BRAIN BYPASS, BRAIN SURGERY: RECONNECTION OF BRAIN VEINS, TALENT CLEARED; Animated intro for the show 'The Operation,' WS anchor/nurse talk head as wez-in to CU, VAR WS Desert scenery, VAR WS & MS patient; MS INT patient asleep on bed, CU patient talk head, WS Dx St. Joseph's Hospital, WS INT surgeons studying X-rays; CU surgeon talk head, CU x-ray w/ pointer, VAR MS patient walks downhalls of hospital & sits on bed; VAR CU surgeon & patient talk head as surgery is explained, VAR MS & CU surgeons prepping (washing hands & utensils); MS patient administered anaesthesia, Computer generated images of brain, WS surgeons carefully place camera, ECU head cut open; VAR ECU & CU surgeons cut open head, tv anchor talk head, Warning about graphic nature of the program to follow; VAR CU's surgeon's faces & ECU head now cut open and brains visible, VAR MS from low angle surgeons hunched over patient ; ECU Brain - ruler in shot to measure the incision (about an inch wide & 4 inches long), WS & MS docs measuring, anchor talk head; WS surgeons, VAR ECUs as surgeons cut through final layer to get to actual brains (pretty bloody), VAR MS & ECU docs soak blood; ECU Docs remove big round cake of blood-soaked foam & immediately fill open wound w/another cake, ECU layer removed to reveal BRAIN!; Computer graphics of brain, ECU surgeons manipulate big vein (?) in brain, VAR MS & CU surgeons intercut; ECU BRAIN: surgeons cut a vein and reattach it to another - really intense & bloody, ECU brain veins sewn together ;Sewing complete: ECUs of more blood-soaked foam cakes & slow sewing up of brain layers (interspersed w/ MS & WS of surgeons); Wow - ECU docs bolt top brain plate back to rest of skull, VAR ECU & MS connecting rest of tissue and skin; WS Surgeon greets family in waiting room, WS patient's bed walked down hall, CU surgeon talk head, VAR Dx desert patient & family ;

<pi> This package/segment contains third party material. Unless otherwise noted, this material may only be used within this package/segment. Usage must cease on all platforms (including digital) within ten days of its initial delivery or such shorter time as designated by CNN. </pi>

***Warning. This item contains material that some viewers may find disturbing due to the graphic nature. Each station must exercise its own judgment in determining whether it is appropriate for broadcast to its audience.***

 --SUPERS--
:25-:33
Henry Mayo Jr. 
Army Veteran

:33-:35
Family Photo

:35-:51
U.S National Archives

:54-:56
Henry Mayo Jr. 
Army Veteran

:59-1:06
U.S National Archives

1:06-1:10
Henry Mayo Jr. 
Army Veteran

1:27-1:42
WBRC

2:17-2:26
Henry Mayo Jr. 
Served at Ft. McClellan

2:43-2:50
Sal Caiozzo
Veteran Activist

2:58-3:12
Lisa Jo Sarro
Ft. McClellan Veteran

3:25-3:28
Rep. Paul Tonko
(D) New York

3:31-3:39
Wendolyn Lacy
Henry Mayo"s Daughter

3:40-3:51
Dept. of Defense

4:07-4:17
Wendolyn Lacy
Henry Mayo"s Daughter

 --LEAD IN--
EVERY DAY, IN FAR OFF PLACES -- SERVICE MEMBERS PUT THEIR LIVES ON THE LINE FOR THE UNITED STATES.
BUT EVEN ON U-S SOIL -- SERVICE MEMBERS HAVE RISKED THEIR LIVES. 
JAKE TAPPER REPORTS ON WHETHER THE V-A IS THERE FOR THOSE VETERANS TOO.

 --REPORTER PKG-AS FOLLOWS--
Nats - "Oh."
HENRY MAYO JUNIOR KNOWS HIS APPEARANCE CAN UPSET PEOPLE.
Nats
MAYO OVER BATHROOM SCENE: "I done lost my skin, my glands don"t work, I don"t sweat so I just have to live with it."
THE 80-YEAR-OLD ARMY VETERAN SAYS THIS PAINFUL SKIN CONDITION IS JUST ONE OF MANY CONFOUNDING AILMENTS HE"S DEVELOPED YEARS AFTER SERVING AT FORT MCCLELLAN IN ALABAMA.
Henry Mayo Jr./ Army Veteran "I started losing my hair and then my skin started getting bad then the knots started rising on my head so I, that was something to be scared of you know, you didn"t know what was going to happen next."
MAYO WAS DRAFTED IN 1959, JUST AS THESE MILITARY TRAINING FILMS WERE BEING RELEASED.
nats "Chemical warfare..."
HE WAS SOON SENT TO FT. MCCLELLAN - HOME TO THE ARMY"S CHEMICAL SCHOOL AND CHEMICAL CORPS.
AS PART OF THE 21ST CHEMICAL COMPANY, MAYO SAYS MUSTARD GAS WAS TESTED ON HIS SKIN.
Henry Mayo Jr./ Army Veteran "They would leave on there like a little pin dot that just lets you see how that place would blister up."
MAYO SAYS HE ALSO PARTICIPATED IN RADIATION TESTS- WEARING A BADGE TO MONITOR EXPOSURE, WITH NO PROTECTIVE GEAR.
Henry Mayo Jr./ Army Veteran "We went out to this radiation area - and no kind of instruction or nothing they just gave us the badge and told us to pin it on us."
DESPITE ALL THIS, THE V-A SAYS THERE IS NO PROOF THAT ANY OF MAYO"S MEDICAL ISSUES ARE SERVICE RELATED- MEANING IT DOESN"T HAVE TO COVER THE HIGH COST OF CARE.
nats
FORT MCCLELLAN CLOSED IN 1999, SEVERAL YEARS AFTER THE ENVIRONMENTAL PROTECTION AGENCY LABELED PART OF THE PROPERTY A "SUPERFUND SITE" - 
A TITLE RESERVED FOR AREAS CONTAMINATED BY HAZARDOUS WASTE THAT POSE A RISK TO HUMAN HEALTH.
THE ARMY CORPS OF ENGINEERS SAYS RADIOACTIVE MATERIALS WERE USED, STORED OR BURIED AT NEARLY TWO DOZEN AREAS ACROSS THE MAIN POST AT FORT MCCLELLAN AS WELL AS AT TOXIC TRAINING OR RADIOLOGICAL SURVEY AREAS NEARBY. 
THE V-A"s WEBSITE ACKNOWLEDGES RADIOACTIVE COMPOUNDS, CHEMICAL WARFARE AGENTS AND CHEMICALS FROM A NEARBY P-C-B PLANT AS POTENTIAL EXPOSURES AT FORT MCCLELLAN.
BUT THE V-A ADDS: THOUGH "EXPOSURES TO HIGH LEVELS OF THESE COMPOUNDS HAVE BEEN SHOWN TO CAUSE A VARIETY OF ADVERSE HEALTH EFFECTS… THERE IS NO EVIDENCE OF EXPOSURES OF THIS MAGNITUDE HAVING OCCURRED AT FORT MCCLELLAN."
Henry Mayo Jr./ Army Veteran "We didn"t think about it too much more after then until you know a few years later, things started happening to me then you started to thinking."
V-A RECORDS SHOW MAYO HAS SOUGHT AIDE FOR MULTIPLE MEDICAL CONCERNS INCLUDING HIS SKIN CONDITION WHICH IS LISTED AS A TYPE OF LYMPHOMA OFTEN ASSOCIATED WITH AGENT ORANGE.
BUT GETTING THE GOVERNMENT TO RECOGNIZE A CONNECTION BETWEEN SICKNESS AND SERVICE IS AN ONGOING BATTLE FOR THOUSANDS OF OTHERS.
Sal Caiozzo/ Veteran Activist "They (congress) have to agree that Ft. McClellan was a contaminated base even though everything points to it."
OVER THE WEEKEND IN WASHINGTON, D.C., SELF-PROCLAIMED "TOXIC VETERANS" FROM ACROSS THE COUNTRY GATHERED TO TRY TO RAISE AWARENESS AND ASK CONGRESS FOR HELP.
Lisa Jo Sarro/ Ft. McClellan Veteran "We"re already exposed, it"s gonna kill us one way or another but for my children and grandchildren, I want to be able to leave knowing that I left them with something - a bill being passed, compensation that I may have." 
CONGRESSMAN PAUL TONKO, A DEMOCRAT, HAS INTRODUCED LEGISLATION TO REGISTER MCCLELLAN VETERANS AND GIVE THEM EASIER ACCESS TO CARE - BUT HIS BILLS HAVE NOT PASSED.
Rep. Paul Tonko/ (D) New York "We do think the veterans are owed a registry. They were perhaps put at risk, we should do everything to enable them to have a full life."
MAYO"S DAUGHTER WENDOLYN IS NOT GIVING UP. 
Wendolyn Lacy/ Henry Mayo"s Daughter "So many soldiers out there that"s reaching out to Congress and they"re reaching out to their doctors you know, help! It just seems like it doesn"t matter."
HAD HER FATHER DEPLOYED TO VIETNAM LIKE MANY OF HIS PEERS, THINGS MIGHT BE DIFFERENT.
THE V-A SAYS VETERANS DEPLOYED TO VIETNAM HAVE A PRESUMPTION OF EXPOSURE TO CHEMICALS LIKE AGENT ORANGE OR MUSTARD GAS COMMONLY USED IN COMBAT.
SO IT"S EASIER FOR THEM TO RECEIVE BENEFITS.
BUT SERVICE MEMBERS LIKE MAYO WHO SAY THEY WERE EXPOSED TO THE SAME CHEMICALS STATESIDE, THEY MUST BEAR A BURDEN OF PROOF.
Wendolyn Lacy/ Henry Mayo"s Daughter "They tell you okay, if you didn"t serve actually in a war zone, but Fort McClellan was a war zone within itself. They were training there but they ended up with conditions just like someone who actually was on the front line."
WHEN ASKED ABOUT FT. MCCLELLAN VETERANS, THE V-A TELLS CNN IT REVIEWS CLAIMS ON A CASE BY CASE BASIS - BUT QUOTE - "HAS NO EVIDENCE OF A WIDESPREAD CONTAMINATION ISSUE ON THE BASE."
THE V-A SAYS THEY HAVE NO PLANS TO CREATE HEALTH CARE POLICIES FOR THE GROUP.
THE V-A"S POSITION NOT WITHSTANDING, HENRY MAYO JR. CONTINUES TO BE REMINDED OF HIS SERVICE EVERY TIME HE LOOKS IN THE MIRROR. 
 -----END-----CNN.SCRIPT-----

 --KEYWORD TAGS--
WASHINGTON D.C.



Video footage from the KXAS-TV/NBC station in Fort Worth, Texas, to accompany a news story.

Herd of African elephants (Loxodonta africana) approaches the Chudop water-hole whilst another herd has just finished drinking, bathing and playing. Bathing is often a social or bonding activity which helps remove parasites from the elephants' skin and helps with rehydration and thermoregulation. The clip shows the group dynamics upon meeting. Certain of the elephants are nervous, whilst others are curious and some even aggressive. Some elephants take the opportunity to greet members of the other herd whilst others attempt to demonstrate dominance. The scene immediately prior to this clip can be seen on Clip K009 1330. Filmed at the Chudop waterhole in Etosha National Park, Namibia, Southern Africa.

Filmed at Chiswick County School. "Schooltime for boys is no longer synonymous with toil. Today the modern boy has change in every way - outdoors - " Various shots of boys doing keep fit exercises in the open air in front of the school. They throw a large ball around. "Or in the 'Lab' - where microscopes and test tubes cast alluring spells... (and smells)." M/S of schoolboys in the school laboratory. A science lesson presumably. "Any kind of fruit experiment has tasty possibilities. Today, we take a banana - a green one - for a subject..." C/U of a banana being sliced (with its skin still on). A small piece of the banana is placed inside a slicing machine. A small sliver of banana is cut off and placed in a dish. The sliver is then placed on a piece of glass, ready to go under the microscope. C/U of the slide being placed under the microscope. M/S of boy looking into the microscope. <br/> <br/>"The microscope reveals that a green banana is composed largely of starch grains... (troublesome to most tummies)." C/U of what is seen through the microscope. "A little iodine turns the grain black - this proves the presence of starch..." C/U of iodine being dripped onto the microscope slide. C/U of what seen under the microscope. "Now take a ripe banana section for the microscope." M/S of boy peeling a banana in the laboratory. The top of the banana is broken off. A tiny sliver is sliced off and placed under the microscope. "In nature's mysterious way, warmth and sun have changed the starch grains into pure sugar." C/U of what seen under the microscope. "Always keep this fruit wrapped up and warm." School master places bunch of bananas into a cloth lined basket. He wraps them up carefully, puts the lid on then puts them away in a drawer. Exterior of school - boys doing keep fit suddenly stop and run full pelt towards the school master who hands out bananas. M/S of the boys who all clamour for bananas. <br/> <br/>Was an item in Eve's Film Review issue number 644.

Families search for each other after a volcano and mudslide strike the city of Armero in Columnbia.

Stress can cause acne breakouts in adults.

ROLL B: OC 625 SOF MAG CONTINUATION OF FTG OF VIRGINIA COLLEGE. SIL. VS STUDENTS IN LAB COURSE. GENERAL SCENES OUTSIDE AT NORTHERN VIRGINIA COMMUNITY COLLEGE (NOVA COCO) AT THE ANNANDALE CAMPUS. VS DENTAL CARE CLASS IN SESSION. VS VARIOUS MEDICAL CLASSES IN SESSION INCLUDING MUSCLE CARE, SKIN CARE. VS INTV W/ NOVA PRESIDENT, MR ERNST, ON NATURE OF COLLEGE COURSES AND PROGRAMS OFFERED.

Body Care and Grooming

Human skin

This 1960 black and white documentary about Eskimos was part of a 1960-1962 television series known as “Expedition!” with host Colonel John D. Craig. This segment was photographed by Father Bernard Hubbard, the ‘glacier priest’ and an American geologist and explorer. Col. Craig introduces the show and there’s a “Place Commercial Here” pause (1:16). Father Hubbard, now the narrator, lived a year among these Eskimos (1:18-2:12). His focus was on King Island in the Bering Sea to test theories on when migration to North America began (2:13-2:45). The Perseus Coast Guard Cutter gave him and his dog McGee a ride. Father Bernard took a canoe full of supplies to the island (2:14-4:48). Cliff homes cling to the rocks. Young girls and women are shown cooking outdoors. The knife the women use is the same as on Greenland (4:49-5:10). McGee makes friends with a baby, who is put on the mother’s back in an unusual way, and she gathers wild spinach (5:11-5:45). The Eskimo kayak can be lashed to another for stability. Fishing uses a simple hook and line (5:46-6:40). A group climbs the nearly vertical rocks to hunt puffin and heron eggs (6:41-8:22). A blizzard begins. Inside, the men carve walrus ivory using a mouth drill (8:23-9:33). Winter, the Eskimos chop holes in the 4’ deep ice to catch fish and crabs (9:34-11:00). Spring, polar bear skins dry in the sun and the men build an umiak, a king-sized walrus skin boat of drift wood and whale bones lashed together with walrus sinew (11:01-11:42). The women prepare the boat’s skins by removing the blubber and sewing them together. Babies are cared for as their mother’s work (11:43-12:07). The men carry the large covering down to the boat and attach it (12:08-12:55). Food containers are added, lashings smeared with grease, and whale ribs make every line taut (12:56-13:10). Huge masses of ice break apart. The boat is loaded for its 2,000-mile voyage (13:11-14:19). Another commercial pause (14:43). An outboard motor is used to get to Point Lay. They pass rugged cliffs and communities of houses (14:44-16:25). Without ever having made known contact, the Eskimos spoke the same language. Blanket tossing is shown before the boat heads to Point Barrow, the northernmost point on the North American continent (16:26-17:09). Arriving, they find igloo like homes made of driftwood and earth. A trap door hides a natural freezer. The Eskimos had very little change in the dialect as those 2,000 miles away (17-10-17:55). Chunks of ice appear and the men decide to leave immediately. It’s a race against time to beat the onset of winter, arriving hours before the blizzard hits (17:56-19:25). They play football on the ice (19:26-19:45). A boat full of men leave to hunt walrus using harpoons (19:46-21:45). A pair of orphan baby seals are found to take back with Father Bernard (21:47-23:00). Before leaving, the people throw a farewell party and perform a ceremonial dance in native costumes (23:02-24:13). Col. Craig closes the show.<p><p>Bernard Rosecrans Hubbard (1888–1962) was an American geologist and explorer who popularized the Alaskan wilderness in American media during the middle of the 20th century. Known as "the Glacier Priest", he was a Jesuit priest, head of the Department of Geology at the University of Santa Clara, California, and for a time was the highest-paid lecturer in the world, leading 31 expeditions into Alaska and the Arctic.<p><p>We encourage viewers to add comments and, especially, to provide additional information about our videos by adding a comment! See something interesting? Tell people what it is and what they can see by writing something for example: "01:00:12:00 -- President Roosevelt is seen meeting with Winston Churchill at the Quebec Conference."<p><p>This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com

Universal Newsreel

SOLUTIONS: INTV AND COVER FTG FOR JAMES WALKER CS ON RENO'S INNOVATIVE FAMILY DRUG COURT PROGRAM WHICH SAVES THE CHILDREN FROM FOSTER CARE BY REHABILITATING THE PARENTS. 05:00:51 CU INTV CONTINUED W/ JUDGE CHARLES MCGEE OF JUVENILE AND FAMILY COURT TALKING ABOUT WHAT GIVES HIM THE MOST SATISFACTION IN HIS COURT. 05:01:33 MCGEE COMMENTS ON THE PARENTS' VALUES THAT ARE ONLY SKIN DEEP AND COMPLIANCE ORIENTED AND THAT BEGIN TO SEEP INTO THEIR PSYCHE AND BECOME MORE NATURAL. 05:02:54 MCGEE GIVES CREDIT FOR UNIQUENESS OF PROGRAM TO INTENSE JUDICIAL OVERSIGHT AND THE INTEGRATED CASE MANAGEMENT. 05:07:08 MCGEE / REPORTER TWO SHOT. 05:08:11 REVERSAL. 05:10:15 SLATE. 05:10:47 REVERSAL. 05:10:58 WS WALL FILLED W/ EDUCATIONAL DEGREE CERTIFICATES, COMMENDATION CERTIFICATES, AND AWARD PLAQUES. 05:11:15 WS MCGEE AT WORK AT DESK. 05:11:57 ECU MCGEE. 05:12:46 MS MCGEE AND DESK COVERED W/ PAPERS. 05:13:56 BREAK. 05:14:08 VS WOMEN IN GROUP LED BY LINDA WITTMAN. 05:14:35 CU KIM GIVING HER BACKGROUND AND DRUG USE. 05:15:46 CU SHELLEY WHO GOT HER TWO CHILDREN BACK THROUGH THIS PROGRAM. 05:18:53 CU STEPHANIE WHO IS AN ALCOHOLIC. 05:22:01 CU WOMAN WHO HAS HAD SEVERAL RELAPSES AND SEIZURES. 05:22:18 CU AMY WHO IS IN PROGRAM TO GET HER FOUR CHILDREN BACK. SHE PRAISES MCGEE AND PROGRAM FOR THE SUPPORT. 05:25:09 CU BRIDGET WHO HAS BEEN OFF DRUGS FOR EIGHT MONTHS AND IS THANKFUL TO FAMILY DRUG COURT. 05:29:18 BREAK.

RICK WALTERS INTERVIEW BERT GRIMM'S TATTOO, Long Beach, CA DAVID ELLIS: How does the tattoo process begin - how do you make a tattoo. 18:18:52:17 RICK WALTERS: Well, the tattoo is made by, you start out with the picture that you draw and then you make a tracing of that picture and make a stencil of the tracing, then you apply the stencil to the skin and then you do your outline and shading and coloring. DAVID ELLIS: Can you make a guess - what do you think the tattoo process was like a hundred years ago? 18:19:16:06 RICK WALTERS: It was similar to what it is now, except for, instead of using, uh, the electricity that we use now they used batteries. They ran, basically, the same type of machine. DAVID ELLIS: For a sailor or whoever was getting tattooed in 1900 or 1920 - when people come in here they have the sterilized... 18:19:42:02 RICK WALTERS: YEAH, WELL, they didn't have the sterilization, right. DAVID ELLIS: But how did tattoo artists become artists in those days? What were they, really? 18:19:40.15 RICK WALTERS: Um, they served an apprenticeship. You know, and then, eventually, uh, after they apprenticed with somebody they opened up their own shop, but, like you were saying the sterilization doesn..., you know, wasn't anywhere near as good as it is now. Of course the diseases [CHUCKLING] weren't as bad then either, you know, and consequently, uh, nowadays, they were real critical on the sterilization and the proper care of putting the tattoo on. DAVID ELLIS: What is it that sterilization does for you? 18:20:20.20 RICK WALTERS: Well, it kills all the bacteria on all of the needles and, uh, you know, makes the cuhs, customer a lot more, you know, comfortable with the situation. But, basically, it cuts down any chance of infection or something of that nature. DAVID ELLIS: How do you guide people who are trying to choose the right design, but don't quite know? 18:20:43:03 RICK WALTERS: Well, it's sort of hard, actually, uh, to guide somebody to get a tattoo, you know, is, eh, it has to be something that they really want, you know, and so you can talk with them and find a, get an idea of what they like, you know what I mean, and then sort of aim them in the right direction and possibly send them home to find a picture at home, you know, it doesn't necessarily have to come out of the tattoo shop. DAVID ELLIS: I've been in a lot of shops and sometimes I see people, a lot like me, looking at all the flash, back and forth, back and forth. Do you try and analyze - can you tell when people come in the door what they need or want? 18:21:23:28 RICK WALTERS: NAHH, IT'S pretty hard to tell what they actually want without talking with them, you know, and it's pretty much a decision that they have to make their-self, you know, you can't really tell somebody what they like, they pretty much have to figure it out, you know, and find something that they really like, you know, because it's going to be on their body forever, you know, and you only got one shot at putting it on there. DAVID ELLIS: How do you take care of tattoos, what's the best way to maintain your tattoos? 18:21:52.00 RICK WALTERS: WELL, once you get the tattoo, then we bandage it and you leave the bandage on for, oh, eight to ten hours, and wash the residue that, the bleeding or whatever off, after you take the bandage off and then you use a thin coat of an antibiotic salve such as bacitracin or Neosporin and, after that, you just basically let it dry out and heal and, once it completely heals, if you're going to go out in the sun a lot, you probably ought to put a little sun-block on it to keep it from fading. DAVID ELLIS: You know, I told you I shipped out on the Merchant Marine when I was a kid and a lot of the guys ex-Navy guys from the war and their tattoos were kind of blue/black and, very often, you couldn't tell what they were. 18:22:37.08 RICK WALTERS: Yeah, well, back in the forties and fifties they used a, the larger line and the tattoos were more cartoonish than they are today and, consequently, the line spread a little because you have, you know, you're working on human flesh, you're not working on a piece of paper; and, so if the line doubles in size, if it was already, say, an eighth of an inch wide, then it would get blurry as it doubled, whereas, now, we try to use a little thinner line on the smaller designs, consequently, they stay nice for a longer period of time. Eh, and, you know, it's just a spreading, aging factor of the tattoo itself. DAVID ELLIS: So, if a 21-year-old comes and gets a tattoo, what should it look like and 40 years? 18:23:21.14 RICK WALTERS: Well, it depends on a lot of different things, you know, on, on the care they take of their skin for one thing and, also, on the ability of the person who put the tattoo on. I have tattoos on, myself, that are 20, 30 years old that look just fine. Whereas, I've seen tattoos that were 10 years old that look horrible, you know, and, uh, it's a combination of the person who has it and the guy who put it on in the first place. DAVID ELLIS: You were showing us your machine before and needles poking out, can you tell me what we were seeing in that closeup? 18:23:59:00 RICK WALTERS: Well, the machine runs free when it's not in the skin. I mean, we have a weighted bar on top of the, the machine that is pulled down by electromagnet and, consequently, you build a certain amount of inertia and the weight of the bar pushes the needles a certain depth into the skin and that's adjusted by spring tension and the amount of power that you put onto the machine and, consequently, you can regulate how deep the needles go into the skin, just by setting the machine up properly and it slows down when it hits the skin, I, uh, I don't know if you noticed or not, well, while I was tattooing the, if I wasn't in the skin it would be going a lot faster, then, as soon as I hit the skin you could hear it go [LOWER SOUND] slow down and, consequently, that's what causes the, the inertia and the depth of the needles. The ideal situation is to go through like three to four layers of skin where you have seven, so, you want to go about half-way through the skin, because if you go all the way through, then it gets blurry. DAVID ELLIS: How long should tattoos last? 18:25:04.26 RICK WALTERS: For rest of your life - forever and forever. You know, eh, as long as you take care of them. Now, they will get blurry over a large period, long period of time if you don't take care of your skin, you know, you, if you look through a picture that's on a old, dirty, nasty piece of glass it's going to look horrible, whereas, if you keep the glass nice and clean and shiny, the picture looks good and it's the same thing, the nicer your skin is, the better the tattoo looks. DAVID ELLIS: REST OF YOUR LIFE - I WAS JUST ADJUSTING.... Okay. What made you become a tattoo artist? 18:25:52:05 RICK WALTERS: UMMM. Well, I don't know, I started, uh, messing around with tattooing when I was real, real young and doing it by hand in the garage, you know, and whatever and, eventually, uh, I got good enough at, at doing it by hand that a guy took me off to the side and said, here, you've got to do it like this, here, and set me up with some machines and I practiced a little bit and, when I was about, oh, I'd say, 19, I started tattooing in a shop professionally and I'm 52 years old now, so I've been at it a couple of years. DAVID ELLIS: I know, as we all get older, we learn, hopefully, something about human nature, but you see people...what have you learned about human nature by tattooing people? 18:26:43:22 RICK WALTERS: UM. It's hard to say, people do some pretty stupid things occasionally, you know, eh, you know, some people are a little smarter than others, but, on the, in general, I guess, most people are fairly good people, but, occasionally, you get people that aren't, you know, but most of the time they're generally decent people, but sometimes they make mistakes, you know, that's just normal, you know. DAVID ELLIS: Tell me a little bit about the kind of people who've come in over the years, you know, who you've worked on. 18:27:16:09 RICK WALTERS: Well, you get a vy, variation of clients, nowadays especially, but, say, back in the sixties and fifty, or sixties and seventies, you did mostly bikers and waitresses and sailors and marines and people like that, whereas, in the last 10 to 15 years you get into a little more blue collar people, that's, you get occasionally doctors and lawyers and nurses and, you know, people who work in the grocery store, it's pretty much everybody's getting tattooed these days, in comparison to the old days, you know. So, the clientele, actually is a little nicer than it it used to be, you know. And it's sort of nice, working with nicer people. DAVID ELLIS: What do people talk about when they're sitting in your chair. 18:28:02:07 RICK WALTERS: Well, it's sort of like a barber shop, you know, just depends on what's on their mind, eh, girlfriend's mad at or, you know, their mom's going to get upset because they got a new tattoo or, whatever, you know, but, sometimes they talk about their cars, you know, it just depends on the person, and it's pretty much like I say, in a barber shop, you know, okay, everybody talks a little different thing, you sort of learn to just listen a little bit and, you know, just let [CHUCKLING] it go by. DAVID ELLIS: What were your favorite designs in the old days and how have they changed in the last 30 years. 18:28:41:17 RICK WALTERS: Oh, the designs nowadays are a lot more intricate than they were, say, back in the sixties and fifties and a lot of the older tattoo artists, you know, haven't came up with the times and they're still back in the fifties and sixties trying to make a living; and the ones that have any brains have progressed, you know, and, and moved on with the, you know, the trends, uh, cuh, tattoos nowadays are a lot more colorful, uh, more detail -- and favorite tattoos, oh, I don't know, I, I sort of l-lean towards the traditional-style tattoos and, uh, the big oriental pieces, but, then occasionally I'll do something real fine-line that I really like, it's hard to say, you know, it's, it's sort of a, oh, mixture of this and that and whatever and, and if you did the same thing over and over it'd get real boring, you know, so it's sort of nice being able to do a little of everything, but, like I say, some of the old guys they just never got the message, [CHUCKLING] you know, and they're back in the fifties. CHANGE TAPE 18:29:49 DAVID ELLIS: You know, I don't think I've seen anybody with this kind of blue line - I like that. RICK WALTERS: That's a shaded black, actually, it fades out into blue...when you shade the black out it goes from like black to gray. DAVID ELLIS: Does black become blue? RICK WALTERS: Um, actually, over the years it sort of turns a greenish color, you know, sort of a dark green. DAVID ELLIS: The old-timers I shipped with it was like you couldn't quite tell what color the old tattoos were. 19:00:37.28 RICK WALTERS: Yeah, they get that grainy look, sort of a, it's a real dark, almost green. The, some of my stuff's got a little green here and there, but... ROLLING DAVID ELLIS: I want to talk about technique. You were talking about how your work, after so many years, you're more efficient - what is it that a tattoo artist needs in terms of both art and technique to make the process work? 19:01:15:18 RICK WALTERS: Well, right often you'll find somebody who's a really, really good artist and they don't take the time to learn about the equipment and, consequently, they put on a beautiful tattoo, but six months later it just goes away, the lines are broken and the colors' faded and blotchy and, eventually, they will figure out how to use the equipment and get the ink under the skin, but, if somebody apprentices and learns how to put the ink under the skin first and then the artistic aspect of it is going to fall in, uh, you've saved probably, maybe 80 to 90% of the stuff you do, you trace anyway, even stuff I draw, I draw it on paper and then I trace it and put a stencil and put it on the skin, so it really isn't relevant who drew it, you know what I mean, it, it's more relevant how well it's put on the skin and how [SIGHS] smooth the lines are and how smooth the shading and coloring is. You know, that's really the most important part because that's what's going to make it last. Now, if you tattoo for a number years, sooner or later you're going to learn to draw, I mean, you can only trace a rose so many times, you know, eventually, you're going to learn how to draw a rose, I mean, if you've got any kind of common sense at all. DAVID ELLIS: What's your reaction when you see people that you did work on a year or five or ten years ago, do they ever come and revisit? 19:02:42. RICK WALTERS: YEAH, I see people quite often, since, as I've grew up in this area, so, quite a few of the people that I've tattooed 15, 20 years ago still end up coming down here and it's, you know, it's sort of interesting looking at the work, you know, and how it's progressed, you know, over the years and how they've taken care of it and whatever, occasionally, I'll pull somebody off to the side and tell them, let me touch that up for you, man, you know, because they, maybe they were a roofer, they were outside all the time and the color faded out of it, you know, it's hard to say what happened to them. DAVID ELLIS: I'm curious, some people seem to enjoy working with different artists, what is it that makes some people do that and others go to one artist and get their tattoos? 19:03:28. RICK WALTERS: Uh, it's sort of a, some people like to move around and get a little of this and a little of that and the other side of it is, is if you find somebody who's doing quality work then it's a good idea to stay with them because there are people out there who aren't, so, you, you found somebody that's doing good work, you know, might as well hang around for a while and some people research it and they actually find other artists that are doing, guh, real good work and they get a piece from this guy and a piece from that guy, you know, and, and, but they pay more attention on, on the quality of the work, whereas, you know, just, it's not really skipping from one shop to another, they actually, you know, figure out who's doing the good work and they go get a good piece from this guy or they go up to 'Frisco and get Ed Hardy to put a piece on them and then they'll go somewhere's else and have somebody else put a piece on them. DAVID ELLIS: Can I ask you a little bit about Bert Grimm's, this is an amazing place, how do you tell us briefly, what makes this a special place to be for you? 19:04:30. RICK WALTERS: Well, it's the oldest shop in the United States so that sort of makes it real special and Bert, he's sort of a, uh, he started out, seh, as a vagavant[sic?]-type tattoo artist, he worked with, uh, Buffalo Bill Cody's Wild West Show, back at the turn of the century. And he had a shop in St. Louis for a number of years and then, like, in the, I guess, the late forties, he came here and bought the shop from another person, who had, it had been a tattoo shop ever since 1927 and then he bought the shop in the forties and, when he retired in the sixties, his nephew Bob Shaw took it over, and now his wife Wanda is the one that owns, but, uh, Bert was sort of a nice guy, done a lot of different things, you know what I mean, you had to sort of take what he said with a grain of salt [CHUCKLING] occasionally, some of them old guys, you know, they talk crazy. DAVID ELLIS: We've been in a lot of tattoo shops and this is the only one, I know, that has pictures of people tattooed here from the twenties, the forties, the fifties...YEAH. Does it make you feel special to hang out and work here? 19:05:39. RICK WALTERS: Yeah, I sort of like it, I've been here almost 21 years now, if I didn't like it, I guess, I still wouldn't be here. But, yeah, it's sort of neat, it's like the place is almost like a museum, you know, and I think part of it is the fact that Bert was a photographer, also, and, consequently he photographed quite a few of his pieces way back, you know, and he, you know, did quality photographs, you know, and it's all black and white because they didn't have color film back then, but the photographs, the quality of them were real good and that's why, mainly because he was a photographer. He had like, when he first started here he had a photo studio on one side and an arcade-type thing and then the tattoos on the other side and then, eventually, it just progressed into being completely tattooing. DAVID ELLIS: Can you think, can you tell me what the strangest tattoos are that you've been requested to do? 19:06:31 RICK WALTERS: Oh, man, they get some weird ones occasionally, man, you know, it's just, uh, strangest is pretty hard to say, you know, what's strange to me might not be strange to the next guy, you know, but, oh, people'll do weird things. I mean, and it's, you know, one guy with a bungee jumper coming out of his butt, I mean, that's pretty strange, you know. Another guy with a frog doing the same thing, you know, with this frog leg sticking out, so, I mean, that's, that's pretty weird stuff, you know, but, uh, yeah, most of the people don't get strange stuff and, occasionally, you get some weirdo in here they'll want something really strange. DAVID ELLIS: Can you talk us about pain in tattooing. We were watching you work on your apprentice today, tell us how pain fits into the whole tattoo process. 19:07:24. RICK WALTERS: Well, pain is definitely a factor, I mean, uh, if you get over an area that's fairly meaty and tougher skin like, say, on your ar, outside of your arm, that's very minimal, you know, that's just like a bad irritation. Whereas, if you get on your rib cage or the middle of your chest, like where I was doing on Thomas today, it's fairly painful because there's nothing there but nerves and bone and, consequently, you're pinching the nerves, you know, whereas, if you get on a tougher meaty area, you don't, you know, the skin is tougher and it doesn't have anything to pinch against because the skin's softer, so, it's, you know, it just depends on what part of the body it is, (TATTOO PAIN) I would say the center of the chest or the, mid, the rib-cage is probably the worst place to get tattooed, as far as pain goes, maybe the lower back isn't very well either, where the spine, you know, right in the middle, but you get into most of the other areas and it's fairly minimal in comparison, but they do hurt, you [CHUCKLING] hurt, you know, everywhere. DAVID ELLIS: Over the last two days, we saw people with tattoos in some amazing places and, you know, we didn't have time to ask them, but how can people with elaborate tattoos, complicated ones, how do people put up with them? What do you tell them, what do you advise them? 19:08:44. RICK WALTERS: Uh, well, most of the people that get a fairly elaborate tattoo in a real painful area, they don't do it all at once, see, they can only put up with it for a short period of time and then they wait and, when it heals, they go back and do a little more, you know, because, I mean, you can only put with so much, you know. Uh, there are occasionally a few people that can block it out of their mind and, they'll go ahead and do the whole thing all at once, but, I mean, you get in a tender area sometimes you've got to stop, you know. Sometimes, if you don't feel good, you know, you, you have to stop because, uh, your skin is a lot more sensitive when you're a little sick, so, you, seh, sort of thing you've got to be in the mood for, you know, as, if you're not in the mood for it, you know, it hurts more. DAVID ELLIS: Have you ever had people stop and say, "please, I don't want to go on"? 19:09:38. RICK WALTERS: Yeah, I've had a couple of people stop in, in the middle of the tattoo, but, um, I can only think of one guy that didn't come back, you know, usually they come back later on and have it finished off. I mean, you don't want to walk around with half a bird, you know. DAVID ELLIS: Over the years, you've met so many different people, what do you think it is that motivates people to get a tattoo? 19:10:02. RICK WALTERS: I'm not, eh, real sure, to be honest with you. It's, you know, it's sort of a, everybody has their own reason, you know, and, eh, I definitely don't think it's the pain, you know, because most people would rather it didn't sting, you know, some people like the art work, uh, some of the guys that they wanted to make everybody think they're real macho, you know, what I mean, so they do these macho looking tattoos, uh, other people do it because they have certain memories that they want to keep, you know, it's, uh, parents' names or kid's names, or something like that, but I mean, everybody has a little different motivation, you know, to, to what, why they're getting what they get and you get the people who are heavily tattooed, usually, they're more into the art aspect of it, you know, they, they like the art work. DAVID ELLIS: Do you ever get customers who ask for certain designs that you think, immediately, you really should be going in a different direction - what do you say to people diplomatically? 19:11:06 RICK WALTERS: Well, it's hard to do, you know, eh, if that's what they actually want and it's something that's just totally out in left field somewheres, and I usually just tell them, well, you'll have to go somewheres else, you know, I don't want to mark somebody's body up with something that, that I don't feel is ethical or, you know, decent looking. You know, like people will bring in pictures that look like their third year, third grade kid drew it, you know what I mean, well I want it just like that, and I go, "You ain't going to get it here, you know, uh, if you let me redraw that design for you, then no problem, I'll put it on you, but I can't put it on there like that." You know, it just looks horrible, that, that's my reputation walking out the door, you know, and if I do horrible work on people, then it makes me look bad. DAVID ELLIS: At what point in your learning to tattoo did you realize that you actually had special skill and you wanted to protect that skill? 19:12:02. RICK WALTERS: Well, that's a pretty hard question, at what point you think you have a special skill, well, I don't know, uh... I've been doing it for, what, 33 years now and I still learn stuff, you know, it's sort of something that you progress, you know, as over the years, you know, you just, it's a weird situation, I, eh, you can figure out different ways to do things and possibly it heals a little better or it goes in a little faster and, so, I pretty much strive to find better ways to do stuff and, and learn about things, I, I'm sort of a person that likes learning, you know what I mean, so, I, hopefully, won't ever quit learning, you know, but, a point where you think you're skilled enough to where you need to protect it, uh, I don't know if that's really applicable. Uh, you get a lot of people that become paranoid in the business and they're afraid somebody's going to steal their designs and they're going to steal their customers or this or that, whatever, and, personally, I would prefer to work on the aspect that I have my customers and the reason they're coming to me is because they like the work I do and I don't have to worry about the guy down the street stealing them from me because I'm, you know, uh, comfortable with my own work, you know, I, I feel that I do a good enough job that they will come back. DAVID ELLIS: Do you remember that you did a tattoo on somebody and you said, "Hey, that really turned out beautifully," to yourself? 19:13:43. RICK WALTERS: Ummm, yeah, it was probably back in the sixties, I would imagine, but, more often than, than that I, I think you usually have a tendency to be your worst critic, you know, uh, other people will look at something and say, ah, my God, that's beautiful and I look at it and I remember, ah, man, there's a crooked line over there, which nobody else even notices because I shaded over it and covered it up so you didn't see it anyway, but you have a tendency to pick apart your own work worse than [CHUCKLING] somebody else would, you know, and I feel that's another reason why you continue to learn, you know, which I prefer to do is, the, if I can't find something wrong with the tattoo, than how can I learn to get better, you know, and so I, I feel that no matter how good it looks, you should be able to find something that you could have done a little better, you know, and, and then next time you try to do it a little different the next time, you know, and I just, I'm, maybe it's because I'm Virgo, I'm never satisfied, you know. [CHUCKLES] DAVID ELLIS: You speak like every other artist that I've spoken to and most people have this stereotype, at least in the old days, but some now, that tattooing is some special little world, but almost everybody we've met is really proud of the art they do. 19:15:07 RICK WALTERS: Oh yeah, yeah, it's, uh, it's a lot more artistic than it used to be and, and most of the artists today, actually, draw their own designs, but we still copy, too, I mean, don't get me wrong, you know, if that's what the person wants and it's a decent picture, I mean, what the heck, not everybody's going to like what I draw and you have to use, eh, you know, get rid of the ego, you know, you have to figure out, okay, this is on this person, they have to get what they want, you know. But, uh, yeah, it's, you get a lot more artistic license than you used to, you know, it'd be, people give you a little more room. You know, but you still, like I say, you have to pay attention to what they're saying because you want it to be what they like, you know, and that makes it a little different than somebody who's painting an oil painting, you know, whereas, you can paint a picture and hang it up and a thousand people can look at it and one guy buys it, whereas, with a tattoo, it's got to be the right way the first time and it's got to be what that guy likes, not what you like. You know, so you have to pay attention to what they're saying, you know, if you want to stay in business - you don't have quite the openness that you would in another art field. 19:16:05 DAVID ELLIS: Finally, I just want to ask you about... can you tell us a little bit about your special machines. You know, Gil Monte waxes poetic about your tattoo machines. What makes a tattoo machine special? 19:16:38. RICK WALTERS Well, there's so many machines out there and there's a lot of different variants, you know, the... we try to manufacture a machine that works the way we want it to work, whereas, most manufacturers manufacture machines to make a profit, you know, and, and they cut back on this and they, and they machine a part a certain way because it's cheaper and they do this and that and whatever to, to, cut costs and 90% of the manufacturers don't even tattoo, so they don't have a clue what they're doing, you know, and the machines that we make now, uh, Col. Todd and, uh, a guy named Doug Martin got together and designed the frame and we changed them over the years a little bit at a time and, and they're basically the same frame as what we started out with, but it's a three-piece steel frame that's a lot more versatile than most of the other frames because of the fact that it is steel and you can bend it or you can slot it and move it and make it do different things, you know, some, sometimes when you're putting one color, well, like a color piece in, you want the machine to hit the skin a certain way, whereas, when you're, say, working with a light gray, you want it to hit a lot softer so there's different ways you can adjust the machine or change the springs to make it hit a little different for the gray, than it would for say the color or the black shading. And, so, the machines we build are a lot more versatile than most of the other machines because they are very adaptable. DAVID ELLIS: What were machines like in the years after Edison came up with that early kind of engraving thing that became a tattoo? 19:18:24 RICK WALTERS They were real heavy and clumsy and they weren't real adjustable, you know, as, whereas the machines we build now are a lot lighter and they're a little easier to handle because they're not as tall and top heavy and clumsy and they're a lot more adjustable and the technology, the tuning of the machines has changed, you know, the... You continue to learn, you know, and, so, consequently, over the years, just like any other profession, the things get better and better, you know, because you figure out different ways it works a little better, you know, and you take that knowledge and share it with somebody else and then they get some of their knowledge and share it with you and everything gets a little bit better, you know, and, say, back in the forties and thirties and whatever, people had a tendency not to do that, you know, whereas the people of today are a little more open because they're not really threatened by the guy down the street, you know, as much anyway, I don't think. At least I'm not, I, I try to be friends with everybody. DAVID ELLIS: You have this very fancy tattoo machine, it's a precision instrument, how were people getting tattooed sixty years ago, you know, in the forties, when they were going out to war and they were here on the Pike, what would this place have been like then? 19:19:49.02 RICK WALTERS Oh, this place was a madhouse back then, I mean, it was crazy, they had, like 10 people working here, you know, and, and they just backed up out the front door, you know, the guys, if you didn't get here like by five or six in the evening you didn't get tattooed, you had a line that long down the street. But, yeah, it was just crazy and they made a lot of money down here on the Pike, you know. But, in the seventies, they moved the Navy and that was the [LAUGHING] end of that era. DAVID ELLIS: What was it about all those Navy guys that they... 19:20:20 RICK WALTERS WELL, SAILORS have a tendency to want to get tattooed anyway, you know, they get their ships and their sweetheart's names and, I don't know what it is about war, but, for some reason people get real patriotic and real religious around [LAUGHING] wartime. So, then they're getting religious tattooed and American flags and battleships and, you know, I guess they're putting their life on the line, they figure they need something to, you know, resemble that or whatever and, consequently, most of the sailors got tattooed and, heck, during Viet Nam, they had like 300,000 sailors stationed half a mile from here, that's a lot of people, you know. And, so, consequently they did a lot of business here, they had like seven or eight tattoo shops within a block of this place. DAVID ELLIS: Finally, let me ask you - what's the most important thing that you'd like people to understand about the tattooing art today? 19:21:13. RICK WALTERS UMMM. WHAT WOULD YOU LIKE THEM TO UNDERSTAND? DAVID ELLIS: That, you know, that... 19:21:19. RICK WALTERS Well, that it's more of an artistic thing and it isn't... DAVID ELLIS: Begin like, "Tattooing... 19:21:23. RICK WALTERS YEAH. It's a lot cleaner and more sterile and... DAVID ELLIS: Would you begin with the word tattooing... 19:21:31. RICK WALTERS OH. TATTOOING, is a lot cleaner and it's a lot more sterile, everybody sterilizes their equipments, uh, everybody wears rubber gloves, you know, they use single serving-type ink cups so they throw them away after each tattoo and, you know, everybody's a little more, uh, into the sterilization type thing because of the fact that they could cause some type of an infection or transfer a disease from one person to another and to be ethnical[SIC] you should do that, and most of the tattoo shops you go into, they actually do practice proper sterilization and you'll find people tattooing out of their house, they mess people up sometimes because they don't have the equipment it takes to do that...Just a decent autoclave, you're probably looking at, a cheap one's twenty-five hundred dollars, so the average guy on the street don't have that kind of thing, whereas the tattoo shop it's, it's worthwhile to buy that, you know, and you have four or five guys using it, so it, you know, it's cost effective, also. DAVID ELLIS: Gil was talking to us about this problem as he sees it that there are all these sort of amateur people who have decided to set up shop in their garage. 19:22:38. RICK WALTERS It's a very bad situation, is the amateur guys in their garages they, they don't have decent equipment, they don't have decent inks, they don't have a clue what they're doing, so, and they're not using sterile equipment and then consequently transferring mega-different types of diseases, you know, ranging from just plain infections up to, you know, hepatitis and staph infection and all different types of viral warts, whatever, because they don't clean their machines properly. And, ya, Most of your tattoo shops they actually, uh, use brand-new needles that are sterilized and there's a reason for that, they ac, the new needle puts in the ink better than the worn needle. You can sterilize a used needle and, uh, you're not going to transfer any diseases or whatever, but once they get worn a little bit they don't put the ink in as well, so, consequently you're better off using a brand new needle every time because you get a cleaner line and smoother shading and more solid color. So, it's, you know, it's more practical as far as the actual tatoo itself goes. And the people, they feel a little more comfortable with that even though, you know, just sterilizing it would be more than sufficient, because you sterilize properly in an autoclave, there's nothing alive on that stuff and it kills all the bacteria. DAVID ELLIS: I don't want to ask you confidential information, but, for a fancy, custom-made machine like yours and to buy new needles - what kind of money does it take for professional artists like you or anybody else to have this wonderful stuff. (TATTOO EQUIPMENT) 19:24:15. RICK WALTERS Well, the equipment varies anywhere from a hundred and fifty dollars a machine up to three or four hundred dollars a machine, depending on who's making it and selling it. Some of the cheaper stuff that you buy from the manufacturers, say, you can get them for a hundred and fifty, two hundred bucks. You get a little better equipment starting, you know, around two and a quarter, two and a half, three hundred, just depends and if you get some guy that thinks he's famous, he sells the same stuff for, you know, three or four hundred dollars and it isn't any different. But, uh, the needles is, most of the people make their own, uh, at least I do, I mean, uh, I couldn't even conceive of using needles somebody else had made because I have a certain way that I want to group the needles and, you know, different, seh, in different situations, (ABOUT TATTOO NEEDLES) you have flat shaders, magnum shaders, round shaders, half round shaders, flat, half, or oval, you have single needle, three needle, five needle, seven-needle outlines, I mean, so there's so many different ways that you can group the needles to make them do what you want them to do and, consequently, I wouldn't trust somebody else to make the needles the way I want them and, so, consequently I make them myself, you buy bulk needles, they run about, oh, anywhere from 50 to 100 bucks for a thousand needles and then you configure them yourself on the needle bar and, you know, it's, it's just more practical to make them yourself and it's cheaper. DAVID ELLIS: Thank you very much. Patient guy. I was bombarding you with questions. ROOM TONE OVER BARS. = AUDIO SLATE - AT BERT GRIMM'S TATTOO ROOM TONE

&lt;p>&lt;pi>&lt;b>This package/segment contains third party material. Unless otherwise noted, this material may only be used within this package/segment.&lt;/b>&lt;/pi>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--SUPERS&lt;/b>--&lt;/p>\n&lt;p>:00-:05&lt;/p>\n&lt;p>Friday&lt;/p>\n&lt;p>Las Vegas&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>:08 - :13&lt;/p>\n&lt;p>Dynesiah Moore&lt;/p>\n&lt;p>Customer&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>:18 - :21&lt;/p>\n&lt;p>Yolanda Fletcher&lt;/p>\n&lt;p>Customer&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>:32 - :35&lt;/p>\n&lt;p>Danielle Green&lt;/p>\n&lt;p>Owner of Radically Curly&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>1:22 - 1:41&lt;/p>\n&lt;p>Tricia Kean&lt;/p>\n&lt;p>Reporting&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--LEAD IN&lt;/b>--&lt;/p>\n&lt;p>BLACK HISTORY MONTH MIGHT BE WINDING DOWN -- BUT A LAS VEGAS WOMAN'S WORK TO EMBRACE DIVERSITY CONTINUES.&lt;/p>\n&lt;p>SHE OWNS A SALON THAT SPECIALIZES IN HELPING BLACK WOMEN UNDERSTAND THE BEAUTY OF THEIR NATURAL HAIR.&lt;/p>\n&lt;p>TRICIA KEAN HAS MORE.&lt;/p>\n&lt;p>&lt;b>--REPORTER PKG-AS FOLLOWS&lt;/b>--&lt;/p>\n&lt;p>Dynesiah Moore/Customer: "I was uneducated of how to treat it and how to take care of it, how to maintain it."&lt;/p>\n&lt;p>WE SPOKE WITH VALLEY RESIDENTS WHO SAY THEY TRULY HATED THEIR HAIR GROWING UP.&lt;/p>\n&lt;p>Dynesiah Moore/Customer: "So, I always either cover it up with weaves or chemicals to straighten it out and never actually wore the true culture of my hair."&lt;/p>\n&lt;p>Yolanda Fletcher/Customer: "My mom did what was typical back then, which was just to immediately put like a relaxer in our hair when we were younger."&lt;/p>\n&lt;p>AT TIMES, THESE LOCALS SAY DEALING WITH THEIR HAIR WAS SIMPLY PAINFUL.&lt;/p>\n&lt;p>Yolanda Fletcher/Customer: "Just sitting there with processed chemicals in your hair, hot comb, it was traumatic."&lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "It was just what the beauty standard was at that time was to straighten your hair. And I would wear weaves and extensions and all of that. And I really didn't embrace my natural hair."&lt;/p>\n&lt;p>DANIELLE GREEN SAYS SHE'S WATCHED THOUSANDS SUFFER OVER THE YEARS.&lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "Especially after witnessing so many Black women in my mother's salon doing the same thing. We relax our hair, and we used other chemicals... and then it caused hair loss, so then we had to buy extensions and weaves to fill our hair back in."&lt;/p>\n&lt;p>FOR SO MANY AFRICAN AMERICANS, THEIR PAINFUL HAIR REGIMEN IS PART OF AN EFFORT TO FIT INTO WHAT'S DEEMED SOCIALLY ACCEPTABLE.&lt;/p>\n&lt;p>STUDIES SHOW RACIAL DISCRIMINATION BASED ON HAIRSTYLES CAN START AS EARLY AS FIVE-YEARS-OLD. &lt;/p>\n&lt;p>BUT THE CROWN ACT, WHICH STANDS FOR "CREATING A RESPECTFUL AND OPEN WORLD FOR NATURAL HAIR"... IS A LAW IN 20 STATES, INCLUDING NEVADA, THAT PROHIBITS RACE-BASED HAIR DISCRIMINATION.&lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "We support the Crown Act 1,000 percent."&lt;/p>\n&lt;p>Tricia Kean standup: "As owner of Radically Curly hair salon on Warm Springs and Arroyo Grande In Henderson, Danielle sees herself as a warrior against hair discrimination."&lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "We're part of that healing process because there's a lot of trauma. With all of the negative language about your hair type, it causes pain. It causes trauma. It causes you to look at yourself in a negative light. That's not healthy."&lt;/p>\n&lt;p>DANIELLE HAS MADE IT HER LIFE'S WORK TO LEARN PROPER HAIR CARE FOR AFRICAN AMERICANS... AND TO TAKE TIME TO PASS THAT KNOWLEDGE ON.&lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "When they come here, we really, really cater to everyone's individual hair because everyone has different hair."&lt;/p>\n&lt;p>DANIELLE SAYS SHE AND HER STYLISTS MAKE IT THEIR MISSION TO SUPPORT EACH CLIENT IN THEIR JOURNEY TO UNDERSTANDING THEIR NATURAL HAIR. &lt;/p>\n&lt;p>Danielle Green/Owner of Radically Curly: "To change lives, to help people to embrace who they are and not be afraid to rock their crown in its natural state."&lt;/p>\n&lt;p>CLIENTS WE SPOKE WITH SAY LEARNING TO WEAR THEIR HAIR NATURALLY HAS BEEN A LIFE CHANGING EXPERIENCE.&lt;/p>\n&lt;p>Yolanda Fletcher/Lives in Area: "It's very freeing is the word I would use. It helps when you come to a place like this."&lt;/p>\n&lt;p>Dynesiah Moore/Customer: "Now I know that me being a Black woman, that I can actually wear my hair and feel comfortable in my skin, makes me feel really good about myself."&lt;/p>\n&lt;p>&lt;b>--TAG&lt;/b>--&lt;/p>\n&lt;p>THE CROWN ACT PROTECTS AGAINST BIAS BASED ON HAIR TEXTURE.&lt;/p>\n&lt;p>IT ALSO ENSURES PEOPLE CAN WEAR STYLES LIKE LOCS, CORNROWS, TWISTS, BRAIDS, BANTU KNOTS AND AFROS WITHOUT FACING DISCRIMINATION.&lt;/p>\n&lt;p>&lt;b>-----END-----CNN.SCRIPT-----&lt;/b>&lt;/p>\n&lt;p>&lt;/p>\n&lt;p>&lt;b>--KEYWORD TAGS--&lt;/b>&lt;/p>\n&lt;p>NEVADA AFRICAN AMERICANS BARBER SHOP RACE RACISM&lt;/p>\n&lt;p>&lt;/p>

Video footage from the KXAS-TV/NBC station in Fort Worth, Texas, to accompany a news story.

Umfolozi, Zulu Land / Zululand, South Africa <br/> <br/>High angle shot of Tropical sea coast from cliff. Cut to a L/S of hilly green landscape with mountain tops in background. L/S of the cattle in field. Cut to M/S of young African boy leading cattle through small pond (creek). <br/> <br/>This is Zululand, Umfolozi Game Reserve - starting point of a safari. "No motor transport is allowed where the white rhino is the lord of the land" - voiceover informs. <br/> <br/>Various shots of Zulu village in which group of white people prepares for safari. Panning shots of people leaving village followed by several mules with packs on their backs. The last in a little caravan is guard carrying gun. Not for shooting, just for security. <br/> <br/>Succession of shots of people walking, searching for animals. Animals start appearing as the caravan travels further away from 'civilisation'. Great landscape shots, beautiful plants. After six days, the caravan arrives "in the land of white rhinos". <br/> <br/>M/S of people getting their cameras ready. Several C/U shots of rhinos. Great panning shots of two lively rhinos running around. C/U shot of face of a woman as she takes photographs of rhinos. <br/> <br/>M/S of people gathered around fire after a great day. Top shot of the fire dying out. <br/> <br/>L/S of a village. Pan from the small round houses (huts) to reveal great landscape of hills covered with villages. This is the land of the "Red Blanket" people (the tribe name) - narrator tells the audience. <br/> <br/>M/S of African women working on field. Cut to a C/U shot of a woman smoking long pipe. "Women in particular smoke those long steaming pipes" - explains the narrator. Several C/U shots of women smoking. <br/> <br/>M/S of the small round hut-style house. People mingling around the house, children playing - they all look happy. M/S of younger woman bathing the baby. "That's another habit they developed, along with their pipe smoking" - narrator claims. C/U shot of a woman bathing the baby. <br/> <br/>M/S of a woman carrying bucket. She approaches another woman kneeling over a cauldron, cooking. "They'll touch palms in their own ceremonial way of greeting" - their greeting looks like a variation of contemporary greeting of young black men (handshake, 'thumbs-up', 'skin', 'five' etc.,). Top shot of the food being stirred, cut on C/U of face of cook. <br/> <br/>C/U shot of woman's hands grinding corn maize. C/U shot of face of young boy watching her. M/S of two men making roof. One is on roof catching bundles of straw and placing them on roof construction, covering it. The other is throwing bundles from the ground. <br/> <br/>M/S of a boy ringing large school bell. Pan to L/S of children hurrying towards the school - large round house painted white. Some of the children carry their books on their heads. Children gather around the teacher in front of the building. They are sitting on chairs outside the school forming a half-circle around the teacher who is standing in front of the blackboard. Succession of shots of teacher and children at school. <br/> <br/>M/S of a woman sitting outside the hut sewing beads on to a cloth. C/U shot of the beaded articles on display - great jewellery. "For generations, the Red Blanket people went in for beautiful beadwork - art, disciplined and delicate." <br/> <br/>White couple admire the beadwork. Woman, helped by man, tries on a beautiful necklace. C/U shot of a man taking photographs. <br/> <br/>Zulu dance - explosion of colourful feathers, great jewellery and enormous energy. Some very good shots in this sequence. Top shot of the Zulu man's feet as he dances. Low angle shot of three dancers holding white feathers in their hands. Great L/S of the dancers and the audience. <br/> <br/>Mr. Billy Butlin, visitor from the West, cannot resist an invitation to join the dancers so he puts a leopard skin over his clothes and jumps in. He proves to be a very good dancer and he enjoys it. <br/> <br/>M/S of line of Zulus beating drums. Low angle C/U shot of a young Zulu man beating the drum vigorously (powerful shot). Cut to M/S of the line of young Zulu men beating drums.

A herd of African elephants (Loxodonta africana) approaches the Chudop water-hole whilst another herd is busy drinking, bathing and playing. Bathing is often a social or bonding activity which helps remove parasites from the elephants' skin and helps with rehydration and thermoregulation. The clip shows the group dynamics upon meeting. Certain of the elephants are nervous, whilst others are curious and some even aggressive. Some elephants take the opportunity to greet members of the other herd whilst others attempt to demonstrate dominance. Filmed at the Chudop waterhole in Etosha National Park, Namibia, Southern Africa.

Close-up of Hispanic young woman applying moisturizing cream on her hands

THE FOOD AND DRUG ADMINISTRATION HAS GRANTED MARKETING CLEARANCE FOR "RENOVA". IT IS THE FIRST PRESCRIPTION SKIN CREAM PROVEN TO REDUCE FINE FACIAL WRINKLES, BROWN SPOTS AND SURFACE ROUGHNESS ASSOCIATED WITH CHRONIC SUN EXPOSURE AND THE NATURAL AGING PROCESS WHEN USED IN ADDITION TO A COMPREHENSIVE SKIN CARE AND SUN AVOIDANCE PROGRAM.RENOVA IS AN ADDITIONAL THERAPY FOR PERSONS WHO DO NOT ACHIEVE SATISFACTORY RESULTS USING A SUNSCREEN, PROTECTIVE CLOTHING AND MOISTURIZERS ALONE. IT DOES NOT ELIMINATE WRINKLES, REPAIR SUN DAMAGED SKIN OR REVERSE EITHER THE AGING PROCESS OR PHOTOAGING.THE SKIN CREAM WAS DEVELOPED BY THE DERMATOLOGICAL DIVISION OF ORTHO PHARMACEUTICAL CORPORATION.

The Atomic Cafe

TAPE: EF03/0708 IN_TIME: 21:59:35 DURATION: 2:11 SOURCES: APTN/VNR RESTRICTIONS: DATELINE: Cremona - 6 Aug 2003 SHOTLIST: APTN 1. Various of cloned horse, Prometea on grass 2. SOUNDBITE (English): Doctor Cesare Galli, director of the Laboratory of Reproductive Technology, Cremona: "This foal present is the first horse that has been cloned worldwide and she has been ... the other feature that she has is that she was born to her twin mother." 3. Various of Prometea running on grass field 4. SOUNDBITE (English): Doctor Cesare Galli, director of the Laboratory of Reproductive Technology, Cremona: "We had high losses at the beginning but then when you come to implant the embryos the viability seems to be better than other species. Also the fact that Prometea is very healthy and well. I think this is a positive result." 5. Various of Prometea and her mother being led into stables 6. SOUNDBITE (English): Doctor Cesare Galli, director of the Laboratory of Reproductive Technology, Cremona: "She was born naturally on the 28th of May and since then she has been growing really healthy and she didn't need extra care or anything. And as you can see now she is nearly close to a 100 kilo so she's been growing very well." 7. Various of cloning procedure in laboratory VNR 8. Various of Prometea's mother nursing Prometea STORYLINE: Scientists in Italy claimed Wednesday they have created the world's first cloned horse. The small, sturdy work horse is now two months old, weighs about 220 pounds (100 kilograms) and is in excellent health, said its creators. The cloned Haflinger horse is named Prometea, the feminine of Prometheus, the character in Greek mythology who stole fire from the gods and gave it to humans. The Haflinger mare that gave birth to Prometea was also the source of all her DNA, meaning she and her foal are identical twins. Cesare Galli, director of the Laboratory of Reproductive Technology in Cremona in Italy said: "Prometea is very healthy and well. I think this is a positive result." The cloning details were described in Thursday's issue of the journal 'Nature'. Galli's team harvested hundreds of eggs from mare carcasses at a slaughterhouse. They cultured the eggs, removed their DNA and replaced it with DNA taken from either adult male or female horse skin cells. Out of a total of 841 reconstructed embryos, within about a week only 22 developed to advanced embryos. Seventeen of those were introduced into nine mares, resulting in four pregnancies, but only one, Prometea, developed to full term. It was delivered naturally and unassisted on May 28. To date, horses, mules, sheep, cows, pigs, cats and rodents have been cloned. No primates have been cloned.