The scoop is that the specific mite Phyllocoptes fructiphillus is the only proven acarid (a kind of mite in the Eriophyid group of multiple genera, each with many species) vector. There's a problem with science: it's impossible to prove a negative. Leafhoppers, for example, are proven vectors of some phytoplasmas (a disease that is not a virus and not a bacteria), and not all leafhoppers vector all viruses. And there are so many insects: a recent paper tested five different species of aphids: two transmitted a particular disease, three didn't, although it had to be worded that the three did zero successful transmissions, or some such. There is some research at Iowa State now looking at the other insects and mites and.....that are on infected multiflora to see if they are potential vectors. IMO there is a potential for root to root trasmission of RRD; it's been shown to happen with RMV. But my idea can't be tested until the disease that is RRD is catagorized as a virus or virus-like or phytoplasma. And that isn't being worked on. It is unlikely that your shears, pruners or secateurs are sharp enough to cut smoothly through a rose cane....such that the xylem and phloem elements are left open to the influx of RRD. To get RRD INTO a rose stem, it has to get into the phloem for transport within a stem/cane. That's why Epstein taught farmers to bud/graft buds of infected multiflora onto healthy bushes they wanted to be rid of. That budding required the sharpest of knives to cut both parts and then to allign the xylem and phloem elements so the graft would take. That's why we are unlikely to spread RRD within our gardens with our relatively dull cutting implements.

Linda , who are you talking to ? Refinishing furniture is not about "what's it going to be worth when I'm done" .If it was I would not be in business for as long as I have. Maybe with all your knowledge you should open your own shop and offer dipping, and teach how to float an old finish . $700 to refinish that piece ? Are we getting that price from "Bob" who works out of his garage or a furniture refinsher who makes a full time living from his craft. You hosed down your furniture ? Now your really showing off your skills. Not rocket science , NO , but any day you wanna step up to my strip tank and strip a piece like this lady has, I'll see you and your 3 kids 2-3 days later depending on how much paint is on there and how the first coat took to the wood.MY guess is you'd give up before lunch. Be sure to let me know when ya run out of steel wool and brass brisled tooth brushes. You can continue to tell people to float their finishes and to put new finish over years of old finish and dirt.It may cut it for the hobbiest or the guy working in his barn. However it does not work for the general public who are paying top dollar for my services. You may be nice to everyone that comes on these forums, but it's people like yourself that are a danger to others who know less than you do and think your word is the gospel. I will continue to defend my practice of not taking a short cut and that there is only one way to do it. The right way. NOT my way ,but the right way.

If it suits your decor, frame it and hang it. But with a certificate of authenticity that says "This print has been reproduced from the artist's original painting on the finest pH neutral papers using the offset lithography process with light-fast, fade resistant inks" It's a mass-produced print. Offset lithography sounds impressive, but it's just a printing process done with a huge mechanical press. And 6 colors of ink. What you have came out of the same printing press as any other poster. I've seen the process, back when I was responsible for printing use manuals. My printer also made most of the low to medium volume "art prints" sold in the area because their press was ideal size for runs of 50-1000. They took a really good photo or scan of the painting, separated the colors and made the printing plates, and printed copies. Then someone from the printer's staff inspected the copies (they had a machine that could compare the original with the print and separate those that didn't quite match). The actual artist time involved is scribbling a signature, because the numbering is often done by a hired hand. The "personal inspection" is usually limited to "Yup, that's a print". The xxx of yyy numbering DOES mean something with true lithography and true etchings, because the print quality declines with each print. But an offset litho press can make several thousand copies before you spot any degradation at all. I'm not dissing artists who sell prints - it's one way for them to make gas money at art fairs, selling prints to people like me who can't afford their originals - it's the ones like Kincade and Kovach who issue these certificates implying that it's something special that bug me.

I've had Cambria quartz for three years now, and I love it. It's impervious! Red wine, beets, curry, whatever -- nothing stains this stuff. No chips or scratches or other damage. I've dropped a jar of jam on it; nothing heavier that I can recall, though. I rest pot lids on it all the time with no problem, but I do always use a trivet for hot pots or pans -- long-standing habit, with my old formica! -- so I can't speak to the potential for damage from those. My only (minor) complaint is that I unwittingly chose a pattern that is a *great* camouflage for crumbs, so I can't always see when it needs wiping down unless I turn bright lights on. And wiping it down with water (sometimes soapy, mostly not) is all I've ever done in terms of cleaning. All in all it's ultra low maintenance, and it looks good: definitely a winner in my book.