Art of the Legacy Effects Exhibit

Hollywood’s Gnomon Gallery hosted a small exhibit on The Art of Legacy Effects, with an opening reception on May 28th, 2011 from 7pm-11pm. The Gnomo Gallery is located on 1015 N. Cahuenga Blvd, Hollywood, CA 90038. There is an inside look at the work of the talented artists from Legacy Effects, including Scott Patton, Ian Joyner and Simon Webber. Legacy Effects is an award-winning character design, makeup, specialty prop and animatronic studio. They are a very experienced in visual effects. The exhibit featured large scaled images, maquettes and previously unseen props from movies. Some of the films featured were: Pirates of the Caribbean: On Stranger Tides, Avatar, Iron Man, Thor, I Am Number Four, Cowboys and Aliens, The Avengers, and John Carter of Mars. 


Upon entrance, guests were greeted and served with Charles Shaw white or red wine, beer, soda, or water. There were choices of appetizers such as fruit platters and a cheese platters. Disappointingly, the exhibit was quite small. One could view the entire exhibit in less than 15minutes. As an attendee of the opening reception, I was really excited but the excitement deteriorated after realizing how small the space was. I was hoping for a more expansive exhibit with a lot more to see. However, I did captured photos of pretty much all of the work that was present at the exhibit. 

Restaurant Review: "Octopus" Japanese Restaurant

 227 E. Palm Ave. Burbank, CA 91502(818) 556-6622

Octopus is a Japanese restaurant specializing in mainly sushi and other specialty seafood fusion dishes. Open daily, every day of the week. Monday through Thursday from 11:30am till 10:30pm, Friday and Saturday till 11pm, and Sunday from 12pm till 10pm. The ambiance is impressive. Location is a bit hard to spot. It stands right at the corner that’s a bit dark and easy to miss if you drive by to fast. Parking is quite easy. There is underground garage parking right besides the restaurant and best thing yet… it is free.

Nights seem to be quite busy. Most of the tables and booths are occupied with service already. There are pretty leather booths and comforting mood lighting surrounding the interior. Their choice of music is quite random and not all that suitable for the ambiance and feel of the restaurant. But chances are, you are too engaged in the satisfying meal that you won’t be bothered too much by it. Service is excellent. The waiters were exceptionally polite and friendly. Quick to respond and comes around to check up on our meal and if we needed any more assistance. It’s nice to have chefs, waitresses and waiters who are attentive to you.

The food is delicious and is worth what you’ve paid for. Prices are decent and each roll of sushi stands within the average range of what a typical sushi roll of eight pieces would be: between approximate $7-$10. Sashimi slices and sushi rolls are always generous and the fish is always fresh. The sashimi salad is exceptional. They truly weren't being cheap with their fish, giving a more than decent portion of fish slices. Some favorites are: the spider roll, the rainbow roll, the volcano roll, shrimp or vegetable tempura roll, and the tiger roll. Some other quite amazing fusion dishes that's a must try upon your visit is: the monkey fry which is deep fried spicy tuna in a japanese mint leaf, the salmon tempura which is unique because it isn't just your ordinary vegetable or shrimp tempura, and even their dynamite appetizer is amazing, which is baked scallop sauteed with mushroom and onion in a slightly sweet and creamy sauce. It definitely was hard to decide what to order. The other great aspect of this restaurant is the fact that they offer two happy hours with discounted alcohol as well as some of their sushi. The first happy hour is between 3-6pm and the second happy hour is from 8pm to closing.

If you want affordable sushi in generous portions and of course, along with great service, Octopus is definitely a recommended Japanese sushi restaurant for you. The flavors and experiences of the dishes will be worth your buck!

Panel: Roberta Morris

• Integrity of a story is important
• Tell a story without exploiting people
• It is key to feel empathy for your subject. You don't have to agree with them technically but without empathy, grasping the feel of the story will be more difficult. It also would be hard to feel for the subject or even care for the persona. You want to grasp the moment and get the humanity of the story from their perspective.
• To whom you interview for a documentary is important. Be aware because you do not want to ask questions to someone who is un-knowledgeable of the topic, facts, or story.
• It isn't always the best idea to put someone on the spot to where they have no way of responding.
• If there is a silence in the interview after a question is being posed, wait seven seconds. The interviewee could be processing the question still and you don't want to interrupt their thought or cause frustration to the degree that they no longer want to go through with the interview

• Acknowledge someone's right to say "no"
• Allow for someone's input, and respect the subject. 
• You are holding their story, you are carrying their story, therefore, respect their story.

• Visual graphics such as animation works great as a filler. It fills interest to the viewer and is entertaining; keeping the audience awake and interested.
• Perception of interactivity: the users get to choose/add input and their response is heard. There are possible different anticipations and reactions to a story but all aspects in angles of the story have already been preconceived.
• People prefer some sort of control and power. Restrictions aren’t all that favorable. Having the power in the decision making aspect makes something interactive successful.

Extra things to think about:

• Pay attention to the differences in sexes opinions/views: different sexism exists.
• Sometimes it is a shame to take someone' story and not be able to put it out there for others to be able to feel for the story and hear the words and perspectives of that persona.

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My opinion, in reference to today’s debate about interactivity:I feel that you can still grab and maintain one's attention without interactivity. However, you cannot do that if there is a lack of story, structure, and substance. It is important to have imagination, new media skills and integration, + storytelling skills.

Journalism Standards

"Verification" / Bill Kovach & Tom Rosenstiel

1. Never add anything that was not there
2. Never deceive the audience
3. Be as transparent as possible about your methods/motives
4. Reply on your own original reporting
5. Exercise humility

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"The 10 Commandments of News" / John Maxwell Hamilton & George A. Krimsky

Thou shalt not:

1. Lie or intentionally alter the truth
2. Lie to or threaten a source
3. Report rumors or other unverified information
4. Suppress or omit opinion with which one disagrees
5. Show favoritism/personal bias in one's reporting/writing
6. Misrepresent oneself or use deception to get a story
7. Plagiarize words or ideas
8. Tap or tape telephone conversations without permission
9. Use one's position for personal gain
10. Do anything that may be construed as a conflict of interest

As a response to the other standards on the handout, I believe that respecting other people's privacy and using sensitivity when working with children and people is super important. This goes along with what Roberta was mentioning about respecting another's voice. As a journalist, one must be cautious, respectful, and to not abuse their power because whatever they write, WILL be permanent. You can't take back what you written or said. 

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Week 8, Vocabulary:
a. Libel - defamation (the act of ruining one's reputation; slander) by written or printed words, pictures, spoken words/gestures
b. Shield Laws - laws protecting journalists from forced disclosure of confidential sources of information
c. Prior Restraint - a court order banning publication of unpublished material
d. Fair use - the conditions under which you can use material that is copyrighted by someone else without paying royalties

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Textbook website response: "Section 18: The Law of Defamation"
- The defamation law is also known as libel
- Defamation material is any material that discredits a person. It tends to lower them in the estimation of others and causes them to be shunned/avoided, or while being exposed to hatred, ridicule, or contempt. Also refers to, "to lower in the estimation of right-thinking people."
- Any person or company has the right to sue for damage of their reputation caused by material published to a third party (this includes materials published online). They can sue as long as they are reasonably identifiable from whatever material is defamatory of them.  


http://www.bbc.co.uk/guidelines/
http://www.bbc.co.uk/editorialguidelines/page/guidelines-law-defamation

Walton Ford: a Satiricial Emphasis on Hyracania

Walton Ford, in his workspace where he executes the most amazing work

Walton Ford’s art has a look and feel inspired by the early 18^th century – early 19^th century nature paintings. He unceasingly admired the beauty in the art within that era. Growing up, he was always exposed to that style of art in his home, which later assisted him in his conceptualization for his pieces. His naturalist illustrations are an inspirational resemblance to John James Audubon, who similarly achieves very well painted nature art as well.  Ford utilizes a mix of watercolor, gouache, graphite, ink and pencil to blend depictions of natural history through his art. Ford prefers to paint on a large scale though his format is paper. In an interview, July of 2008 by Ajay Kurian, Ford mentioned, “I do like to make the animals life-size because a lot of the early Naturalists did that. It also allows me to take a tiny piece of ephemera, or a piece of some obscure bit of knowledge and enlarge it, in a real physical way – like take the research and make it as large as life.”

Hyracania, 2007. Watercolor, gouache, pencil, and ink on paper. 60 x 119 1/2 inch.

  There are secrets in every painting. Ford paints with commentary and satire, leaving symbolic hints and evident clues that when dissected, it reveals his bold statement or joke. Ford is quite erudite in colonial literature and folktales also and often makes many references to it in his painting.  His animal portraits usually portray a sense of entrapment, curiosity, or trouble and these depictions are actually very complex and symbolic. Mysteriousness lurks in the characters of whatever subject he is painting.

The piece called Hyrcania, the tiger is holding on to a glass ball and he seems quite disturbed. After researching, I realize that it is based on a 13^th Century European bestiary. Hyrcania is a location, which became Persia and is now Iran. In that country, if one wants to steal a tiger cub from its mother, there is a process that involves those glass balls, similar to the one that the tiger in the painting is gripping on. One would go to the lair, grab the cub and flee on a horse. When the female tiger is chasing you, you throw these reflective glass balls over your shoulder. The mother tiger will see her reflection in the balls, and think it’s her cub. She’ll stop, and start to nurse or cuddle it. Then she’ll realize that she’s been fooled, but you’ll have gained enough distance to get away. Without knowing the truthful story of how tiger cubs are lured away by their mothers, one would not understand the piece of artwork.

The importance of the text on the painting, which also is the title to his piece aids in giving a clue to dissecting the story behind the artwork. He mentions in the 2008 interview, “I always felt like I wanted to use the text in a way that revealed something that was completely not in the image. I do the same with titles. It would open a door to research if possible, if you wanted to figure out what was going on in the picture. And also it would add another layer of meaning to the image that wasn’t visually there.” He truly wants the viewers to expand the text on their own rather than letting himself suffocates us with the meaning of the picture immediately. As it is a journey for him to create the piece, Ford wants it to be a journey for us to understand the piece .

Learning to love the new media!

                   There is a dysfunction in the modern press. "Media is doing a worse job than they use to."This was mentioned a lot in the article. It's been really hard for the country and society to try to understand the world and what's really going on. Making decisions and developing ideas has all been manipulated by media. Media and advertisement has been spreading trends, gossips, and ideas that fundamentally isn't what citizens should be knowing. We should be getting the real news and information of what's going on around the world, but instead people rather watch a comedy show, reality show, or celebrity news rather than international news or war, politics, cultural analysis, and the "truth." Every magazine I've seen on the shelf lately has been about celebrity gossips, scandals, weightless/diet, and trends. What good does this information do for the knowledge of the individual?                  Fallows, the writer of this article stated, "We are no longer a national audience receiving news from a handful of trusted gatekeepers; we're now a million or more clusters of consumers, harvesting information from like-minded providers," and he is right. We really can't trust our sources now but how often do people question their sources? It is so easy to create a blog and spread information. It is as simple as uploading a blog piece of false news. Anyone can upload and write nowadays and everyone can read. As the prologue  of the article states, there is "a decline in journalistic substance, seriousness, and sense of proportion." It's even true that journalism, newspaper, magazines, and the internet sources are all profit-driven businesses now. Where have the real substance and information gone?                  The substance in media, and news has been giving people what they want opposed to what they should really know. "One by one, the buffers between what people want and what the media can afford to deliver have been stripped away," as quoted in the article and I absolutely agree with this. I feel that the media delivers to the viewer what they want to know just to obtain the most hits and views. The news will only cover so much information or only certain events solely because they don't want to spark anymore fear in society than what could already possible be there. This is a theory that I've had about the news and media. There is a purpose in hiding information. Not spilling every single details or the exact truth of all stories and not mentioning what's really going on, ALL is for a purpose and that purpose is to simply hide the truth. Hiding the truth is to minimize fear because with fear, there is questioning and with questioning there is corruption. This leaves a lot of power within the news and media in manipulation and control.          
                   As I read on, I truly found a lot of interesting quotes and references made in this article. "The destruction of the bundled business model for newspaper... the rise of increasingly targeted and niche-ified information sources and advertising vehicles." People can get more of what they want and less of what someone else thinks they should have. Denton mentioned in the article that you get an idea of what's going to be big and what's not, which usually can be predicted. What's going to be a big hit will be the topic that most writers or journalists will shoot for.
                   I also found interesting what they quoted about journalism. "The job of journalism is to provide surprise." It also mentioned the idea of "a rounded personality" meaning that it gives the viewer options of different emotions: outraged, amusement, diverted, inspired, and surprised. I do feel that journalism must spark interests to viewers and it should attract readers. In writing the headline, Brian Moylan stated, "It's almost as if you've got to get the whole story in the headline but leave out enough that people will want to click. You can kill a story by using a too-clever of a headline." This is absolutely true. I feel that if the headline had too intelligent of a word and sounded a bit too complicated or metaphoric for the average reader, it simply just won't make sense and why would you want to click on something to read that doesn't even make much sense to you? I also feel like he is right about the headline. Giving a bit but not the complete idea or story will cause curiosity in the viewer or reader and curiosity will make someone want to dig deeper and read on. This is true because based on personal experience, I abide by this idea as well. I feel like it's a natural instinct.
                   As a reader. I try to find valid sources nowadays. The sources of information being spread could be a fraud and everything that an individual is absorbing can be a lie. The truth is hard to find when everything that's being talked about isn't exactly what society needs to know. The fact that news and journalism has been profit-driven is an irreversible and destructive thing. News and journalism is no longer what it use to be and the truthful essence of what news and journalism is suppose to be is deteriorating fast.




Fallow, James. "Learning to Love the New Media." (2011 April): pages 34-49. Print.

"Red Neck, White Socks and Blue Ribbon Beer"

David Jennett Project | Topic 3: Reflection Article

                  

On May 11, 2011, we had the greatest opportunity to interview David Jennett. He was quite an enthusiastic soul. With all of that energy and optimism, I couldn’t believe he was in his 80s, close to about 84 years old. He was quite a witty, conversant character with the greatest stories ever.

David Jennett was a veteran of the Vietnam War and the Korean War. He revealed to us some pictures and documents that he carried with him in his brown suitcase. Pictures that revealed a young fitted handsome seventeen year with his crew landing team. The resemblance of that young man to Jennett was still partially there. I couldn’t point out which one was him but of course, Jennett, smirkingly pointed himself out. 

Jennett, when asked about his fear of performance, he gasped with eyes wide open and shooked his head. “That was the hardest for me ever,” Jennett uttered. He remembered how he use to sweat out of nervousness. When in front of an audience, he would grow mute out of fear. Joining Songmakers had to be the core reason that Jennett was even able to overcome perturbation. As a result of previously having been in that sort of neurotic atmosphere in the past, he became very solicitous in helping others overcome that fear when they too, must be positioned in front of people. Especially when it comes to performing, he would be willing to stand with the performer and quietly play alongside with them just to break the nervousness. Such a sweet, caring man he is. Jennett is such a considerate man.

Songmakers was a family to Jennett. Jennett had a way of archiving a database of songs in his head. He had the most amazing memory ever. When asked about songwriting, he shooked his head and chuckled. He never was quite a songwriter but he just knew from every word to every line, and every note to every chord of songs, even the most classics ever from the 1930s. He had this skill in recollecting songs instantly and performing spectacular covers of them. He’s simply remarkable. We were able to divert him to sing a few lines of  “Red Neck, White Sox and Blue Ribbon Beer” and even play it on his harmonica. He even stated, “It’s my first time playing this on a harmonica.” We were lucky to be able to hear him jam away at it and he was sprightly enthusiastic while doing it too.

Jennett has had the opportunities to work with other celebrities such as Don Knott, Don Rickles, Raquel Welch, Linda Evans, Kirk Douglas, Elsa Lancaster, and much more. Jennett had also been on television shows such as the David Letterman show but he wasn’t performing. He was known as “Mr. Fix it!” People would direct him with questions and ask him for his expertise on fixing things.  Jennett has also been broadcasted on radio stations as “Mr. Fix It” as well. The general public loved him! I could recall him laughing and mentioning how all of these high technology are being advertised and he complained how a simple microwave has to have so many buttons now that it gets so confusing but he had the same dial turning microwave for more than 20 years and “It still works great,” he noted. He isn’t about to change his microwave. Jennett is one funny, enthusiastic man.

It was a great honor being able to interview David Jennett. There was so much spirit and energy in him that we ended up exceeding our interview time of 25 minutes. We couldn’t stop talking, laughing, and having a great time. It stopped feeling like an interview and started becoming one of the greatest conversations ever. Jennett is one incredible, heart-warming, humorous and witty man.

Formulated Questions: Topic 3

1. What reasons motivated you to join Songmaker?
2. How and when did you overcome your fears of performing?
3. What was the experience like and how were they different, performing on TVshows like David Letterman and then also playing in bars?
4. Your music sounds quite humorous, could you explain the roots of that?
5. What are some of your motivations to sing and write?
6. What is your most favorite aspect about performing live, whether it be on tv or at a bar?
7. How was the experience for you to be able to work with other country stars? Could you name a few.

David Jennett Project | Topic 3: Research

1979, Songmakers - Music production house

Songmakers' Almanac, The.

Eng. ensemble who give song-recital programmes devoted to a particular theme, often literary, in which songs are perf. with complementary readings. Founded in 1976 (debut London, August) with art director Graham Johnson and Felicity Lott (sop), Ann Murray (mez), Anthony Rolfe Johnson (ten) and Richard Jackson (bar).

• Jackson, Richard (Cornwall, 1960) Eng. Baritone. Founder-member of Songmakers Almanac.

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David Letterman Show's: U.S. American late-night talk-show personality, producer, and comedian, best known as the host of the long-running Late Show with David Letterman .Wind up being a world class talk shot after his second attempt in television in 1982. Started off very political but then turned to a more intelligent/abrasive style, making his audience perform funny and unusual skits with him. Co-host of "Tonight Show" took over the post-Carson show with "Late Night with David Letterman" (1982). Eventually he surpassed Johnny Carson in popularity. 

"The shift from Carson to Letterman represented not only a cultural change but a new way of looking at television as a medium. "

Trademarks: Gap-toothed grin, repeats a phrase of a joke immediately over and over again, top Ten lists, often makes jokes in his monologue involving himself, white socks with black 

shoes, his spinning pencil trick, self-deprecating humor

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MAJOR TALK SHOW HOSTS, 1950-94
Steve Allen (1950-84), Merv Griffin (1951-86), Dinah Shore (1951-62, 1970-80), Mike Douglas (1953-82), Johnny Carson (1954-92), David Susskind (1958-87), Barbara Walters (1963-), William Buckley, (1966-), Dick Cavett (1968-72,75,77-82,85-86,92-), Joan Rivers (1969,83-), Phil Donahue (1970-), Bill Moyers (1971-), Tom Snyder (1973-82,94-), Geraldo Rivera (1974-), Ted Koppel (1979-), David Letterman (1980-), John Mclaughlin (1982-), Larry King (1983-), Oprah Winfrey (1986-), Sally Jesse Raphael (1986-), Arsenio Hall (1987-), Jane Pauley (1990-), Jay Leno (1992-), Ricki Lake (1992-).

Top Talk Shows from 1979 into the 80s:

- Late Night with David Letterman and Ted Koppel's Nightline were two network attempts to win back audiences. 

- Oprah, set a new syndication/gross earning record

Other quite syndicated talk shows in 70s:

- Phil Donahue became the nation's number one syndicated talk show host by the late 1970s

- Bill Moyers' Journal went on the Public Broadcasting Service (PBS) in 1970 and William Buckley's Firing Line, went on air a year later in 1971. Both Moyers and Buckley, representing liberal and conservative viewpoints respectively, were to remain significant figures on public broadcasting for the next two decades. 

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http://www.museum.tv/eotvsection.php?entrycode=talkshows

Developing your skills as an interviewer [6B11]

Your interviewee can be divided into three categories:

• Well-known personalities
• Ordinary people, not usually in news
• People speaking on behalf of organizations or firms

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Tips on interviewing:

• Avoid questions that produces a yes/no answer
• Ask questions that would leave to clear answers, which helps transitions into a story
  - such questions usually begin with "Who, What, Where, Why, How, When"
• LISTEN! Do not interrupt. Let the speaker finish answering
• Really think about the answers. If you can't understand then you will have trouble re-explaining it to the reader
• Think about that the reader wants to know
  - thinking of your intro helps you build questions

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Alert! Remember:

• Leave difficult questions to the end until everything you need is safely recorded.
• For an audio/video interview, you must go in hard and get strong quotes right from the start. This type of interview requires excessive editing. You want it to be powerful.
• "Multimedia journalists have to tread a fine line. The key is to gather a good dea of general information before you go into a formal, filmed or audio-taped interview."
• Check spellings or names and places, including pronunciations
• Exchange contact info just incase they want to contact you furthermore
• THANK THEM for their TIME.

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Echo Beach Rescue Reflection:

I thought the interview was well structured. The questions was well developed, enough for the speaker to tell their perspective, their view, and their story. It wasn't too vague where it left short answer but it also wasn't too specific in that kind of sense where the answer would end of brief as well. The opening question, first stating that "It must have been an real ordeal for the family," probably helped send signals of grief and emotions to the family, helping them know that we understand how tragic it was. This more than likely loosen them up knowing that we were sympathetic of the situation and we weren't just trying to get a story and not listen to how they felt. I felt like enough information was acquired during that interview to write a short piece or column.

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Class Handout: Interviewing Tips (via Misty) 

It's important to:

- Research your subject
- Listen: By listening it helps the interviewer to form additional follow-up questions. In addition it encourages the interviewee to feel comfortable, allowing them to give more info, since they feel as though the interviewer cares.
- Be prepared and have questions them ready.
- Environment: keep in mind of the location where the interview will be held. Its important to hold an interview in an non-controlled environment, while being mindful of possible different styles. For
example if the interviewee is an intimidating persona, then hold the interview in a neutral environment.
-Practice Non-Judgement: make sure not to card-stock to avoid propaganda. Best to avoid biases.
-Have questions ready, actively listen to pose follow-up question.
-Pose open-ended questions, to get a more elaborate response. This helps to get more of the story.
-Allow room for silence, this motivates the interviewee to filled the void by speaking more.

The more comfortable the interviewee, the more likely they are to open up.

Human Interest (Final; Third Revision)

 Ideal or Ordeal?
Tuan and Misty, reminisces of the time they forestalled against their will upon deciding whether euthanasia was the only solution for their beloved dog

        There will come a time when your heart will tell you, its time to let your pet go. Excruciating pains, horrific surgeries, unbearable weeping... it's just not worth the selfishness of trying to maintain the life of your pet. Tuan and Misty, are two different people residing in different states, however, coincidently they both had to suffer the same decisive obstruction. When they first befriended their pet, it never came to thought for Tuan or Misty that their pet would be diagnosed with a tumor. It also never came to thought that they must eventually debate with the ethics of euthanasia. Spottie was diagnosed with a tumor in his hip and BooBoo's tumor was spreading on his leg. As they became aware of their pet's tumor, fear of losing a companionship lurked in their home and though they fought to save their pet through surgical operations, nothing could revise their pet's faith. Their companionship with their pets for more than fourteen years was the main reason forestalling their final decision: euthanasia or not, that was the question.

The word euthanasia comes from the Greek meaning of "good death." It is the act of putting to death painlessly, usually from animal suffering, esp. an incurable diseases or condition. Based on the AVMA guidelines for euthanasia, the methods are proven quick and painless. Though it may be disturbing to the observer during the process, the pet is not experiencing any pains or distress. Euthanasia was, considered an act of mercy, distinct from animal slaughter, being performed for purposes. There are two main types of euthanasia: the injection or the gas anesthetics. The injection is of pentobarbital or sodium thiopental that creates unconsciousness, which then is followed by a respiratory cardiac arrest within 30 seconds. The gas anesthetics, such as isoflurane/sevoflurane, is used as an inhalant on the pet which gives the same results of a cardiac arrest.

The frustration, uncertainty and guilt of putting their dog down, consumed their mind and thoughts. To answer the question to their debate, Spottie and BooBoo was a victim of euthanasia. There were challenges when making the decision, and it never really is an easy decision. The truth is quite doleful when they realized that euthanasia was the sole answer. Misty responded in regards to BooBoo, "His walk was limited, his eyes filled with life, while his body was out of sorts. I didn’t want BooBoo to merely exist and suffer. I had to decide when it was time. I didn’t want him to have a slow death, and yet I didn’t want him gone too soon. It was difficult."Misty was present during the euthanasia process. She mentioned that the first shot caused BooBoo to slip into a slouch position, while the second shot was the hit that made everything become still. She remembered, "I felt him pass away in my arms as his spirit ascended up and through me.  It was intense yet peaceful." In reflecting Tuan's experience, he barely wanted to speak about the occurrence. 

Through a positive perspective towards the situation, Spottie and BooBoo no longer must suffer the vengeance of their tumors. Even pets know and can feel when they no longer can endure and when it is time. Pet death, like other losses, requires that the bereaved adjust to the often severe consequences of that loss. It still holds pain to both their hearts that they had to lose their pet, however, its a beautiful relief to know that their pet no longer has to suffer the pains of the tumors. A pet will always be part of someone's family and heart. Today, Tuan and Misty still keeps their pets in remembrance to their hearts.

Video sources: 

YouTube - saying goodbye to Pluto before he gets put to sleep

YouTube - an in-home euthanasia

YouTube - pet euthanasia, the sad truth

YouTube - pet euthanasia, perspective from a professional

References: 

avma.org/issues/animal_welfare/euthanasia.pdf

mercatornet.com/articles/view/lets_put_this_pet_theory_to_sleep/

americanhumane.org/animals/stop-animal-abuse/fact-sheets/animal-shelter-euthanasia.html

pettrustlawblog.com/articles/general/pet-euthanasia/

www.peta.org/issues/default.aspx

Written and Edited by: Remedy Huynh, Research by Misty LaVina & Juan Padilla, Intro/Headlines Brainstromer: Jason Lopez