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Screened Sunday April 12 2009 on New Line DVD in Watertown, MA
Pink Flamingos may remain the purest, rawest manifestation of John Waters' inimitable worldview, but Female Trouble is his masterpiece, taking that film's libidinal anarchy and slipping it like a series of time bombs inside something resembling a classical narrative. Having a story provides a steady target against which Waters' tastelessness (never as extreme as it was in these two films) tirelessly hurls itself; it's the same approach taken by Mel Brooks, whose more mainstream brand of subversion feels rather artless compared to what Waters and his game cast and crew accomplish here.
Superwigged juggernaut Divine rumbles like a rhinoceros through a bad-girl-gone-abominable melodrama that takes her from teen rape to robbery to married life (involving sex with carrots and pliers) to unspeakable disfiguration to mass murder. Divine devours each debased woman scenario with full-throated gusto, defecating a performance that surpasses camp reduction, reaching deep into a kind of pathological, gleefully sado-masochistic apotheosis of female suffering and ambition. It's a dervish dance of garishness whose strident bellows betray unexpected small revelations: giving birth in a hotel hallway, she pulls the rape-seed infant from her womb, tears into the umbilical cord with her teeth and spits it against the green upholstery. That piece of afterbirth stuck on the couch is one of the most mind-blowingly defiant gestures I've seen in a long time.
While Waters can't resist the gimmicky shock value of having Divine clobber her parents with a Christmas tree or get raped by a male hick played by himself, or close ups of grime-covered penises, it's the little unexpected gestures that elevate this film to sublime trash: robbery masks that fit over beehive hairdos; a 300 pound transvestite attempting somersaults on a trampoline in reckless abandon; a bowlful of spaghetti slithering down a wall. At one point Divine, ascending a staircase, casts his eyes downward and delivers a broken marriage, woe-is-me monologue with a black beehive and limpid eyes worthy of Liz Taylor, he looks downright beautiful, and more convincing as a downtrodden woman than his Hollywood counterpart's Oscar performance in Butterfield 8. It's a moment that becomes especially poignant given what's to follow, his character's dream of stardom succumbing to physical and psychic mutilation. The film's second half pushes hard into the monster-freak aspect of Divine's persona, reducing her character to a single-minded aspiring tabloid icon. It's a risky move that threatens to bury the film in nihilism, its heroine terminally blinded by ambition. But Divine's hearty embrace of whatever the script demands of her preserves the film's humanity, and even offers the last word to the film's cynical view towards celebrity culture: in the end, she is a star.
The following citations were counted towards the placement of Female Trouble among They Shoot Pictures' 1000 Greatest Films:
Jeff Krulik, Facets (2003)
Jennie Livingston, PopcornQ (1997)
Danny Peary, Guide for the Film Fanatic: Must-See Films (1987)
Pop Matters, The 50 DVD's Every Film Fan Should Own: The Stellar 70's (2007)
San Francisco Chronicle, Vintage Video – A Hot 100 From Out of the Past (1997)
Screenplays for Female Trouble, Hairspray and Multiple Maniacs viewable online at Google Books
Lyrics to the title song and other songs from John Waters movies at Two Jealous Perverts
This 1975 feature is the best of John Waters's movies prior to Hairspray and his ultimate concerto for the 300-pound transvestite Divine, whose character will do literally anything–including commit mass murder–to become famous. As in all of Waters's early outrages, the technique is cheerfully ramshackle, but Divine's rage and energy make it vibrate like a sustained aria, with a few metaphors about the beauty of crime borrowed from Jean Genet. With Edith Massey and Mink Stole, as well as some doubling on the part of Divine that allows the star to have sexual congress with himself, giving birth to . . . guess who?
– Jonathan Rosenbaum, The Chicago Reader
I HAD just moved to Florida against my will. It was summer. I was 15. Lonely, alienated, and above all, well, above all, horny.
After much degradation and humiliation and rejection, I met a girl. Let's call her Stacey, because, after all, that was her name. She was sweet and beautiful. I immediately had a mad crush.
In an unusual burst of ambition, I invited her to a movie. The movie I chose would change my life in many ways. It was "Female Trouble" by John Waters, starring Divine as Dawn Davenport.
– Larry Charles, director of Borat and Religulous. New York Times, May 4 2008. Read the rest of the story
If asked, most people would probably be able to identify a moment in their own personal history when a film has changed their lives. Film can affect change in so many ways, and perhaps some of the most dynamic and powerful ways this can occur is in the way the projected image can manage to bypass the screen and become imprinted on our psyches, attached to the skin. This is the viral nature of film, its ability to spread a kind of 'dis-ease' within our body and mind. The one film that changes our lives becomes a breathing part of the self that alters the way we relate to the apparatus of film and our forever unstable conception of self.
The film that did this for me was John Waters' Female Trouble (1974). Made a year before I was born, I didn't actually see Female Trouble until 1988. I was 13-years-old. Browsing the shelves of the local video store, I was drawn to the video because its cover art announced "Warning: This movie is gross". Accompanying this "warning" on the video box was a caricatured drawing of Female Trouble's two stars, Divine and Edith Massey. While watching the film later that day, I discovered that both Divine and Edith Massey were every bit the grotesque caricature suggested by the video's cover design.
How I managed to sneak the R-rated film out of the video store, I'll never comprehend. More importantly, the impact the film had on me during this very pubescent time in my life is even harder to comprehend, because it changed the way I consumed film from that moment on. I remember watching the film with a mixture of horror and morbid fascination: never before had I encountered such a freakishly queer ensemble of characters and situations on screen. Upon viewing Female Trouble at such a young age, I could sense some weird awakening where all of a sudden it felt as if someone had flicked the queer switch in my head. Thus began my life-long journey of hunting out films that warned of potential grossness. This cinematic road trip led me to suss out other offerings from the 'great director' John Waters.
– Daniel Mudie Cunningham, Senses of Cinema
John Waters expands the definition of female trouble in this mutant tribute to good-girl-gone-bad drive-in melodramas. The girl is, of course, cross-dressing cult icon Divine, Waters's plus-sized muse. Divine is at her most gleefully outrageous as teenage brat Dawn Davenport, who runs away from home and into a life of wanton hedonism all because she didn't get cha-cha heels for Christmas. Almost immediately she's molested by a sleazy motorcycle thug (also played by Divine–is this Waters's idea of "love thyself"?), but she doesn't let motherhood interfere with her plans of stardom and turns herself into an unlikely fashion statement in an apocalyptic fashion show. Waters's fourth feature, a follow-up to the midnight movie hit Pink Flamingos, is just as cinematically primitive and even more gleefully vulgar, right down to the electric climax of Dawn's road to everlasting fame.
–Sean Axmaker, Amazon
Topping Pink Flamingos is a tall order, but puke poet laureate John Waters and scarlet diva Divine are more than game for the challenge in their riotous follow-up…Though the perversions are more seamlessly integrated into the narrative than in the earlier movies, Waters still grubbily zooms in on a particularly screechy line ("I wouldn't suck your lousy dick if I was suffocating and there was oxygen in your balls!") or someone's skid mark-happy underwear, not to mention the money shots — acid-corroded Divine feverishly modeling while bleeding from a "liquid eyeliner" shot, Bad Seed brat Mink Stole gorily reenacting car accidents in the living room, Edith Massey's indescribably lumpy figure squeezed into a vinyl dominatrix getup. Yet Waters' subversion runs deeper, with his fame-obsessed heroine's transgression mirroring Warhol's credo about celebrity and, in the end, melting into ecstasy — unlike the perfidious Dashers, whose dedication to filth is desexualized, antiseptic and ultimately false, Dawn dives into it face first, pushes it to its extremes and emerges exalted, a sort of perv Joan of Arc.
– Fernando Croce, Cinepassion
Female Trouble was the last of the movies Waters made with this circle of intimates before burnout, drug overdoses, and the sad fact of growing up began to take their tolls, and it makes for a fitting end to this era. And as a small indicator of the kind of antisocial lunacy we're dealing with here, consider that Female Trouble is prominently dedicated to Manson family murderer Charles "Tex" Watson. Tell me truthfully— do you think the John Waters of today would dedicate a movie to Jeffrey Dahmer? No, I don't think so either.
Female Trouble makes for an excellent introduction to the young John Waters, in that it isn't so stunningly and unrelentingly grotesque as, say, Pink Flamingos, but is still confrontationally disgusting in a way that nothing the director has made in the past 20 years even approaches. It also comes as close as the irony-obsessed Waters ever will to offering an explicit manifesto for his twisted artistic vision. The Dashers' "Crime is Beauty" formula could easily be made to stand in for the "Squalor is Beauty" esthetic that informs all of Waters's work to a greater or lesser degree. The exaltation of the ugly and the wretched can still be seen in his movies today, even if it isn't treated with the same kind of obsessive stridency as it is in Female Trouble and its predecessors. This movie also features a much higher quota of the sort of random craziness for which Waters is justly renowned, but which only occasionally surfaces in his more recent films. Not only are such major plot developments as Dawn's marriage to Gator exploited for their potential shock value (get a load of Dawn's wedding dress), there are any number of digressions from the main story that are included solely because of the opportunities they introduce for further wallowing in squalor and bad taste. There's no real reason why Taffy should become a Hare Krishna in the final act, nor is any narrative purpose served by the subplot in which Taffy tracks down her father and finds him to be just as much of a pig as Dawn always said he was. But the Krishna twist lets Waters echo and one-up a scene from early in the film in which Taffy's jump-rope chants drive Dawn to tie the girl to her bed, and Earl Peterson's reappearance provides an excuse for a Herschel Gordon Lewis-style gore scene. And for what it's worth, Female Trouble is also almost certainly the all-time cinematic champion when it comes to putting the morbidly obese into preposterously revealing outfits— Aunt Ida's leather catsuit in particular is going to give a lot of people nightmares.
– Scott Ashlin, 1000 Misspent Hours
Every "don't" from years of school indoctrination is thwarted with hysterical abandon in Female Trouble, from the importance of safety in shop class (Dawn's husband Gator (Michael Potter) uses his favorite tools during sex) to the perils of drug addiction (Dawn is lured into her life of crime when she starts mainlining liquid eyeliner).
The result is a hilarious send-up of codes of behavior in America, a critique of our cultural obsession with beauty and fame that rivals Citizen Kane for its timeliness and perceptiveness.
No, I'm not kidding.
Both Female Trouble and Citizen Kane chronicle the rise and fall of a quintessentially American figure. Dawn Davenport is a typical lower middle-class Baltimore kid, frustrated by school, misunderstood by her parents, but with the desire to becomes something greater. Granted, her only outlet for greatness is through crime and exhibitionism, as she spends the 1960s stripping, hooking, and rolling drunks, she and her comrades wearing nets over their hairdos instead of stockings over their faces. The great breakthrough comes when Dawn is taken in by the pretentious Dashers (David Lochary and Mary Vivian Pearce), who want to channel her aggression into "an experiment in beauty and crime."
This fusion of beauty and crime smacks of Jean Genet, although I doubt Waters meant such an "artsy" interpretation (although he admits on the commentary track to reading Genet). But just like Genet, Waters relishes the rebelliousness of trash, the underground of cultural counterfeits—the Dashers as would-be Warhols, Dawn herself as a drag-queen Liz Taylor—that feel more real than the commercialized and glossy surface of "proper" society. Dawn's entire world seems fake in so many ways, from her delusions of grandeur to the low-budget acid burn makeup Divine has to sport through the film's second half. When Dawn chops off the villainous Aunt Ida's hand with an axe, the cheap effect makes Herschell Gordon Lewis look like a PBS surgery documentary. But underneath the shoddy production values and stiff acting lies a deeper truth: this is America from the inside.
Both Waters' film and Kane are joyously experimental, created by artists who seem complete unaware of what they cannot do on film, and so they try everything. For Orson Welles, this means appropriating all the tools of stagecraft and European film technique and challenging the rules of traditional filmmaking. Of course, Kane is such an over-the-top display of technique that is smacks of an artistic immaturity Welles would later overcome. Oddly, Waters comes to Female Trouble already having pushed the limits of his trademark style at the expense of storytelling. Female Trouble then becomes his first completely successful film: it constantly surprises with lurid invention while actually having a story that comments on American society itself.
And like Citizen Kane, Waters' film was reviled by the mainstream in its own time, but can now be understood against the backdrop of the social forces that produced it: the pressures of middle class life, the cult of beauty, and the allure of the fashionable outlaw—all hallmarks of the media-saturated, war-traumatized, post-conformist 1960s.
But Orson Welles never would have had the balls to put Divine in a see-through wedding dress with fake female genitalia. Or a corpulent Edith Massey in a leather S&M outfit, pleading with her hairdresser nephew to turn gay. Or Divine molesting fish.
And Orson Welles, as brilliant as he was, never seemed to enjoy filmmaking as much as John Waters. The commentary track for Female Trouble is filled with funny stories and reminiscences. This film is understandably Waters' favorite, and he relishes telling tales of his Baltimore childhood and remembering the contributions of friends who participated in the film. Influenced by Buñuel and the Warhol Factory, he admits that his artistic techniques in those days consisted of capturing "ultimate reality." And like his idols, Waters portrays reality through a funhouse mirror: a reflection of the soul of America, if not its surface appearance. What makes a film like Female Trouble work so well, and certainly what makes me laugh, is the sense that everyone involved in the film is having so much fun making it. There is an infectious sense of joy to Waters' subversive agenda—he works hard to create a trashy, shocking effect, but it is never mean-spirited. The lurid underbelly of society (listen for his stories on the commentary track of attending the Manson trial) seems to amuse Waters. He still laughs at his own movies. Watching a John Waters film is like attending a party with your wackiest friends, the ones who always defy convention and yet are always eager to buy you a beer and joke about it later.
– Mike Pinsky, DVD Verdict
Female Trouble was John Waters' follow-up film to Pink Flamingos, and he employs largely the same cast in similar roles. What differentiates the two films are their focus: Pink Flamingos is clearly about the lows of society and the limitations of cinema and decency, whereas Female Trouble is a feminist film, crassly defending the struggle of women through over-the-top scenarios. It's comical, but the notion is out there that views of women are somewhat tainted by societal norms rather than the content of women's character.
Waters holds the female condition near to his heart in this film. At the start, audiences will identify with Dawn as she sasses back to her teacher, smokes in the bathroom, and throws a tantrum when she doesn't get cha-cha heels for Christmas. As she struggles to make ends meet doing a variety of odd (and odder) jobs, the audience may feel sympathy for her. Only when the typical vulgarity of Divine's persona starts to shine through do audiences realize that this has all been a ruse to conjure up some feelings for Dawn Davenport before exploiting her before wealthy opportunists and the media circus. Were it not for Divine's extra-cinematic fame, the audience might have fully invested in the well-being of this girl, but because it is also a cynical romp, we are one step removed.Divine shakes her stuff. If only I had a dollar bill!
As this removed audience, even though we feel for Dawn, we still want to know what kind of hijinks she gets into, and we hope to be wowed, grossed out, and offended. Dawn will always remain more an object than a true female heroine, a vehicle for humiliation more than a figure living the American dream. But while audiences of the 1970s could detach from this film as fiction, it was a time when women were still seen as objects for men's amusement, and didn't garner the same respect as men in social issues and the workplace. Feminism had taken huge strides since the early 1960s, but there was still domestic inequity and, to this day, women get paid less than men for comparable jobs.
Perhaps Waters' message was intentional, perhaps not. I have heard him speak, however, and he is quite an intelligent person, so I would not deny him that insight. He is cited as having his finger on the pulse of contemporary society, and of understanding the basest aspects of human nature better than most. Female Trouble might seem like an ironic title at first, but it is very particularly selected. The troubles don't necessarily belong to the main female in the film, rather, it is about the trouble people have with reconciling females as equal citizens, and the disconnect between realizing that the objectification of a film character may not be so different from someone's home situation.The Dashers stop by for dinner at the Davenports.
As this removed audience, even though we feel for Dawn, we still want to know what kind of hijinks she gets into, and we hope to be wowed, grossed out, and offended. Dawn will always remain more an object than a true female heroine, a vehicle for humiliation more than a figure living the American dream. But while audiences of the 1970s could detach from this film as fiction, it was a time when women were still seen as objects for men's amusement, and didn't garner the same respect as men in social issues and the workplace. Feminism had taken huge strides since the early 1960s, but there was still domestic inequity and, to this day, women get paid less than men for comparable jobs.
– Mea Patafria, Kalamazoo Gazette
John Waters's Female Trouble is an outrageously trashy, wonderfully campy, and grotesquely funny film. There is no point in the movie that is not alive with inept overacting, exaggerated misdeeds, and general strangeness. It is a genuinely fun work to watch.
For one thing, the story the director tells is both overwrought and complicated. It begins with a depiction of Dawn's days as an obnoxious and rebellious teenaged delinquent, goes on to show her life as a runaway, her wildly unsuccessful marriage, and her rise to fame, and it ends by revealing her incarceration, trial, and execution. The whole thing is a lurid melodrama that races along so fast the moviegoer is always caught up in the whirlwind that is is composed of the protagonist's nasty existence, vile behaviors, weird acquaintances, and tumultuous rise to fame as a mass murderer.
Like many of Waters' movies, Female Trouble explores popular perceptions of celebrity. Happily, the director is adept at revealing the connection of fame with criminality. He is especially so here. At various points, Waters reminds the viewer of Dawn's desire to be famous and then shows how she gains notoriety as a result of the murders she commits. During her trail, Dawn even notes that she is the most famous person the jurors will know and that she is in all the papers. By making just this point, Waters reminds the viewer that many actual mass murderers could make exactly the same claim. Such elements are not, however, presented in a heavy-handed or didactic way, but, instead, give the film a real humorousness. Waters revels in human failings and provides the moviegoer with the chance to laugh and cringe at our less admirable traits.
Lastly, I should mention that while Divine may not be an accomplished performer in any conventional sense, she does acquit herself well in the film. Not only is she a joy to watch as the selfish, vile, foul, and murderous Dawn, but she is also equally repulsively entertaining as Earl Peterson, the filthy, lecherous father of Dawn's daughter Taffy. In fact, a large part of Female Trouble's appeal comes from the lead's weirdly charismatic presence. Divine is a pleasure to watch.
– Keith Allen, Movie Rapture
The radical politics in Female Trouble (as well as Pink Flamingos and Waters' other early films) speaks very much to the times in which they were made. Between Vietnam, the Manson killings (which Waters was obsessed with), and the constant political assassinations and riots, the turbulent times spawned an anger that set the stage for films like Night of the Living Dead and The Texas Chainsaw Massacre. What set Waters' films apart from those is that there is a joy in the violence and mayhem that makes them nearly impossible to categorize. A cannibal with a chainsaw is obviously a bad guy, but how do you deal with Divine in a leopard print one piece chopping off Edith Massey's hand while the older woman sits locked in a bird cage wearing a ruffley white gown? There is no way to contextualize these images and so they end up creating their own genre.
– Gil Jawetz, DVD Talk
This humor also comes from a pure, raw filmmaking energy that we simply don't see these days. Normal people should probably stay away, but twisted people and young filmmakers will find laughter, inspiration and joy here.
– Jeffrey A. Anderson, Combustible Celluloid
So what is Female Trouble? For those not yet Waters aficionados it can most fittingly be described as the result of shock over story, offensive images over coherent actions, obsession over technique, littered with profanity laden diatribes shouted as loudly as possible, and male nudity and raunch that resembles almost nothing else you will ever see, save another John Waters movie. Yes, there is a story here, something about a girl (played by Divine) who doesn't get what she wants for Christmas, gets in with the "wrong crowd" (and "wrong" is about the biggest understatement in eternity), and flaunts herself to anyone and everyone under the mantra, "crime is beauty!" But really, this is all stark window dressing compared to the wacky characters, their outlandish images, and Waters' absurdist worldview that leaves no holy cow untipped. And as a Waters aficionado, myself, I wouldn't want it any other way.
The first half of the film is exceptional. The sight gags are hilarious (Divine in two roles, one male and one female, is brilliant), the sets inspired and fascinating (the apartment where most of the action takes place was Waters' own real pad in the '70s), the dialogue highly quotable ("I'm getting a hard-on! Beauty always gives me a hard-on!"), and the ideas about the sensationalism of criminals way ahead of its time. The supporting cast of Waters regulars are all here and in ripe form, from Edith Massey as the promoter of the homosexual lifestyle to the hairdressing impresarios David Lochary and Mary Vivian Pearce, from Divine's retarded "child" played by Mink Stole to is he or isn't he stoned (I think we all know the answer to that one) Danny Mills as Divine's short lived, gap-toothed lover, and a gaggle of other misfits and cretins that are as vibrant and outlandish as the hairdos and wallpaper that battle it out with each other for center stage.
The second half of the movie, however, slips drastically in quality. Where the first half was fresh and fast paced, the second is tedious and degenerates from degradation to repetition. The screaming characters eventually grate rather than amuse and an awkward court scene drags much more than any other part of the film. The finale couldn't come soon enough but once it does, it provides a few more yucks before Waters wraps things up with a closing shot you're not soon to forget.
It is in this final image that we see Waters transforming before our eyes from mere shockmeister to purveyor of filth philosophy. Unlike Flamingos, where Waters tacks on one additional gross out just to be sure his audience walks out repulsed, in Female Trouble shock gives way to message as Waters' final statement about criminal celebrity trumps any bodily fluid joke that might stand in its way. Therein lies the first inkling that Waters would indeed one day abandon his all out assault on supposed good taste and "go PG", a move that was both inevitable and well done eventually culminating in Hairspray, the most mainstream effort of his career. Sure, he would eventually return to the obscenely perverse with, A Dirty Shame, but never again would he be as unconventionally shocking as Female Trouble.
I believe John Waters is a special kind of genius. He is a man of innovation and far sighted ideas that push through a world that has little desire for such a thing. He creates works that have meaning and challenge our ideas of morality and normalcy. The cult of John Waters continues to thrive because he has stayed loyal to his vision for well over thirty years while somehow managing to get his ideas out of his head and to the masses when such a thing seems impossible for anyone who isn't willing to sell his soul to do so. Most important to Waters' legacy is the gentle hand he uses with his entourage of nonconformists, never once putting them down but rather, showing a sweet sentimentality for their earnest plight to be recognized and accepted as something other than merely misunderstood and expendable. Sure, the kooks and crackpots he employs in his films are acting, so to speak, but they are also people cut of a similar cloth to the characters they portray. Not nearly as vicious, profane, or demented as their characters, there remains much truth between actor and character that only a man such as John Waters could make work as perfectly as he does.
To sum up, Female Trouble may not be a "good movie" by normal standards, but it is undeniably bizarre and engrossing and an essential part of the John Waters' canon and modus operandi. If you only see one early period John Waters movie in your lifetime, see Pink Flamingos. It best represents Waters' twisted mind yet somehow also shows his sentimentality for geeks and miscreants the world over. But if Pink Flamingos touches your disturbed side, then definitely see Female Trouble. It is the height of Waters' perversity and yet another jaw dropping exhibition that will pave your way to John Waters aficionado status.
– Scott Muoio, Underpendent Media
Report of what sounds like a typical John Waters theatrical screening with director appearance, this time a screening of the restored Female Trouble at the American Cinematheque in Los Angeles, reported by Daniel Hirshleifer for Digitally Obsessed
Review of the 2005 John Waters Collection DVD Boxset by Bill Gibron at DVD Verdict
John Waters began making films in 1964, the same year that Susan Sontag penned her landmark essay "Notes on 'Camp'". This is a notable cultural moment because, while Sontag's ideas have been refuted or extended by many cultural critics, there was a general consensus that a camp sensibility was alive and well in the arts. Of course, this camp sensibility could be interpreted in any number of ways, but Sontag claimed that "the essence of Camp is its love of the unnatural: of artifice and exaggeration…" (3). I have isolated this one sentence because it is a definition that can be applied to John Waters' films.
Perhaps a better fitting definition of Waters' brand of camp is one that is defined by the filmmaker himself in a 1997 episode of The Simpsons. Titled "Homer's Phobia", Waters makes a guest appearance as a collectable junk store owner called John. Upon visiting his store, Homer asks John why a "grown man" would collect such junk, and John replies:
JOHN: It's camp!
Homer looks back at John with a blank expression, not comprehending what he means.
JOHN: The tragically ludicrous, the ludicrously tragic.
HOMER: Oh yeah, like when a clown dies.
JOHN: Well sort of, but I mean more like inflatable furniture or Last Supper TV trays or even this bowling shirt…
HOMER: And that kind of stuff is worth money? … You should come over to our place, it's full of valuable worthless junk.
Waters in The Simpsons
This dialogue from The Simpsons plays into the way Waters' camp aesthetic playfully celebrates "valuable worthless junk". In many respects, this view of camp echoes cultural critic Andrew Ross' argument that camp is primarily concerned with reconstituting history's trash as treasure. Ross perceives camp as a delight in that which is considered culturally outmoded. He writes: "The knowledge about history is the precise moment when camp takes over, because camp involves a rediscovery of history's waste".
Waste is one of the recurring themes of Waters' films, and is depicted on screen as something that is often corporeal. Waters delights in demonstrating how shit, vomit, puss, mucus, saliva and other such bodily fluids can be a rich source of material from which to develop a cinematic language for the white trash body. Part of the appeal of Waters' films is that they belong to the category of low camp. As Waters states, "I've always tried to please and satisfy an audience who think they've seen everything. I try to force them to laugh at their own ability to be shocked by something. This reaction has always been the reason I make movies". In a contemporary context, however, the appeal of Waters' films has extended far beyond the select few. In a review of one of his more recent films Pecker, Mark Kermode writes:
The greatest irony of John Waters' career is that he has ended up loving and being loved by Baltimore, the town he initially tried to infuriate. From being the most disgusting filmmaker in the world, Waters has become something of a local hero, venerated for bringing an element of glitter into an area not known for its star-spangled potential.This "local hero" status was certified on February 7, 1985, when it was proclaimed "John Waters Day" in his home town of Baltimore by the presiding mayor. Despite such accolades, Waters has also become more generally an icon in American cinema. As Sarah Hampson notes, "He is the iconoclast who has become an icon; the anti-establishment voice who has become an institution". Certainly, Waters has become something of an anti-establishment institution in US culture, evidenced by the way his work has been celebrated within a mainstream context. For example, Waters' film Hairspray (1988) was transformed into a hit Broadway musical in 2002.
– Daniel Mudie Cunningham, Senses of Cinema Great Directors Biography
Waters has pursued a vision as singular as any American filmmaker. He has revitalized some of our big-time Hollywood stars (Kathleen Turner, Melanie Griffith), reintroduced us to the kitsch glory of others (Tab Hunter, Joe Delassandro, Joey Heatherton) and shown us a thing or two about some of the others we snidely thought we knew all about (Pia Zadora, Sonny Bono, former teen porn queen Traci Lords), at the same time faithfully maintaining, into a third decade, his "repertory" of actors, a regular Royal Shakespeare Company of Raunch called the Dreamlanders. Though untimely death has caught up with many of the greats in his magnificent motley stable of thespians, we would be much poorer without Divine emblazoned in our collective pop-culture memory, alongside Edith ("Edie the Egg Lady") Massey, David Lochary, Cookie Mueller and those still going strong — Mink Stole and Mary Vivian Pearce.
– Daniel Reitz, Salon.com critical biography
Interview by Michael Dare for Movieline Magazine, February 19, 1988
Interview from 1978
Review of Waters' early films screening at the New Museum of Contemporary Art by Nick Stillman for the Brooklyn Rail
Matthew Kennedy reviews My Son Divine written by Frances Milstead
Tribute site at Dreamland News
Drag-queen and cult-movie star Divine, born Harris Glenn Milstead, was a high-school acquaintance of John Waters in the early '60s. Waters indulged his chubby friend's penchant for crossdressing, and Divine's acting career was launched with Water's first films in the mid '60s, Roman Candles and Eat Your Makeup both filmed while Divine still worked as a hairdresser. As Waters' work became more funny and outrageous with Mondo Trasho(1969) and Multiple Maniacs(1970), Divine's performances became richer and wilder; the two achieved immortality with the outrageously raunchy cult classic Pink Flamingos(1972) in which Divine competes to become the "World's Filthiest Person." They continued working together during the late '70s and into the '80s making two of their best films, Female Trouble(1974) and Polyester(1981). Divine also began appearing for other filmmakers, playing a woman in Paul Bartel's Lust in the Dust(1985) and shedding his feminine garb to play a man in Alan Rudolph's Trouble in Mind(1986). In his/her last appearance for Waters's, Hairspray(1988), Divine played a dual role, one male, one female, and was quite effective in both parts.Those who could get past the unremitting weirdness of Divine's performance discovered that the actor/actress had genuine talent, including a natural sense of comic timing and an uncanny gift for slapstick. In 1989 Divine died suddenly of an enlarged heart at the age of 42 while preparing for a guest appearance on Fox TV's Married…With Children.


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|This article needs additional citations for verification. (January 2015) (Learn how and when to remove this template message)
|Neighborhood of Brooklyn
Rockaway Parkway in Canarsie
|Coordinates: 40°38′33″N 73°54′04″W / 40.642598°N 73.90121°WCoordinates: 40°38′33″N 73°54′04″W / 40.642598°N 73.90121°W
|United States
|New York
|New York City
|• Total
|7.51 km2 (2.898 sq mi)
|Population (2010)[2]
|• Total
|• Density
|11,000/km2 (29,000/sq mi)
|• Median income
|ZIP codes
|11234, 11236
Canarsie (/kəˈnɑːrsi/ kə-NAR-see) is a working- and middle-class residential and commercial neighborhood in the southeastern portion of the borough of Brooklyn, in New York City, United States.
Canarsie is bordered on the east by Fresh Creek Basin, East 108th Street, and the BMT Canarsie Line (L train); on the north by Linden Boulevard; on the west by Remsen Avenue to Ralph Avenue and the Paerdegat Basin; and on the south by Jamaica Bay. It is adjacent to the East Flatbush, Flatlands, Mill Basin, Bergen Beach, and East New York neighborhoods.
The area is part of Brooklyn Community Board 18.[3] It is patrolled by the NYPD's 69th Precinct.[4] Canarsie is also served by Engine 257, Ladder 170 of the FDNY, and Station 58 of the FDNY Bureau of EMS.
"Canarsie" is an adaptation to English phonology of a word in the Lenape language for "fenced land" or "fort". Europeans would often refer to the indigenous people living in an area by the local place-name, and so references may be found in contemporary documents to "Canarsee Indians".
As of the 2010 United States Census, approximately 84,000 people reside in Canarsie.[5]
The current neighborhood of Canarsie lies within the former town of Flatlands, one of the five original Dutch towns on Long Island. Canarsie was built on swamps near Jamaica Bay. It was a fishing village through the 1800s, until pollution contaminated the oysters[6][7][8][9] In the 1920s, Southern Italian immigrants along with Jews settled in the area, although the Jewish population in Canarsie in recent years has been steadily shrinking.[10] Ferry service at Canarsie Pier withered away after the building of the Marine Parkway–Gil Hodges Memorial Bridge.[11][12]
Murphy's Carousel was created in 1912 by the Stein and Goldstein Artistic Carousell Co. of Brooklyn and installed in Golden City Park in Canarsie, on the Brooklyn waterfront, where it operated for 20 years. The New York Times notes: "The horses were carved in Coney Island style, which eschewed the look of docile ponies and prancing fillies and produced much more muscular, ferocious creatures with bared teeth and heads often lifted in motion."[13] In the spring of 1940,[14] when the Belt Parkway was planned in the area, the carousel was moved to Baldwin, on the border abutting Freeport, on Long Island.[13][15]
"By way of Canarsie" was a mid-twentieth century American English figure of speech meaning "to come to one's destination by a roundabout way or from a distant point." It presumably arose when the Wilson Avenue Line was a principal route to Canarsie Landing. The expression has dropped from modern common parlance.[16]
Based on data from the 2010 United States Census, the population of Canarsie was 83,693, a decrease of 1,365 (1.6%) from the 85,058 counted in 2000. Covering an area of 1,959.94 acres (793.16 ha), the neighborhood had a population density of 42.7 inhabitants per acre (27,300/sq mi; 10,600/km2).[2]
The racial makeup of the neighborhood was 81.0% (67,816) African American, 5.9% (4,928) White, 0.2% (192) Native American, 2.6% (2,198) Asian, 0.0% (8) Pacific Islander, 0.4% (332) from other races, and 1.5% (1,278) from two or more races. Hispanic or Latino of any race were 8.3% (6,941) of the population.[17]
During the 1990s, much of Canarsie's white population left for Staten Island, Long Island, Queens, and New Jersey, part of a national phenomenon referred to as "white flight" from the inner city to the suburbs.[18] Today, Canarsie's population is mostly black due to significant West Indian immigration in the area. East Brooklyn Community High School now serves the transfer student population.[19]
At the southeast end of Canarsie is Canarsie Pier on Jamaica Bay, a fishing spot and recreation area. The pier is part of Gateway National Recreation Area, a unit of the National Park Service.[20]
At the western end are mostly commercial warehouses and buildings. Canarsie has many one- and two-family homes, although there are two large public housing developments; NYCHA's "Breukelen" houses, and "Bayview" houses, and a number of small apartment buildings scattered throughout the neighborhood.
The neighborhood has many parks, including a large one (over 100 acres (40 ha)) commonly referred to as Seaview Park, but officially named Canarsie Beach Park, which expanded to the southwest in 2007.
The BMT Canarsie Line, on which the L train of the New York City Subway runs, has its terminal in Canarsie. MTA bus routes B6, B17, B42, B60, B82, B103, BM2 also run through Canarsie.
The principal roadways through Canarsie are Rockaway Parkway and Flatlands Avenue.
Canarsie is home to three high-school campuses, Canarsie Educational Campus, South Shore Educational Campus, and the newer East Brooklyn Community High School, as well as several junior high schools and elementary schools. In late fall 2006, Mayor Bloomberg announced that five troubled high schools would close by 2010:[21] Two were Canarsie's South Shore and Canarsie High School. According to a New York City Department of Education spokesperson, the closings were attributed to "dismal graduation rates, consistent low test scores, a poor history of educating, low performing students, and lackluster demand."
Canarsie High School was phased out at the end of the 2010-2011 school year. There are now three small schools operating in the Canarsie Educational Campus: High School for Medical Professions (HSMP), Innovation in Advertising and Media (IAM), and Urban Action Academy (UAA). These schools had their first graduating classes at the end of the 2011-12 school year.
The Canarsie Courier, published every Thursday, is the oldest weekly publication in Brooklyn and is still in publication. It was founded by Walter S. Patrick on April 22, 1921. The Courier was then purchased by brothers Bob and Joe Samitz in 1959.[22] After the passing of Joe Samitz, Mary Samitz became co-publisher of the paper with her husband Bob and then became the sole publisher after he died. After his death in 1998, the Samitz family sold the paper to Donna Marra and Sandra Greco. Marra became the sole publisher in 2010. The newspaper's estimated circulation is fewer than 5,000, including paid, mailed subscriptions and subscribers to their website, as well as newsstand and over-the-counter sales. In addition to Canarsie, the Courier is distributed in various communities in southeast Brooklyn, such as Georgetown, East New York, Mill Basin, Bergen Beach, and Spring Creek, among others.[citation needed]
While the Courier focuses on local community news, it also offers readers a variety of features for the discriminating reader, plus local sports, culture news, guest columns, and opinion columns by in-house editors.[23]
Notable current and former residents of Canarsie include:
Canarsie expanded during the 1950's and became a quasi-suburban homeowner community. Since then, however, more and more of the newcomers have been escaping older Brooklyn areas as they turned into black slums
Further reading


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About the Program
Program Objectives
- To increase participants' knowledge of the American economic system and global economy through individual and group study.
- To help prepare participants for an active role in business through involvement with business leaders.
- To provide an exchange of ideas among youth scholars and local business and professional leaders.
- To acquaint youth scholars with career opportunities in business.
- To provide leadership training for youth scholars and junior leaders serving as officers and committee members in local, area, state and national programs.
- To provide citizenship training for youth scholars and teen leaders as they learn about the American way of doing business.
Local Programs
Local programs are the heart of the program. They begin at a time which suits the convenience of local people involved.
One of two approaches is used in the local program:
- the extended program, or
- the concentrated three-day impact program.
The extended program meets once a week for 6 to 8 weeks for 1 to 2 hours of discussion of selected topics, with the help of local business or professional persons as discussion leaders. Other group activities include key visits to selected businesses.
While more challenging to organize and conduct, the concentrated impact program approach seems to encourage larger numbers to become involved, stronger school support and a larger number of those beginning the program completing it satisfactorily.
State Conference - Kentucky Youth Seminar
Youth Scholars who excel in local programs are selected to attend the 3-day Kentucky Youth Seminar at the University of Kentucky. They continue their study and, as officers and directors, solve the corporate business problems of their corporations. Top Seminar Youth Scholars receive cash awards totaling $1,500 or more. In addition, 20 all expense-paid trips are awarded for the annual meeting of the American Institute of Cooperation held each year on the campus of one of the nation's leading universities
National Conference - National Institute on Cooperative Education (NICE)
A fun-filled and information-packed five-day event, NICE is the largest youth conference in the country that is dedicated to educating its attendees about the cooperative form of business. Students work in teams to gain knowledge on cooperative business principles, to develop valuable leadership skills, to get to know their peers from across the U.S. and to have a lot of fun.
In the student-run cooperative component of the conference, each team forms its own cooperative, electing a general manager and buying items at wholesale from the cooperative distribution warehouse to resell to its members or market to nonmembers (participants from other teams and/or leaders and chaperones).
Attendees also participate in a case study competition where each team summarizes two cooperative cases, stating the problems, developing alternatives to solve them, choosing a course of action and laying out an implementation plan for that action. In the business simulation activity, students act as if they are the management team for their co-op, competing for market share and net worth by making decisions about pricing, inventory, personnel, advertising and borrowing.
Each state also nominates one male and one female candidate to be selected Outstanding Youth Scholars based on written applications focusing on exhibited leadership skills and cooperative knowledge and interviews before a panel of judges.


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PSP-Download-Center.com is a new website that allows unlimited downloading of a massive catalog of PSP games for a monthly subscription. We were highly impressed by this website: the users' area is nicely organized with many different cool software for your PSP, which includes your peer-to-peer download manager, the software that will provide you with sharing entry to the 4 million other users who are connected, enabling you to download movies, games and music for your PSP. The quantity and quality of downloads available on PSP Download Center is on a par with many of our top ranked PSP download sites, as well as for a really affordable price too.
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- PSP Download Center is a P2P file sharing site
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Needless to say, you'll require a modified PSP and a memory card with some free space so that you can run the games, but with all the tutorials and walkthroughs online today that should not be a problem at all. I've modded my share of PSPs, if you have questions feel free to fill out the Contact Form on this site and ask!
Since this is a review site, I felt obligated to sign up at PSP-Download-Center.com and give it a spin. Otherwise, how could I possibly tell people what I think of it? The sign up was easy, and browsing all the available games was a snap. A quick download, USB transfer to my PSP and I'm playing my first game.
It really can't get any easier than this, and paying one monthly price to play any PSP game I want is much better than going to Best Buy and buying UMD after UMD, and having a memory card full of games is a LOT easier to carry around than multiple disks. Give it a try, you won't be disappointed. I know I wasn't.
Click Here to Check Out PSP Download Center For Yourself


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Wolters Kluwer Health may email you for journal alerts and information, but is committed
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your express consent. For more information, please refer to our Privacy Policy.
Saraiya, Mona MD, MPH.; Ahmed, Faruque MD, PhD; Krishnan, Sheila MD, MPH; Richards, Thomas B. MD; Unger, Elizabeth R. MD, PhD; Lawson, Herschel W. MD
From the 1Centers for Disease Control and Prevention, Division of Cancer Prevention and Control, Atlanta, Georgia; 2University of Michigan School of Medicine, Ann Arbor, Michigan, now with Beth Israel Deaconess Medical Center, Boston, Massachusetts; and 3Centers for Disease Control and Prevention, Division of Viral and Rickettsial Disease, Atlanta, Georgia
The findings and conclusions in this report are those of the authors and do not necessarily represent the views of the Centers for Disease Control and Prevention.
Corresponding author: Mona Saraiya MD, MPH, Division of Cancer Prevention and Control, 4770 Buford Highway, Atlanta, GA 30341; e-mail: firstname.lastname@example.com.
OBJECTIVE: To report the incidence of cervical cancer by geography, race or ethnicity, and histology.
METHODS: We examined combined data from the National Program of Cancer Registries and the Surveillance, Epidemiology, and End Results Program covering 87% of the U.S. population. We calculated the age-adjusted incidence of cervical cancer by age, race or ethnicity, histology, and stage by region or state.
RESULTS: Rates of invasive cancer per 100,000 females declined from 10.2 in 1998 to 8.5 in 2002. Incidence rates by state ranged from 6.6 to 12.3 per 100,000. Rates were especially high among Hispanic women aged 40 years or older (26.5 or more) and African-American women aged older than 50 years (23.5 or more). Rates of squamous cell carcinoma were significantly higher among African-American and Hispanic women than among their white counterparts. In contrast, rates of adenocarcinoma (18% of all cases) were significantly lower among African-American women than in white women (rate ratio 0.88, P<.05). Rates of adenocarcinoma were significantly higher among Hispanic women than among non-Hispanics (rate ratio 1.71, P<.05). Although no regional differences were noted for adenocarcinoma, rates of squamous cell carcinoma were higher in the South than in other regions.
CONCLUSION: Despite intense screening in the past decade, higher rates of cervical cancer persist among women in the South and women who are African American or Hispanic. This information could guide more focused interventions to increase access to screening with cervical cytology as well as vaccination against human papillomavirus.
Several studies have shown cervical cancer to have a heterogeneous distribution in the United States, with substantial differences in mortality rates and incidence by socioeconomic status, both overall and within specific racial or ethnic subgroups.1 Rural areas such as Appalachia, part of the South, the Texas–Mexico border, and the central valley of California, which have high concentrations of poor people, African Americans, or Hispanics, have been specifically identified as areas with high mortality from cervical cancer.2,3 In contrast, geographic incidence (as opposed to mortality) has not been well characterized, because for many years cancer registry data were not available for areas other than the 12 sites included in the National Cancer Institute's (NCI's) Surveillance, Epidemiology, and End Results Program (SEER), which represented less than 14% of the U.S. population.4
Clearly, our approach to preventing cervical cancer in the United States should include more focused attention on pockets of high risk. High efficacy regarding two vaccines against human papillomavirus (HPV) have been published; one has already been approved by the Food and Drug Administration and recommended by the Advisory Committee on Immunization Practices (a quadrivalent formulation against HPV 16, 18, 6, and 11), and another, a bivalent formulation against HPV 16 and 18, will be licensed soon. When available and administered to the eligible populations these vaccines can prevent about 70% of all cervical cancers, those caused by HPV 16 and HPV 18, in this country and worldwide.5 Accordingly, a comprehensive surveillance system is needed to monitor the burden and characteristics of existing cases and to ensure that the populations with a disproportional burden of disease are effectively reached with vaccination and screening. Using data from U.S. population-based cancer registries, we characterize the burden of invasive cervical cancer and examine geographic and histologic variation in its incidence by race or ethnicity.
This analysis included incidence data from population-based registries participating in the Centers for Disease Control and Prevention's (CDC's) National Program of Cancer Registries (NPCR) and the SEER program.6 The study was approved by the CDC's Institutional Review Board. National Program of Cancer Registries data were reported to CDC as of January 31, 2005, and SEER data were reported to NCI as of November 1, 2004. Both NPCR and SEER data are collected and reported using standard data items and uniform codes and procedures as documented by the North American Association of Central Cancer Registries.7 We included 39 states and the District of Columbia (DC), all of which continuously met the standards for high-quality data for the 5-year period 1998–2002. Combined, the NPCR and SEER data included 87% of the U.S. population for the period.
The primary site and histology of the cancers were coded using the International Classification of Diseases for Oncology, Third Edition (ICD-O-3).8 For comparability with earlier studies based on SEER data, we used the SEER site recode for defining cervical cancer,9 using site codes of cervix (C53). Squamous cell carcinoma was defined as ICD-03 histology codes 805–813; adenocarcinoma, ICD-03 814, 816, 818–822, 825–850, 852–855, 857, 894, and 9110; and adenosquamous carcinoma, ICD-03 856 and 8015. Other carcinomas were defined as ICD-03 801–802, 803–804, 815, 817, 823–824, 851, and 858–867.8,10 All other histology codes were identified as "cancer not otherwise specified (NOS)" or "non-carcinoma malignancy" and were combined in "other malignancies." We did not examine in situ cases, because the registries were not required to report these data after 1996. Cases were staged using the SEER summary stage system (1997 version for cases diagnosed in 1998–2000,11 2000 version for 2001–200212); the differences between versions are minor for cervical cancer. The categories are localized, regional, distant, and unstaged. Localized stage was defined as confined to the cervix; this classification corresponds to International Federation of Gynecology and Obstetrics (FIGO) stages IA1, IA2, IB, and not further specified. In "regional stage" the disease had spread beyond the cervix by direct extension to adjacent organs or tissues and/or to regional lymph nodes; this corresponds to FIGO stages IIA, IIB IIIA IIIB, and III(NOS). Distant stage was defined as disease with distant site(s)/lymph node(s), corresponding to FIGO stages IV, IVA, and IVB.13 Cases with insufficient data were categorized as unstaged.
The SEER*Stat 6.1.4 statistical software package (National Cancer Institute, http://www.seer.cancer.gov/publicdata/access.html) was used for all analyses. Rates were calculated by age (in years), race (white, African American, and Asian or Pacific Islander), ethnicity (Hispanic, non-Hispanic), and geography, as defined regionally by the U.S. Census (Northeast, South, West, or East) or by individual state. Coverage by region for this study was 98% for the Northeast and Midwest, 96% for the West, and 68% for the South. Hispanic ethnicity was tabulated independently of race. Because the work on improving the identification in the registries of American Indian and Alaska Native cases is still in progress, we have not presented data for this group. Their data are included in the overall summary analyses, however. All analyses involving histology were limited to histology-confirmed cancers (97% of all cases). Average annual incidence rates were computed as the sum of the cases reported during 1998–2002 divided by the sum of the annual population denominators, which were obtained from the 2000 U.S. Census.6 Incidence rates were directly age adjusted by 5-year age groups to the 2000 U.S. standard population and are expressed per 100,000 females of all ages; 95% confidence intervals (CIs) were obtained using the gamma method.14 Rate ratios (RRs) and their corresponding 95% CIs were also calculated.15 Statistical significance was assessed with a two-tailed P value of .05.
In all, 59,848 cases of invasive cervical cancer were identified during 1998–2002. Annual cases declined from 12,720 in 1998 to 11,071 in 2002; the incidence rate declined from 10.2 cases per 100,000 (95% CI 10.1–10.4) in 1998 to 8.5 per 100,000 (95% CI 8.4–8.7) in 2002 (data not shown). For the period as a whole, the average annual incidence rate was highest among Hispanics (14.8, 95% CI 14.5–15.1), followed by African-American women (13.5, 95% CI 13.2–13.7). Rates among Asian or Pacific Islander (8.9, 95% CI 8.5–9.3) and white women (8.9, 95% CI 8.8–9.0) were similar (Table 1).
Rates rose with age in all racial or ethnic subgroups except whites, and thus the highest differences by race or ethnicity were among older women. For example, the overall RR (of African-American women compared with white women) was 1.5, but among women aged 65 and older, this ratio was 2.5 (Table 2). Among Asian or Pacific Islander, overall rates were lower or the same as those for white women, but at age 50 years and older Asian or Pacific Islander had significantly higher rates than whites. Hispanic women had an overall rate 66% greater than that for non-Hispanics (RR 1.66; 95% CI, 1.62–1.70, P<.05).
The histologic classification of cases was 70% squamous cell carcinoma (n=41,628), 18% adenocarcinoma (n=10,849), 4% adenosquamous carcinoma, 5% other carcinomas, and 1.5% other malignancies (data not shown). Rates for each histologic subtype by race or ethnicity are provided (Table 3). Over the study period, squamous cell carcinoma rates were significantly higher among African-American (RR 1.67, P<.05) and Hispanic women (RR 1.75, P<.05) than among their white or non-Hispanic counterparts. In contrast, adenocarcinoma rates were significantly lower among African-American women (RR 0.88 using white women as the referent, P<.05). Both adenocarcinoma rates (RR 1.39, P<.05) and adenosquamous carcinoma rates (RR 1.71, P<.05) were significantly higher among Hispanic women than among non-Hispanics (Table 4).
Over one half of the cases were staged as local; 30%, regional; 9%, distant; and 9%, unstaged. Across all stages, African-American women had rates 1.2 to 2 times those of white women (Tables 3 and 4). Similarly, by stage Hispanic women had an RR of 1.5 to 1.9 when the comparison was with non-Hispanic women. Minimal differences were seen between white and Asian or Pacific Islander women.
The 40 participating jurisdictions (39 states and DC) are shown in Figure 1 ranked by their incidence rates; these ranged from 6.6 to 12.3 per 100,000 females. The highest rates were in DC, followed by Kentucky, West Virginia, Florida, and Louisiana. The South had the highest rate (10.6, 95% CI 10.5–10.8) of any region. Rates among white women were significantly higher in the South than elsewhere (Tables 5–6). Rates among African-American women were lowest in the West (9.3, 95% CI 8.6–10.1).
Histologic differences by geography were noted. Squamous cell carcinoma rates were highest in the South (7.6, 95% CI 7.5–7.7); in other regions the rate was 6.1–6.3 per 100,000 (Table 7). The squamous cell carcinoma rates were highest among African-American and Hispanic women; in the West, squamous cell carcinoma rates were much higher among Hispanics than African Americans (Fig. 2). Adenocarcinoma and adenosquamous carcinoma rates differed very little by region (Table 7), but differences were seen by race or ethnicity, because adenocarcinoma rates were highest among Hispanics in all regions (Fig. 2).
Higher rates of cancer for all stages were noted in the South than elsewhere (Table 8). The burden of unstaged cancers was highest in the South and lowest in the West. The rates of distant and unstaged cases exhibited some variation by region and race. In the Northeast, the rate of distant cancer was clearly higher for African-American women than for other groups, and in all four regions, African-American women and Hispanic women had higher rates of distant stage (Fig. 2). Rates of unstaged cancers were similar across race or ethnicity in the West; in the Midwest, rates of these cancers were highest among African-American women and then Hispanics. In the Northeast, high, similar rates of unstaged cancer were found among African Americans and Hispanics; and in the South, rates of unstaged cancer were highest among Hispanics, followed by African-American women (Fig. 2).
Our study reports on rates of cervical cancer in the United States using combined data from NPCR and SEER. Previous analyses were restricted to SEER sites and thus had limited coverage, but our analysis covered 39 states and Washington, DC, allowing us to examine geographic patterns for most of the U.S. population. We also obtained greater coverage of Hispanic and African-American women as well as women from rural areas. This report of 59,848 incident cases of invasive cervical cancer is large and geographically comprehensive, including data from registries representing seven-eighths of the U.S. population.
We confirmed that in the United States there is a 50% higher incidence of cervical cancer among African-American (compared with white) and 66% higher incidence among Hispanic women (compared with non-Hispanic).16,17 These groups and Asian or Pacific Islander women were sufficiently well represented in our data sources to develop robust estimates. We also demonstrated geographic differences by histologic type and by stage. Differences in incidence patterns in the United States have often been attributed to differences in the rates of Pap testing and patterns of diagnosis and treatment of preinvasive disease,2 but recent studies report similar rates of Pap tests for African-American and white women,18 while showing lower rates of Pap testing among Hispanic women.19 The difference in incidence among these groups seen in our data may be due also, in substantial measure, to differences, by race, in the follow-up of abnormal Pap tests,
In the present study, Asian or Pacific Islander women, as a whole, had rates of cervical cancer similar to those of white women. This may be seen as surprising, because many studies have shown lower screening rates and higher mortality rates for immigrant women, many of whom are Asian or Hispanic.20 Because most registries do not collect information about specific Asian subpopulations, we were unable to verify earlier reports that certain groups (Vietnamese, Korean, and Hmong women) have higher incidence rates of cervical cancer.21,22
We found that incidence rates increased with age among all racial or ethnic groups except white women. The rate ratio (RR) comparing African-American with white women started to increase in the 40–49 age group, whereas the RR comparing Hispanics with non-Hispanics began to increase a decade earlier and then continued to rise. A younger age at diagnosing cervical cancer among Hispanic women, which is consistent with our findings, has been reported previously.23,24 The differences in age-specific prevalence of HPV infection in white, African-American, Hispanic, and non-Hispanic women, if combined with lower screening rates and poorer rates of follow-up among nonwhites, may account for the higher age-specific incidence rates found among nonwhite women. Although it is reported that the prevalence of HPV infection declines sharply with age in most areas of the world, reports from Latin America indicate that age-specific rates for the infection rise again for women in their mid 40s to 50s.25 Our findings confirm the need to continue screening older women as recommended by guidelines and to find better strategies for access to screening of women of color.
Our analysis shows that squamous cell carcinoma rates are two-thirds higher among African-American women than in whites. Adenocarcinoma and adenosquamous carcinomas represented over one fifth of all invasive cervical cancers in our analysis, and there is concern about an increase in adenocarcinoma in younger white women.26 Our finding of higher rates of adenocarcinoma for white than for African-American women is consistent with a trend analysis of SEER data from 1976 to 2000.16 The reproducibility of histologic classification of these cervical cancers has not been measured, however, and variations in the use of histologic criteria may have affected the observed case distribution.27 The risk of adenocarcinoma may be increased by a variety of hormonal-based risk factors, such as obesity, parity, and use of oral contraceptives,28 and these may vary by race or ethnicity.29 In our analysis of adenocarcinoma, we found a higher RR in Hispanic women (compared with non-Hispanics) and lower RR among African Americans (compared with whites). A recent SEER analysis of 1992–1996 data showed a higher proportion of adenosquamous carcinoma but not adenocarcinoma among Hispanic women (compared with non-Hispanic groups).24 Two recent studies of invasive cervical cancers worldwide showed that although HPV 16 is the most common type detected in squamous cell carcinoma, HPV 18 (followed by HPV 16) is the most common HPV type detected in adenocarcinoma.5,28 We have no evidence, however, indicating that the prevalence of these types is higher among Hispanic women than among non-Hispanic women. Indeed, we have no clear explanations for the finding of a higher apparent risk of adenocarcinoma among Hispanic women and suggest that this issue be studied in more detail. Regardless of the finding, the effect that the HPV vaccine would have on adenocarcinomas is significant, given that the lesions may arise in the endocervix and are less likely to be detected by screening with a Pap test.
We found that the South had higher rates of cervical cancer than other regions, but some states in the Northeast and Midwest also had high rates. The geographical disparities are mostly due to the higher rates of squamous cell carcinoma in the South; there was very little regional variation in adenocarcinoma or adenosquamous cancer. Several factors, such as type-specific HPV prevalence and smoking prevalence, could explain the observed geographic differences; however, we have limited regional U.S. data on the subject of type-specific HPV distribution in the United States. Although minor differences have been reported in screening practices using data from the Behavioral Risk Factor Surveillance System, Yabroff et al2 did not find any conclusive differences in geographic patterns in the follow-up of abnormal screening tests. The lower incidence rates seen for unstaged cancers in the West (compared with other regions) may be due to differences in reporting or differences in the characteristics of patients or tumors or possibly an increased rate of referral in the West to an out-of-state tertiary care center, resulting in incomplete data.
Several limitations exist in this geographical analysis. First, the proportion of the covered population for the Southern region was only about 70%. Still, it must be noted that this analysis was based on the states that had 5 continuous years of high-quality data, and registries from the South that met this standard for just 1 or 2 years had to be excluded. We suspect that the difference between the South and other regions would be even higher had every Southern state been included. Finally, because we used population-based registries, we did not have patient data on country of birth, tobacco use, oral contraceptive use, hysterectomy, HPV status, or socioeconomic status. Recent studies and our own subanalysis of 1998–2001 data showed that women at higher risk of cervical cancer (both in the overall population and among specific racial or ethnic groups) are more likely to reside in areas with high poverty and low educational levels (Saraiya M, Ahmed F, King J, Krishnan S. Disparities in cervical cancer incidence and mortality, National Program of Cancer Registries, 1998–2001. International Papillomavirus Conference, Vancouver, Canada, April 30, 2005.)1
In conclusion, rates of cervical cancer in the United States have decreased over time, although significant racial, ethnic, and geographic differences continue to be seen. The current surveillance system used by cancer registries will provide a consistent means of measuring trends in the incidence of invasive cervical cancer after the introduction of a prophylactic HPV vaccine in mid 2006, although the effect on invasive cervical cancer might not be seen for 20 years. In the future, having information on vaccine status in the future or linking with an immunization registry will allow a more measured effect of vaccination on cancer outcomes. More specifically, a comprehensive surveillance system is needed to monitor characteristics of cases (who, where, and what type) and to ensure that we focus on populations in need of vaccination services, cervical cytology, or both.
Introduction of the new HPV vaccine gives gynecologists an additional tool to reduce cervical cancer morbidity and mortality. The populations not reached by current screening methods are at greatest risk of being missed by vaccine initiatives. Cervical cancer screening at the recommended intervals will need to continue for both vaccinated and nonvaccinated females. Gynecologists can play an important role in advocating for cervical cancer screening of older women and women of color. They can also advocate for and provide cervical cancer screening and vaccination to underserved women and ensure that there are no missed opportunities for screening women who might already be receiving care for other reasons.30 Before and during the implementation of HPV vaccine, we must document where differences exist by age, race or ethnicity, histology, geographic region and other characteristics so that we can monitor the success of both interventions—two approaches that will ultimately reduce both morbidity and mortality from cervical cancer.
Figure. No caption available.
© 2007 by The American College of Obstetricians and Gynecologists. Published by Wolters Kluwer Health, Inc. All rights reserved.
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Religious Freedoms are worse in China and Afghanistan
US: Religious persecution up in Afghanistan, China
< Sec. of State Drops In On Afghanistan
Mar 28, 2013 06:46
Category: General News
Category: General News
New President Of The U of I
MOSCOW, Idaho (AP) — The Idaho State Board of Education has named Donald Burnett as interim president of the University of Idaho. Burnett is the dean of the College of Law at the Moscow-based university. The board voted unanimously yesterday to place Burnett in charge while it searches for a permanent replacement for Duane Nellis, who is leaving to become president of Texas Tech University.


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As TSB issues its prospectus today, potential investors will get their first proper sight of this curious bank. It was designed by bureaucrats (the European Commission and the Office of Fair Trading). It was shaped to suit a buyer who never turned up (Co-op Bank). It was then hastily redesigned as a standalone business. TSB is anything but normal.
Heavy on capital and light on profit, it has already warned that it won't pay dividends for three years as it seeks to grow its tiny balance sheet into something that can justify its beefy equity base and sprawling branch network.


text:
Originally Posted by -Logic-
Holy shit!
*Milks it for infinite milk*
Thats not milk
Originally Posted by Kerrah
Obviously you don't know much about my goat.
*It regenerates*
*Uses dark release to absorb its raw chakra, not allowing it to regenerate*
Originally Posted by ReXii
Thats not milk
What is it? >.>
Originally Posted by Yagura.
*Uses dark release to absorb its raw chakra, not allowing it to regenerate*
Who said it regenerated using chakra?
Originally Posted by Kerrah
Who said it regenerated using chakra?
Damn goats O^O I have Roosters, do they beat goats ? ):
Gaara is not going to be happy when he see's this training thread. =/
Are they done spamming? >_><_<
Originally Posted by Gaara
Are they done spamming? >_><_<
I would hope so! If there's anymore; I'll have to kill them.
Nice Ava Gaara D
well I'd like to start with fire since I haven't had any training in it. ^^
So much spam ._.
Which element first?
le lightning >_>
I'd like to learn fire bro. ^^
and holy shit... way to glitch up on me NB. :flaw:
Last edited by -Logic-; 10-07-2012 at 05:37 PM.
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Coors Events Center. ... Copyright University of Colorado Athletics. All rights reserved. Site Map | CU FAQ | Customer Care | Feedback | Terms of Use & Privacy.
Coors Visitor Centre
The National Brewery Centre (formerly the Bass Museum and later the Coors Visitor Center) is a museum and tourist attraction in Burton upon Trent, Staffordshire, England. The centre celebrates the brewing heritage of Burton and features exhibits showcasing the history of brewing techniques. The centre also houses a bar and cafe, a history of the town, a collection of historic vehicles, a micro brewery and a shire horse collection.
This is an excerpt from the article Coors Visitor Centre from the Wikipedia free encyclopedia. A list of authors is available at Wikipedia.
This is an excerpt from the article Coors Visitor Centre from the Wikipedia free encyclopedia. A list of authors is available at Wikipedia.
The article Coors Visitor Centre at en.wikipedia.org was accessed 38 times in the last 30 days. (as of: 05/26/2014)
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The National Brewery Centre (formerly the Bass Museum and later the Coors Visitor Center) is a museum and tourist attraction in Burton upon Trent, ...
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National Brewery Centre (Prev Coors Visitor Centre and The Bass Museum) in Burton-on-Trent, Reviews and opinions of the beer establishment National ...
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1 Review of Coors Visitor Centre "Went here about 5 years ago now, but i dont think it has changed much in that time. They have some very nice shire horses ...
BTLG.com Burton on Trent Leisure Guide - Coors Visitors Centre ...
Previously known as the Bass Museum, the new Coors Visitor Centre incorporates the UK's premier museum about brewing aptly named "The Museum of ...
Coors Visitor Centre & Museum Of Brewing - Burton upon Trent ...
Coors Visitor Centre & Museum Of Brewing, Burton upon Trent, Staffordshire. 14 likes · 1 talking about this · 222 were here. Local Business.
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Molson Coors is a beer company and distributor that brews the world's favorite beer brands. We've been delighting the world's drinkers for centuries.
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Coors Field is a baseball venue located in Denver, Colorado. It is the home field of Major League Baseball's Colorado Rockies. It is named for the Coors Brewing ...
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The CENTRE for Speed has the fastest, closest, toughest, action packed motor sports in the region. We offer affordable family fun in a clean and bright atmosphere in ...
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Visit CU: Visitor center with campus tours, web cam, university attractions. Prospective Student Center: CU's admissions and application center. Accessibility: ...
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It was formerly called the Colorado University Events Center and was renamed in ... the Coors Brewing Company, for which Coors paid $5 million to the university. ... Buildings and structures in Boulder, Colorado · Visitor attractions in Boulder, ...
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The University Memorial Center opened its doors in October 1953 with ... as Ramsey Lewis and the Grateful Dead have performed in the Glenn Miller Ballroom. .... directors, and designers, as well as the work of professional guest artists.
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The National Brewery Centre (previously Coors Visitor Centre & the Museum of ... to study on franchised higher education courses but is not, in itself a university.
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Join the Coors Fitness Center to workout with top certified personal trainers, take fitness classes and swim in our Olympic-sized pool.
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Marketing and Public Relations for Museums, Galleries, ...
It was renamed the 'Coors Visitor Centre' in 2002, and subsequently closed in 2008. At its peak, the Bass Museum was generating over 100,000 visits per annum. Planning Solutions recognised that there was a demand for a major heritage ...
Traction Engine Album
Photography has dominated Malcolm Ranieris life for 40 years, especially traction engines for the past 15. He gained a Fellowship of the Royal Photographic Society in 1998. Since retiring he has taken up photojournalism, writing articles and taking pictures for Old Glory and Steam Railway magazines. This is his first book on one of his specialist s...
Beers and Breweries of Britain
Britain's premier brewing museum was started by Bass in Burton upon Trent in 1977 and is now called the Coors Visitor Centre (telephone: 0845 600 0598; website: www.coorsvisitorcentre.com). It has displays in the old three-storey Joiners' ...
Britain's Best Museums and Galleries: From the Greatest Collections to the Smallest Curiosities
Mark Fisher's publications include A New London, with Richard Rogers, and he has written regularly for Country Life. He is a Member of Parliament and former Minister for the Arts.
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Two more were built for the company in 1923, including bottle car registration XU 177, now resident at the Coors Visitor Centre & Museum of Brewing. (Coors Visitor Centre & The Museum of Brewing, Burton upon Trent) Bass, Ratcliff, and ...
The End to End Trail: A Long Distance Trail from Lands End to John O'Groats
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The End to End Trail
... Your Way Accommodation The best sources of accommodation information are the following tourist information centres. ... www.bridgnorthshropshire.com Market Sreet, Stafford, tel 01785 619619 www.staffordbc.gov.uk Coors Visitor Centre, ...
Beer Hunter, Whisky Chaser: New Writing on Beer and Whisky in Honour of Michael Jackson
Carolyn Smagalski is the award-winning editor of Beer and Brewing at BellaOnline, the Voice of Women on the Internet. As the Beer Fox, she has penned over 500 articles and newsletters focused on the craft and on gluten-free beer communities. She contributes to various drinks publications and websites, including Hop Talk, Celebrator, Duvel Moortgat,...
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"Adventures on the High Teas is magnificent: sprawling in its research, illuminating, quirky, saddening, fun, often angry and always intensely readable." Observer "Stuart Maconie discovers whether Middle England is a place or a feeling... all described with his usual charm and wit." Lonely Planet 20090301 "Maconie's gi...
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Coors Visitor Centre
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Coors Visitor Centre
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The famous Burton water makes the famous Burton beers
Malthouse bar & venue provides an unparalleled selection of world class beers.www.themalthouse.co.nz/blog/376-the-famous-burton-water-makes-the-famous-burton-beers
National Brewery Heritage Trust Factfile | Burton News & Staffordshire Newspaper | Burton On Trent Local Newspaper Headlines | Daily Mail www.burtonmail.co.uk/News/National-Brewery-Heritage-Trust-Factfile-20131015163603.htm
soul news: Coors Visitor Centre / Bass Museum 2007 dates indiesoulnews.blogspot.com/2007/04/coors-visitor-centre-bass-museum-2007.html
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Coors Brewery Tour @ Golden, Coloradowww.flickr.com/photos/daveynin/9585093343/
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Beer Blog with Roger Protz: Denver brewing centre www.beer-pages.com/2008/03/denver-brewing-centre.html
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29. Copa Chile 1993
36. Copa MERCOSUR


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Some folks follow the strategy of selecting stocks that outperform other stocks in the same industry. The idea here is to select the winners in a particular sector for a given time period.
The following are four such stocks that have outperformed the industry by over 50% year-to-date:
1.Telefonos de Mexico, S.A.B. de C.V. (NYSE:TMX) is a telecom service provider in Mexico and has 17.8 million local fixed lines. TMX pays a dividend of 3.37% and its total revenue is $10.2B. EPS has grown at an average annual rate of 16% over the past 5 years.
2.Taiwan-based Chunghwa Telecom Ltd. (NYSE:CHT) provides integrated communication services. The current yield is 1.07% and the P/E is 13.56. Earnings and revenue have almost been flat in the past 5 years.
3.Sociedad Quimica y Minera de Chile (NYSE:SQM) is a fertilizer manufacturer in Chile. Its annual dividend growth rate is 45% and the dividend yield is now 2.83%. After reaching nearly $60 in the past 52 weeks, SQM has fallen to $19.85 as of Monday following the crash of the agricultural stocks.
4. The famous Japanese company Panasonic Corp. (PC) makes an array of electronic and electrical products. While Sony (NYSE:SNE) is off 47% in the last 52 weeks, Panasonic is down just 15%. PC has a dividend yield of 2.49%. On Oct. 1, the company changed its name from Matsushita Electric to Panasonic Corporation.


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Revision history of "User:TylerG"
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- 01:50, 20 June 2014 Conservative (Talk | contribs) deleted page User:TylerG (content was: " == I will be gleefully voting for Jebb Bush or Sarah Palin in 2012 == Hello! I'm Tyler, a young republican who lives on the west coast of the greatest nation ever..." (and the only contributor was "TylerG"))


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- Game Details
- News
- Review
- Previews
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- Cheats & Walkthroughs (4)
Sled Storm Cheats
Unlock Black Diamond track
Beat the championship mode using any character to unlock "Black Diamond track".
Unlock Rival challenge mode
Finish game in championship mode using any character to unlock the rival challenge mode.
Get easy points for secret characters
Find a large ramp to do tricks off. Do a trick, then turn around and do it again. You can take as long as needed to build the points. Then, After finishing the race you will unlock a secret character. Remember: This can be done on any track that you still need points for a secret character.
Losing sleds in Rival challenge mode
Remember: Don't challenge a rival on a track that you are sure that you can't win. When you challenge a rival and unfortunately lose to him/her, the sled you competed with will be lost and you will have to unlock it in championship mode again.


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Browse Ideas: in City-wide ideas - Showing page 5 of 10 pages
Develop more partnerships between both public and private schools and corporations, government agenices and the cultural arts. 1
3:27pm Aug 09, 2011
Where? All downtown schools.
By Shari Biediger
Develop more collaborative workspaces like C4 Workspace. (Austin now has 10 coworking spaces developed over the last 2 years; San Antonio is still at 1.) 3
11:28am Aug 04, 2011
Where? C4 Workspace 1001 S. Alamo 78204
By Todd O'Neill
Community Urban Farming Center: 1
11:15am Aug 04, 2011
Where? Downtown
By Axioma
Needs a supermarket with plenty of organic, healthy choices (such as a Central Market, HEB Market, Whole Foods, etc.) 1
5:25pm Aug 01, 2011
Where? All of Downtown San Antonio
By Heather Gayle Holdridge
allow all kinds of food to be sold in carts downtown 1
7:11pm Jul 28, 2011
Where? lunch spots downtown
By Marc Toppel
is to increase accessibility and functionality as a living place - not just a destination place. We need easy and multi-modal public transportation and access to everyday, quality goods and services. 1
6:36pm Jul 28, 2011
Where? All of Downtown San Antonio
A grocery store. 0
10:31am Jul 26, 2011
Where? Downtown, South-Town, and King William
By Sam McGlone
Downtown SA needs a affordable quality used bookstore 4
1:56pm Jul 21, 2011
Where? A "Dollar Bookstore" Anywhere Downtown San Antonio
By Rick Melendrez
Every crossing in the downtown area should be diagonal crossing for the pedestrians... 2
5:25pm Jul 19, 2011
Where? All of downtown
By michelle san miguel
Is to build a mass transite system above ground such as a monerail system 0
10:42pm Jul 15, 2011
Where? All of Downtown San Antonio
By ROSS HALVORSON
Allow personal watercraft on the river 1
7:23pm Jul 14, 2011
Where? SanAntonio river
Install an "iHeart San Antonio" kioske, an information booth. 0
9:17pm Jul 13, 2011
Where? The area in front of City Hall or Milam Park
By Ernest Hernandez
Make Rivercenter Mall part of the Convention Center or a new hotel and move all the stores into Houston Street and around the Riverwalk 1
4:55pm Jul 08, 2011
Where? downtown san antonio
By Rick Cuellar
A. Trader Joe's grocery store is sooooo needed! 1
2:55pm Jul 08, 2011
Where? Southtown
Street car system with turn-arounds at Y where Austin Hwy and Broadway intersect and Probandt intersection with S. Alamo. Both these intersections have room for a turn-around without land costs. 3
4:34pm Jul 07, 2011
Where? Alamo Heights, down Broadway to Probandt in King William
By David Fischer
Locals should be given larger discounts to attractions, public transportation, river taxi, parking, parking, parking 0
5:55pm Jul 06, 2011
Where? Downtown and River Walk
By Lucy Perez
Convert Courts to dormitories for downton UTSA studends and place SAHA residents in single family homes throughout city so that poverty is not concentrated in one place 1
2:30pm Jul 06, 2011
Where? Alazan Apache Courts
By Rick Garcia
give more incentives to developers to build a high number of residential units in well designed buildings; buildings that make walking interesting. 0
12:17pm Jul 06, 2011
Where? All of DT
By Nehemiah Torres
encourage locals to visit downtown by offering discount bus passes or trolley passes that live in the area neighborhoods 0
10:53am Jul 06, 2011
Where? residents of downtown area
By angela delagarza
well lit dog park/skate park- hemisphere park or any park southeast of dwntwn 0
10:48am Jul 06, 2011


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No one could have predicted the Final Four that begins play this weekend with 11 seed Virginia Commonwealth matched up with 8th seed Butler. Well, that's not exactly true. Of the 5.9 million bracket entries collected by ESPN, two people did actually pick these four teams. Odds are, those brackets were filled out after tossing some darts or by an old lady in North Dakota who was bored with her daily crossword puzzle.
The commonwealth's big triple?
The only way last weekend could have been My-Old-Kentucky-Home-better would be if Happy Chandler were here to sing our song, and my Corbin friend Malcolm Pace had a microphone to say, "Boys, it don't get no better than this."
Pikeville College is king of NAIA. Bears are national champions.
Bellarmine is king of NCAA Division II. Knights are national champions.
And, East Region champion Kentucky is headed to the Final Four.
The Spencer County Elementary School dance team recently earned two national championships at Jamfest Nationals.
Vendors participating in the Spencer County Farmers Market are gearing up for another season of home-grown food and fun as the market is slated to open April 23.
On March 10, 38 members of the Spencer County FFA Chapter participated in the Northern Regional FFA Day finals, which consists of speaking, parliamentary procedure, talent and record keeping contests. Seventeen chapters competed. The top two individuals in each speaking contest advance to the state finals in June.
Jeanie Williams, County Executive Director of the USDA Farm Service Agency wants to make crop producers aware of Kentucky's approved double-cropping practices.
Approved double-cropping practices are used in determining the crop's eligibility for FSA program purposes.
Initial planted crops followed by a crop not approved as a practice for double-cropping are defined as a subsequent crop planting. Subsequent crops are not considered eligible crops for some FSA programs unless they meet an exception ruling.
Experts report that eastern tent caterpillar eggs have begun hatching in Central Kentucky, just as leaf buds are swelling on wild cherry trees. While it is too early to tell what 2011 levels will be, populations have been gradually increasing over the past several years.
According to Lee Townsend, University of Kentucky College of Agriculture entomologist, the newly hatched eggs, which were laid last June, are easy to identify by the small holes tiny larva chew as they exit. In about two weeks, the tents should be about the size of a baseball and easy to spot in trees.
True to most springs in Kentuckiana one day is sunny and warm, the next cloudy and cold. It's an anxious time of the year for most gardeners as we watch the sun coax open a little patch of crocus or we catch sight of an old landscape filled with waves of blooming white snow drops. Must we wait for the forsythia to bloom as we pray for warmth? No, there are plenty of other early bloomers to keep us happily occupied until spring truly arrives.
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