Bastille Days July 2013 - Shift to 42

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...

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

Olympus digital camera

© 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...

hibino-hikari.jugem.jp

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:

www.youtube.com/watch?v=otbtDNT6FA8

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

The best pizza ever? Come to MontichiariThis is the place I chose to stay all these years ago when writing my third novel . You may have heard of it "Gargling,- Part Of Our Oral Tradition"

Strobist info: fill: SB in beauty dish above to the back, key: SB camera left in LQ, fill: Ring flash front.

This is from the Sunshine Bakery in Chapel Allerton in Leeds and has been voted the best cup-cake in the UK 2010!

I'm afraid my efforts on this one don't compare to the real thing. Delicious (Homeric gargle).

I found this scrawled on the wall at the bus stop on Colfax and York here in Denver. It's a line from Horace's "Odes," but I became acquainted with it through the WWI British poet Wilfred Owen. He has a poem by the same name. Strange to see it scrawled on a wall along with "For a good time call" and "Get out illegal Mexicans."

It translates as "It is sweet and fitting to die for one's country."

The text of Owen's poem follows:

Bent double, like old beggars under sacks,

Knock-kneed, coughing like hags, we cursed through sludge,

Till on the haunting flares we turned our backs

And towards our distant rest began to trudge.

Men marched asleep. Many had lost their boots

But limped on, blood-shod. All went lame; all blind;

Drunk with fatigue; deaf even to the hoots

Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys!-- An ecstasy of fumbling,

Fitting the clumsy helmets just in time;

But someone still was yelling out and stumbling

And flound'ring like a man in fire or lime...

Dim, through the misty panes and thick green light,

As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,

He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace

Behind the wagon that we flung him in,

And watch the white eyes writhing in his face,

His hanging face, like a devil's sick of sin;

If you could hear, at every jolt, the blood

Come gargling from the froth-corrupted lungs,

Obscene as cancer, bitter as the cud

Of vile, incurable sores on innocent tongues,--

My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie: Dulce et decorum est

Pro patria mori.

8 October 1917 - march, 1918

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...

Ref. IS 12bis_23

Iceland 2003

Fotografías tomadas a las 12 de la noche, bajo una ténue luz solar reflejada. Llegar a la explanada de Namaskard en plena noche, sin nadie alrededor, sobrepone, se oye respirar la Tierra. Ritmicamente los diversos pozuelos humeantes lanzan ruidos gorgogeantes, como de respiración pesada y lenta mientras se forman bulbos de agua que se hinchan y explotan para soltar los gases que salen de las entrañas. Cada expiración fotografiada ofrece formas distintas como en una danza ininterrumpida. Es la respiración de la tierra.

© Manel Armengol

Contact: armengol.manel@gmail.com

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...

Edibility

· Fruit is eaten in Malay and Sierra Leone.

· Fruit used as flavoring.

· In some parts of India, leaves used as tea substitute.

Folkloric

· In the Philippines, decoction of fresh roots used as gargle for toothaches, and a decoction of the leaves and fruits to clean wounds.

· Decoction or syrup of roots (in sugared water) used for asthma.

· In Sinaloa, plant used for snake bites. Strong decoction of leaves taken internally and poultice of wounds applied to the wound.

· Influenza, cough, mumps, incessant high fever, malaria, cervical lymph node tuberculosis: use 30 to 60 gms dried roots or 60 to 120 gms fresh roots in decoction.

· Fever: Take decoction of bark or infusion of leaves and flowering tops as tea.

· Hemoptysis, pulmonary tuberculosis: use 6 to 9 gms dried flowers in decoction.

· Dermatitis, eczema, pruritus: use fresh stems and leaves.

· Rheumatism - Spread oil on leaves, warm over low flame and apply on affected part.

· Sprains, wounds, contusions: Use pounded fresh leaves applied as poultice.

· Leaf oil used for pruritic skin conditions and antiseptic for wounds.

· Decoction of plant used for tetanus, rheumatism, malaria.

· Decoction of fresh leaves used as gargle for toothaches.

· In Java, leaves applied to swellings; also used as lotion or fomentation for rheumatism.

· Decoction of leaves used internally as emetic.

· In West Africa, an aromatic infusion of the leaves and flowering tops, sometimes mixed with Ocimum, is used as febrifuge and diaphoretic.

· In Uganda, used to treat symptoms of tuberculosis.

· In Costa Rica, leaf infusion used as stimulant.

· Infusion of leaves used for bilious fevers and catarrhal affections.

· Lotions used externally for eczematous eruptions.

· Infusion of flowers used as pectoral for children.

· Tincture of bark used as tonic.

· Pounded leaves used as antiseptic for cuts, ulcers and swelling.

· Decoction of leaves and fruits used for wounds.

source: stuart xchange

She loves doing this.

This plant growing on the sand dunes is Carpobrotus glaucescens (also known as pigface, ice plant or angular sea fig). And not only is it native to Australia but it is also edible. The red-purple fruit has a flavour described by some as like salty strawberry or kiwi fruit and by others as like salty apples. Its thick, fleshy leaves can also be eaten – raw or cooked (the roasted leaves may be used as a salt substitute) and the juice from the leaves can be used to soothe stings or burnt skin. The juice from the leaves can be mixed with water and used as a gargle for sore throats and mild bacterial infections of the mouth. The fruit has also been used as a laxative.

The prostrate, creeping succulent is one of about 20 species of the genus Carpobrotus, most of which are native to South Africa. Six are indigenous to Australia and this includes C. glaucescens which grows naturally in coastal areas on sand dunes in NSW, Queensland and Victoria.

via WordPress biophytopharm.com/use-melaleuca-essential-oil-for-complet...

Use Melaleuca Essential Oil for Complete Mind

Use Melaleuca Essential Oil for Complete Mind

More popularly known as tea tree oil, melaleuca essential oil is traditionally known for its astounding antiseptic and antibacterial qualities. The oil is hence excellent for cuts, wounds, burns, and antiseptic for a face. It is wonderful for resolving skin related issues, especially acne and dandruff. Composed of 90 different chemicals, the oil has limitless therapeutic applications.

Melaleuca Essential Oil is obtained from a steam distillation process of the leaves of a tree belonging to the botanical family, Myrtaceae. Its regenerative and cleansing properties aid in promoting immune function and against environmental or seasonal treats such as cold and flu. In the USA, melaleuca oil is used for treating digestive issues, sore throats and periodontal disease, vaginal thrush, athlete’s foot, rashes and skin healing.

Such is the powerful therapeutic qualities of melaleuca essential oil, that modern science has found the oil to be effective against many super pathogens and modern environmental threats such as MRSA. It not only helps kill many deadly viruses, bacteria, and fungi but also boosts immunity by regenerating the cells and tissues of the body.

Also, it is its antimicrobial, bactericidal and antifungal properties make it a popular ingredient in mouthwashes, toothpaste, and other dental hygiene products. It is also widely used in various cosmetics and skin rinses due to its amazing antibacterial, astringent and detoxifying qualities. Several dermatology conditions including dandruff, acne, lice, herpes, and other skin infections have been found to benefit from the antimicrobial and cleansing action of tea tree oil.

Add a few drops of melaleuca oil to your regular shampoo for getting rid of dandruff, lice and other scalp concerns. Apply neat on wounds, cuts, fungus infections and other skin disorders for healing. However, for applying topically to sensitive areas such as genitals for thrush and herpes, mix a few drops in a carrier oil such as coconut oil before applying. Gargle with 5% dilution of tea tree oil to effectively treat mouth and gum problems.

For taking internally as a medicine or tonic combines one drop of oil in teaspoon honey or 4 oz. Beverage to reap its immune boosting benefits. Aromatically, its strong herbaceous and woody aroma can be diffused or blended in massage oil for easing mental stress and cleansing the mind and body of negative emotions and wounds.

For use in pregnancy or other specific health concern, consult your physician or therapist before using. The oil blends particularly well with cypress, lavender, thyme, rosemary, eucalyptus, and all citrus oils.

The post Use Melaleuca Essential Oil for Complete Mind appeared first on BIOPHYTOPHARM.

This is a common Japanese product for gargling - an iodine solution (with hippopotamuses as a mascot for some reason). Naomi uses it to help keep down colds. The first time I tried it (in 1991) I almost gagged. Now, it doesn't bother me at all.

(薬 is Japanese for medicine and is pronounced "kusuri".)

One of the ingredients in a Pan Galactic Gargle Blaster.

Have you got your favourite towel ready for the 25th? www.towelday.org

Boca-de-leão, Boca-de-lobo ou Boca-de-peixe (Antirrhinum majus).

Origem: Wikipédia, a enciclopédia livre.

A boca-de-leão, boca-de-lobo[2] ou boca-de-peixe (Antirrhinum majus)[3] é uma espécie de flor.[4] Recebe este nome devido ao formato das flores.

A autoridade científica da espécie é L., tendo sido publicada em Species Plantarum 2: 617. 1753.[5]

Antirrhinum majus

Possui ciclo anual, e atinge entre 40 e 70 cm de altura. Apresenta floração em cores diversas como amarelo, branco, rosa, roxo, dentre outras. As flores surgem entre o final do inverno e o início da primavera. Aprecia mais o frio.

É uma planta de sol pleno, necessitando de pelo menos 4 horas diárias de luz direta.

Portugal

Trata-se de uma espécie presente no território português, nomeadamente no Arquipélago dos Açores e no Arquipélago da Madeira.

Em termos de naturalidade é introduzida nas duas regiões atrás referidas.

Protecção

Não se encontra protegida por legislação portuguesa ou da Comunidade Europeia.

Referências

Tank, David C. et. al. (2006). «Review of the systematics of Scrophulariaceae s.l. and their current disposition». Australian Systematic Botany. 19 (4): 289–307. doi:10.1071/SB05009

Pinto, B. (2010). Guia de campo – Dia B, 22 Maio de 2010, bioeventos.

«boca-de-leão». Michaelis Dicionário Brasileiro da Língua Portuguesa. Consultado em 21 de outubro de 2023

Revista Pesquisa FAPESP: O magnetismo das flores

Tropicos.org. Missouri Botanical Garden. 7 de Outubro de 2014

Bibliografia

Antirrhinum majus - Checklist da Flora de Portugal (Continental, Açores e Madeira) - Sociedade Lusitana de Fitossociologia

Checklist da Flora do Arquipélago da Madeira (Madeira, Porto Santo, Desertas e Selvagens) - Grupo de Botânica da Madeira

Antirrhinum majus - Portal da Biodiversidade dos Açores

Antirrhinum majus - The Plant List (2010). Version 1. Published on the Internet; www.theplantlist.org/ (consultado em 27 de outubro de 2014).

Antirrhinum majus - International Plant Names Index

Castroviejo, S. (coord. gen.). 1986-2012. Flora iberica 1-8, 10-15, 17-18, 21. Real Jardín Botánico, CSIC, Madrid.

Ligações externas

Antirrhinum majus - Flora Digital de Portugal. jb.utad.pt/flora.

Antirrhinum majus - Flora-on

Antirrhinum majus - The Euro+Med PlantBase

Antirrhinum majus - Flora Vascular

Antirrhinum majus - Biodiversity Heritage Library - Bibliografia

Antirrhinum majus - JSTOR Global Plants

Antirrhinum majus - Flora Europaea

Antirrhinum majus - NCBI Taxonomy Database

Antirrhinum majus - Global Biodiversity Information Facility

Antirrhinum majus - Encyclopedia of Life

Antirrhinum majus

From Wikipedia, the free encyclopedia

For other uses, see Snapdragon (disambiguation).

Antirrhinum majus, the common snapdragon (often - especially in horticulture - simply "snapdragon"), is a species of flowering plant belonging to the genus Antirrhinum. The plant was placed in the family Plantaginaceae following a revision of its prior classical family, Scrophulariaceae.[1][2][3]

The common name "snapdragon", originates from the flowers' reaction to having their throats squeezed, which causes the "mouth" of the flower to snap open like a dragon's mouth. It is widely used as an ornamental plant in borders and as a cut flower. It is perennial but usually cultivated as an annual plant. The species has been in culture since the 15th century.[4]

Description

It is an herbaceous perennial plant, growing to 0.5–1 m tall, rarely up to 2 m. The leaves are spirally arranged, broadly lanceolate, 1–7 cm long and 2-2.5 cm broad. The upper glandular stalk is stalk-round, sometimes woody to the middle. The opposite leaves are simple, elliptic or ovate to broad-lanceolate, sometimes linear and usually bleak. Leaflets are missing.[6]

The flowers are produced on a tall spike, each flower is 3.5-4.5 cm long, zygomorphic, with two 'lips' closing the corolla tube lobed divided into three parts and is purple red, almost 5 cm long. Wild plants have pink to purple flowers, often with yellow lips. Most 8 to 30 short stalked flowers are in an inflorescence together; the inflorescence axis is glandular hairy. The crown is 25 to 45 (rarely to 70) millimeters long and in different colors (red, pink, orange, yellow, white). The "maw" of the crown is closed by protuberance of the lower lip, one speaks here of "masked", and everted baggy at the bottom. There is a circle with four stamens. The plants are pollinated by bumblebees, who are strong enough to gently and briefly open male flowers to enter and exit them without difficulty, collecting pollen in the process. A snapdragon's calyx is up to 8 mm long, with sepals of equal length, oblong to broad.

The ovary is supreme. The fruit is an ovoid capsule 10–14 mm diameter shaped like a skull,[7] containing numerous small seeds. [8]

Taxonomy

Four former subspecies are now considered as separate species:[9]

Antirrhinum majus subsp. cirrhigerum (Ficalho) Franco: now classified as Antirrhinum cirrhigerum (Welw. ex Ficalho)

Antirrhinum majus subsp. linkianum (Boiss. & Reut.) Rothm: now classified as Antirrhinum linkianum Boiss. & Reut.

Antirrhinum majus subsp. litigiosum (Pau) Rothm.: now synonymised with Antirrhinum barrelieri Boreau

Antirrhinum majus subsp. tortuosum (Bosc) Rouy: now classified as Antirrhinum tortuosum Bosc ex Lam.

Range

It is native to from southern-central France, and the eastern Pyrenees to north-eastern Spain and the Balearic Islands. They often grow in crevices and walls.[10]

Cultivation

Antirrhinum majus can survive a certain amount of frost, as well as higher temperatures, but does best at 17–25 °C (63–77 °F). Nighttime temperatures around 15–17 °C (59–63 °F) encourage growth in both the apical meristem and stem.[1] The species is able to grow well from seeds, flowering quickly in 3 to 4 months. It can also be grown from cuttings.[11]

Though perennial, the species is often cultivated as a biennial or annual plant, particularly in colder areas where it may not survive the winter. Numerous cultivars are available, including plants with lavender, orange, pink, yellow, or white flowers, and also plants with peloric flowers, where the normal flowering spike is topped with a single large, symmetrical flower.[8][12] The cultivars ’Floral Showers Deep Bronze’[13] and ‘Montego Pink’[14] have gained the Royal Horticultural Society’s Award of Garden Merit.

The trailing (creeping) variety is often referred to as A. majus pendula (syn. A. pendula, A. repens).

It often escapes from cultivation, and naturalised populations occur widely in Europe north of the native range,[8] and elsewhere in temperate regions of the world.[2]

Past common names for Antirrhinum majus include: great snapdragon, lion's-mouth, rabbit's mouth, bonny rabbits, calf-snout, toad's mouth, bulldogs, and lion's-snap.[15]

Model research organism

In the laboratory it is a model organism,[16] for example containing the gene DEFICIENS which provides the letter "D" in the acronym MADS-box for a family of genes which are important in plant development. Antirrhinum majus has been used as a model organism in biochemical and developmental genetics for nearly a century. Many of the characteristics of A. majus made it desirable as a model organism; these include its diploid inheritance, ease of cultivation (having a relatively short generation time of around 4 months), its ease of both self-pollination and cross-pollination, and A. majus's variation in morphology and flowering color. It also benefits from its divergence from Arabidopsis thaliana, with A. thaliana's use as a common eudicot model, it has been used to compare against A. majus in developmental studies.[1]

Studies in A. majus have also been used to suggest that, at high temperatures, DNA methylation is not vital in suppressing the Tam3 transposon. Previously, it was suggested that DNA methylation was important in this process, this theory coming from comparisons of the degrees of methylation when transposition is active and inactive. However, A. majus's Tam3 transposon process did not completely support this. Its permission of transposition at 15 °C and strong suppression of transposition at temperatures around 25 °C showed that suppression of the transposition state was unlikely to be caused by the methylation state.[17] It was shown that low temperature-dependent transposition was the cause of the methylation/demethylation of Tam3, not the other way around as previously believed. It was shown in a study that decreases in the methylation of Tam3 were found in tissue that was still developing at cooler temperatures, but not in tissue that was developed or grown in hotter temperatures.[18]

Antirrhinum majus has also been used to examine the relationship between pollinators and plants. With debate as to the evolutionary advantages the conical-papillate shape of flower petals, with arguments suggesting the shape either enhanced and intensified the color of the flower or aided in orienting pollinators through sight or touch. The benefit that A. majus brought was through an identification of a mutation at the MIXTA locus that prevented this conical petal shape from forming. This allowed testing of the pollination plants with and without conical petals as well as comparisons of the absorption of light between these two groups. With the MIXTA gene being necessary in the formation of conical cells, the use of the gene in breeding of Antirrhinum was crucial, and allowed for the tests which showed why many plants produced conical-papillate epidermal cells.[19]

Another role A. majus played in examining the relationship between pollinator and plant were in the studies of floral scents. Two of A. majus's enzymes, phenylpropanoids and isoprenoids, were used in the study of its floral scent production and the scent's effect on attracting pollinators.[1]

Chemistry

Antirrhinin is an anthocyanin found in A. majus.[20] It is the 3-rutinoside of cyanidin. Its active ingredients include mucilages, gallic acid, resins, pectin and bitters. It is a topical emollient, antiphlogistic, astringent, antiscorbutic, hepatic and diuretic. It is effective against inflammations, it is used for haemorrhoids. It has been used in gargles against ulcerations of the oral cavity. Internally, it can be used for colitis and heartburn. Externally, as poultices, on erythemas.

Pests and diseases

Antirrhinum majus may suffer from some pests and diseases.

Pests

Insects are the primary pests that affect A. majus.

Aphids: They target and consume the terminal growth and underside of leaves. Aphids consume the liquids in the plant and may cause a darkened or spotted appearance on the leaves.[21]

Frankliniella occidentalis: These insects affect even strong growing and healthy Antirrhinum; they are commonly seen in newly opened flowers. They will cause small lesions in the shoots and flower buds of A. majus as well as remove pollen from the anther. This case is difficult to treat, but may be kept manageable with the predatory mite Neoseiulus.[1]

Diseases

Antirrhinum majus suffers mostly from fungal infections.

Anthracnose: A disease caused by fungi of the genus Colletotrichum. This disease targets the leaves and stem causing them a yellow with a brownish border to the infected spot. It is recommended to destroy infected plants and space existing ones farther apart.[21]

Botrytis: Also known as Grey Mould, this infection occurs under the flower of A. majus. Botrytis causes wilting of the flower's spikes and causes a light browning of the stem below the cluster of flowers.[21] Botrytis causes quick and localized drying and browning in the flower, leaves, and shoots of A. majus. In warmer weather, Botrytis becomes more severe. Treatment of Botrytis involves cutting off the infected stock and clearing the surrounding area of A. majus from any of this debris.

Pythium: Wilting in the plant may be caused by a Pythium species fungal infection if the plant is receiving adequate water.[1]

Rust: Another fungal disease that A. majus is susceptible to is rust. It can first be seen on the plant as light-green circles, on the stem or underside of its leaves, that eventually turn brown and form pustules.[1] Rust may cause A. majus to bloom prematurely, sprout smaller flowers, and begin decomposition earlier.[21]

Stem rot: A fungal infection, it can be seen as a cottony growth on the stem, low, near the soil. If infected, it is suggested the plant be destroyed.[21]

References

Hudson, Andrew; Critchley, Joanna; Erasmus, Yvette (2008-10-01). "The Genus Antirrhinum (Snapdragon): A Flowering Plant Model for Evolution and Development". Cold Spring Harbor Protocols. 2008 (10): pdb.emo100. doi:10.1101/pdb.emo100. ISSN 1940-3402. PMID 21356683.

"Antirrhinum majus". Germplasm Resources Information Network. Agricultural Research Service, United States Department of Agriculture. Retrieved 24 December 2017.

Olmstead, R. G.; dePamphilis, C. W.; Wolfe, A. D.; Young, N. D.; Elisons, W. J.; Reeves, P.A. (2001). "Disintegration of the Scrophulariaceae". American Journal of Botany. 88 (2): 348–361. doi:10.2307/2657024. JSTOR 2657024. PMID 11222255.

Siegmund Seybold: Flora of Germany and neighboring countries. A book to identify wild and frequently cultivated vascular plants . Founded by Otto Schmeil , Jost Fitschen . 93. Completely revised and expanded edition. Quelle & Meyer, Wiebelsheim 2006, ISBN 3-494-01413-2

Neil A. Campbell, Jane B. Reece: Biologie. Spektrum-Verlag Heidelberg-Berlin 2003, ISBN 3-8274-1352-4, page 302.

Erich Oberdorfer: Plant sociology excursion flora for Germany and adjacent areas . In collaboration with Angelika Schwabe and Theo Müller. 8th, heavily revised and supplemented edition. Eugen Ulmer, Stuttgart (Hohenheim) 2001, ISBN 3-8001-3131-5 , p. 828 .

"The Dragon's Skull: The Macabre Appearance of Snapdragon Seed Pods". Kuriositas. 26 January 2019.

Blamey, M.; Grey-Wilson, C. (1989). Flora of Britain and Northern Europe. ISBN 978-0-340-40170-5.

"Antirrhinum majus L. | Plants of the World Online | Kew Science". Plants of the World Online. Retrieved 2023-09-10.

Flora Europaea: Antirrhinum majus

David A. Sutton: A revision of the tribe Antirrhineae. Oxford University Press, London / Oxford 1988, ISBN 0-19-858520-9 , p. 90-96.

Huxley, A, ed. (1992). New RHS Dictionary of Gardening. ISBN 978-0-333-47494-5.

"RHS Plantfinder - Antirrhinum majus 'Floral Showers Deep Bronze'". Retrieved 12 January 2018.

"RHS Plantfinder - Antirrhinum majus ' Montego Pink'". Retrieved 13 January 2018.

Gentianaceae to Compositae; gentian to thistle. Dover Publications; 1970. ISBN 978-0-486-22644-6. p. 178.

Oyama, R. K.; Baum, D. A. (2004). "Phylogenetic relationships of North American Antirrhinum (Veronicaceae)". American Journal of Botany. 91 (6): 918–25. doi:10.3732/ajb.91.6.918. PMID 21653448.

Hashida, Shin-nosuke; Kishima, Yuji; Mikami, Tetsuo (2005-11-01). "DNA methylation is not necessary for the inactivation of the Tam3 transposon at non-permissive temperature in Antirrhinum" (PDF). Journal of Plant Physiology. 162 (11): 1292–1296. doi:10.1016/j.jplph.2005.03.003. hdl:2115/8374. ISSN 0176-1617. PMID 16323282. S2CID 7509877.

Hashida, Shin-Nosuke; Uchiyama, Takako; Martin, Cathie; Kishima, Yuji; Sano, Yoshio; Mikami, Tetsuo (2017-04-21). "The Temperature-Dependent Change in Methylation of the Antirrhinum Transposon Tam3 Is Controlled by the Activity of Its Transposase". The Plant Cell. 18 (1): 104–118. doi:10.1105/tpc.105.037655. ISSN 1040-4651. PMC 1323487. PMID 16326924.

Glover, Beverley J.; Martin, Cathie (1998-06-01). "The role of petal cell shape and pigmentation in pollination success in Antirrhinum majus". Heredity. 80 (6): 778–784. doi:10.1046/j.1365-2540.1998.00345.x. ISSN 0018-067X.

Scott-Moncrieff, R (1930). "Natural anthocyanin pigments: The magenta flower pigment of Antirrhinum majus". Biochemical Journal. 24 (3): 753–766. doi:10.1042/bj0240753. PMC 1254517. PMID 16744416.

Gilman, Edward F. (2015-05-18). "Antirrhinum majus Snapdragon". edis.ifas.ufl.edu. Retrieved 2017-04-17.

Wikimedia Commons has media related to Antirrhinum majus.

Wikispecies has information related to Antirrhinum majus.

Taxon identifiers

Wikidata: Q156843Wikispecies: Antirrhinum majusAPA: 5336APDB: 150224APNI: 218644BioLib: 40824Calflora: 404CoL: F2W4Ecocrop: 12381EoL: 578449EPPO: ATHMMEUNIS: 183261FoIO: ANTMAJGBIF: 3172001GRIN: 3665iNaturalist: 48969IPNI: 799180-1IRMNG: 10202815ITIS: 33471MichiganFlora: 1928MoBotPF: 287001NatureServe: 2.136986NBN: NBNSYS0000004060NCBI: 4151NZOR: abe6f652-bdc8-4bcd-9fb1-f68a33980349NZPCN: 2443Open Tree of Life: 596457PalDat: Antirrhinum_majusPFI: 4796Plant List: kew-2642724PLANTS: ANMA3POWO: urn:lsid:ipni.org:names:799180-1RHS: 69565Tropicos: 29200250VASCAN: 7206WisFlora: 2557WoI: 99WFO: wfo-0000539365

Authority control databases: National Edit this at Wikidata

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Categories: AntirrhinumPlants described in 1753 Taxa named by Carl Linnaeus Ornamental plants Flora of Syria Flora of Portugal Flora of France Flora of Morocco Flora of Turkey

Carpobrotus deliciosus

Common names: Sour Fig

Family: Aizoaceae

Subfamily: Mesembryanthemoideae

Carpobrotus juice (from leaves) can be used as a mild astringent. When mixed with water the juice can be used to treat diarrhoea, dysentery and stomach cramps. It can also be used as a gargle for sore throat and laryngitis, and mild bacterial infections of the mouth. The leaf juice can also be used externally, much like Aloe Vera for burns, abrasions, open cuts, grazes and sunburn. It is also used to treat ringworm, eczema, dermatitis, herpes, thrush, cold sores, cracked lips, chafing, skin conditions and allergies.

The fruit is somewhat sweeter than that of Carpobrotus edulis, and is edible fresh, and used in jams, chutneys and preserves.

On Explore June 18, 2008 #260

Edible Parts: Fruit, Oil, Root, Stem

Edible Uses: Drink, Salad, Vegetable,

Fruit - raw or cooked. An acid flavor, it has been used as a substitute for lemon juice. The fruit is rather small and with very little flesh, but it is produced on fairly large panicles and so is easily harvested. When soaked for 10 - 30 minutes in hot or cold water it makes a very refreshing lemonade-like drink. The mixture should not be boiled since this will release tannic acids and make the drink astringent. Root - peeled and eaten raw. This report should be treated with some caution due to possible toxicity. Young shoots - peeled and eaten raw. This report should be treated with some caution due to possible toxicity. The bark has been eaten as a delicacy by children. This report should be treated with some caution due to possible toxicity.

CAUTION: There are some suggestions that the sap of this species can cause a skin rash in susceptible people, but this has not been substantiated.

MEDICINAL USES: Alterative, Antiseptic, Appetizer, Astringent, Diuretic, Emetic, Emmenagogue, Febrifuge,

Galactogogue, Hemostatic, Ophthalmic, Refrigerant, Rubefacient, Salve, TB, Tonic,

Smooth sumac was employed medicinally by various native North American Indian tribes who used it to treat a variety of complaints. It is occasionally used in modern herbalism where it is valued for its astringent and antiseptic qualities. Some caution should be employed in the use of this species since it can possibly cause skin irritations. It is best only used under the supervision of a qualified practitioner. A tea made from the bark or root bark is alterative, antiseptic, astringent, galactogogue, hemostatic, rubefacient and tonic. It is used in the treatment of diarrhea, fevers, general debility, sore mouths, rectal bleeding, uterine prolapse etc.. It is used as a gargle to treat sore throats and applied externally to treat excessive vaginal discharge, burns and skin eruptions. The powdered bark can be applied as a poultice to old ulcers, it is a good antiseptic. A tea made from the roots is appetizer, astringent, diuretic and emetic. An infusion is used in the treatment of colds, sore throats, painful urination, retention of urine and dysentery. The root is harvested in the autumn and dried for later use. An infusion of the green or dried branches has been used in the treatment of TB. A decoction of the branches, with the seed heads, has been used to treat itchy scalps and as a bathing water for frost-bitten limbs. The milky latex from the plant has been used as a salve on sores. A tea made from the leaves was used in the treatment of asthma, diarrhea and stomatitis. A poultice of the leaves has been used to treat skin rashes. The leaves have been chewed to treat sore gums and they have been rubbed on the lips to treat sore lips. The berries are diuretic, emetic, emmenagogue, purgative and refrigerant. They are used in the treatment of late-onset diabetes, strangury bowel complaints, febrile diseases, dysmenorrhea etc.. They have been chewed as a remedy for bed-wetting. The blossoms have been chewed as a treatment for sore mouths. A decoction of the blossoms has been used as a mouthwash for teething children. An infusion of the blossoms has been used as an eye wash for sore eyes.

OTHER USES: Dye, Brown, Black, Orange, Yellow, Hedge, Mordant, Pioneer, Shelterbelt, Soil stabilization, Tannin, Wood

The leaves are rich in tannin, containing about 10 - 25%. Up to 31.2% has been obtained from some plants. They can be collected as they fall in the autumn and used as a brown dye or as a mordant. The twigs and root are also rich in tannin. A black and a red dye is obtained from the fruit. A black dye is obtained from the leaves, bark and roots. An orange or yellow dye is obtained from the roots harvested in spring. A light yellow dye is obtained from the pulp of the stems. The inner bark, mixed with bloodroot (Sanguinaria canadensis) and the inner bark of wild plum (Prunus sp.) has been used to make a yellow dye. An oil is extracted from the seeds. It attains a tallow-like consistency on standing and is used to make candles. These burn brilliantly, though they emit a pungent smoke. The plant has an extensive root system and is fairly wind tolerant, though branches can be broken off in very strong winds. It is planted for soil stabilization and as a shelter screen. It can quickly establish itself in open sunny locations and so can be used as a pioneer species for establishing woodlands. Wood - soft, light, brittle.

www.pfaf.org/user/plant.aspx?LatinName=Rhus+glabra

Folkloric

- In the Philippines, decoction of bark given internally for dysentery.

- Bark decoction also used as an enema.

- Diarrhea: Liberal amounts of the fleshy portion of the fruit.

- Decoction of the bark used as a gargle or mouthwash for gingivitis and mouth ulcerations.

- Fresh juice of the bark given with goat's milk for diarrhea in children.

- Bark decoction as an astringent wash for wounds.

- Ripe fruit is astringent and considered an efficient remedy for diabetes. Decoction of leaves and bark also used for the same purpose, but the ripe fruit is considered the best.

- Pulverized dried seeds also used for diabetes.

- Powdered seeds and root-bark used for diarrhea.

- In India, seeds used for diabetes. Bark used for diarrhea, dysentery, and spongy gums. Poultice of leaves used for skin complaints. Powdered seeds also used for metrorrhagia.

- In Unani medicine, seeds used as liver tonic, to enrich the blood, strengthen the teeth and gums, and as lotion to remove ringworm of the head.

- Fruit is used as astringent in bilious diarrhea; used as a gargle for sore throat and as lotion in tinea capitis.

- Vinegar prepared from juice of the ripe fruit used as stomachic, carminative, and diuretic.

- Juice of leaves, alone or with other astringents, used for dysentery.

- Bark used for sore throats, indigestion, appetite loss, leucorrhea, bronchitis, asthma, ulcers and dysentery.

- In Brazil, leaves and fruits used to treat infectious diseases, diabetes and stomachaches.

source: stuart xchange

Quinn Quinine is 116 years old, and is the father of Carlyle ( www.devastationstudios.com/blog/2008/05/30/carlyle-and-th... ). He recently secured a high-profile recording contract for him and Carlyle’s new rap album. They have already written several songs, including “The Oak Tree That Cries at Night,” “The Inside-out Dinosaur-face,” and “Featherweight Tampon Eyeballs.” Neither of them has any musical experience, but Quinn has always wanted to be a famous musician with his son (who doesn’t know what music is), and has decided to make a final push as his time on this earth is coming to an end.

Unlike his son, Quinn is not attached to an egg buried in the earth – instead, he was cut at the “stem” so to speak when he was 5 years old by a confused gardener. Eventually, his torso wound healed, and he is now simply an upper torso that moves about by crawling around with his arms.

Quinn has already lived quite a fulfilling life. He fought in World War 2, Korea, Vietnam, and the first Gulf War. At his insistence, in each war he wielded only comically large scissors. Nevertheless, he survived all these wars even though he was in active combat in all four (if you can call rolling around on the ground, pulling each other’s hair “active combat”). In his post-military life, he traveled the country giving inspirational speeches to students about military life and his experiences in it. He was also a part-time stripper. After he retired, he decided to dedicate his time volunteering at a zoo as a gorilla; when the actual gorillas were asleep, he would dress up in a gorilla costume and entertain visitors.

Quinn has decided to dedicate the rest of his time to learning how to sing and play the banjo, preparing for his worldwide tour with his son (who will play the harp). The banjo playing will be problematic due to the distance his arms are from another, and the singing aspect will be even more difficult for Quinn because he can only make gargling noises these days. His son Carlyle is unable to move at all, so he will have difficulties as well. We will find out soon enough how this is to work out, as their first gig is in exactly one week.

www.devastationstudios.com/blog/

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Iaso Tea reviews

Iaso Tea reviews ingredients testimonials side effects herbal organic weight loss product are all the before and after pictures some kind of suckering in fat people into a elaborate lose 5 lbs in 5 days pyramid scheme scam thing of some kind. Lets talk facts and what you should know about the Total Life Changes or TLC for short’s Iaso Tea.

Iaso Tea reviews ingredients testimonials side effects herbal organic weight loss product scam

Iaso Tea reviews ingredients testimonials side effects herbal organic weight loss product scam

What is in Iaso Tea by Total Life Changes brand ? This is the best Iaso Tea reviews

Curious about the Ingredients in Iaso Tea? Good because on the path to good a good healthy lifestyle its important to make sure what you ingest into your body isn’t some magic amazon herb from Narnia scam that could cause harm. Kudos to you reader!

The Iaso Tea by Total Life Changes contains 9 organic natural ingredients. They all grow naturally in the wild how nature intended.

Persimmon Leaves

Holy Thistle

Malva Leaves

Marsh Mallow

Blessed Thistle

Papaya

Ginger

Chamomile

Myrrh

Some familiar herbs there if you’re a health nut, but here are the ingredients that give it that extra kick.

Persimmon leaves are usually found in several herbal teas but they typically work as a cleanser.Persimmon leaves have long been used in ancient Chinese medicine packed with vitamin C, flavonoids, amino acids, tannins, rutin, and choline carotenoids.

Malva leaves and Marsh Mallow are similar plants (Malva is often simply called “mallow”). No, you can’t roast Marsh Mallow plants over the fire to make s’mores. Instead, Malva leaves have been shown to sooth inflammation in the mouth and throughout the body.

Holy thistle, also known as blessed thistle, is another plant that has been used for hundreds of years as an overall wellness herb. In medieval Europe, it was actually used as a treatment for the Bubonic plague Also called: black death

. Today, it’s typically used as a diuretic. It’s listed twice on the ingredients chart, although most scientific publications use “holy thistle” and “blessed thistle” to interchangeably refer to the Cnicus benedictus plant.

The papaya in Iaso Tea isn’t the papaya fruit: it’s dried papaya leaves, which are often used to make teas in tropical countries. Papaya leaf tea has been linked to diuretic properties and improved skin health.

Ginger is often cooked into a tea on its own, where it’s been clinically proven to boost digestion. Made on its own, it’s also one of the spiciest teas you can drink.

Chamomile tea is one of the most popular types of herbal teas in the world, and is often used to cure anxiety and reduce stomach cramps.

Finally, myrrh is actually administered as both a tea and as a dental powder, or as a dental rinse and gargle solution. It works as an antiseptic, killing harmful bacteria in the mouth and preventing those bacteria from harming your digestive tract as they travel through your system.

Ultimately, all of these ingredients have been used on their own as herbal compounds to sooth the digestive system. Total Life Changes has combined all of these ingredients into one tea to make a “super tea”. Later on in this article I will post more positive testimonials side effects.

As an added bonus, the package for Iaso Tea has a “Certified Organic Authentic” icon emblazoned on the front. Now, Total Life Changes doesn’t explain exactly what that means, but the logo suggests that the ingredients are sourced from organic farms of some form or another. Future into the Iaso tea reviews you will see a pattern of well, info packed happy people. lets keep reading to find out why.

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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