Author: webslinger67

NORTHERN ADVOCATE: Swamp kauri export not my style, says Whangarei woodturner (10/21/2017)

A Whangarei woodturner specialising in swamp kauri products is embarrassed a photo of himself could be linked to the wholesale export of the resource.

Rupert Newbold, whose workshop is at Ocean Beach, is opposed to the export practise.

He believes any wood products going offshore should be as finished or value-added goods, including pine timber.

So he was concerned that a recent newspaper article was illustrated with an old photo of him standing atop a large stump and using a chainsaw.

 The article was about the broken Ruakaka to Auckland oil pipeline, thought to have been punctured by the blade of a digger pulling out stumps on the Ruakaka flats.

Many articles about the ruptured pipeline speculated on the link between a search for swamp kauri and the resource’s recent mass export.

But the photo of Mr Newbold, picked from the paper’s archives, was taken in 2004 for a story about collecting swamp kauri for a Whangarei souvenir manufacturer.

Mates started calling him and – with a bit of humour – asked what he’d been up to lately.

The real rub is that Mr Newbold is against exporting raw timber.

“I don’t want to be associated with exporting whole pieces of swamp kauri to China. That’s not what I do with it.”

Mr Newbold said regulations by Ministry of Primary Industries and its Customs arm regarding the export of timber, especially kauri, were too loose.

“Yes, there is a lot of it in the ground but it is still a finite resource. We need to be careful how that resource is managed.

“Swamp kauri is unique to New Zealand, and should be treated as such.”

He has several big stumps in his yard which will last him “a lifetime of woodturning”.

His supply came from south Auckland several years ago; from a Takanini dairy farmer, and a land developer who hauled them out of a peat field at Papakura.

“I use every single piece, even the smallest.”

Mr Newbold’s bowls, boards and furniture, made from a variety of native timbers, sell at several Northland and Auckland outlets.

He said other woodturners also sell well throughout New Zealand in domestic and tourist markets.

A finished, portable product is the appropriate form for native timbers and especially swamp kauri to leave the country, he said.

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WABI5: Local Woodturners Craft Pens for Veteran Groups (10/20/2017)

A group of local woodturners have “turned” their hobby into a way to say thank you to area veterans.

They’re coming close to putting a cap on their pen project.

TV5 made sure they were dotting the I’s and crossing the T’s at their Brewer shop on Thursday.

“I got about five guys coming here every Thursday,” said Frank Gallant, whose shop served as the host location for the day.

The group of woodworkers would gather around enjoying some food and drink, showing off examples of things they’d made, then an idea.

“What we ought do instead of just sitting around eating brownies and drinking coffee and telling lies, we should in turn, turn some pens,” said Frank.

“Money to do this comes from the treasury of our local club, the Eastern Maine Woodturners,” said Dan Scott.

“We’ve been turning pens on Thursdays ever since,” added Frank.

What they’re doing is making pens to donate to a pair of veteran organizations.

“50 to the veterans of Foreign Wars and we will give the remaining 60 to the hospice program,” said Frank.

He added “The process itself is fairly simple and easy. You find a piece of wood that you cut it into small pieces like this. You drill a hole in it, you glue a tube into it like so, and then you turn it down.”

“I served during the Vietnam War,” said Dan, “I recognized at the time that a lot of those veterans were not well treated when they came back from service. It’s somewhat of a smudge on the history of our country.”

He added “Being a veteran I feel a responsibility for my brothers and sisters in arms. So that’s really why we’re doing it.”

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COLLIE MAIL: Top turning award for Collie woodturner (10/20/2017)

Collie Woodturners Club member Trevor Flynn has recently taken out the award for best novice turner in the state.

Mr Flynn was awarded the title after completing various tasks during a run of ten woodturning workshops.

During the workshops, which are held at various wood turning clubs around the state, Mr Flynn completed a Jarrah ball in a cup and a trivet, which impressed the judges and were made to exact specifications.

Mr Flynn said it was the first time the prize had been won by a Collie wood turner.

“I believe this is the first one to come to Collie, it’s one for the history books,” he said.

“Often they have a set plan of a few items that are made to measurement and you have to be spot on with your measurements.”

“It was two different items that the judges couldn’t fault that helped me along the way.

“One was a ball, it was a 75 millimetre Jarrah ball in a cup and the other one was a trivet.”

“The judging comes down to pretty specific measurements.”

Turners are divided into five different categories; novice, intermediate, advanced, open, and most popular.

Mr Flynn took out the novice category and has since progressed to the intermediate level. Around 100 people attended each of the ten workshops, with 40 to 45 entries going up for judging.

“When we go to a weekend workshop they have demonstrators and we sit down and they teach us,” Mr Flynn said.

“Often they will turn something there way and you can try it yourself if you wish.”

“Choosing the right wood is all part of it too.”

 

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MAIL TRIBUNE: New exhibits open at downtown Medford galleries (10/19/2017)

The natural world takes center stage in October exhibits at downtown Medford galleries.

 

The Rogue Gallery & Art Center’s “Elements: Earth, Water, Fire, Wind” combines abstract paintings and etchings with turned-wood sculptures in its Main Gallery space. Still-life paintings and landscapes in “A Moment in Time: Paintings by Trisha Stricklin” fill the smaller Community Gallery space.

Art du Jour Gallery will host a people’s choice contest and let art enthusiasts choose their favorite watercolor painting. A feature wall celebrates “Autumn Bounty” with fall-themed artwork. Long-time Rogue Valley painter Dodie Hamilton is the featured artist in the gallery’s Salon exhibit space.

Receptions for the artists will be held from 5 to 8 p.m. Friday, Oct. 20, at the galleries. The artists will be on hand to discuss their work, and refreshments will be served.

The Rogue Gallery’s “Elements” exhibit features wood-turned sculptures by Dan Tilden, subtle etchings by printmaker Eleanor Erskine and bold abstract paintings by Alx Fox, Zelpha Hutton and Keith Johnson.

Tilden got his start in woodworking while still a student at Ashland High School. He apprenticed under master wood turner Christian Burchard.

Tilden focuses on burls, the large knots or bulges that form on trees.

“Some people think of burls as being like a cancerous-type growth or like warts,” he says. “They can be caused by things like an infection, fungus, lightning strikes or ant infestations. They are natural growths that occur on trees.”

Tilden says burls produce interesting patterns, especially in comparison to straight-grained wood. He sometimes finds burls at places like It’s A Burl, a wood furniture shop and raw wood seller along the Redwood Highway in Kerby. At other times, loggers felling trees save the burls they find.

The burls he takes to his woodworking shop in Ashland start out as either large chunks or smaller pieces of wood. Either way, he trims them down using a chainsaw or bandsaw, then mounts each burl on a lathe.

“I’ll get into the material and decide where to take it — whether it’s a sculptural piece or a more functional piece. I love absolutely every step of the process, and there are many steps,” Tilden says.

After the wood dries, he applies a finish, usually made of oils or waxes.

His teardrop-shaped piece “Dracarys” at the Rogue Gallery is made using a manzanita burl. The wood ranges in color from tan to a dark, reddish hue. The surface is laced with crevices, while various holes in the surface allow viewers to look through the sculpture.

“With manzanita, it’s not easy to find a piece that big,” Tilden says. “Manzanita grows more like a bush than a tree. With manzanita, you get such a rich, red color. The amount of character in that wood is unreal. Manzanita is an extremely tough and dense wood. With all the cracks and voids, the only way it’s able to stay together is because of the density of the wood.”

Despite working in wood for more than 15 years, Tilden has occasional disasters, with pieces cracking apart. He’s learned to listen to sounds and other signals the wood is under too much stress and is about to give way.

His favorite woods are maple, madrone, oak and manzanita — all of which are represented in the Rogue Gallery show.

“I try to pack as many natural features into each piece as I can. Those natural features from the tree let it speak as an individual,” Tilden says.

Fox contributes to the “Elements” theme with abstract paintings that contrast smoky grays and blacks with fiery reds, orange and yellows.

Hutton’s acrylic painting “Northwest Landscape: Turbulence” could be read as either frothing, grasping waves or churning storm clouds.

In the side Community Gallery space, Stricklin’s still life paintings seem to glow with an inner light as flowers burst from blue Chinese vases and tangerines spill across a red book. In her landscapes, rows of lavender burst with color near a rustic barn and long shadows fall across an empty country road.

Visitors to Art du Jour can pick their favorites in a watercolor contest, with entries ranging from a butterfly sipping from a flower to a prickly cactus in a southwest-patterned pot.

The autumn-themed feature wall includes a photo of grapes ripening beneath reddening leaves and a child stooping in a pumpkin patch.

Hamilton’s paintings in the side Salon space cover far-off locales to Rogue Valley scenes.

Art du Jour is at 213 E. Main St. Call 541-770-3190 or see artdujourgallery.com. The Rogue Gallery is at 40 S. Bartlett St. Call 541-772-8118 or see roguegallery.org.

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WEST HAWAII TODAY: ‘Far From the Tree’ at Volcano Art Center Gallery (10/12/2017)

Volcano Art Center will be exhibiting, “Far From the Tree,” featuring new works by Linda Peterson and Gregg Smith opening Saturday and continuing through Nov. 12.

A special opening reception with both artists is slated 5-7 p.m. on Saturday at the Volcano Art Center Gallery. Outside that event, the exhibition is open to the public from 9 a.m.-5 p.m. daily at the gallery located within Hawaii Volcanoes National Park.

The mixed media exhibition showcases each artists’ specialty including Peterson’s beautifully detailed acrylic paintings and Smith’s segmented wood turned vessels made mostly of Hawaiian hardwoods. The exhibit will also feature a collaborative collection of hand painted wooden bowls that combine the best of both artists’ talents.

Peterson, a retired teacher and nurse, has loved drawing and the idea of becoming an artist since she was a child growing up in Southern California. A self-taught artist, she enhanced her skills by attending workshops given by accomplished artists. Upon moving to Hawaii in 1974, she began painting with oils and acrylics. While living part-time in the Pacific Northwest, she stayed involved with the arts through local contests, working with a professional designer, painting private and public murals, and demonstrated her techniques on a local television station. She credits her surrounding environment as a constant inspiration to her art.

Smith is a wood artist specializing in segmented wood turning of bowls, vases, urns and decorative vessels. Laminated wood turnings, made primarily of Hawaiian hardwoods, plus his application of decorative pyrography designs sets his distinguished vessels apart from many others in his field. In recognition, Smith has received numerous awards for his turnings and has been asked to judge several wood exhibitions. His work has appeared in national magazines and he has demonstrated at the Utah woodworking symposium as well as at several American Association of Woodturners events. He has served as the vice president and president of the Big Island Woodturners, the West Hawaii Woodturners Club and as treasurer of the Hawaii Wood Guild.

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SUNNY SOUTH NEWS: Woodturners display work in Picture Butte (10/11/2017)

 A new art exhibit in Picture Butte shows off the beauty of wood.

The Chinook Woodturning Guild is displaying their favourite wood pieces. With ten different wood turners displaying pieces such as ring, bowls, vase, decorations and mugs, if you can think it, they’ve probably done it.

Jessie Malmberg, member of the Picture Butte Art Gallery association, was invited to a guild meeting to demonstrate illustration techniques. She got to know Dan Michener, president of the Chinook Woodturning Guild and she and other member of the art gallery association asked if the wood turners would be interested in showing their work in the gallery. Thinking it was a good idea, the guild accepted the invitation.

“We didn’t know we would have such a beautiful display set up,” said Michener.

“Talking with Dan (Michener), we thought it would be so interesting for people to know what different things could be made out of different types of wood, and whatnot,” said Malmberg.

“You can look at a bowl and say, ‘Well, I don’t know what kind of wood that is or how it’s done’, and by bringing them in, they can explain to us how it’s made, what type of wood and everything. It makes it very interesting for the people.”

The display went in the beginning of September, in a somewhat chaotic mess of crates as everyone figured out where everything should go. Michener described it as a zoo, with everyone bringing their own things.

The gallery also gave the wood turners an opportunity to view each other’s stuff. Each artist personally chose what they wanted in the gallery, with Michener noting that he believed most of them chose the pieces they were proudest of.

“With a machine that turns the wood, you can get shapes and forms that are difficult to do in any other way. There is something that is pleasing about wood turning, and we’re holding the tool, which is completely different from ordinary woodwork, where you push the wood through a tool, through a saw or something like that. This is not like that,” said Michener. “This is all hand done; a hand-held tool against the wood as it turns, to carve away the bits that we don’t want, to form the surfaces and concavities.

“That really appeals to a certain group of people, especially the feel of it. The feel of the curve of the wood, the feel of the wood itself is very appealing.”

Describing wood turning as a “solitary, satisfying process”, Michener spoke of the joy of going into his workshop and crafting something, and being pleasantly surprised at the results.

“You don’t know what you’ve got until you’ve started crafting it… It really reveals the inner beauty of the wood.”

In addition to the lathe, a tool that rotates a work-piece around an axis, and a workshop or space to work, wood turning requires an enjoyment of doing things by hand, eye hand coordination, and above all, patience.

Wood turning does take practice to get good at it after all, and a piece, from start to finish, could take months to finish.

“In an hour or so, I can have a rough turned bowl. It’s thick and ugly, but it’s greenwood still, so that has to go on the self for six months to dry, during which time it warps, because wood always changes shape. Then it goes back on the lathe, and is re-rounded, and made thin and beautiful. That would take probably a couple of hours. And then the finishing, another couple of hours. If everything were added up together, about a day of hands-on work, and six months of sitting around, maturing.”

Greenwood refers to when wood is fresh off the tree and still has moisture inside. When shaping greenwood, water flies everywhere. As it dries out over time, the wood warps, so before you can produce the final product, you need to wait for it to dry out.

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WJCT: Jacksonville Father and Son Team Turns Storm Debris Into Bowls, Vases (10/05/2017)

While hurricanes Matthew and Irma certainly did a lot of damage, some beauty has also resulted from the storms. One person’s debris is the mother lode of timber for Jay and Andrew Morse.

The father and son woodturning team is turning what most would look at as waste into some lovely bowls and vases.

“This tree, I have never seen anything like this.  It’s a redbud. A lot of rings and the rings are all different colors. I think it might have been the only part of the tree that was alive when it fell,” said father Jay Morse.

The father-son woodturning team is always on the lookout for what they call storm fall. Much of what they collect is from storm-fallen trees found right in their Jacksonville neighborhood.

It was a mini-tornado spawned by Matthew that brought them sycamore from Emerson and Old San Jose Roads.  Tons of massive logs –one is 32 inches in diameter– sit in their driveway, just outside their garage-turned-woodshop.

“This fell the night of the hurricane across the street and fell on the house, so we just rolled it across the street, as well as picked up some other stuff from Irma,” said Jay Morse as he gave a WJCT reporter a tour of their business, which is called The Oaken Bowl.   

Despite the name, oak isn’t their primary bowl-making material. It’s too hard to work with.  It’s rock-like and wears down their tools.  Whatever the wood though, Andrew Morse says woodworking requires patience.

“You never know what’s inside it. Maybe you’ll hit a rotten spot. When it’s finished, then you can say, ‘I really like this bowl,’ and you want to keep it or sell it. Until then, take your time and don’t get attached,” said son Andrew Morse.

Their creations are sold under the name The Oaken Bowl at fairs like Riverside Arts Market.  Each bowl has a card attached, telling where the wood came from in Northeast Florida —right down to the street.   

Each bowl spends a couple of hours being shaped on a family lathe which has been handed down through the generations. Jay Morse finds the whole process immensely satisfying, bringing out the beauty of the wood wherever he finds it.

Their creations are sold under the name The Oaken Bowl at fairs like Riverside Arts Market.  Each bowl has a card attached, telling where the wood came from in northeast Florida —right down to the street.  

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WAREHAM WEEK: Wareham Gateway Turners club turns wood into artwork (11/02/2017)

The Gateway Turners club proudly creates and displays hand-crafted bowls, pens, shot glasses, Christmas tree ornaments, birdhouses, earrings and more, all made from wood on a lathe.

Gateway Turners is in its tenth year as Wareham’s woodturning club, meeting at Cape Cod Antique Restoration once a month to talk about techniques, ask questions and get advice on the craft of woodturning.

In woodturning, a square of wood is placed on a lathe, which spins the wood. Tools are used to shape the piece of wood into whatever object is desired.

“If it’s round, we can make it,” explained Vice President Daniel Manley.

The wood can then be dyed to create a final product. Woodturning is about finding what works well with a certain piece of wood, Manley said. There might be holes in the wood, pieces of bark that grew into the tree or red streaks left by beetles.

“You never know what you’re going to get,” he said. That’s his favorite part of woodturning. “Your idea has to change as you go.”

Most club members use recycled, local wood. If a professional cuts down a person’s tree, they can call Gateway Turners and club members will come cut up the tree and transport it.

“We’ll usually give them a bowl made from the tree to say thank you,” Manley said.

Manley said woodturning is often a hobby people pick up after they retire. At 33, he is the youngest member in the club, which has 45 members in total. Manley said most members are between 50 and 60 years old.

“A lot of times it’s people looking for a hobby or for an additional skill if they already do woodworking,” Manley said.

Some of the members have never turned before but want to learn the skill. Others are professionals and have been doing it for decades, like Jim Silva, the club’s president.

“It’s not a situation where you’re going to someone for lessons,” Silva said of the club. “It’s peer-to-peer, and that makes it an easier learning environment.”

Silva said there has been a shift from industrial woodturning– making chair and table legs, for example– and to approaching woodturning as an art form. Now machines make table legs and individualized, more artistic pieces are left to woodturners. Silva, who has a degree in art, mainly creates high-end pieces.

“People can explore what they like,” Silva said. “You can go where your personality takes you.” For example, some people like creating complex pieces, while others stick with simple bowls. Manley’s specialty is pens, which he can turn out in half an hour of work.

The club also goes to country fairs and art festivals to promote woodturning. They typically make wooden tops to demonstrate how to work the lathe and then give them out to kids who are watching.

Gateway Turners, one of five woodturning clubs in Massachusetts, meets on the second Tuesday of every month at 7 p.m. All are welcome to attend meetings. For more information, visit Gateway Turners on Facebook or at www.gatewayturners.org.

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FAIRFAX COUNTY TIMES: Local Vietnam War veteran reveals ugliness of war (09/29/2017)

George Jones III bent over a hand-cranked lathe as he concentrated on shaping and smoothing out the bowl, wood shavings falling onto the machine and the floor below.

His woodturning – a craft where blocks of wood are rotated on a tool called a lathe and fashioned into objects – prevented him from hearing the ring of his house’s doorbell.

“It’s my therapy,” Jones explained after apologizing for his delay in answering the front door.

The products of his therapy, mostly bowls and some sculptures, can be found in stacks around the basement of his home in Vienna.

A veteran of the U.S. Army, Jones served two tours in Vietnam during the war. Woodturning helps him release stress and deal with the trauma that still lingers decades later.

When at the lathe, he wears a blue jacket bearing several sewn-on patches, including one of an American flag and another from the Vietnam Veterans of America (VVA).

As a member of the board of directors for the local VVA Chapter 227, Jones was invited by public broadcaster WETA to participate in a member screening and panel discussion centered on The Vietnam War, an 18-hour documentary series by famed filmmakers Ken Burns and Lynn Novick that concluded on Thursday.

Scheduled to take place on Sept. 27 at WETA’s Arlington headquarters, the panel featured Jones, journalist Kim O’Connell, and former Army officer Rufus Phillips, who wrote the book Why Vietnam Matters: An Eyewitness Account of Lessons Not Learned.

The Vietnam War aired on PBS in 10 parts across two weeks. Delving into the North Vietnamese perspective as well as the points of view of South Vietnam and the U.S., it examined the 20-year-long, much-debated conflict in expansive detail, touching on everything from the political machinations of John F. Kennedy and Lyndon Johnson’s administrations to the war’s connection to domestic race and class issues.

Even as a veteran of the war, Jones says that the documentary gave him a better understanding of the historical context that resulted in the U.S.’s involvement in Vietnam and the complicated reality behind the propaganda used to sell the war to the American public.

“I’ve learned a lot from this,” Jones said. “I didn’t know all of this information about the French and the different things that were done where we were so close to settling that thing, but I think big business got in the way. Corruption got in the way …And it does make you angry in a sense, because you had friends hurt and killed over there and guys right now who don’t want to talk about it, will not talk about it.”

Born in Winston-Salem, N.C., Jones enlisted in the Army right out of high school in July 1966 and went through basic training at Fort Bragg.

As a black man in a city that was still largely segregated, Jones decided to volunteer for the military partly because he saw few opportunities available to him in North Carolina at the time, but he also believed the Cold War-era, patriotic justifications for sending American troops to a country on the other side of the world.

“This is what we were being fed, and this is what you had to go by, is that the Communists were going to take over South Vietnam,” Jones said. “We were there to help save these people and fight back communism, not knowing that we were really getting into the middle of a civil war.”

Like many of his compatriots, Jones enlisted in the military with visions of heroism and valor, all fueled by a desire to serve his country, but he was initially forced to put those dreams on hold.

After finishing basic combat training, Jones went to Fort Sam Houston in San Antonio, Texas, to train as a combat medic.

While the majority of his graduating class was sent directly to Vietnam, Jones was stationed in Germany, where he continued his studies and worked briefly as an x-ray technician. He still felt the allure of combat, though, so he volunteered to transfer to Vietnam in 1967.

Upon arriving in Vietnam, Jones found a country that, like most other soldiers, he knew little about beyond what he saw in the news, describing the former French colony as a “beautiful” place devastated by fighting and regular air bombings.

Jones was assigned to the 25th infantry. He recalls hearing people dying and screaming for a medic while at a base camp that was overrun by Viet Cong fighters around the time of the Tet Offensive in 1968.

“You go out to help do what you need to do,” Jones said of his role as a medic. “Being out in the field, treating a guy who’d just had his foot blown off, it was brutal. It’s not as glamorous as what you see on TV…It’s ugly, it’s brutal, and I think it sort of stamps everybody involved forever.”

Jones completed his tour of duty later that year and was honorably discharged from the Army in 1969.

However, the North Carolina that Jones returned to was, in many ways, not all that different from the state that he left.

When he applied for a job at a newspaper company, Jones saw the position go to a white man who was only 17 or 18 years old and had no military service to his name.

He tried his hand at factory work, taking jobs with R.J. Reynolds Tobacco Company and Hanes Hosiery, but it was unfulfilling after experiencing the world outside his modest hometown.

“Once I left North Carolina and got to see other things and other people, how people act outside the South, I wanted to do something a little bit better for me,” Jones said.

Jones reenlisted in the Army 90 days after returning to North Carolina, and after a stint at Fort Dix in New Jersey, he volunteered to go back to Vietnam, where he served a second tour in 1970.

Upon the completion of that tour, Jones was stationed at Fort Devens in Massachusetts for three months before being reassigned to Fort Belvoir, which is how he came to reside in Northern Virginia.

At the age of 27, Jones was diagnosed with renal cell cancer and underwent kidney surgery on Aug. 9, 1974, the same day that then-President Richard Nixon resigned.

The loss of a kidney meant that Jones could never return to combat and generally limited his prospects in the military, so he ultimately opted to medically retire, meaning that the Army had determined his disability was severe enough that he could retire as if he had served a full 20 years of service.

As a medic, Jones says that his transition into civilian life was relatively smooth. While at Fort Belvoir, he worked for two years as a part-time x-ray technician at Inova Alexandria Hospital, and after retiring from the military, he got a full-time job at the Virginia Hospital Center in Arlington.

Jones retired about 18 months ago after working at the Virginia Hospital Center for 38 years. He has been married for 42 years with a son who served in the Marines during the First Gulf War and a daughter.

Many Vietnam War veterans were not as fortunate, though.

The skills that soldiers learn in the military do not always translate to civilian work, but Vietnam War veterans faced the added hurdle of having fought in a conflict that triggered a national anti-war movement and ended in disillusionment and bitterness.

“There was really nobody there for us at all,” Jones said of the homecoming reception that Vietnam War veterans got. “That’s why most of the vets will tell you today they never really talked about it, because you were always looked down upon.”

Through his work with VVA Chapter 227 and his participation on WETA’s The Vietnam War panel, Jones hopes to help encourage his fellow veterans to talk about their experiences in order to broaden the general public’s understanding of war beyond the glamorous, exciting depictions frequently promoted by pop culture.

“War is really nasty, and it has an everlasting impression,” Jones said.

 

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