View allAll Photos Tagged gargle."
dreamscape.
Its just paint.
Warning: If swallowed, get prompt medical attention, for further health information contact a poison control center.
Usually don't go with these straight on shots, its doesn't work well with my face, although I wasn't about to have someone else gargle acrylic paint.
Thanks Haavard for suggesting I add more space on the right! Your input was very much appreciated.
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
The track and music video were released on August 7, introducing Ladies Code fans to an upbeat and funky song with comical choreography. The five ladies code members each tried to steal a kiss of a gentleman in deep slumber, only to fail each time, despite being prepared for it by gargling and...
360kpop.info/videos-kpop-korean/ladies-code-members-fight...
Well here are two of the snoring cures that my wife would recommend, The nasal strips really help and make breathing a lot easier, but the real winner in her opinion is gargling with warm salt water - it apparently helps break up the mucus. I don´t really know what works, all i know is that i´ve got less busies on my legs from being woken in the night being told to stop snoring.
I´d better go and get gargling, back to work tomorrow after the long weekend.
Desperate for answers last night at 3 am with a sore throat, I discovered that cayenne is the #1 remedy for a sore throat. Of course we didn't have any and I left a note for my mom to get some in the morning. She did. Well, sort of. She got a big ass bottle of ground red pepper because it was cheaper than the smaller bottle of cayenne. Ugh. Well, either way it worked. I gargled with warm water and a few shakes of the ground red pepper then went back to bed. When I woke up, the scratchiness that had plagued me since the day before was gone. Weird!
I had some chicken and rice soup, sprinkled with red ground pepper.
When I got McDonald's later on after working on my house (I'm at the point where it's SO CLOSE but SO FAR) I came home to sprinkle the ground red pepper on my burger, in the sweet & sour sauce, and even in my lemonade. It was good. Strangely good. It really has no flavor, just heat and it's interesting to pair it with different things. I'm itching to make a batch of chocolate chip cookies with pepper added. I know it can be good, but I was never brave enough to try it.
And so now I gargled again, this time adding lemon juice to the hot water and you can see the ground red pepper floating. It smelled like floor cleaner, but it didn't taste very bad.
I'm also taking echinacea.
I despise GP's, so no way I would go to a doctor for a simple sore throat. Plus I'm not sure what my insurance would cover. I don't even have an insurance card.
Folkloric
- Decoction of leaves of all ages used for diabetes mellitus. Some physicians believe the dried fruit decoction to be better.
- Roots have been used for a variety of stomach ailments. Leaf decoction for diabetes; also use as a diuretic and purgative.
- Decoction of old leaves and dried fruit (dried from one to two weeks), 50 gms to a pint of boiling water, 4 to 6 cups daily has been used for diabetes. Old leaves and ripe fruit are preferred, believed to have greater glucose lowering effect. Young leaves and flowers have a similar effect, though only 70% that of matures leaves and fruits. The wood has no known glucose lowering effect; the bark, a very small amount. A decoction of 20 gms of old leaves or dried fruit in 100 cc of water was found to have the equivalent effect to that of 6 to 7.7 units of insulin.
- In Pahang decoction of bark has been used for the treatment of diarrhea.
- Infusion of bark used for diarrhea.
- The bark, flowers and leaves used to facilitate bowel movements.
- Decoction of fruits or roots gargled for aphthous stomatitis.
- Decoction of leaves and flowers used for fevers and as diuretic.
- Leaf decoction or infusion used for bladder and kidney inflammation, dysuria, and other urinary dysfunctions.
- Seeds considered to have narcotic properties; also employed against aphthae.
source: stuart xchange
The phono-fiddle is much louder than a conventional violin, but its timbre is thinner, with eerie phonographic overtones. Vibrations from the strings are conducted to the center of an aluminum disc that acts as a diaphragm (like a very old-fashioned amp), propelling the sound back out through the large horn and smaller ear trumpet.
Sometimes, the Stroh sounds like a human voice playing through a hand-cranked Victrola. Other times it sounds like a tenor saxophone gargling a cat...
John Matthias Augustus Stroh invented it in 1899 because regular violins were too quiet to register on the wax cylinder recorders of that era. Before the advent of electric amplification, recording devices relied on sound vibrations being funneled through a large metal cone that moved a sharp cutting device, which in turn gouged grooves into a rotating tube of hardened wax. When played back with a stylus, these grooves in the wax were interpreted into sound.
Anything one records in this fashion --even modern techno-- will sound as if it has had to sluice its way through a sea of decades. When music finally reaches the listener, awash with hisses, pops and clicks, it has become the ghost of a song. Never fails to raise all the tiny little hairs on the backs of my arms.
As early as 1910, Thomas Edison's company was the only major company still using wax cylinders. Disk record technology had advanced in leaps and bounds and was far less expensive. Thus, the wax cylinder recorder and the Stroh fell to the wayside, lost on that shiny, steampunk junkpile reserved for all esoteric sciences.
Lark In The Morning is an incredible music store in San Francisco that specializes in oddball antiquities and so-called "extinct" instruments. They also stock all kinds of wonderfully hippie dippy stuff like the cumbus and the "dulcigurdy". My Stroh beau was hanging from a grimy hook in the corner of the shop where he'd obviously been gathering dust for a while. I promptly tucked him under my chin and christened him "Augustus."
Our apartment in Ibiza overlooked the sea - wish I were there now rather than salt water gargling and eating petits filou...
To prepare herbal compresses, boil water in a pot, which hangs over a sieve insert fresh or dried herbs and cover.
After some time plants take hot soaking, put in a canvas fabric rare and apply on suffering.
Everything is then covered with a cloth, wool and rags tied more closely with.
It is not allowed to show any feeling of cold.
Herbal compresses - natural treatments
Chamomile compress:
Pour 1 liter of milk boiling over 2 tablespoons of chamomile, let stand 2-3 minutes, strain and applied as a warm compress.
Warm compress is recommended in eye pain, conjunctivitis and other eye inflammation, skin rashes or itchy suppurations, and as a gargle for toothache and washing wounds.
Compress lady's mantle:
Warm compress is recommended in eye pain, conjunctivitis and other eye inflammation, skin rashes or itchy suppurations, and as a gargle for toothache and washing wounds.
Burdock compress:
Fresh leaves are washed, crushed and applied as poultice several times a day until the cause disappears.
Compression is recommended for sprains, walked feet hurt too much, burns, ulcers, wounds bitter.
Compress with narrow plantain:
Fresh leaves are washed, crushed to a paste is formed (porridge), applied to the affected area.
It is recommended wounds, foot cracks, cuts, insect bites, rabid dog bites, poisonous animals.
Leaves in hand rubbed with salt and applied to the neck, goiter cure and heal blisters or chafing feet from shoes.
This compression is recommended in the case of cancerous diseases of the glands. ... read more ...
Health is always much sought after; and many of our pioneers lived to a ripe old age in spite of many hardships, exposures, contaminated water, tainted milk and facilities which then were outdoors but are now inside. Some things which we consider as hardships perhaps hardened them. Barrington was proud of its long-lived sturdy old folks. There were many in the octogenarian group, and quite a number in the nonegenarian. But life was more simple, less hurried and complex. Their faith taught them altruism, and they took time to live. But all too many succumbed to poor hygiene, or were the victims of fettish cures, and when an epidemic invaded the community, it took a fearful toll. Outdoor toilets and polluted shallow wells were the rule, and typhoid fever raged. Yet all that was the price of our health and extended longevity today. Our older cemeteries show a terrible loss of many mothers and children, sometimes two in one grave. Epidemics, before we had better hygiene and more careful sanitation were fearful. Typhoid, smallpox, diphtheria, scarlet fever and cholera were terrifying. One of our citizens took his four children, victims of "black" smallpox, at night in a cart and buried them alone. The flu epidemic which broke out in September of 1918 was severe and took a number of lives or led to tuberculosis. Enough nurses and doctors could not be gotten to care for all in their own homes. The John Robertson home on West Main (now the Rest Home) was empty and was turned into an improvised hospital where a very few could take care of many. John C. Cadwallader who was Secretary of the Village Board at that time left his business and spent most of his time helping there to care for the sick, frequently gargling clear listerine and kept on going. The world death was said to be 21,642,283, with over a million in the U.S. alone.
See the glad changes that sera, medicine and vaccinations have brought. The sewage system of 1925 and tiling of open creeks, removal of outdoor toilets by ordinance of November 1, 1936, the common drinking cup at the town pump or in the school room, replaced by the bubbling fountain or individual cups at communion services, and strict quarantine have all brought a blessed change.
-Arnett C. Lines
How should one interpret this gargoyle's appendix ? ! ! ! ( see below )
Medieval sculptors naughtiness ?
‘Gargouille’ is an old French word, meaning throat. The English words gargle, gurgle and gargoyle are derived from gargouille.
Legend has it, that a fierce dragon named La Gargouille described as having a long, reptilian neck, a slender snout and membranous wings lived in a cave near the river Seine. The dragon caused much fear and destruction with its fiery breath, spouting water and the devouring of ships and men. Each year, the residents of Rouen would placate Gargouille with an offering of a victim, usually a criminal, though it was said the dragon preferred maidens. Around 600, the village was saved by St. Romanus, who promised to deal with the dragon if the townspeople agreed to be baptized and to build a church. Romanus subdued the dragon by making the sign of the cross and then led the now docile beast back to town on a leash made from his priest's robe. La Gargouille was then burned at the stake, it is said that his head and neck were so well tempered by the heat of his fiery breath, that they would not burn. These remnants were then mounted on the town wall and became the model for gargoyles for centuries to come.
Gargoyles crafted during Medieval times were soon referred to as “chimeras” because of their representations of creatures that were not of this world - half man, and half bird or beast. These new incarnations were either depicted sitting on their haunches or poised to take flight. They also possessed over exaggerated muzzles or beaks and other odd appendages. They were positioned on a cornice molding so they projected forward and away from the building for a number of feet. In this way the gargoyle was able to spew water far from the building.
Although the demons and monsters so prevalent in cathedral sculpture may seem almost quaint to modern eyes, the men of the Middle Ages did not find them so. In a time when illiteracy was almost a universal condition and belief in a literal, waiting Inferno prevailed, the purpose of most cathedral sculpture was not decorative but instructional. It was intended, to scare the hell out of its beholders, and there is every reason to believe it did a creditable job, presenting the horrors of damnation in living color (of which only faint traces remain today ).
( from northstargallery.com/gargoyles/aboutgargoyles.htm )
The gargoyles of the Holy Chapel in Vincennes are among the most striking exemples of this function.
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
The word ‘ratatouille” being now well established, let’s switch to ‘gargouille’ !...
‘gargouille’ is an old French word, meaning throat. The English words gargle, gurgle and gargoyle are derived from gargouille.
Legend has it, that a fierce dragon named La Gargouille described as having a long, reptilian neck, a slender snout and membranous wings lived in a cave near the river Seine. The dragon caused much fear and destruction with its fiery breath, spouting water and the devouring of ships and men. Each year, the residents of Rouen would placate Gargouille with an offering of a victim, usually a criminal, though it was said the dragon preferred maidens. Around 600, the village was saved by St. Romanus, who promised to deal with the dragon if the townspeople agreed to be baptized and to build a church. Romanus subdued the dragon by making the sign of the cross and then led the now docile beast back to town on a leash made from his priest's robe. La Gargouille was then burned at the stake, it is said that his head and neck were so well tempered by the heat of his fiery breath, that they would not burn. These remnants were then mounted on the town wall and became the model for gargoyles for centuries to come.
Gargoyles crafted during Medieval times were soon referred to as “chimeras” because of their representations of creatures that were not of this world - half man, and half bird or beast. These new incarnations were either depicted sitting on their haunches or poised to take flight. They also possessed over exaggerated muzzles or beaks and other odd appendages. They were positioned on a cornice molding so they projected forward and away from the building for a number of feet. In this way the gargoyle was able to spew water far from the building.
Although the demons and monsters so prevalent in cathedral sculpture may seem almost quaint to modern eyes, the men of the Middle Ages did not find them so. In a time when illiteracy was almost a universal condition and belief in a literal, waiting Inferno prevailed, the purpose of most cathedral sculpture was not decorative but instructional. It was intended, to scare the hell out of its beholders, and there is every reason to believe it did a creditable job, presenting the horrors of damnation in living color (of which only faint traces remain today ).
( from northstargallery.com/gargoyles/aboutgargoyles.htm )
The gargoyles of the Holy Chapel in Vincennes are among the most stiking exemples of this function.
Christmas At the Zoo
It is Christmas Eve at the zoo. The animals are all excited.
In front of the cottage that the animals decorated themselves
the cow grazes peacefully while the giraffe gargles with salt water.
The giraffe is a world famous singer who will perform his favorite hymn
"O Holy Night" at midnight.
People will come from far away to hear him.
Behind the cottage, the dog prepares a wonderful feast for all his friends.
Rudolph is keeping watch on the roof.
He just knows something is going to happen tonight.
A bright star appears in the night sky and
the zoo is filled with beautiful music, even the turtles chime in.
First Presbyterian Church
Charlottesville Virginia
December 12, 2010
Tonsillitis is an infection or inflammation of the tonsils.
Tonsils are masses of lymphatic tissue located on both sides of the neck, above and behind the language, part of the body's immune system.
The most common acute tonsillitis is quite trivial, but causing violent pain in swallowing, high temperature, a headache and muscular.
If tonsillitis (acute or chronic pultacee) appear: difficulty swallowing, sore throat, fever and neck palpation, lateral neck lymph nodes are swollen or painful.
There can be serious complications, nephritis or rheumatism.
You must first combated painful swelling of the lymph nodes.
For this I recommend you apply poultices.
This disease can be treated with a concentrated decoction of marshmallow root.
From the root 20g placed in 200 ml of cold water can prepare a decoction, boil for ten minutes, they gargle.
All this good can help gargle with chamomile, sage, common bennet, fennel, hay, (taken three times a day).
Another treatment for tonsillitis is cold clay poultices with the external applied especially in the evening ... read more ...
Freakies cereal magnets from the 1970's. Not sure if they were included in the cereal box or if they were ordered by mail.
Bronze-winged Jacana & Common Moorhen - Part 3: The Chase!
Bronze-winged Jacana
The bronze-winged jacana (Metopidius indicus) is a wader in the family Jacanidae. It is the only member of the genus Metopidius. It has huge feet and claws which enables it to walk on floating vegetation in shallow lakes that are its preferred habitat. It is found in south and east Asia within the tropical zone.
The bronze-winged jacana breeds in India and southeast Asia. It is sedentary apart from seasonal dispersion. It lays four black-marked brown eggs in a floating nest. The males, as in some other wader families like the phalaropes, take responsibility for incubation.
These are conspicuous and unmistakable birds. They are 29 cm (11 in) long, but the females are larger than the males. They are mainly black, although the inner wings are very dark brown and the tail is red. There is a striking white eyestripe. The yellow bill extends up as a red coot-like frontal shield, and the legs and very long toes are grey.
Young birds have brown upperparts. Their underparts are white, with a buff foreneck.
The bronze-winged jacana's feeds on insects and other invertebrates picked from the floating vegetation or the water's surface.
Call is a wheezy piping seek-seek-seek given mostly in alarm.
When forced they sometimes choose to hide by submerging themselves. The male may carry chicks between the wings and body.
The bronze-winged jacana was formally described by the English ornithologist John Latham in 1790 and given the binomial name Parra indicus. Latham had earlier included the species in a supplement to his A General Synopsis of Birds but had not coined a scientific name. The present genus Metopidius was introduced by the German zoologist Johann Georg Wagler in 1832. The bronze-winged jacana is the only species within the genus. The name Metopidius is from the Ancient Greek word metōpidios meaning "on the forehead". The specific epithet indicus is the Latin word for "Indian". There are no recognised subspecies.
Common Moorhen
The common moorhen (Gallinula chloropus) (also known as the waterhen and as the swamp chicken) is a bird species in the family Rallidae. It is distributed across many parts of the Old World.
The common moorhen lives around well-vegetated marshes, ponds, canals and other wetlands. The species is not found in the polar regions or many tropical rainforests. Elsewhere it is likely the most common rail species, except for the Eurasian coot in some regions.
The closely related common gallinule of the New World has been recognized as a separate species by most authorities, starting with the American Ornithologists' Union and the International Ornithological Committee in 2011.
The moorhen is a distinctive species, with dark plumage apart from the white undertail, yellow legs and a red frontal shield. The young are browner and lack the red shield. The frontal shield of the adult has a rounded top and fairly parallel sides; the tailward margin of the red unfeathered area is a smooth waving line. In the related common gallinule of the Americas, the frontal shield has a fairly straight top and is less wide towards the bill, giving a marked indentation to the back margin of the red area.
The common moorhen gives a wide range of gargling calls and will emit loud hisses when threatened. A midsized to large rail, it can range from 30 to 38 cm (12 to 15 in) in length and span 50 to 62 cm (20 to 24 in) across the wings. The body mass of this species can range from 192 to 500 g (6.8 to 17.6 oz).
This is a common breeding bird in marsh environments, well-vegetated lakes and even in city parks. Populations in areas where the waters freeze, such as eastern Europe, will migrate to more temperate climes.
This species will consume a wide variety of vegetable material and small aquatic creatures. They forage beside or in the water, sometimes walking on lilypads or upending in the water to feed. They are often secretive, but can become tame in some areas. Despite loss of habitat in parts of its range, the common moorhen remains plentiful and widespread.
The birds are territorial during breeding season. The nest is a basket built on the ground in dense vegetation. Laying starts in spring, between mid-March and mid-May in Northern hemisphere temperate regions. About 8 eggs are usually laid per female early in the season; a brood later in the year usually has only 5–8 or fewer eggs. Nests may be re-used by different females. Incubation lasts about three weeks. Both parents incubate and feed the young. These fledge after 40–50 days, become independent usually a few weeks thereafter, and may raise their first brood the next spring. When threatened, the young may cling to the parents' body, after which the adult birds fly away to safety, carrying their offspring with them.
Christmas At the Zoo
It is Christmas Eve at the zoo. The animals are all excited.
In front of the cottage that the animals decorated themselves
the cow grazes peacefully while the giraffe gargles with salt water.
The giraffe is a world famous singer who will perform his favorite hymn
"O Holy Night" at midnight.
People will come from far away to hear him.
Behind the cottage, the dog prepares a wonderful feast for all his friends.
Rudolph is keeping watch on the roof.
He just knows something is going to happen tonight.
A bright star appears in the night sky and
the zoo is filled with beautiful music, even the turtles chime in.
First Presbyterian Church
Charlottesville Virginia
December 12, 2010
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Mind boggling to see large number of people were using this mucky water of the river to swim, play, drink, gargle, brush their teeth and take bath all within feets of each other! Same water has the ship breaking with oil leaking making the river thick black as well as crab & fishing all side by side. Young, old, everyone seems to have the world's best immunity system! Dhaka, Bangaladesh
Buriganga River (Bangla: বà§à¦¡à¦¼à¦¿à¦?à¦?à§à¦?া BuÅ?igônga "Old Ganges"). Buriganga is the life line and much happens in and around this river. It is the main river flowing beside Dhaka, capital cityof Bangladesh. With an average depth of 39 feet (12 m) its quite amazing to see the activities along the river. Unfortunately, the river is Dhaka's main outlet of sewage waste and is threatened by pollution and waste.
#AbFav_EARLY_AUTUMN_🍎
I found these on the ground, in the ‘wild’.
Berries are so autumnal, only very few are edible now, except for the birds and other animals.
ROWAN berries, in dutch this is called Lijsterbes and a Lijster is a thrush and I have seen them at work in the Rowan trees, oh my!
A jelly made from them is popular for dressing game.
According to Robert James in 1747, the fruit is excellent for treating the scurvy, and the exudates from the bark is good for the diseases of the spleen.
When dried and powdered the berries have been turned into a type of bread, and in an infusion make an acidulous drink.
A gargle made from the berries is good for a sore throat and inflamed tonsils.
However, it is bitter – very bitter.
Sorbus is a genus of about 100–200 species of trees and shrubs in the rose family Rosaceae. Species of Sorbus are commonly known as white-beam, rowan, service tree and mountain-ash.
This upright, tree is the most compact of the Rowan trees making it ideal for small gardens.
Fluffy, white corymbs of flowers appear in April-May that are popular with bees.
Mid/dark green pinnate foliage turns vibrant shades of orange and red in the autumn which complements the reddish orange berries that hang in heavy clusters and are a treat for the birds.
Popular folklore maintains that a heavy crop of fruit means a hard or difficult winter.
Similarly, in Finland and Sweden, the number of fruit on the trees was used as a predictor of the snow cover during winter.
However, as fruit production for a given summer is related to weather conditions the previous summer, with warm, dry summers increasing the amount of stored sugars available for subsequent flower and fruit production, it has no predictive relationship to the weather of the next winter.
Hawthorn berries and others.
Have a great day and thanks for viewing, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Berries, red, Rowan, Sorbus, leaves, Hawthorn berries, Autumn, "mountain ash", design, "conceptual art", studio, black-background, square, Magda indigo
© Simon Zino
Brown water flows everywhere...the fountains are still working!
----------Solidarity Bank Account to help the victims of Madeira Flood----------
BANIF inform that after the tragedy which occured in Madeira Island, a solidarity account has been opened by BANIF to help the victims of Madeira Flood:
For more information and details visit their site
Thank you!
© Simon Zino
Non stop, clearing drains, obstacles and any thing in the way....
----------Solidarity Bank Account to help the victims of Madeira Flood----------
BANIF inform that after the tragedy which occured in Madeira Island, a solidarity account has been opened by BANIF to help the victims of Madeira Flood:
For more information and details visit their site
Thank you!
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
From the archives, celebrating an important night a few years ago, Pan Galactic Gargle Blasters all around.
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
This was the record from my fellow DJ Tom's reggae collection that I most desired. After I moved away from Glasgow, it took me about 6 months to find a copy from a stall on Camden Market.
Its not at all rare, being a skinhead reggae classic and even featuring on the soundtrack to the recent film 'This Is England'. But its solid gold all the way through. 'Funky Kingston' and 'Pressure Drop' are the most famous tracks, but my favourite is their cover of The Kingsmen's early rock and roll classic 'Louie Louie'. I particularly love the bubbling guitar solo at the end. My wife and I used to have competitions to see who could best imitate it by gargling . Try it for yourself on Youtube:
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Christmas At the Zoo
It is Christmas Eve at the zoo. The animals are all excited.
In front of the cottage that the animals decorated themselves
the cow grazes peacefully while the giraffe gargles with salt water.
The giraffe is a world famous singer who will perform his favorite hymn
"O Holy Night" at midnight.
People will come from far away to hear him.
Behind the cottage, the dog prepares a wonderful feast for all his friends.
Rudolph is keeping watch on the roof.
He just knows something is going to happen tonight.
A bright star appears in the night sky and
the zoo is filled with beautiful music, even the turtles chime in.
First Presbyterian Church
Charlottesville Virginia
December 12, 2010
Amid all the despair that is spreading worldwide because of the outburst of this deadly virus i.e., Coronavirus (COVID-19), which has now affected more than 1 lakh people and killed more than 3,000 people worldwide. As per the latest reports, India has reported 39 cases According to the World Health Organization (WHO), Coronavirus is a large virus family that causes illnesses that ranges from the common cold to more severe diseases such as Severe Acute Respiratory Syndrome (SARS-CoV). Common signs of infection include respiratory symptoms, fever, and cough, shortness of breath and breathing difficulties. In more severe cases, an infection can cause pneumonia, severe acute respiratory syndrome, kidney failure, and even death.
Currently, everyone is more emphasizing protective and precautionary measures such as washing hands, avoid close contacts and staying at home if they are sick, until an effective cure is available to us. Coronavirus, a highly contagious respiratory disease has shown a collapse in our immunity, at both the levels – physical and psychological. Stress-related to the uncertainty and fear against the virus affecting our health, so people are alluring towards the Ayurveda, Yoga, and mindfulness that helps balance the mind, body, and soul.
Yoga, Mantra, and meditation might help improve psychological immunity and safeguards us against certain infections.
Some of the Ayurvedic remedies one should take to improve the immune system such as regularly take Giloy juice and Tulsi tea as both are antioxidants in nature which prevents the cell damage.
It is recommended to gargle with saltwater that clears the bacteria and germs present in your gut.
Avoid drinking or eating cold foods as it might reduce the digestive fire and affects our health.
Fried and heavy foods are considered to be difficult to digest. So it is prescribed to have soups and sweet vegetables.
Kairali Ayurveda, an Ayurveda company aims in holistic healing to treat certain illnesses. It offers the most authentic treatments close to nature that emphasizes healthful and enlightened lifestyle. Kairali has arranged some of the preventive measures against Coronavirus spreading worldwide such as offering hand sanitization facilities, avoiding close contact, providing Ayurvedic diet, or drinks, and maintaining proper hygiene in their properties.
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Fonte Official Obituary FB Page :
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.
“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.
The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.
The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.
2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
fuel saver?? this thing could gargling up to 12-15kl per 1 liter run. usually it takes a gallon of gas per 100 kilometer run on a highway. other than that it is not saving fuel or its unpractical daily commute in the Phils.
Feel free to download and use
farm9.staticflickr.com/8227/8516859843_d8c419639c_o_d.jpg
Merc loves a good ball gargling.
This is the 59th image of my project 366.
Ice house Hill Park, Dundalk, Co. Louth, Ireland..
I hope that you like it.
The Common Moorhen (Gallinula chloropus) is a bird in the Rallidae family with an almost worldwide distribution. The North and South American Committees of the AOU and the IOC have voted on or before July 2011 to split the American forms into a new species Common Gallinule, however, no other committee has voted to change taxonomy yet. In that light, the American forms can now be found under a separate species listing Common Gallinule,[1] however all forms can still be found here until further actions are taken. It lives around well-vegetated marshes, ponds, canals and other wetlands. The species is not found in the polar regions, or many tropical rainforests. But elsewhere the Common Moorhen is likely the most commonly seen rail species to most people, excepting the Eurasian Coot or American Coot in some regions.
The name for-hen has been recorded in English since the 13th century,[2] and the word moor here is an old sense meaning marsh[2] - the species is not usually found in moorland. An older alternative name, Common Waterhen, is a more descriptive because of the bird's habitat.
A "Watercock" is not a male "Waterhen", but the rail species Gallicrex cinerea, not especially closely related to the Common Moorhen. "Water Rail" usually refers to Rallus aquaticus, again not closely related.
The scientific name Gallinula chloropus comes from the Latin Gallinula (a small hen or chicken) and the Greek chloropus (χλωρος χλωρός green or yellow, pus πούς foot).
The Moorhen is a distinctive species, with dark plumage apart from the white undertail, yellow legs and a red facial shield. The young are browner and lack the red shield. It has a wide range of gargling calls and will emit loud hisses when threatened.[4]
This is a common breeding bird in marsh environments and well-vegetated lakes. Populations in areas where the waters freeze, such as southern Canada, the northern USA and eastern Europe, will migrate to more temperate climes. This species will consume a wide variety of vegetable material and small aquatic creatures. They forage beside or in the water, sometimes upending in the water to feed. It is often secretive, but can become tame in some areas. Despite loss of habitat in parts of its range, the Common Moorhen remains plentiful and widespread. They fight over territories and also hop around Lily pads.
The nest is a basket built on the ground in dense vegetation. Laying starts in spring, between mid-March and mid-May in N hemisphere temperate regions. About 8 eggs are usually laid per female early in the season; a brood later in the year usually has only 5-8 or even less eggs. Nests may be re-used by different females. Incubation lasts about three weeks. Both parents incubate and feed the young. These fledge after 40–50 days, become independent usually a few weeks thereafter, and may raise their first brood the next spring. When threatened, the young may cling to the parents' body, after which the adult birds fly away to safety, carrying their offspring with them.
© Simon Zino
The water overflows the 'ribeiras', takes over the roads and tunnels and heads for the sea...
----------Solidarity Bank Account to help the victims of Madeira Flood----------
BANIF inform that after the tragedy which occured in Madeira Island, a solidarity account has been opened by BANIF to help the victims of Madeira Flood:
For more information and details visit their site
Thank you!
© Copyright A Pendleton 2013 I caught this Common Moorhen hiding in the grass but he did not seem to mind having his picture taken whil Mom was watching the kids..
The Moorhen is a distinctive species, with dark plumage apart from the white undertail, yellow legs and a red facial shield. The young are browner and lack the red shield. It has a wide range of gargling calls and will emit loud hisses when threatened.[6] A mid-to-large sized rail, it can range from 30 to 38 cm (12 to 15 in) in length and span 50 to 62 cm (20 to 24 in) across the wings. The body mass of this species can range from 192 to 500 g (6.8 to 18 oz).
This is a common breeding bird in marsh environments and well-vegetated lakes. Populations in areas where the waters freeze, such as southern Canada, the northern USA and eastern Europe, will migrate to more temperate climes. This species will consume a wide variety of vegetable material and small aquatic creatures. They forage beside or in the water, sometimes upending in the water to feed. It is often secretive, but can become tame in some areas. Despite loss of habitat in parts of its range, the Common Moorhen remains plentiful and widespread. They fight over territories and also hop around Lily pads.
The nest is a basket built on the ground in dense vegetation. Laying starts in spring, between mid-March and mid-May in N hemisphere temperate regions. About 8 eggs are usually laid per female early in the season; a brood later in the year usually has only 5–8 or fewer eggs. Nests may be re-used by different females. Incubation lasts about three weeks. Both parents incubate and feed the young. These fledge after 40–50 days, become independent usually a few weeks thereafter, and may raise their first brood the next spring. When threatened, the young may cling to the parents' body, after which the adult birds fly away to safety, carrying their offspring with them.
Have a super week ahead,............ Alan.
Folkloric
- Decoction of leaves used for hiccups, asthma, gout, back pain, rheumatism, wounds and sores.
- Young leaves, usually boiled, used to increase the flow of breast milk.
- Pods for intestinal parasitism.
- Leaves and fruit used for constipation.
- Decoction of boiled roots used to wash sores and ulcers.
- Decoction of the bark used for excitement, restlessness.
- In India pounded roots used as poultice for inflammatory swelling. Flowers used for catarrh, with young leaves or young pods.
- In Nicaragua decoction of roots used for dropsy.
- Roots have been used as abortifacient. In India, bark is used as abortifacient.
- Decoction of root-bark used as fomentation to relieve spasms; also, for calculous affections.
- Gum, mixed with sesamum oil, used for relief of earaches. Same, also reported as abortifacient.
- In Java, gum used for intestinal complaints.
- Roots chewed and applied to snake bites.
- Decoction of roots is considered antiscorbutic; also used in delirious patients.
- Juice of roots is used for otalgia.
- Bark used as rubefacient remedy.
- Decoction of roots is use as gargle for hoarseness and sore throat.
- Leaves used as purgative.
- Chewing of leaves used in gonorrhea to increase urine flow.
- Fresh roots used as stimulant and diuretic.
- Seeds for hypertension, gout, asthma, hiccups, and as a diuretic.
- Rheumatic complaints: Decoction of seeds; or, powdered roasted seeds applied to affected area.
- Juice of the root with milk used for asthma, hiccups, gout, lumbago.
- Poultice of leaves applied for glandular swelling.
- Pounded fresh leaves mixed with coconut oil applied to wounds and cuts.
- The flowers boiled with soy milk thought to have aphrodisiac quality.
- Root is rubefacient and plaster applied externally as counterirritant.
- In Egypt, powder from dried seeds has been used as a handwash.
- In West Bengal, India, roots taken by women, esp prostitutes, for permanent contraception (Studies have shown total inactivation or suppression of the reproductive system).
- In African savannah, used in the treatment of rheumatic and articular pains.
source: stuart xchange