini and many more!

Visit http://www.lamborghini.com/en/experience/50th-anniversary/news/ to learn more about the the 50th Anniversary Lamborghini – Grande Giro. Rx

For Better or Worse (Worse), 'The Great Gatsby' 2.0

ABOUT 10 minutes into The Great Gatsby, Yours Truly was tempted to walk out of the beautiful Ziegfeld Theatre.

Before I bolted I quickly schooled my thoughts to ponder why I would wish to do such as thing. The answer came soon enough: I did not like what I’d seen heretofore and was convinced that it would not get any better.

In the final analysis I was right. I stayed, though, because your humble guide doesn’t leave in the middle or beginning of films. I stay until the bitter or sweet end, after the final credit and the screen fades to black.

Besides new-fangled “The Great Gatsby” isn’t so bad that anybody should walk out on it. Indeed, it has a coupla three things to recommend it. The film opens widely in the United States and Australia today. Incidentally, it was filmed in Australia, not on Long Island in New York

No doubt, Dear Readers, you’re asking yourselves why I would even contemplate walking out on what has been one of the most hyped films of the year. Simple: my immediate impression less than a quart of an hour into it, was that it reminded me of a cross between “Animal House” and “Weekend at Barney’s.” The early party scenes at the mansion where mysterious millionaire Jay Gatsby (Leonardo DiCaprio) resides were too over the top and, frankly, boring.

Just another wild night at the Gatsby manse in "The Great Gatsby." Photos courtesy of Warner Brothers.

Writer, producer, director Baz Luhrmann&Co. seemingly decided that the way to suggest the loosening morals of this Jazz Age is to show a party that is one garment away from a full-on orgy. It is laughable. The partygoers seem like a bunch of children playing dress up in their parents clothing.

Perhaps it is unfair to compare this film, based on F. Scott Fitzgerald’s now classic novel, to the 1974 version based on the same novel. Alas, comparisons are inevitable. Though “The Great Gatsby” 2.0 is more faithful to the novel, particularly in a larger focus on Nick Carraway’s (Tobey Maguire) recollections and featuring more ethnic diversity, it falls far short of the 1974 film starring Robert Redford, Mia Farrow, Sam Waterston, Bruce Dern and Lois Chiles.

Jay Gatsby is over the moon in love with Daisy Buchanan (Carey Mulligan) who is now married to true bluebood Tom (Joel Edgerton.) Gatsby enlists Daisy’s cousin, Nick, as matchmaker. At this juncture the story really begins to unfold until it unravels.

“The Great Gatsby” 2.0 is so much like this current age and “relevant to now” as suggested in its production notes. It is loud, coarse, puerile, shallow and lacking in subtlety. Further, it plays more like a comedy rather than a tragic love story. “The Great Gatsby” is the story about the boundless love of one man for one woman. If only every woman at least once in her lifetime could be with a man who loves her thus.

Of the main five characters in “The Great Gatsby” 2.0., only LdiC as Jay Gatsby and Australian newcomer and recent college grad Elizabeth Debicki as Jordan Baker shine in their roles. CM as Daisy Buchanan, the love of Gatsby’s life and TM as Daisy’s cousin and Gatsby’s neighbor, Nick Carraway, are particularly miscast. CM doesn’t convey Daisy’s vulnerability, while TM is more wide-eyed geek than a grounded Midwesterner.

Meanwhile, why, oh why did BL shoot this film in 3D? Just because the technology exists does not mean that one must avail himself of it. It works for a “Spiderman”; it’s out of place in “The Great Gatsby" 2.0. Ditch the infernal 3D glasses and enjoy the basic HD version. The film is sumptuous visually. Simon Duggan's cinematography is breathtaking. Sets and costumes by Catherine Martin are sublime.

Jay Gatsby (Leonardo DiCaprio) welcomes his woman Daisy (Carey Mulligan) and her husband Tom (Joel Edgerton).

The soundtrack, on which Jay-Z serves as executive producer, is an interesting mix, featuring Jay-Z, Kanye West, Fergie and others. The orchestration of Amy Winehouse’s “Back to Black,” performed by Beyoncé and André 3000, is both beautiful and haunting; Beyonce’s “Crazy in Love,” performed by Emeli Sandé, sticks out like a sore thumb.

"Young and Beautiful," performed by Lana Del Rey, is the album’s lead single. It plays during love and play scenes between Gatsby and Daisy. The song effectively captures the insouciance that Gatsby tries to recapture when he’s with Daisy that so marked their life before he went off to war and she married another.

Nick (Tobey Maguire) and Jordan (Elizabeth Debicki) are enablers in "The Great Gatsby."

Jay-Z is also a producer of “The Great Gatsby” 2.0. One wonders whether he used any of his influence to get blacks cast in roles other than as servants or whether this element is part of the director’s desire to be more faithful to the book.

After all, blacks (called Negroes at the time) would have been present in the various speakeasy joints, for instance or at the filling station. Or living in tenements amongst poor "ethnic" whites who were allowed to call themselves white but were accorded very few "white skin" privileges by the WASP power structure.

Daisy (Carey Mulligan) and Leo (Leonardo DiCaprio) have a moment in "The Great Gatsby."

One quibble: the black female speakeasy dancer might have looked a bit less like a hooker. Many of these women were beautiful and might have been mistaken for models …Owl eyes (Max Cullen) is one of the best things about the film.

Purists will think “The Great Gatsby” 2.0 hideous. Young people will be delighted.

Visit http://www.thegreatgatsby.warnerbros.com/ to learn more about "The Great Gatsby"; the film is rated PG-13 for some violent images, sexual content, smoking, partying and brief language. Rx.

'Foodopoly': In a Colossal Battle With Mr. Big Stuff

WALMART gets one out of every three dollars spent on groceries in the United States.

Pepsico is the second largest company in the world. Among its assets are Rice-a-Roni, Doritos, Quaker Oats and Smartfood.

Midsize family farmers make an average annual income of approximately $19,000 – including government subsidies.

These are just a few of the shocking disclosures in “Foodopoly: The Battle Over the Future of Food and Farming in America.” The book from Wenonah Hauter, executive director of Food & Water Watch (http://www.foodandwaterwatch.org), lays out in credible straight talk how the U.S. food supply is controlled by a few conglomerates – hence the “opoly” in title – and what must be done to wrest control of it away from them. (See video above).

WH has been on the road espousing this gospel the last few months. Yesterday, she was in New Orleans. Today through Friday she is in North Carolina before a visit to Bethesda, Maryland on Monday, followed by numerous other cities over the next several months.

"Foodopoly" is one of the latest titles that addresses the woeful state of the food supply in this country. Indeed, such books have spawned a cottage industry that is expanding nearly as fast as the American waistline. The main culprit of this sad, sick state: a poisoned food supply. All the books sound an alarm that too many in the United States do not hear or inexplicably choose to ignore.

Perhaps, WH will speak loudly and persuasively enough for Americans to realize that it is not enough to simply vote with their forks, though that is a starter course. Her credentials suggest that her words may be heard and heeded. This daughter of a farmer runs her family’s Virginia farm as a Community Supported Agriculture(CSA) program.

Basically, a CSA grows and sells food to clients who sign up in advance to purchase it. In a way, it is a grow-by-order type system, one of various weapons that the good-food movement employs to attain food sovereignty until such time that the traditional family farm is once again this nation’s major food producer.

CSAs, farmers’ markets and urban gardens are wonderful things, WH says, but they are grossly insufficient to loosen the stranglehold that the few have on the food supply. “Overly simplistic solutions are often put forward by some leaders in the good-food movement that take the focus away from the root causes of the food crisis – deregulation, consolidation, and control of the food supply by a few powerful companies,” she writes in the "Foodopoly" introduction.

The food activist and strategist suggests that consumers may metaphorically want to pick up a pitchfork and go straight for the belly of the beasts that are Big Food and Big Ag. And a Congress that enables them by making laws that permit the production of meat, grains, vegetables and dairy on an unnatural fast track that discourages organic farming practices.

These laws devolve into policies that in part make it all but impossible for small and medium farmers to make a living, meaning that only large, corporate entities can make a profit, to live high on the Smithfield hog as it were

The consumer faces a huge uphill battle, WH, asserts. But it is fight the enemy on various fronts, particularly scientific and public policy, or die prematurely.

Visit http://www.foodopoly.org to learn more about Foodopoly: The Battle Over the Future of Food and Farming in America,” including purchase information and Wenonah Hauter’s book tour schedule. Rx