David Drake is in the house, and this— in the age of name-brand chefs playing musical stoves at multiple locales—is enough to raise the excitement level at the restaurant that bears his name in downtown Rahway.  

Where David Drake goes, those with curious and refined palates follow. Thus, Restaurant David Drake has become a must on dine cards statewide. The chef who has done star turns at Stage House Inn, Ryland Inn and the Frog and the Peach here in New Jersey, as well as at the River Café in Brooklyn Heights, turned an old insurance agency into a restaurant in 2005. The city that too often had been associated with a prison took on new luster and a new (and desirable) distinction: dining destination. Then, in 2007, he opened Daryl Wine Bar & Restaurant in New Brunswick. This year, he’d also been spotted on KP duty up at Alice’s Restaurant at Lake Hopatcong. When a chef spreads his wings in ways other than through the menu at his eponymous restaurant, there can be cause to worry. No worries in Rahway. Restaurant David Drake’s chef de cuisine Peter Turso is technically skilled and culinarily gifted. But on this night, with Drake in the kitchen and then doing a post-dinner rush survey of dining rooms both upstairs and down in this posh, yet winsomely rustic setting, there’s a confidence that speaks of decades of experience in high-toned, high-pressure kitchens.

There’s no food misstep to speak of. The menus, both a la carte and degustation, are well-edited, largely seasonal and clearly focused on primary ingredients. It’s new American in a classical way— not silly-fussy, not kinetic with chemical experiments, not forcing taste issues by partnering two discordant flavors and calling it a “challenge” to the diner. That isn’t to say this is snooze food. Maine crab, flaky, sweet and tingling with freshness, is indeed challenged by a pickled cucumber chop underscored by an acidity that punches up the natural salinity of the crab. A swirl of heirloom tomato concasse brings out its sweetness and a cumin-scented tuile manages to unite every flavor on the plate. For a palate-cleanser, Drake puts a few favas on the plate, a meaty interlude between crab bites. There’s nothing revolutionary about the pepper-crusted seared yellowfin here, but its execution is flawless, including as counterpoints a rakish citrus salad and a feisty ginger vinaigrette you might not mind sprinkling on your next round of New Age sushi.

The textbook foie gras terrine can’t be ignored. Coupled with a mini ramekin of chunky fig preserves and a swirl of reduced cranberries, it’s a starter fit for Fall. When it’s a bitter-cold winter night, I’ll crave a big bowl of Drake’s carrot-ginger soup dusted with warming curry, sparked by lemon oil and made luxuriously rich by a pouf of whipped cream. That’s living right. Parmesan flecked gnocchi are treated right by being set in a wash of heirloom tomato water dotted with specks of the fruit along with scallions grilled and smoky and ready to be fork-skewered with those light, fluffy torpedoes of pasta. Drake always has had a masterful way with fish.

He handles a sea scallop with finesse by serving it astride carrots two ways: super-sweet in a soulful age, letting the broth enrich the scallop, and humble-hearty in a fricassee that adds texture to the dish. Halibut, pert amid a chop of alium-licked vegetables, laps up a basil pistou. But it’s the shrimp risotto that brings out my inner hoarder. The backdrop of lemongrass kicks the dish into high gear immediately, while snips of zucchini keep it grounded. Once you fork the whole assemblage into your mouth, it’s a wisp of Thai basil, mysteriously minty and clovey, that makes the dish irresistible. Seconds? Gladly. Another irresistible accent partnership—the fool-proof combo of chanterelles and apricot puree—elevates slices of roasted duck breast, creamy white polenta and knobby baby turnips.

Chanterelles and apricots love each other and, in the end, they provide the flavor muscle for the dish. I’m just as fond of the roasted pork, which, on this night, was given the season-throwback sideshows of corn both in a purée and strained chowder, plus grilled asparagus. Here there is nothing on the menu for which you won’t find the right wine on the eclectic wine list. While there’s a wide price range, the middle-level bottles between $60 and $90 are where vinophiles will find relative bargains and the best connections to the food. We nabbed a midrange Charles Schleret Herrenweg Riesling from Alsace whose versatility with Drake’s food would be tough to match at any price.

I’m not sure I’ve met the match for the berry trifle here, largely because the almond shortcake that anchors the layering hits the trifecta of texture, balance of flavors and moistness. Tack on a rush of tart and sweet blackberries, a dollop of vanilla-scented cream and a scoop of strawberry sorbet, and you’ve got a truly grand finale. The chocolate tart—with its lemony pastry, brush of salted caramel, vanilla crème fraiche and sprinkling of pulverized pistachios—certainly can’t be considered an also-ran. Choosing cheese as dessert might find you presented with a plate of creamy Pierre Robert, a tangy goat’s milk number called Coupole, a nutty Pecorino, a butterscotchy aged Gouda and a spicy Cabrales, which is a dandy and snappy blue. It’s a fine choice for ending an evening here. So is making a reservation for next time on your way out. Restaurant David Drake is what a chef-driven restaurant is all about.

Editors Note: Andy Clurfeld is a former editor of Zagat New Jersey. The longtime food critic for the Asbury Park Press also has been published in Gourmet, Saveur and Town & Country, and on epicurious.com.

A Jersey Girl harnesses the power of the Net to make her own breaks in the music world.

Photos: Deborah Lopez

There was a time in the not-too-distant past when the fate of a singer/guitarist/songwriter like Allie Moss would be in the hands of managers, producers, agents and lawyers. Indeed, the Folklore of Creativity abounds in cautionary tales of the tragedies inherent in the battle between art and commerce. Catching the public’s collective ear has always presented emerging artists with problems. For decades, they have been hostage to the stranglehold that commercial interests had on production, publicity and broadcasting.

Paying for studio time, getting good placement for your CDs in stores, and arranging for airplay frequently involved some sacrifices—like signing over percentages of one’s earnings. For life. The 20-something musicians of today, while hardly immune to bad endings like these, have taken progressively stronger control of their destinies. Moss, whose approach to self-promotion is as smart as her music, provides a refreshing view of the new, largely Internet-based methods of production and public relations.

The results speak for themselves. Just since the leaves began turning this autumn, she has had her song “Corners” featured on the ABC series Brothers & Sisters, followed by a career-boosting studio segment on Good Morning America. Moss’s fans keep up with her on Facebook, MySpace, YouTube, iLike and Tumblr. Her new album, Passerby, can be downloaded through iTunes or Amazon. Moss’s performance dates (she tours with Ingrid Michaelson) are listed at alliemoss.com. And those who hang on her every lyric can also hang on her every word at, you guessed it, Twitter.

Welcome to the world we live in—a bewildering matrix of blogs, search engines, social networking sites, cell phones, WiFi… but the basic situation is that you can access Ms. Moss’s oeuvre 24/7/365. Go check out her act at a club or in concert, and when you get home you can find dozens of her MP3 files; some are free, some are for-pay downloads. But the bottom line is that none of this is under the control— financial or artistic—of the record labels. Moss lives—or, more accurately, since she tours constantly, alights from time to time—in Jersey City. She laughs about her somewhat frantic life and admits that touring seemed an impossible goal when she was a child, since she suffered from paralyzing stage fright. “I got so scared once that I completely forgot the lyrics to the song I was singing. I just stood there, horrified and embarrassed.” As a teenager, Moss began journeying into New York to listen to friends work in clubs.

This led to her singing and playing backup, and then to finding gigs of her own. Several years ago she met Michaelson, a fast-rising singer and songwriter from Staten Island, and began backing her. Eventually she started to tour with Michaelson. Soon came their appearance on Good Morning America and then a gig as an opening act for the Dave Matthews Band. As Moss rattles off the names of her favorite contemporary musicians—among them Josh Ritter, Death Cab for Cutie, David Bazan and Greg Laslow—she habitually refers to their web sites, their pages, their video clips and the mashups they’re in. If you’re a young musician, it’s an open-source world. As Moss says, “Radio is cool, and once you’re established it’s critical. But it’s hard to break your music on radio if you’re not already a name. It’s so easy to find the music you want to hear online.” voice and deft guitar work.

Her writing explores the complex, sometimes joyous, sometimes heartbreaking passage from teenager to woman. Moss dodges the Pollyanna mentality that can make some folk music unpalatable. Her urban background doesn’t provide room for many illusions, but she knows, and expresses, the difference between being skeptical and falling into cynicism. Moss talks writing while on tour, snatching bits of time to jot down lines in an always-present notebook. On the song “Paper Cup,” she balances hope and caution, encouragement and doubt, and her delicate tones perfectly balance her spare, elegant playing. Many older, more experienced writers would love to have her rhetorical command. Of course, there’s the side of Moss that likes to sing “Rubber Ducky,” too. A spare, elegant “Rubber Ducky,” to be sure. In the future? “I love playing with Ingrid, and I guess I’ll do it as long as it works for both of us,” Moss says. “She’s so talented and so smart. I’ve learned tons from her, not only about writing and playing, but about the business side, about how to deal with touring.” So there’s that, and doing gigs in places like Kenny’s Castaways and the Baggott Inn in New York and Maxwell’s and The Saint in New Jersey, and writing songs. Moss also teaches voice.

She’s a devotee and practitioner, and, she thinks, the only Certified Level–1 instructor in the area of a method known as Speech Level Singing. And then, after all that’s taken care of, she allows, half sarcastically and half-wistfully, that she’d like to find time for some “normal” stuff. Alas, as Allie Moss’s star continues to rise, she may find that normal is a relative term…and that time could soon be the most precious commodity of all.

Editor’s Note: Bill Mehlman is a freelance writer with a passion for the music business. He lives and works in New York City.

High-Performance Cosmetics Don’t Have to Come with a Knockout Price.      

Competition in the beauty business has always been brutal. Today, with everyone cinching their belts, it’s a no-holds-barred event. Budgets may be tight, but the good news is that there’s no reason to cry “Uncle!” when it comes to the four essentials—moisturizer, mascara, lip balm and concealer. As we all know, in these divisions there are champs and bums. I’ve crowned a winner in each, and also identified the top contender. Whether you choose to splurge for luxury items or stick to the staples, these picks should keep you covered. The good news is that each weighs in at under $60. So let’s get ready to rumble!

MOISTURIZER

CHAMPION: Dr. Hauschka’s Rose Day Cream

PRICE: $42.95 A great moisturizer is the keystone of any beauty regimen, and Dr. Hauschka has it on lockdown. This is a rich, luxurious daily moisturizer, which actually manages to keep you covered in all four seasons. Soothing rose ingredients nurture and renew sensitive and weather-damaged skin while protecting your face against dryness by using soothing extracts of rose petal, rose hip and avocado. Thirty rose flowers go into each tube of Rose Day Cream, which lasts a staggering three months.

TOP CONTENDER: Eucerin Sensitive Facial Skin Moisture Lotion

PRICE: $18.00 Yes, I understand the juxtaposition from Dr. Hauschka’s to Eucerin, but this is really a great product for an amazing price—a true drug-store steal. Although Eucerin is geared toward drier skin types, this moisturizer is light to the touch, hypoallergenic, long-lasting, and packs an SPF 30.

MASCARA

CHAMPION: Chanel’s Inimitable Mascara (available in both black and brown)

PRICE: $30.00 Ok, ok, I know Chanel never sounds like a bargain, but this mascara is more than makeup. It’s an investment. It sets new standards with a secret formula that does it all, and a brush design that lengthens, plumps and curls. The geniuses at Chanel are never wrong, and this product delivers lush, long-wearing color that is so precise that it actually defines and separates each lash. It’s a favorite among celebrity makeup artists, whose results are unreal.

TOP CONTENDER: Bare Essentials Buxom Lash

 PRICE: $18.00 A truly great product that fattens your lashes up to 300 percent! Buxom Lashes will leave your lashes feeling silky and weightless, as the patented hourglass brush manages to hit each and every lash for maximum coverage. It’s a fabulous, new product available only at Sephora.

LIPS

CHAMPION: Baume de Rose, by Terry

PRICE: $59.00 You’d spend $25 on a great lipstick, right? And how long would that last you? Terry’s Baume de Rose is an absolute phenomenon. First of all, it endures for six months. Second, it’s the purest, most luxurious balm your lips will ever feel. It contains a high concentration of lipid building rose wax that hydrates and nourishes. Baume de Rose also helps to repair, rejuvenate, strengthen, and fight early signs of aging in your lips. And its fragrance is unbelievable. The bonus? This gloss/balm plumps up your puckers ever so slightly, leaving them glowing and kissable. Who needs collagen?

TOP CONTENDER: Kiehl’s Lip Balm #1 in Vanilla

PRICE: $8.50 A classic. It’s a quality product for an amazing price that leaves lips protected and soft. My only issue with Kiehl’s Lip Balm is that, at times, I have found the taste of the balm itself to be slightly unpleasant. Yet, with the advent of their flavored balms, vanilla swoops in to save the day. Et voila, c’est parfait!

CONCEALER

CHAMPION: YSL Touche Éclat

 PRICE: $40.00 Touche Éclat is suitable for all skin types, and ideal at any time of the day over bare skin—under or over foundation. For best results, use the pen around the eye area, the hollow of the chin, the contour of the lips and the sides of the nose. It probably seems slightly strange to “write” your makeup onto your face, but it’s genius! YSL managed to create a lightweight, perfectly hued concealer with a look that is absolutely flawless.

TOP CONTENDER: Laura Mercier’s Secret Camouflage Concealer

PRICE: $28.00 What’s revolutionary about Secret Camouflage is Mercier’s two-tone system. Each concealer comes with one tone to match your skin’s depth of color, and another to match its highlights. This system enables users to blend their own perfect tone, while using very little concealer, thanks to the high content of pigment in this product.

Editor’s Note: Dan Brickley is a fashion, beauty and grooming consultant. He hosted TLC’s A Makeover Story.

Backstage at Paper Mill Playhouse

Oh, were it only that simple. Big names may help Paper Mill Playhouse stay afloat, but it’s cultivating the little ones that guarantees a bright future  

Financial Crisis May Force Paper Mill Playhouse To Go Dark. That was a headline from April 2007—not 2008 or 2009. Perhaps the timing was a blessing. Had New Jersey’s state theater run aground amidst of the current financial crisis, it might have gone the way of Lehman Brothers. Instead, a few weeks later, thanks to $300,000 in donations, audiences were treated to a rousing production of Seven Brides for Seven Brothers. Next, the Township of Millburn stepped in and purchased its Brookside Drive land and buildings for $9 million, then leased them back to Paper Mill for 75 years as a hands-off landlord. Present crisis averted, the folks that run PMP began thinking about the future. The buzz words they use are Inter-generational Programming. “Productions specifically designed to broaden our audience appeal to a younger group,” explains Shayne Miller, Director of Press and Public Relations. “By providing ‘family favorite programming’ in our mix—for example High School Musical and Peter Pan—we may attract first-timers to the theater as parents taking their children.

These parents are likely to be in the important age group of 35 to 55. Once at the theater, we have the opportunity to convert these parents to return, as a couple, to additional shows in our season that may be more adult-focused. We can then target them via direct-response efforts.” Those efforts include trumpeting the big names that have graced the PMP stage since it began operating some 75 years ago. Lynn Redgrave (top left), Ann Hathaway, Patrick Swayze, Bernadette Peters, Liza Minnelli, Chita Rivera, Carol Channing, Betty Buckley, Ann Miller, Estelle Parsons, Edward Villella and Nick Jonas (yes, that Nick Jonas) are among the luminaries whose credits include Paper Mill appearances. This past fall, Paper Mill Playhouse presented Laura Ingalls Wilder’s Little House on the Prairie as a musical. It starred Melissa Gilbert (middle left), who played Laura in the famed television series from the age of 9 to the age of 20. In this production, the 45-year-old Gilbert—who recently served two terms as president of the Screen Actors Guild—was cast as Ma.

Another noteworthy notch in PMP’s belt. “We will also look for shows with broad inter-generational appeal, like 1776 (bottom left),” adds Miller, “which was appealing to seniors, parents, school groups and children. Our Children’s Theater and Education programs can also serve as an entry point to the theater.” For Artistic Director Mark Hoebee and Executive Mark Jones (left), reaching out to young audiences is more than just a marketing strategy. He sees the theater’s playing an important part in the Garden State’s education picture. “We need to have the arts in our children’s live as they are being educated,” says Jones. “Our role, within that, and in the state of New Jersey, is to have a statewide Theater Education program.

It doesn’t just bus kids in to see one of our mainstage productions, but actually works in the schools proactively, runs a healthy theater school with five hundred people enrolled— which we have—and runs one of the best summer conservatories in America. The Paper Mill’s ‘Rising Star Award’ program, which encompasses all twenty-one counties in the state, is very popular.” Whatever the future holds for Paper Mill, and the arts in general, some things will never change. “We’re unique,” says Jones, “because we have original productions of musical theater classics, as well as new works. Here at Paper Mill, we put our stamp on everything we create.”

All photos courtesy of Paper Mill Playhouse: Little Shop of Horrors, Lynn Redgrave/The Importance of Being Earnest, Kiss Me, Kate and Oklahoma!: Gerry Goodstein; Melissa Gilbert/Little House 
on the Prairie, The Musical: Jerry Dalia; 1776: Kevin Sprague.







  
  
 

Don’t say anything about New Jersey around BRIAN WILLIAMS unless you have something good to say. The Garden State was a springboard into a news career that has seen him defy the odds and reach the pinnacle of his profession. When Williams has to dig deep for strength or inspiration, New Jersey serves as his touchstone. The instant he motors past that center stripe in the Lincoln Tunnel, he feels he is home again. In his chat with the NBC Nightly News anchor, EDGE editor MARK STEWART discovers that what you see (and hear) is what you get. Whether getting a story right, hosting Saturday Night Live, or putting his money where his heart is, Williams is as authentic as they come.

EDGE: To reach the level you have in the business, an anchor must find the perfect balance between being a newsman and a performer. How did you find that balance?

BW: I’ve never had a lesson in performance. I’ve never had anybody tell me how. I have had great role models, from watching Cronkite every evening of my young life—I lived in a household where dinner would not be served until he said, ‘That’s the way it is’—to working beside Dan Rather at CBS and, more importantly, being taken under the wing of Tom Brokaw at NBC. He made sure I was in the right spot at every point. When it was time to be chief White House correspondent, he made it clear to me that it was time to be chief White House correspondent, and I moved down to Washington with my family. So at every point I’ve been so fortunate either to have watched a great example or worked next to one, and be mentored by one.

EDGE: Cronkite was your idol.

BW: He was my absolute, North Star idol. Walter Cronkite was the guy I always wanted to be, and he lived long enough for me to make that very clear to him. That was one of the great moments of my career.

EDGE: You started your climb in Middletown, New Jersey. How did you work your way to the top?

BW: I didn’t have any contacts. I had no way in through the front door or the back. So climbing in the window of the television news business and coming up through the basement is the only way I know how to get ahead. That meant moving out to Kansas, learning the business, and being willing to crawl through broken glass to get ahead. If you have your eyes on a prize in this country, there’s nothing that can stop you—I’m a living example of that. I am not college educated, I did not grow up with honed skills or a family that knew what a prep school was. I didn’t know what the Ivy League was when I was in high school. It just wasn’t in my ken. But if you’re a hustler—and I’ve never regarded that as a pejorative, that word’s a positive in my book—the world is your oyster.

EDGE: At what point did you become comfortable being Brian Williams?

BW: I’ve thought about it a lot. Various local stations in my twenties on my way up made vain attempts to put me with consultants. I had to sit through a focus group once and listen to what they said about me. That is not for the faint of heart, and something I don’t recommend to people. But after a while, as I came up through the industry, I thought Well, this must be working. I have no choice but to be who I am. I went with who ‘brung me to the dance.’ Even so, my daughter will tell you the Brian Williams on Nightly News is not the Dad she knows. She knows someone else entirely. She will tell you that the Brian Williams of Saturday Night Live or Jon Stewart or Conan is much closer to the guy she knows.

EDGE: How did the SNL hosting gig develop? Who pursued whom?

BW: I was pursued. Lorne Michaels had made noises about it for years, actually. Lorne, sadly, has to sit through a lot of dinners and charity events that I emcee, and I tend to mix it up during those because they can be as dry as dirt. Finally he came to me and said, ‘This is a serious offer’ and gave me an airdate. I told him I had 26 years of a career to worry about and I knew I could easily dispose of it in 90 minutes. I asked everyone in my life—I asked not just Tom Brokaw, but also his wife Meredith. Jane and I talked about it for hours. I wanted to be sure that I wasn’t flushing what credibility I had down the toilet.

EDGE: I recall saying to my wife when you were announced that this was the bravest hosting decision in the history of the show.

BW: When I wrote the monologue, the first thing I said was, ‘I know what you’re thinking…is this really a good idea?’ That was actually my favorite moment in the show, because it was the elephant in the studio.

EDGE: So what made you say Yes?

BW: I had never met Chevy Chase and I saw him outside SNL in the hallway talking to a friend of mine. I went up to him, introduced myself, and asked him what he thought I should do. I explained that I owed Lorne a decision tomorrow. He said, ‘I watched Dan Rather for years and I never got any closer to knowing who he is. I think if you do this, I might get to know who you are.’ And that was the clinching vote. I called Lorne and accepted. I had to reject about fifty percent of the sketch ideas the writers proposed. Their job, of course, is to make a total horse’s ass out of the host.

EDGE: The skit I remember is the one where you played a firefighter. It was a totally authentic performance. Where did that come from?

BW: Sharp-eyed viewers will notice that the helmet on my lap said OVFC #11 and Williams. That stands for Old Village Fire Company, Engine 11, in Middletown Township. That was my gear. As a firefighter years ago, on a volunteer basis in Jersey—who still hangs around New York City firefighters— that was the easiest ‘character’ I could have done. I knew the lingo already, so it was easy.

EDGE: There’s still a lot of Jersey in you, isn’t there?

BW: When I pass into New Jersey there’s something that happens to me at mid-span on the GW Bridge and midway through the Lincoln Tunnel. I call it my ‘power corridor’. I feel most at home there. I speak New Jersey. New Jerseyans are real. It’s the most densely populated state in the union and yet I can tell from your accent if you’re from South Jersey or North Jersey. I can usually tell if you’re from the Mid Shore. We have a lot of different regions, and yet I think there’s a baked-in pride. We have to put up with a lot of crap. I don’t take kindly to a lot of Jersey jokes because I know a lot about my state. Way too many people judge our state based on one stretch of highway on the Turnpike along refinery row. And that’s unfortunate. I think if we had it to do over again, we wouldn’t route so many millions of motorists right past the most heavily industrialized region of the East Coast.

EDGE: So what is it that defines New Jerseyans?

BW: There’s a moxie, there’s a street smartness, there’s a reality to being from New Jersey. New Jerseyans have texture. They have grit. We aren’t always the most earnest members of the jury pool, but we’ll be the jury foreman, and we’ll get you a verdict.

EDGE: What role does grit play in your job?

BW: Grit is what it’s all about! Grit is life experience. It’s having a few layers of paint worn off of you, so you’re not shiny and new. This is not your first rodeo. A little skepticism. Even some cynicism. Grit has served me well in life. I just think grit equals authenticity today. And to make it today, you’ve got to have it.

EDGE: What do you remember when you look back on your New Jersey days?

BW: I had the perfect upbringing; I wouldn’t do it any other way. I get very emotional and gauzy, warm and fuzzy, and romantic about my upbringing—even though at the time it felt ordinary and at times a struggle. There were kids at Mater Dei High School who had a lot more than me, and it wasn’t my proudest moment to look at the back page of the yearbook and see the colleges other kids were headed to. And while I screwed up my education and came within inches of becoming a colossal failure—I interviewed for a police dispatch position out of Freehold thinking that would be a good, steady job—life went in a different direction. But when I go back there now I would like to think I have a flag in that soil that is mine.

EDGE: One of those flags will be in Newark soon, where the Horizons Summer Enrichment Program is opening a new location. You and Jane must get pulled in so many directions, and yet you’ve devoted yourselves to Horizons completely. What is it that you have found so appealing about it?

BW: You know how they say We know you have a choice in airlines and we appreciate you flying with us? My wife and I have been blessed in many ways in life, mostly financially—we never thought we’d have any money—and we have chosen to give most of our charitable dollars to a single cause, because Horizons changes lives in front of your eyes. The children chosen for the program end up in a different life. They are transported, as if by a giant hand, and lifted up. It’s just the most extraordinary program, and it only exists because of the good people who run it. Mr. and Mrs. Williams will only be happy when there is a Horizons-affiliated school in every city, town and hamlet that feels they need one. If people would just go to the web site [horizonsnational.org] and watch the piece we did, it would be the leading school enrichment program in the country. I’ve just never seen a return on the volunteer hour or donated dollar quite as dramatic as Horizons.

EDGE: EDGE readers live and work relatively close to the new location. Tell them why they should volunteer or donate to Horizons?

BW: It’s that feeling you get when you give a gift that’s so great that it gets your endorphins going just to give it away. The feeling you’ve knocked one out of the park. Multiply that by a hundred. Or a hundred thousand. That’s how giving to Horizons will make you feel. Most Americans, in the course of their lives, are lucky if they get to change one or two lives. This is a very easy way to do that on a larger scale, with a tangible, human, smiling result.

Planning to step up your game after the holidays? Worried that you’re not up to the challenge? Listen to your body (and your doctor) and you’ll avoid the sprains, trains and stress that send others to the bench.  

Three cheers for medical science. Although staying fit still takes hard work and commitment, remaining injury-free is easier than ever. Whether you’re a weekend warrior training for your first triathlon or you live on the tennis courts, you have two missions when you’re pushing the performance envelope: Do your best… and make it home in one piece. The key to success (or survival, depending on your sport) is recognizing that there are three important components where your body is concerned: BEFORE, DURING, and AFTER. Understanding the basics of each not only gets you on the court or field or road—it’s what ultimately will keep you there.

BEFORE

The right preparation can save you a world of hurt, but often people skip this step. Here’s how to ensure you’re ready to take on all comers:

• Check yourself out. Most people know it’s wise to consult your doctor before starting a new exercise routine, but there’s another professional who might be just as key. “I’m a strong advocate of having a person trained in physical therapy take a look at the muscular-skeletal system,” says Jim Dunleavy, PT, MS, Administrative Director of Rehabilitation Services for Trinitas Regional Medical Center. “We all come with little quirks that we may not know we have. For instance, if someone has resisted motion in their hip, that could cause a knee or ankle problem. After the assessment, they can make sure that their exercise program attends to those potential issues.”
• Ditch the heels. Women who wear heels put themselves at risk for injuries in sports. “If you wear heels during the day, your calf is shortened all day long, and you won’t have the flexibility and the strength to participate in your activity without hurting,” Dunleavy says. You’ll need to engage in some extensive stretching of your lower legs before and during your activity to help minimize the chances of injury.
• Be sure you’re balanced. You may be working hard to get your muscles in shape for your particular sport, but you can’t ignore the rest of your muscular system. “You need to pay a little attention to your core muscles, to A Special Health & Wellness Section from Trinitas Regional Medical Center balance things,” says Dr. Richard Mackessy, Chairman of the Orthopedics Department at Trinitas. “If you overdevelop one area, like your chest, but haven’t done anything to the back, you’ve created an imbalance in your shoulders that makes it so they’re pulled forward constantly, and creates a risk of pain.”

DURING

While you may be concentrating on squaring up to the ball or keeping your marathon pace, there are other things to keep in mind before you shift into high gear:

• Warm up. There’s been so much debate on how to get rolling—just stretching, stretching and warm-up, or full speed ahead—but most experts agree that a warmup is essential. “You don’t want to just walk onto the field and play the toughest match without doing anything,” Dr. Mackessy says. “We recommend going through a period of warming up, where you’re going at half the pace. If you’re playing tennis, you might hit balls at a very relaxed pace for a few minutes, then stop and do some stretches before you really start playing.”
• Don’t go crazy. Weekend warriors may be all gung-ho about doing the activities they love when they have the time, but it’s best to work up to an all-day round-robin. “If you’re working 9 to 5, your body is not built up to withstand the constant stress that’s placed on the body with a prolonged sports activity,” Dunleavy says. “Your body can only take so much—overuse can result in inflammation, making it very difficult to use that area without pain.”
• Stop if you have pain. Forget that old No pain, no gain adage—if you’re hurting, take a break. “If you have pain, you need to stop playing,” Dr. Mackessy insists. “You don’t need to hurt yourself and be laid up for six weeks.”

AFTER

When you’re ready to pack it in for the day, there are a few tricks you can use to help ensure you’ll be ready to achieve peak performance the next time out:

• Stretch it out. After a brief cool-down (like the warmup, you’re going at a more relaxed pace), be sure to give your muscles a well-deserved stretch to keep them limber. “Hit all the common stretches—legs, arms, shoulders,” Dr. Mackessy suggests.
• Nurse your wounds. If you do have pain and inflammation—the most common results of overuse injuries—there are a number of steps you can take to decrease the swelling, either at home or under a doctor’s care. “Swelling is going to retard the healing process, so you need to cool down the tendon with ice,” Dunleavy suggests. “We can also try to stimulate the healing process by increasing blood supply with electricity, heat and ultrasound, or by injecting medications, like cortisone or steroids. We can even load medication into an electrode and use electricity to drive medication into an area.”
• Assess your performance. Play Monday morning quarterback and see what you can improve at your next sporting event. “John MacEnroe once said that he learns more from losing than from winning,” says Dr. Rodger Goddard, Chief Psychologist and Director of Wellness Management Services for Trinitas Regional Medical Center. “Being able to look back at what was disappointing in our performance and devise a plan to improve our technique, execution and strategy in these areas is an important skill.”

Editor’s Note: Lisa Milbrand is a New Jersey-based writer whose articles on health and relationships appear in Parents, Arthritis Today and Modern Bride. Her blog themamahood.com celebrates the life of a working mother.