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Last week an article appeared in the Journal of Medical Ethics entitled, somewhat controversially, 'After-birth abortion: why should the baby live?' Unsurprisingly, this article has provoked a lot of reaction ranging from embracement of liberal philosophical and ethical discourse to abhorrence and anger at apparent immoral detachment from reality.
The basic thrust of the article is that foetuses and newborns are morally equivalent to each other, that they do not have the same moral status as "actual persons" (persons like you and me, capable of planning for the future and by extension suffering should our future plans be thwarted) and the fact they are "potential persons" is morally irrelevant.
On this basis, the authors argue that killing babies is not immoral as babies are not actual people. They term this 'after-birth abortion' rather than infanticide, euthanasia or murder. According to the authors, 'euthanasia' is not relevant as the killing of the child is not necessarily in the best interest of the child (they advocate the killing of healthy newborns, not just disabled or abnormal newborns) but the "actual persons" involved, be they parents, siblings or society as a whole. "Therefore, the rights and interests of the actual people involved should represent the prevailing consideration in a decision about abortion and after-birth abortion." In effect, a foetus or newborn has no intrinsic rights; rather it merely has rights projected upon it by an "actual person".
What should we make of this?
We should remember that this is not a policy statement from a political party or government, but a piece of academic research. However, that does not lessen the revulsion one might feel towards the ideas the article discusses.
Also, this is not new ethical and philosophical territory (see for example the views of Peter Singer on this subject) – the kind of reaction this article has provoked is not new either – but it should cause us to reflect and react strongly to oppose such immorality. When the article came to light, many suggested it might be an ill-advised joke or spoof, such is the disbelief such views provoke.
The more I read the article, the more chilling I find the arguments contained therein. The absence from the article of any acknowledgement that what is being written about is 'life' is striking, despite the nature of the paper as a piece of academic research.
Life is precious. Life is God-given (Jeremiah 1:5, Psalm 139:13). Life is not abstract. We can all agree that a newborn is life. The Oxford English Dictionary defines 'born' as "existing as a result of birth", 'birth' is defined as "the emergence of a baby or other young from the body of its mother; the start of life as a physically separate being", 'life' is defined as "the existence of an individual human being".
Ultimately, as abhorrent as a piece of academic work such as this may be, it shouldn't come as a particular surprise. After all, as Lord Alton noted in the wake of the paper's publication, infanticide – the killing of a child soon after birth – is merely the "chilling and unassailable" logical end point for a society that permits killing a baby up to one day before birth.
The onus is on us to expose such flimsy morality for what it is and to stand up as those who value human life at all stages of its existence, especially when that life cannot defend itself.
Read 'After-birth abortion: why should the baby live?' here.
Other useful interesting links/articles:
Christian Medical Comment – Peter Saunders
Thank you so much for bringing this horrific development to my attention. This is but yet another indicator of where "progress" is going. Abortion is bad enough as it is. I fully support any actions that CARE feels necessary to take to highlight the depravity of such thinking.
Prayer After Birth (Acknowledgements and Apologies to Louis MacNeice).
I am now born: please hear me,
Let not the debt collectors,
Or the rights protectors,
Or the seditious insurrectors come near me.
I am now born, comfort me,
Else I fear that the human-folk may:
With clever lies debase me,
With bad science un-race me,
And with strong drugs erase me.
I am now born: please bestow me,
Among the dancing grass, babbling brooks,
Swaying trees and singing rooks,
Undiminished bright light of grace and truth,
To restore me.
I am now born, with lullabies lull me,
With warm cuddles mull me,
With deep love sustain me, and,
With silence, not gainsay me.
The article states:" Both a foetus and a newborn baby certainly are human beings and potential persons, but neither is a 'person' in the sense of 'subject of a moral right to life'". If that is so, then those against abortion should take that conclusion to show that therefore abortion is wrong! (The foetus being a human being) Does not that argument therefore turn the debate on its head and in doing so provide academic support for the anti-abortion lobby? I hope so.
John Bradley
Before I answer, please understand that I am against abortion, I also am a counselor at a pregnancy care center. That said. Most of the time an abortion done in the second trimester is done while the patient is under twilight sleep or general anesthesia. You would not remember anything.I have had three abortions in my life, the lives that I stole will always haunt me. I had 2 abortions that were done within 12 weeks of conception and one done at 20 weeks. As I was leaving the abortion clinic after the procedure, I saw a nurse inspecting an aborted fetus (could have been mine). It was an obvious baby. It was red and in several pieces. This happened when I was 18, I am now 38 and it still haunts me and I imagine it always will.I know what it is like to take a life, to give life and keep it and give life and give it away (adoption). Let me tell you that giving life is less painful than living with the acts of abortion for the rest of your life. It is a painful hole that can never be filled and the more you try to fill it, the deeper and darker it becomes. My oldest daughter was supposed to be aborted. She would have been the 4th. I had the laminara stips put in the night before the abortion. I was 23 weeks pregnant. I changed my mind, I went to another doctor, had them removed. I had a healthy baby girl a few months later. She will be turning 18 on August 29th. Today she and I are the best of friends, I cannot imagine my life without her. I have told her everything about her life inside my belly. She has learned through me that she never wants the same things to happen to her and she forgives her mother for almost ending her life.You need to know what you are going to loose with an abortion esp. this far advanced.


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Who do you think looks best today? (5 photos)
The best street style from London Fashion Week: http://ow.ly/p48HS via @StyleCaster
Rollers aren't just for ringlets. "Many hairstylists set their clients' hair in curlers no matter what style they're going for, from updos to long waves," says Garren. "They give the hair a lush fullness you can't get otherwise." Rough-dry hair and roll 2-inch sections from ends to roots, allowing hair to dry fully before taking the curlers out. Loosen any too-perfect curls with fingertips, then style any way you want.
Ricky Care Fusion Self Grip Rollers, $6?$7/set; rickysnyc.com.Read MoreLess

subset: commoncrawl


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Wed, Jun 28, 06 at 19:39
Here are some picture of the bluffs on Mount Magazine.
And this is a small tree that was flowering that I have no idea what it is.
Follow-Up Postings:
Awesome!! That's why I moved back to this area..that and you can grow about anything here. Well, if you can find some dirt in the rocks.. Seascapes are nice (just got back from Florida) but the mountains have a essence that is all their own. |
I believe the small tree is Hophornbeam, Ostrya virginiana, aka Ironwood. Thanks for the lovely views. I have only been there once. |
Beautiful photos--thanks for the tour! |
Thanks, Beerhog, I have not ever been there. Only up to the Buffalo. Truly beautiful. Kat |
- Posted by christie_sw_mo Z6 (My Page) on Sun, Sep 3, 06 at 8:48
Wonderful View! Is this where they have an annual Butterfly Festival? I know it's somewhere in Arkansas. I came across a link to it once. |
Yes, the Butterfly Festival is there. According to the website below, Monarch butterfly migration peaks at the end of September... There's also a brand-new State Park lodge facility that is absolutely beautiful. I can't wait to visit it! |
Here is a link that might be useful: Mt. Magazine State Park website
- Posted by gnabonnand z8a D/FW, Texas (My Page) on Sun, Sep 24, 06 at 0:05
Really good pictures, Beerhog. Makes me miss Arkansas. Randy |
- Posted by mulberryknob z6OK (My Page) on Sat, Oct 21, 06 at 22:40
One of my favorite places to visit in Ark. Although I think the new lodge on the south rim ruins what was my favorite place to picnic. Oh well, can't stand in the way of progress. |
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2012: Gunhild Seim & Time Jungle with Marilyn Crispell - "Elephant in the Room"
Every weekday night from 6 to 9 PM, Columbia University's radio station WKCR 89.9FM NY (best known to some as birthplace of the Stretch & Bobbito Show) broadcasts a program called Jazz Alternatives. The Wednesday edition, known as the Musician's Show, features songs specially selected by a guest co-host, usually an upcoming or established player who comes to the studio to discuss his or her music and influences.
So it went that one Wednesday evening in the spring of 2013, while driving from my old apartment in Huntington Station to my girlfriend's old apartment in the Huntington Bay area, I tuned my radio to its second preset only to hear some jazzman, whose name I didn't catch, introduce a song called "Elephant in the Room" by Gunhild Seim & Time Jungle with Marilyn Crispell.
Quite the mouthful, huh?
To be clear, I heard all of that but couldn't remember it, especially not after my mind was blown by the song's opening notes, an arcane yet oddly familiar piano melody as unsettling as it was beautiful. I was utterly enthralled and instantly obsessed, on some Phantom of the Opera ish. The riff soon became a foundation for the song's other players (Gunhild Seim on trumpet, Arlid Hoem on alto sax, John Lilja on bass, and Dag Magnus Narvesen on drums) to build on, each contributing another brilliantly imagined, perfectly restrained piece to the proceedings. By the time Arlid's saxophone solo came whirling in around the 2:50 mark, I had nearly reached my girlfriend's place, but I knew I would never forgive myself if I didn't find out exactly who and what I was hearing.
So, I looked up WKCR's phone number and called in, and the host graciously answered, provided me with the names of the group and the song (which I jotted on the back of a post-it note pulled from inside my wallet), and thanked me for listening. Such is the magic of non-commercial radio.
A Google search for "Gunhild Seim & Time Jungle with Marilyn Crispell" would produce the Elephant Wings album stream (located at the bottom of this post), and additional inquiries about Marilyn Crispell herself would lead my girlfriend and I to attend a duo performance with bassist Gary Peacock at the Rubin Museum of Art, where we would stick around after the show to purchase the pair's new ECM Records release, Azure.
All of this is well and good in its own right, but none of it can compare to the rush I experienced upon first hearing the beginning of "Elephant in the Room." For me, then, this song is all about how a single melody, no matter how simple or unremarkable in its form, when played just right, can pique a listener's interest and remain fresh in the mind no matter how many times it's repeated. Perhaps this very concept is the elephant to which the song's title refers, for in the worlds of free-jazz and avant-garde, repetition is sometimes viewed as a dirty word. Yet here is a melody repeated almost ad infinitum, an unwavering loop that, at least in this listener's case, truly gave the album its wings, inspiring me to reach out to the project's Norwegian originators and request that they send a copy my way. And despite the album's other strengths — of which, I'm sure you will find there are many — it's that elephantine melody that led me to put this post together in the first place.
1985 - 1998: Cop Shoot Cop and White Zombie
I want to talk about two bands that don't usually get mentioned in the same sentence. White Zombie should be a familiar name to most. Best remembered today for serving as the springboard for director/musician Rob Zombie's career, the band was a formidable force in the early- to mid-90s, helping to bring heavy metal to the masses with a pair of platinum-selling albums: La Sexorcisto: Devil Music Vol. I and (deep breath) Astrocreep 2000: Songs of Love, Destruction, and Other Synthetic Delusions of the Electric Head.
But before the hit singles, before getting plugged by Beavis and Butt-head, before signing to Geffen, and before moving to California, White Zombie was a modest noise rock band from New York City. Zombie and band co-founder (and then girlfriend) Sean Yseult spent a good chunk of the 1980s self-releasing records of testicle-twisting scum rock, playing shitty New York clubs, and rubbing elbows with bands like Sonic Youth.
Around the same time, Cop Shoot Cop was staging a proto-viral marketing campaign by plastering cryptic posters blazoned with their band name throughout the city. While beloved by fans of noise punk and industrial rock, Cop Shoot Cop have drifted into almost criminal obscurity (due in no small part to the fact that their discography has been out of print for many years). They gained some notoriety for their unusual lineup, replacing the guitar — the central weapon in nearly every rock band's arsenal — with a second bass guitar, and complementing it with a sampler (or two) and whatever scrap metal or detritus percussionist (and current Swans drummer!) Phil Puelo felt like pounding on.
While the two bands ended up in very different places, they share more in common than might be apparent on first glance. First off, since C$C kicked off in 1987, they and White Zombie moved in the same circles (in fact, White Zombie played shows with Black Snakes and Dig Dat Hole, two bands that featured future C$C founders Jack Natz, Todd A. and Puelo, respectively). Both groups were snapped up by major labels during the alt-rock boom of the 1990s (though C$C was a little too slow in migrating towards a more mainstream rock sound, a failure that eventually led to poor album sales, irreconcilable tensions between band members, and a terminated contract). Finally and most significantly, both groups made extensive use of electronic sampling: White Zombie songs were loaded with audio tidbits from grindhouse cinema and campy horror films; Cop Shoot Cop made similar use of found audio, often arranging them into collages in lieu of recorded vocals.
I haven't been shy about my love affair with Rob Zombie's old band, and one of my absolute favorite songs by the group is Astrocreep's "Real Solution #9."
Back in high school, I'd never heard anything like it. Delighted as I was in White Zombie's use of B-movie clips and fragments, I had to admit that they often occupied a somewhat superficial place in the compositions, serving as an intro or a coda to a song, or helping to fill out an otherwise sparse bridge. "Real Solution" was something different, though. Here, the band's sometimes cartoonish fascination with cinematic horror collided headlong into the horrors of the real world. The constantly recurring lyric "Who will survive and what will be left of them?" is the legendary tagline from The Texas Chainsaw Massacre, but most of the rest of the song's trappings are derived from Zombie's long-standing fascination with Charles Manson. The "#9" is an obvious nod to "Revolution #9," from the Beatles' White Album, which Manson saw as a prophetic document of the coming race war, and the track is peppered with excerpts from interviews with the Manson family.
The opening sample from a recorded statement by convicted murderer Patricia Krenwinkle sets the tone. Isolated and forced into a loop, that three word phrase "I'm already dead" takes on a grim musicality, weaving itself into very fabric of drummer John Tempesta's beat. But it's during the song's bridge where White Zombie really outdo themselves. They lift from the long-running reality/exploitation television series Cops an exchange between a police officer and a woman (?) who appears to be in the throes of religious ecstasy, the cadence of her frenzied ravings syncing eerily with the groove Jay Yuenger and Sean Yseult are grinding out. It wasn't the first or last time the band would incorporate a sampled vocal hook into a song, but it was without a doubt their most refined and effective attempt.
It would be well over a decade before I was introduced to Cop Shoot Cop, but hearing tracks like "We Shall Be Changed" and "Disconnected 666" took me immediately back to those joyously wasted hours spent pouring over Astrocreep 2000 as a teenager. My favorite of all C$C's collage tracks would have to be "Relief" from their 1991 sophomore album White Noise.
The vocal samples, culled from some kind of church addiction support group, are chopped into an incongruously catchy hook and set against a backdrop of wailing sirens. The marriage of grim, some might say tasteless, source elements with EDM-inspired groove seems like a pretty clear precursor to what White Zombie wanted to accomplish on "Real Solution #9."
I have no way of knowing whether Cop Shoot Cop's audio experimentalism had any influence on White Zombie's later work. After all, horror movie samples were finding their way into White Zombie's music as early as 1987's Soul Crusher, and there were certainly other artists engaging in similar exercises around this time. Still, the bands' shared history and mutual flirtations with industrial rock make drawing such a connection seem very tempting indeed.
1964: The Supremes - "Come See About Me"
The 1960s was a time for pop innovation, especially when it came to big productions. With just four tracks to work with in studios, producers had to be creative to flesh out their sound. During this time, songs written and/or produced by Phil Spector, Burt Bacharach, Joe Meek, and Holland-Dozier-Holland were brilliantly and lavishly dressed. These artists and producers helped establish the act of recording as its own art, capable of being as unique as the songs themselves.
Although many recordings featured such lush production practices, Holland–Dozier–Holland's production on The Supremes' "Come See About Me" sees the Motown production team peeling back the layers. The song is presented with a minimum of instrumentation in a simple, stripped-down manner. Thanks to the drums and harmonies, the song sounds frenetic, despite the tempo and mood being relatively clam. It's all about minimalism on this one, and it's beautiful:
1979-1980: Jacqueline Humbert & David Rosenboom - Daytime Viewing
Southern California-based composer and improviser David Rosenboom is a figure for whom no real "school" is apt, and that's what makes his work immediately accessible but primed to slip through certain cracks. Along with Donald Buchla, Rosenboom devised algorithmic methods for real-time composition (improvisation) with the synthesizer; proponents of "live electronic music," their innovations are now a major part of the contemporary electronic music environment, including programs like SuperCollider. Rosenboom has also worked with brainwaves as a tool for improvisation and as a pianist recorded with reedman Anthony Braxton. Yet Rosenboom's music is little heard outside of certain circles — his discography is fairly slim compared to peers like Alvin Lucier or Robert Ashley, but it is incredibly rewarding (check In the Beginning or How Much Better if Plymouth Rock had Landed on the Pilgrims, both on New World).
One of the most idiosyncratic and curious sets in Rosenboom's discography is also one of the most obscure. Composed in 1979 and 1980, Daytime Viewing, a collaboration with vocalist Jacqueline Humbert, was released privately on cassette in 1983 and barely saw the light of day. Now it sees its first commercial issue on CD and LP via Unseen Worlds, which has built its aesthetic on minimal music, electronic composition, and populist sensibilities, combining accessible whimsy and romantic depth that brings new music to audiences weaned on indie rock.
Daytime Viewing is a song cycle consisting of six pieces; based on the absurdist theatricality of television soap operas as well as commercialism and family, Humbert's voice and Rosenboom's synthesizers are joined in places by the percussion of William Winant to create a landscape that is both lush and spry. Humbert's soothingly rich, almost mechanized vocals set the stage for the record's characters in a literal sense, earnest and necessarily removed. Rosenboom's Buchla synthesizer is responsive and undulates with Humbert's voice, taking flight where lyrics are absent. "Bareback" is a bizarre composition that toys with domestic foibles, Humbert's lilting singsong matched perfectly by the circus-y billows and poots of Rosenboom's knotty machinations. The tune's weird coda delves into an overprotective mother's physical relationship with her baby — a darkly effective component of Daytime Viewing's lyric content, fleshed out further in the surreally powerful title piece juxtaposing an abusive partner with women's fashion.
"Distant Space" heralds the second side with a poppy overture, Winant's bongos darting amid grandiose, shimmering tone rows and Humbert's soaring voice. An incredibly virtuosic singer, she moves through a range of inflections, from flatly electronic to nearly operatic, and her nuanced, clear Sprechstimme fits perfectly into the eliding region between organic and inorganic that Rosenboom occupies. "Talk 2" has a funky compulsion to it reminiscent of Annette Peacock and Paul Bley's collaborations — pulsing whinnies, right-handed electric filigree, and Winant's metallic accents create insistent accompaniment for Humbert's round, full and reverberant phrases. It appears that by the second half of the cycle, the focus is a bit less on the specificity of Humbert's language and more greatly on the cohesive framework of leider, folk song, jazz, and electronic pop. And however dark Daytime Viewing may get, there is a current of humor that is undeniable. It's not that absurdity is necessary for vanguard art to be "accessible," but the avant-garde deserves a hearty wink every now and then. While not the definitive Rosenboom album, Daytime Viewing is a fascinating set of music that deserves an earnest hearing.
1972: Cluster - "Plas"
I eat bullets for breakfast.
I take the 1 Train.
I get dropped off in the hangnail of town.
It is permanently foggy there. Not an eerie fog, though. Just one that smells like shit.
My face is permanently smiling.
I've got lockjaw from the barbed wire I gnawed on when I was a child.
I've a mug like a beaten pit bull.
I don't smoke.
I broadcast my thoughts on three different frequencies: (1) 341.2 kHz, which can be accessed using an ordinary television antenna, a wad of dubble-bubble, and a hastily formed, phallic bunch of aluminum foil; (2) 260 Hz, or 1.6 Hz below middle C, which creates a slight dissonance; (3) — information unavailable.
In my bedroom, there is a modular synthesizer powered by the brain output of an incredibly furious mathematician whom I keep alive 22 hours out of the day via direct IV drip of vitamin C and an oxygen tank.
My goal is to find a meaningful way to play every single note in the Western 12-tone system at the same time.
1993: Jaap Blonk - Flux de Bouche
If there's one thing that expresses why you might (could/should/will?) find Flux de Bouche exciting, it's this: for all the awesome shit that has come into music via technological advances, your synths and your samplers and your laptops, there's still room for the exploration of what is probably the most basic way we have of making sounds — the human voice. We still don't know what a voice can do!
The hilarious and perfectly representative cover of the album is a sequence of photographs of Jaap Blonk's face captured mid-flow, bizarrely contorted with the exaggerated expressiveness of silent film. Comic and a little disturbing, it's a kind of early warning for the extremes of Blonk's grotesque and charming vocal athleticism. But it's also an echo of a similar series of pictures of Kurt Schwitters, whose Ursonate, which Blonk learned by heart at an early stage in his career and has performed many times, was one of the main inspirations for Blonk's own distinctive vocalizations. Blonk's works belong to the category, such as it is, of sound poetry, but although obviously there's plenty of use of literary techniques in the composition, Flux de Bouche is all about the performance. And Blonk also has roots in jazz; he played saxophone up until 1995, when he decided to focus solely on his vocal work, and has collaborated with various leading lights of the free-jazz scene. The sound poetry + jazz combination (reductive though that may be) emphasizes Blonk's feel for the spontaneity of improvisation, the subversion of convention, and all that cool stuff associated with the two styles. But most importantly, while Flux de Bouche certainly isn't brainless, it also doesn't take itself too seriously.
Of course, just because Flux de Bouche is a solo voice record, doesn't mean it all sounds the same — far from it. Blonk displays a monstrous kind of virtuosity far removed from the skewed adolescent conception one sometimes still encounters (y'know, that kind of virtuosity that involves people thinking that hitting as large a range of notes as possible as quickly as possible is a worthy end in itself). Instead, there's a frightening array of vocal textures, unusual techniques powered by a lack of inhibition or respect for what vocal cords "should" be doing. Some more striking examples include the plosive sequence on "Popocatepetl" that resembles a kind of deranged beatboxing until Blonk erupts into a kind of (planned?) coughing sound, or the linguistics-influenced phonetic exploration in "Rhotic" that can invoke only jealousy in anyone who is, like I am, a non-rhotic speaker of English. Blonk also uses a multiplicity of different languages (Dutch, German, and English among others, as well as host of garbled in-betweeners), which results in post-Babel nightmare of semi-communication and mishearing. Language and meaning are put on trial: the semantic content of the spoken word is methodically stripped down to varying kinds of animalistic proto-expression. Some of the tracks are originals by Blonk, others interpretations of works by other poets; some seem wholly improvised ("Flux de Bouche," for example, is "a more or less random fragment of the flow of my mouth at time I cannot help uttering," according to the liner notes), others produced according to certain methodological procedures.
By my lights, particular highlights include the two versions of "Der Minister," which descend from an intelligible sentence ("Der Minister bedauert derartige Äusserungen") to nonsense by the systematic removal of consonants and vowels, respectively. These two tracks are also great examples of how in Flux de Bouche the formal principles behind the compositions are always rendered almost irrelevant given the corporeal nature of the execution, aleatory happenstance, and the limits of the body's endurance. My personal favorite, though, is the album's closing number "(brüllt)," an interpretation of a poem of Tristan Tzara's and — speaking from experience — the track most likely to cause an innocent bystander, chancing across the unholy act of someone enjoying it, to question the sanity of both Blonk and the enthusiastic listener. The majority of the track's nine minutes consist of Blonk shouting one word, over and over, his voice becoming increasingly ragged, until around the seven-minute mark, it cracks — and still continues this tortured repetition, right up until the almost offhand last words of the album: "der sich immer noch sehr sympathisch findet" — who still considers himself quite likeable! Fair enough, I'd say.
If you're the kind of person who regrets the lack of "humanity" in certain kinds of music "these days" (no comment), you might be happy to know that, as the album proclaims, "no electronics have been used on the voice sound." But Blonk's recent work and certain collaborations have extended into sampling and other electronics. And even more excitingly for the technologically-minded Blonk fan, there's an iPhone app, the YappoPhone, and its slightly more limited online predecessor, the Blonk Organ, both using sounds produced by his vocal chords. Blonk may work with a particularly primitive instrument and draws heavily on tendencies of an avant-garde now almost a century old, but he has an eye to the present and to the future. And, sound poetry never having really been enough in fashion to go out of it, Blonk seems to be finding intriguing ways of ensuring he doesn't stay stuck in the past. There's always something to be said for taking something as everyday as the human voice and turning it to something as weird and surprising as Blonk does.
You can hear the whole thing on Ubuweb.
1962: Sylvia Plath - "Lady Lazarus"
On the surface, Random House's Voice of the Poet series offers something that should be irresistible to any self-respecting lit geek: the opportunity to hear some of the biggest names in 20th-century poetry reading their own greatest hits. In practice, though, it was kind of a mixed bag. For every poet who struck the right notes (T.S. Eliot's fussy, clinical diction seems oddly appropriate to the state of spiritual desiccation he chronicles in his work), there seemed to be plenty of others whose readings were tonally awkward or just plain boring as shit.
Of all the entries in the series I've sampled, however, Sylvia Plath's is far and away the best. While other poets provided readings, Plath offered an actual performance. The album is made up of recordings from two separate sessions. The first, recorded in 1958, shows Plath to be an adept interpreter of her own work: her lips move like surgical implements through each complicated strain of syllables, carving out stanza after stanza in her even, sonorous voice. It's the second session, recorded a mere four years later, though, where Plath comes fully alive as a performer (and, according to most, as a poet). Each of the eight selections from her (then still unpublished) collection Ariel is underscored by a maelstrom of suppressed emotion, and the very best among them is "Lady Lazarus."
I've been out of school too long to attempt anything like a close reading of the poem, but by way of brief summary, it deals with a narrator who, wanting to die, finds herself repeatedly dragged back to the land of the living. Plath draws upon common images of rebirth — the resurrection of Lazarus from the Gospel of John, the myth of the phoenix — but recasts them as obscene parodies: a carnival sideshow, a grotesque striptease, a Nazi medical experiment. The doctors who labor to save her life and the friends and family who crowd around her bedside are seen not as caring or benevolent figures, but as diabolical nemeses and vampiric voyeurs feeding and profiting off her pain. The traditional reading of this poem places it fully in the confessional mode, as an expression of the author's own rage and anguish. It's a compelling interpretation, given Plath's tendency to incorporate biographical details into her poems and, of course, in light of Plath's own tragic death, which looms like a 500 lb gorilla over any discussion of the author's work. Revisionist scholars, however, attempt to place more distance between Plath and her narrator.
(I would also feel remiss if I did not mention, at least in passing, that Plath's appropriation of holocaust imagery as a metaphor for personal pain — be it her own or her fictional narrator's — is narcissistic at best and highly offensive at worst. It's up to the individual reader to decide whether this is something he or she can see past.)
One of the most remarkable aspects of this very remarkable poem, however, is Plath's intense awareness of style. Literary scholar Helen Vendler notes that "almost every stanza of 'Lady Lazarus' picks up a new possibility" for the poet's voice. To bring such a work to life, a reader must be able to keep up with each writhing, twisting line as it darts off into unexpected territory. Plath not only navigates the mottled stylistic patchwork of her poem, but also tames it to such a degree that her reading carries a narrative arc all its own. Plath spits out the opening stanzas like a boast, proclaiming the uniqueness of her "gift," even as she draws comparisons between herself and some of the more horrifying relics of the Nazi death camps. Yet listen carefully around the 30-second mark, where she intones:
Can you deny
The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.
You can hear the arrogance draining away, replaced with a horror so weary and abject it feels spontaneous. When she warns us that "Soon, soon the flesh/ The grave cave ate will be/ At home on me," she sounds nearly in tears. The sense of despair is so palpable, you half expect Plath to falter and beg off, but by the time she lights on the next stanza, a hint of playful mockery has crept back into her voice. It's as though a death shroud has been peeled back from a corpse's face to reveal a frozen, contemptuous grin.
This tension, this back-and-forth tug between the narrator's strength and her vulnerability, is what fuels the drama of this particular recording. It's as though she wants to take back ownership of her life and her condition by feigning a cavalier attitude toward her awful twilight existence. She builds up walls of irony and disdain in an effort to present a powerful and terrible face towards the sadistic doctors and gawping, "peanut-crunching crowds," but her own hurt, bitterness, and fear keep finding a way through the cracks.
The poem ends with a stern warning, not just to the doctors and the rubbernecks, but to God and the Devil themselves:
Herr God, Herr Lucifer
Out of the ash
I rise with my red hair
And I eat men like air.
These stanzas are the last reversal, the final frames of every revenge fantasy in which the tormented protagonist visits terrible punishment upon those who have done her wrong. Yet there is nothing triumphant in Plath's delivery, no force behind her blasphemous threat. There is only the infinite fatigue of one who no longer possesses the conviction to lie to herself. How strange and frightening that, in Plath's own hands, her boldest assertion of personal power comes off sounding like a hopeless capitulation.
1998: Cap'n Jazz - Analphabetapolothology
A few years ago, my cousin complained to me. Following my advice, he had went to see Cap'n Jazz on their reunion tour and told me they were awful. According to him, they had a minimal grasp of rhythm, and their screams were out of tune. Worse of all, the audience was yelling along with them. Not singing along. Yelling.
Cap'n Jazz, fronted by brothers Tim and Mike Kinsella, played avant-garde music for the broken-hearted and the perpetually nostalgic, people who treasured Catcher in the Rye from the very first page. Yes, we all know the word "emo," but Cap'n Jazz went beyond the screams and power chords; they made music that was as tangled and knotty as their emotions. It embodied their rage and sadness in an explosive, responsive way. To me, they were the wimpy, dorky Stooges of that generation, except they knew that was bullshit and rejected themselves as such; they knew that nobody then needed someone to tell them that it was another year with nothing to do.
Their take on emotionally-charged experimentation can be heard on "In The Clear," a song that flows in furious passages that you can sing along to, yet the most powerful moment comes when someone screams half the alphabet and concludes it with "lost!" It's ostentatious, funny and yet incredibly earnest.
This is what I grew up with, what I get and what gets me (or got me back then); even if I didn't have direct contact with the actual music, I instinctively responded to it. I bet the members of the band don't mind not being understood, but I think that's part of their appeal. It's all heart and neurosis.
2003: Paddy McAloon - I Trawl The Megahertz
There's been a long history of pop musicians going off the deep end and into the realm of experimental music. While these flirtations have been common since the 1960s onward, some of the most fascinating cases happen when the transition comes seemingly out of the blue. Tim Buckley's Lorca and Starsailor albums may in some ways be some of the earliest and most radical examples of this transformation, but there are also the classic instances of Scott Walker's and Talk Talk's dark later work, as well as David Sylvian's gradual descent into free-jazz-afflicted folk and onkyo-obsessed songwriting. However, despite the seemingly disparate nature between these artists' experimentally minded compositions and their more commercial work, there's always been something of a common thread. Walker's "Farmer in the City" could easily have fit on Scott 3; Buckley's virtuosic singing seemed to be a natural fit for the Ligeti-esque textures he attempted with Lorca and Starsailor; and Sylvian had been working collaboratively with experimental musicians such as Jon Hassel and Holger Czukay since his debut solo album.
With Paddy McAloon's I Trawl the Megahertz, the aesthetic continuity isn't so readily apparent. McAloon is best known as the leader of the harmonically rich twee-pop band Prefab Sprout, whose pop perfectionism doesn't quite prepare one for the surreal, dark world of McAloon's lone solo record. Of course, despite Prefab's sunny exterior, it was clear with extensive listening that the band's songs often hid their sadness under the catchiest of tunes. Take their hit "The King of Rock n Roll," for example: it's a pretty silly song, until you realize the lyrics come from the perspective of a washed-up one-hit wonder whose goofiest work overshadows all of his attempts at real artistry. But maybe it's for this reason that I Trawl the Megahertz feels like something of a shock: it wears all of its sorrow on its sleeve and does away with McAloon's pop-song mastery in favor of minimalist orchestration, bizarrely bleak spoken word, and an undeniably chilly atmosphere.
I Trawl the Megahertz is by no means an abrasive or dissonant record, but it is undeniably idiosyncratic and heartbreaking. All of these things are apparent from the opening of the title track onward. The title track is nearly 22 minutes long and consists of a gorgeous repeated theme (McAloon's harmonic sensibilities are still in play here) that sounds like it could soundtrack the saddest Disney movie never written, with its lurching strings, vaudevillian whistles, and ghostly guitar. Early in the work, a woman's voice comes in and delivers blunt observational lines, like the unforgettable, "I said, 'Your daddy loves you very much/ He just doesn't want to live with us anymore." It's a beautifully powerful work that suggests what might happen if Robert Ashley's later operas had used full orchestration and were crushingly sincere.
From there, the record moves into a frosty Philip Glass-like suite of instrumental pieces that eventually give way to the two other tracks with vocals, "I'm 49" and "Sleeping Rough." "I'm 49" sounds quite similar to the territory that Oneohtrix Point Never has been mining recently with its pastiche of talk-show voices, electronics, and beautiful cascading arpeggios. "Sleeping Rough," on the other hand, is an unbelievably devastating song featuring McAloon crooning like a slightly less depraved Scott Walker. "Sleeping Rough" is perhaps the only transparent reference to the experiences that inspired I Trawl the Megahertz's elegiac glacial tone. "I'm lost, I'll grow a long and silver beard," McAloon sings. While this lyric could be read as a meta-commentary on the stylistic change of the record, it becomes heartbreaking when you realize that the singer/composer had temporarily gone blind due to illness while writing this material. However, despite the seemingly bleak-sounding nature of I Trawl the Megahertz's various components, McAloon's arrangements and tonalities make it clear that the singer remained hopeful and artistically forward-looking, despite the seemingly dire situation of his health.
Much of the album's arrangements are quite reminiscent of a number of contemporary experimental musicians who have recently made forays into more texturally rich material. Sean McCann's Music for Private Ensemble comes to mind when listening to the mixture of MIDI, live orchestration, and natural sounds on the album's instrumental tracks, and the record's title track would not feel too out of place on a Julia Holter record. McAloon may never work with this particular set of tools again, but it's clear that he has many like-minded contemporaries employing similar resources in their own work nowadays. I Trawl the Megahertz may be an anomaly in McAloon's discography, but it's an anomaly that sounds more beautiful and relevant than ever.
1987: Rudimentary Peni - Cacophony
For as legendary and influential as Britain's Rudimentary Peni have been among fans of goth and deathrock, they're not widely appreciated outside those tight-knit circles. There's nothing particularly surprising about this fact. Between the band's jagged, lurching, and mercilessly compressed compositions and Nick Blinko's strangled delivery, RP were destined to be an acquired taste from the start. Add to that the group's peculiar working habits — long stretches between releases, refusal to tour (or even perform live, for the most part), and Blinko's well-known aversion to doing interviews — and it's actually kind of a miracle anyone outside the UK was able to learn about these guys at all in the pre-internet days of the 1980s.
Truth be told, they might have escaped my attention if not for Southern Records' recently initiated project to reissue the band's out-of-print discography, which was serendipitously preceded at the beginning of this year by Chelsea Wolfe's excellent Latitudes session Prayer for the Unborn, an EP's worth of reworkings of Rudimentary Peni songs. Wolfe's own exposure to RP was perfectly in keeping with the group's cult status: one day she walked in on her roommate listening to them. Wolfe became fascinated by the records, their intricate black-and-white album art (designed by Blinko himself), and the group's bleakly surreal, existential lyrics — so much so that some of the selections off Prayer were composed without her even having heard the original songs they were based on.
Cacophony is considered by many to be the band's finest work, and it is undoubtedly their most ambitious. The album was recorded following the first major disruption in the band's career, a four-year hiatus during bassist Grant Matthews' bout with cancer. Cacophony finds Blinko assuming control of the songwriting duties, which had chiefly belonged to Matthews prior to his illness ("Well, I thought that Grant felt that his lyrics weren't relevant anymore or something," Blinko explains in a rare interview from 1992). Under Blinko's lead, the band fully detached from its anarcho-punk roots and grew into an honest-to-goodness deathrock band. Leftist politics was Matthews' thing; Blinko was all about Lovecraft. The album shows a deep immersion in Lovecraft's life and work, appropriating his mythology (both literary and personal), lapsing into his grandiloquent diction, and tracing the sordid lineage of his macabre visions. While RP were never strangers to the gothic (their previous album had sported tracks titled "Cosmic Hearse" and "Flesh Crucifix," after all), Cacophony was the album that would forever endear them to the black eyeliner set.
In terms of its complexity, diversity, and sheer density, the record was a giant leap beyond anything the band had previously attempted. While Blinko's voice seemed to max out at a piercing rasp in the band's early work, his vocals on Cacophony are so protean and unpredictable one could almost believe he was playing host to a demonic legion. He employs well over a dozen voices throughout the record: inhuman utterances (the dry croaking on "Crazed Couplet" and "Nightgaunts," the ghastly keening at the end of "The Only Child"), distinct musical personae (the clinically detached narrator of "Better Not Born" and the reedy, crisp diction of the speaker on "Dream City"), and dramatic spoken word interludes (the frantic newscaster at the end of "The Evil Clergyman," the Shakespearian monologue in "Brown Jenkin," and the wizened New Englander who mourns Lovecraft's wasted talents on "Imps of the Perverse"). There's also Gregorian chant, drinking songs, and a track that's mostly just fart noises.
The dramatic shifts in persona are matched by a musical accompaniment that's ready and able to change tempos or time signatures at a moment's notice. The album contains some of RP's heaviest tracks up to that time (check out the plodding riff on "Zenophobia" and Jon Grenville's thundering rhythm on "The Only Child"), pointing towards the almost-heavy-metal leanings of their more recent work. Yet other tracks, like the instrumental "The Evil Clergyman" or "Dream City" move into a post-punk territory that sounds like a more amped-up version of The Cure. And while Blinko may be the most visible member of the trio on this release, it's impossible to calculate just how important Grant Matthews is to making these songs pop. Matthews' bass sits high in the mix and works its ass off to earn that place of prominence. He continually finds unique ways to introduce wrinkles into what could otherwise have been overly-pat melodies.
Trying to take Cacophony in as a whole is an experience not unlike trying to look upon one of Lovecraft's Great Old Ones. The totality of it is too mottled and gnarled, its form dictated by a geometry not of this universe — it's not for nothing Piero Scaruffi dubbed the album "the Trout Mask Replica of British Punk." But sinking into its peculiar madness is a sweeter fate than that experienced by Mr. Delapore or Robert Olmstead. The more time you spend with this eldritch tome, the more you may come to realize you've developed a taste for its ghastly pleasures.


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Weekly Posters: Cracking New Poster For 'Jonah Hex'
May 1, 2010 by Faisal Hashmi
Filed under News
We just saw the trailer yesterday, and here we have a new poster for 'Jonah Hex' starring Josh Brolin and Megan Fox and actually looks pretty cool. Jonah Hex is a scarred drifter and bounty hunter of last resort, a tough and stoic gunslinger who can track down anyone… and anything. Having survived death, Jonah's [...]
'Jonah Hex' Trailer Explodes With Action & Scars
April 30, 2010 by Faisal Hashmi
Filed under News
Finally, we have some moving proof of this film's existence. I was almost afraid that Warner Bros. would move it to next year and convert it to 3-D. But fear not, the trailer for the much-troubled production 'Jonah Hex' starring Josh Brolin and Megan Fox debuted today, and packs a lot of action in two [...]
First Scarred Image From 'Jonah Hex', Trailer Releasing Soon
April 21, 2010 by Faisal Hashmi
Filed under News
Warner Bros. upcoming actioner 'Jonah Hex' should've gotten at least a teaser trailer by now, but looking at the behind-the-scenes trouble and tinkering happening with that movie I'm not surprised. As the film's first official image though, we've got a first look to Jonah Hex's heavily scarred face. Superhero Hype gives us the image, which [...]


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Ricky Gervais Helps Fan Get Rescued Dog
When one of Ricky Gervais' young fans tweeted the star with the message "my parents agreed if you retweet this they will buy my sister a dog & let you name it," Ricky agreed but with one important stipulation. "A rescue dog tho," he mandated. We would expect nothing less from the man who is a constant voice for homeless animals, urging people to adopt, never buy, and bashing greedy breeders and puppy mills. And like many compassionate celebrities, Ricky consistently uses his Twitter account to reach millions of people with animal-friendly messages.
We can always count on Ricky to get an animal rights point across while he's making people laugh. And Jon Stewart did, too, with The Daily Show's humorous coverage of Iran's launching a monkey into space: "Iran, you think the CIA is tough? You just got PETA on your ass, and those guys don't f**k around." We'd love to hear Jon's take on Funny or Die's spot-on spoof of Dodge Ram's pandering "God Made a Farmer" Super Bowl ad, "God Made a Factory Farmer."
And Waka Flocka Flame's hilarious Instagram photo had us laughing at how ridiculous people look in fur:
Happily, Beyoncé went fur-free at the Super Bowl, but she draped herself in python skin, iguana skin, and leather instead. PETA is urging the singer to take a cue from other beautiful, talented performers such as Carrie Underwood, who puts on a dynamic show in cruelty-free fashions.
And it was the epitome of a dynamic cruelty-free show when Vaute Couture designer Leanne Mai-ly Hilgart presented the first completely vegan runway show at New York Fashion Week. Celebrities are flocking to the line, which is named after "haute couture" but spelled with a "v" for vegan.
New York isn't the only city celebrating cruelty-free fashion. Across the pond, our affiliate PETA U.K. presented the first-ever Vegan Fashion Awards, with celeb judges Sadie Frost and Meg Mathews honoring animal-friendly fashion from top designers and retailers such as Stella McCartney, Vivienne Westwood, and Topshop.
To keep up with what all your favorite stars are doing for animals, follow @PETA on Twitter.
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Every year our family runs a Footy tipping contest. We have been doing it for 4 years now, and 3 out of the four I've come bottom ( well last year I came second last, but Michelle stopped tipping after a while so it doesn't count)
I'm really quite thrilled to be the wooden spooner, if you can't win, then at least there is something distinguished about being last, the loser. Rather than being somewhere all muddled up in the middle.
It's not that I can't tip or pick teams, but I tip in different way to most people, I tip who I want to win rather than who I think will win. It's moral tipping really. I can't understand how people can tip one team and go for the one playing against them, all for sake of a few points, so unethical too, in my opinion.
This year I also added a few new tipping terms for when two teams who I both hated played each other ,one was called the DGF ( don't give a -use your imagination) and TRHTGF ( trying really hard to give a - again) and the GTMOF ( give to much of - you get the picture)
ANd I didn't just loose I came a whopping 26 points behind Mum , who was second last.
I think that's an achievement, I think quite a skilled and hard earned.


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Sponsored by: Missoula Federal Credit Union
Jul 6, 2013 1:31 PM by KPAX/KAJ Media Center
KALISPELL - The awards keep rolling in at Glacier High School, but this time an educator picked up the honor.
Principal Callie Langohr was recently honored with the 2012-2013 "AA Principal of the Year" title by the Association of Montana AA Principals.
Callie was surprised with the honor at a recent meeting, and didn't hesitate in recognizing her team.
"I have been fortunate over the past 20 years to work with an excellent team of administrators, teachers and support staff. The credit should also go to them. Additionally, I am privileged to work in a school district with many motivated students and supportive parents."
Glacier High School was recently ranked in the top 10% of high schools nationally in U.S. News and World Report's 2013 annual rankings. This organization ranked over 21,000 schools using rigorous academic criteria.
The school has also recognized by College Board as an Advanced Placement Honor Roll school based upon the number of students taking A.P. courses and their A.P. test pass rate. Glacier was one of only two schools in Montana recognized for this prestigious honor.
Callie has been the principal at Glacier High School since it opened in 2007, and also served as principal at Flathead High School for seven years.
"Callie has been an incredible asset to our local public schools. She is a determined, very focused educator whose collaborative abilities were crucial in the creation of a successful second high school. I think this award could not have come at a better time," Kalispell Schools Superintendent Darlene Schottle added.
22 hours ago


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Sun, Jun 23, 13 at 11:11
My best peach tree had hundreds of little peaches on them a month ago. But steadily as they grew they started dropping to the ground. Now there maybe 2 dozen left 1 - 2 inches in diameter. They may also drop. The tree looks healthy, but I sprayed anyway. Is this a pollination issue? I have not seen one honeybee this year. |
Follow-Up Postings:
Peaches are wind pollinated so that's not the issue. And any not wind pollinated don't get nearly that big before dropping. Usually it's one of two things in your situation. Either there are too many on the tree and it just drops some or it's insect damage. Are there any insects, worms, in the fruit that drops? Any jelly like fluid coming out of holes in the fruit? |
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Is it possible? I just planted 2 of each in my yard and wondered if they'll hybrid with each other. Down the road, I'd probably will want and try to grow trees from seeds. |
Follow-Up Postings:
- Posted by pteroceltis z5 Syracuse (My Page) on Mon, Jan 8, 07 at 23:46
Highly unlikely, since I believe Acer truncatum is one of a number of species with milky sap, while Acer saccharum has clear sap. The general rule for maples is that species with milky sap do not cross with those that lack it, and vice versa. A number of hybrids between such milky and nonmilk-sapped species have been described through the years, but to my knowledge have all turned out to be false. But that's not to say it isn't entirely impossible. Dirr mentions in his 1998 Manual that he found a Paperback-Sugar (griseum X saccharum) hybrid in a seedbed. Also, I will soon have a Sycamore-Paperbark (griseum x pseudoplatanus)Maple hybrid coming to me soon via forestfarm: a cross I never expected to see. |
Assuming those two hybrids are correctly interpreted. If not verified in some ~reliable way, like genetic analysis then they are what has been called presumed hybrids. |
Bboy is right. Those claims of unlikely hybrids need to be substantiated to be credible. Gomero |
- Posted by lou_midlothian_tx z8 DFW, Tx (My Page) on Sat, Jan 13, 07 at 10:59
Thanks. Where do Red maples and Silver Maple fall in? I think a couple neighbors have Silver Maple and one neighbor has red maple. I don't know why they have red maple. The soil is nothing but crushed limestone dirt which is naturally high pH. They even know that but still chose to keep it. It should be interesting to see how it turns out later on. By the way, my sugar maple is 'Caddo' which came from southwestern Oklahoma. Does great in alkaline rocky soil, hot and windy summers. Mine still have brown leaves on. They seem pretty tough to pull off twigs so they look bit messy. I can only imagine what it'd look like in 15 years. A tree full of brown leaves in the middle of the summer! LOL... |
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Does anyone else have problems with their spam filters? I found 3 emails from GWers in my spam filter on my server tonight. I find that embarrassing. I thought I had set it to receive emails from GW, but apparently not yet. Because that particular mailbox lives on the server and not our computer, I forget to look at it more than a couple of times a month (at most.) Anyway, I was just wondering if others had the same problem and how they dealt with it. It's obvious I need to be better about checking or folks will think I'm a non-responder. Just venting & looking for thoughts. Thanks.
Kathy |
Follow-Up Postings:
Kathy, I am having the same issues. Oddly enough, when I reply to my own GW posting as a follow-up, my own response is intercepted by my spam filter and put into the JUNK file. In addition, emails from people like chemocurl (Sue) go to my inbox if she sends them directly, but go in the junk file if she emails through GW, likewise many others. But what is equally odd is that of those that go into my Inbox, half or so are marked as potentially dangerous, and I have to click on a box warning me before I can open the text. The only thing they have in common is that they all originated on GW. Luckily I am a really vanilla-kind of internet user and don't get much, if any, real spam, so whenever I see something in my junk box, I've learned to check it out. It's always something sent through GW. No other mail gets intercepted. Kate |
Not often but sometimes.I try to make it a habit of looking at the spam or thrash files but I don't always catch them quickly. I just email person sending email and explain what happened. So far everyone has been understanding and kind. P |
I have read off and on for years about some members having problems getting their emails via GW, or that some come through and some don't for the member. That is why I encourage members to set up their email so the address is shown to Members...which is not to be confused with showing it to All where it will appear in posts. I dislike having to email anyone via GW because I then do not get a copy of the email sent to me. I can request a copy though if they have it set to Members but who knows if they will get my email, or if I will get the copy? For those showing their address to Members I just copy the addy, and then paste it into my Hotmail. But what is equally odd is that of those that go into my Inbox, half or so are marked as potentially dangerous, and I have to click on a box warning me before I can open the text. I found 3 emails from GWers in my spam filter on my server tonight. Sue |
Thanks all. I did tell the folks why I hadn't answered and they were fine. We do get lots of spam--pharmacies, viagra, male enhancement, shoes, poor little old ladies, etc. I just don't see an adjustment on the mail server. Maybe I should look on the home computer for settings. I did add one of the people to my address book and we'll see if that helps. Kathy |
- Posted by mrs.b_in_wy 5a WY (My Page) on Sat, Dec 19, 09 at 12:24
I'm so glad you posted this Kathy. It solved a mystery for me! I'm completely new to trading, and over the course of the last few weeks I've been trying to match up my tiny "have" list with members' "want" lists. Of the five people I contacted, two answered right away (thank you!), but I didn't hear from the other three. After reading your post, I looked at each member's page. Sure enough, the two people who answered were the two whose e-mail addresses show on their member pages (and my original message to each of them was in my "sent" folder). The other three members don't list an e-mail address, so I must have contacted them through GW. Though I was feeling a little badly about not receiving a reply from some people, my greater concern was if a month later I ask another person about trading but then the first person answers. Thanks again! |
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Thu, Apr 22, 04 at 13:15
the Leslie Sansone "Short Cuts" set of tapes and if so, what do you think of them? I'm thinking about getting these and using them along with her "Walk Away The Pounds Express" videos.
Thanks for your opinions. BarbB |
Follow-Up Postings:
- Posted by Pam_SewsAlot (My Page) on Fri, Jun 4, 04 at 23:11
Hi Barb, Sorry, the only one I have is the Walk Away The Pounds. But I'm sure by using both you won't be displeased with the results. Let us know how you're doing. Pam. |
Thanks Pam for your reply. I also have the "Walk Away The Pounds". I had actually forgotten I'd written this question, and to make matters worse I've forgotten what the "Shortcuts" tapes are-----LOL! Must be having one of my ever increasing senior moments. Anyway, I guess I'm doing OK with the Walk tape. I'm up to 3 miles, but once you're past a certain age I don't think you can expect quick results. I'm doing them 5 days a week. We'll see. Better than doing nothing, I guess. If anyone has something that gets faster results please share. Thanks, |
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Fri, Nov 18, 05 at 8:49
Have calla lilly to trade,pink and white mixed.
Or can send postage.Thanks. |
Follow-Up Postings:
- Posted by hklimsa Z5NY (email@example.com) on Fri, Nov 18, 05 at 13:18
I have crocosmia bulbs called montbretia is orange color hardy in zone 5 , I would like to exchange them with your calla lily mix... I could send you over 15 bulbs. let me |
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I HATE ESTEE LAUDER FOR DISCONTINUING MY COLOR IN THIS PRODUCT! I hope they are reading this.....they just discontinued the lightest color "Creamy Ivory, Very Light" and replaced it with a dark, ugly, yellow color called "Creamy Ivory". I could be ill just typing this.
I cannot believe it. Seriously. Don't know WHERE TO TURN to find another full coverage foundation for my vitiligo.
11 out of 13 people found this review helpful. Did you? Yes No
I bought this to use as a concealer, and this tube lasts, lasts, and lasts. Even as a foundation, just a little goes a very long way. It really does what it promises -- it covers up anything and everything. This is now my HG concealer!
2 out of 2 people found this review helpful. Did you? Yes No
Ummm HELLO! I am in love. This provides such great coverage and goes on pretty well (blend blend blend). Creamy Tan was a great match for my light/med skin. I'm in my early 30s so I'm starting to get some sun/age spots...I also have freckles that I like to cover. This provides a ton of coverage so I can get a flawless canvas.!!!! Staying power is awesome!
2 out of 2 people found this review helpful. Did you? Yes No
I recently purchased this foundation, because I like wearing full coverage everyday, I have acne scarring that kills me so I like coverage that up, this works great for that! I love that I'm able to use only a little bit of the product and it covers flawlessly. The only thing is that if I happen to get wild and apply alot it can settle into my little laugh lines, and that gross but I usually apply just the right amount that I dont get those funky little lines, but anywho this product is great for someone who want full coverage. I got the darkest shade and Im an NC 40, it is a tad light but I use bronzer everyday so its not noticeable at all.
4 out of 4 people found this review helpful. Did you? Yes No
I have a thing for foundations - heavy, full-coverage foundations at that. That being said I bought the Max Cover in Light/Medium to go with the Double Wear Desert Beige powder - too light & yellowish so I had to use bronzer (a lot). I got the Medium Max Cover & that's too pink - however, when I mixed the Light/Medium & Medium Max Cover together = Winning Colour for my skin. I also got the Double Wear Pressed Powder in Ivory Beige 07 & that seems to give me the natural colour look better than the Desert Beige.
I say natural colour look as there's nothing natural about this foundation. It's full-cover & I find I get a complete blank canvas look from it - awesome when I don't want pimples or redness poking through to ruin my look. Not so good if you're after a light-weight, natural looking foundation - try something else. It seems to hold up to my gardening in the heat of Aussie Spring/Summer & also does well during a gym workout - haven't tried it in the sauna yet though.....hmmm....might skip that one.
I would probably buy this again when I run out of my 2 tubes; however, something better may be on the market to grab my attention :) If there's nothing that offers such good coverage, while using so little of the product then I'll definitely be back as it's definitely a great deal for $68AU for 30ml.
3 out of 3 people found this review helpful. Did you? Yes No
Great coverage, only a tiny amount required for a full coverage and makes skin look good througout the day. The colours are not the greatest unfortunatly. However you can work around this. I think you need to practice with this product. But the finish of this is so good. Just moisturise if you have dry skin. Covers redness, sunspots etc without using a lot of product
2 out of 2 people found this review helpful. Did you? Yes No
I really love this foundation! I can't believe it has made me trade in my beloved Laura Mercier oil free foundation that I have used for years, but this just makes my skin look so fantastic. It has the most AMAZING coverage but the awesome part is, you only have to use a tiny amount to get beautiful glowing PERFECT skin. With other foundations, to get full "buildable coverage" it took forever to blend and keep adding more foundation to get the same amount of coverage a tiny dot of Mazimum Cover will give you. I am very fair so I got the the Medium Light shade. It was a tad darker than I am used to, so I ordered the lightest shade, which turned out to be too light for all over use. So what I do is I apply the 2nd lightest shade ("Medium-Light") as a foundation and use the lightest shade as under eye concealer and also to blend at my jaw line so I don't get any of the mask look. The whole process takes about 3 minutes and lasts the ENTIRE day! And best of all, no breakouts. I wash my face with Proactive cleanser with Cargo Polishing Cloths. My skin has never looked better (with and without foundation) and that my, MA friends, makes me one happy camper!
9 out of 9 people found this review helpful. Did you? Yes No
i purchased this because i had acne and very red skin. this was completely useless, yes it covered but looked like i had a chalky mask on. it was far too unatural looking no matter how little you apply. and it definately wasnt good for my skin either. also rubbed off on clothes and hands very easily. the only good thing was the packaging was pretty but what use is that.
1 out of 1 people found this review helpful. Did you? Yes No
More reviews by CantMAKEUPmyMlND
This foundation is phenomenal. That being said, if you have great skin then it probably isn't for you.
I am very fair with pink undertones, and the lightest color Creamy Ivory is a great match.
The pigmentation of this foundation is amazing. You really only need a pea sized amount to cover your entire face (and trust me, "pea sized" amounts of other things never seem to cover what I am assuming must be my freakishly large face {I'm starring at you, Retin-A}).
This has the pigmentation to cover almost anything. Since I am so fair post break out marks are ever present on my skin but they hide SO well with this covering them.
That is another thing. What is more annoying than finding a perfect cover for your break outs / post break outs only to find it breaks you out even MORE? Not the case with this for me. Doesn't break me out at all and almost anything breaks me out (Bare Minerals? Minerals of hell for me and my skin).
I believe this was $29.50 - well worth the price as you need so little. I also like the tube, you only pitch out (it is a tube) what you need.
I prefer using this foundation with my fingers (I usually used brushes or Beauty Blender / SK Blending Sponge). The dry down time of it is quite fast so you are better working in small areas with small amounts to achieve the coverage you are looking for.
5 out of 5 people found this review helpful. Did you? Yes No
This has fantastic coverage and really does give your skin that airbrushed look....however, after about 4 hours it tends to slip into fine lines and can look a teeny bit patchy. Even so, its still my favourite foundation so far, and its pretty much as close to perfect as any foundation can get (for those who need full coverage). The reason i took one lippie away is because the range of shades is too small, so its hard for some to find a perfect match.


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I have tons of Water Hycinths that I would trade for LARGE LEAVED water lilies or lotus. I also have Louisiana Iris in yellow and blue. |
Follow-Up Postings:
- Posted by colpac 5 (email@example.com) on Mon, Apr 13, 09 at 10:18
I have tubers from a 'the President' lotus want to trade for hycinths. Just divided lotus, ready to ship. |
Would love to have a start of lotus. |
- Posted by gardenmasterjo 7 (My Page) on Thu, May 7, 09 at 6:31
Hello, Have spotted leaf lillies. Would love some hycinths,iris; yellow and blue. I have divided my lilies, I don't know the colors. Could be pink, yellow or white. Thanks! |
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Rat Terrier ResQ - AR
Dog adoption saves lives. Adopt a dog and you'll have a friend for life! Contact us, or contact another local humane society, animal shelter or SPCA.
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We are a national Rat Terrier rescue. We have dogs in fosterhomes in the U.S. and southern Ontario.About Our Rescue Group:
Rat Terrier ResQ is a national all-volunteer Rat Terrier dog rescue group committed to saving Rat Terriers in need. These dogs are special loving creatures and, at times, end up with people who don't understand them. These Rat Terriers may end up in shelters after having been abandoned, neglected or abused. We work to get them safe, loved, and healthy -- and then find them the real forever homes they so rightly deserve.. Learn more about us at our website: http://www.ratterrierresq.comCome Meet our Pets:
Because all of our dogs are located in a network of foster homes across the U.S. and southern Canada, we do not have a shelter or other public location. Visit our website at http://www.ratterrierresq.com to see all of our available dogs.Our Adoption Process:
All inquiries about Rat Terrier ResQ dogs need to go through our applications team. We go through a careful process to ensure that this will a permanent, loving relationship.Your patience and understanding is appreciated throughout the process. Feel free to ask questions and email back and forth as much as you like with the dog's foster parent. You will also receive a phone call from an Applications Coordinator for an interview and a Home Visit Coordinator will be working to set up a Home Visit.
Once you are approved to adopt your new family member, we will send you an adoption contract to read, sign, and send back along with your adoption fee ($150 for adult dogs; $175 for puppies under 6 months). After your contract has been received, we will work with you to arrange transport to get your new family member home to you!


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A short while back I featured in the Dog World Annual one of the hidden gems in the dog art world; the collection at the Swedish Kennel Club.
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