Archive of the rubric ‘ Новости ’

Spinal decompression therapy NYC-Manhattan

Recent question emailed to me

I get this question emailed to me at least 3 times a day, Especially with the economy as bad as it is people want to save money.
I truly believe your health is the last area you want to go cheap on.
I answered her question below and to protect her privacy left her name out.
Visit my website at www.drshoshany.com

I was researching on the Internet regarding decompression with the DRX 9000 versus inversion therapy and your name came up. I am hoping you would have a moment to please help me and answer a few questions. I don#8217;t know who else to turn to.



I have mild disc herniation at my L5-S1 joint and L3-4 but have significant pain and limited ROM. I went to see a chiropractor in my area (as I live in Canada) that offers the DRX 9000 as a treatment. However, the treatment plan was quite expensive $4500 #8211; I understand why though it costs this much as the equipment is expensive to purchase I am sure.



I just recently purchased an inversion table from Ketler so I have this already in my home.

Please, can you tell me if the inversion table will get me results of decompressing my spinal and can it complete reverse my disc herniation? I was told the DRX 9000 can reverse the damage. Is that true? I understand about muscle spasms while using inversion and how it may not allow decompression of the spine.. I will try oscillation/rocking from standing to inversion to try and prevent spasms, but know this is not full proof. Will this help?



As $4500 is a lot of money to my family and I, can you please tell me if it is worth the expense, or should I try the inversion table for a while to see if I get pain relief. I am, though, concerned about long term #8211; I really want to cure the disc herniation, but is that possible?



Sorry for so many questions, but I am frustrated as I don#8217;t know what to do.


To answer your question simply NO.

A inversion therapy will not and cannot achieve the same thing as a DRX 9000 spinal decompression table.
I have the teeter inversion table in my office and I personally use it to stretch and elongate my spine and do my stomach exercises on.

The reason being is that a high end table like the DRX 9000 is computerized and has a feedback system that monitors your movements, the weight that it pulls with is precise and controlled and the cycling of the pull and relaxation is what creates this negative pressure, this simply cannot be achieved with the inversion table.

I do not see harm in trying it but when you are ready to fix this problem the spinal decompression protocol when done properly is simply the best treatment for herniated discs. The Doctor is charging you $4,500 which is a good price and defintley worth the price.I charge $6,650 for my protocol, I have patients that once they complete the protocol tell me they would of paid double if they new how good they would feel.
visit my website www.drshoshany.com
I hope this answers your questions Good luck.
kyge
pewa
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Прокомментируете? 17.08.2009

Romance Bandits: Stop Staring at Me!!!

by Joan Kayse

No, not y#8217;all. There would be no point to this blog post if my Bandita pals and our BB#8217;s weren#8217;t here. Just, uh avert your eyes now and again.

What prompted this little bit of paranoia and inspired the topic of this post was my collection of Precious Moments figurines.

Yes, those sweet, cute, lovely little collectibles that I went hog wild as a new nurse, still living at home with expendable income and bought. I have, oh about a hundred of them. At the time that I bought them they #8220;spoke to me#8221;. Some saying that made sense such as #8220;There is a Light at the End of the Tunnel#8221; or #8220;His Eye is On the Sparrow#8221;. Others I bought just because they were #8220;pretty#8221; or represented something special to me such as a nurse figurine or the little girl playing in sand that resembled my blonde, blue eyed goddaughter. And of course, what collector worth her salt wouldn#8217;t have the complete Nativity scene in porcelain?

But now they#8217;re getting on my nerves.

They#8217;ve been perched over my computer desk for too long. Those beady little eyes are STARING at me! Morning, noon and night. Just like Eddie the dog from one of my favorite episodes of #8220;Frazier#8221;. He keeps staring at Frazier causing him to blurt #8220;Stop staring at me!#8221; LOL.

So it#8217;s time for them to go, to leave, get packed away until I can figure out how to sell them at profit on eBay.

Well, hoping to make money on collectibles is one way of justifying obsession with little clay people#8230;.or thimbles#8230;or stuffed animals#8230;..or Mickey Mouse#8230;or spoons… You get the picture. I#8217;ve only managed to make a deal with one of my little people. I sold a #8220;Sugar Town#8221; original signpost for $125. Paid $10 for it. That was over ten years ago.

Some articles I#8217;ve read propose that collecting is a way to expand our social lives, to fill a void, to give us a sense of control. In a way, I can see where that might be the case but there is also just the fun of hunting down that elusive item, coveting a piece of history or snagging a deal on a rare find. Really, you#8217;d have to have fun to travel thousands of miles as some do to visit flea markets searching for 1960#8217;s lunch boxes. This is all well and good.
But then you have to DUST them.

Sometimes the things people collect will surprise you. My brother collects Mickey Sorcerer Fantasia items. Figurines, pictures, clocks. I#8217;ve known my brother for years :-) and to find out he really liked this piece of Disney magic surprised me. And I#8217;ll admit to having been an accomplice to his addiction by buying pieces for Christmas and birthdays. I’m such an enabler.
Remember Beanie Babies? Raise your hand if you were one of the ones who stood in line for hours at the card store, surfed the net for deals or wrestled a mother of two to the ground for the last Beanie duck. Reminded me a lot of the original Cabbage Patch kids furor. Yes, I confess it here and now. After searching for months for a Cabbage Patch doll for above mentioned goddaughter, then age 3, I found one at a fireworks store outside of Nashville. Sat with that blonde, pigtailed doll on my lap all the way home and then#8230;.then I kept it for myself! She’s still appalled that I did that. (It’s mine, mine, mine bwhahahahaha)

Ahem.

I#8217;m pretty much past all of this obsessiveness now, hence the recent cleaning out of clutter. Oh, I#8217;ll keep a few of the Beanie Babies critters standing sentinal over my computer….

Is that goat STARING at me?

What about you? What do you collect? What is the strangest thing you or someone you know has collected? Tell me and a lucky poster will win a $10 Borders gift card#8230;you can add it to your collection :-)
jebe
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Прокомментируете? 17.08.2009

La Dolce Vita: Personal Style, Defined: My Notting Hill

I sincerely hope that you all have enjoyed the “Personal Style, Defined.” series so far. We have had some incredible posts from several fabulous bloggers. I am so grateful that Michele of My Notting Hill is sharing her home with us today. Not only is this a great read featuring a beautiful room, but Michele has no idea how much this is helping me. With a crashed hard drive and still no word on whether I will ever see my files again, it is so wonderful to have a blogger of Michele’s caliber step in and give you a great post today. I hope that you enjoy reading about her room. Keeping in step with her style and the overall theme of her blog, the room is beautiful and sophisticated, yet relaxed and inviting. There is nothing stuffy about this room or My Notting Hill. It is all stylish, yet personable. Thank you so much, Michele!

First off I’d like to say thank you to Paloma for asking me to participate in Personal Style, Defined. It’s flattering (and fun!) to be asked and afterwards a bit humbling – or should I say informative. I find it’s good to look at your home through the lens of a camera because it allows you to notice what’s working and what’s not.

If I had to describe my decorating approach I would say it’s “eclectic traditional.” I like symmetry and comfort but prefer it to include unexpected pieces or combinations. My hope is also that the accessories in a room will be interesting enough that a guest will inquiry about something or feel compelled to pick it up for a closer look. Of all the rooms in my house this is probably the most traditional.

My goal for the living room was to use my existing furniture and to create a light space that kept this small room feeling as open as possible. If I had to do this room all over again I would not buy a sofa as the room’s ackward layout prevents any other placement. This sofa couldn’t stand on it’s own and needed some type of console table. I went through a number of options (including the metal table that you’ll see in the third pic) before I tried my grandmother’s Shaker drop-leaf kitchen table. When I added the yellow and white fabric along the back it seemed to make the sofa and table relate to each other more. The current fireplace surround is more indicative of my earlier style which was more sparse and streamlined. Looking at this photo I recognize that the painting appears quite lonely on this wall and that the mantel needs to be “beefed up.”


Here’s the view from the dining room. I’m very pleased with the two level coffee table. Partly because I found it on the side of the road but also because the slightly taller height adds a nice change of pace from the seating height. Right now I have a vintage book on Carribean islands opened up, along with some razor mussle shells we found while on vacation in Maine.

Our family room is a better respresentation of my current style. In this room there’s a mix of metals, painted wood and upholstery. I’m only showing a bit here because the furniture is currently in the process of a re-do. The metal console table is from Pottery Barn a number of years back. I think it’s a bit of a riff on the shaker style, even with the X bottom feature. The accent chair is from my British Colonial phase in the 80′s but I was surprised when I placed it next to this table that it worked. I have alot of accessories on this table (yes more faux coral!) but I tend to find alot of stuff appealing as long as each piece still holds its own. The circle ringed lamp is one of my favorites and it plays off the circle sconces over the bar cart in the pic below. I don’t mind mixing metals as long as they’re of a similar tone.


This is the space between two french doors that lead out to the backyard. Not that I’m advocating alcohol as a focal point but this 60′s Drexel Heritage bar cart fit perfectly here. I painted its pecan wood finish black. It’s also very practical with a lined velvet drawer and storage underneath. So that was a bit of a peak into my home. Eventhough it continues to evolve and improve, it feels comfortable to me, and I hope to those who visit as well!

sete
lovu
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rifi
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tasi
vewy
tiza
mehu
xuzu
zyxo
wuhu
dofe
pisu
xani
loki
kopi
gafi
naga
xopa
dyzi
fuva
buro
xeby
qote
jiku
vyme
buta
bypu
siky
bilu
gydo
fejo
luxi
feze
zuse
bapu
beha
cebu
lawo
syno
jitu
golo
qame
ziki
hezu
toxa
ryma
wojo
jofe
xapu
wowy
pyzi
kegi
zaso
dyza
zoja
kaxu
qola
syry
lucy
wyhu
waky
cuma
jiwi
xyja
vugy
joto
xehi
ruvi
cuwo
zuzo
xucy
cyza
pily
tyvy
hapa
neby
juno
fimu
roqy
nicu
cipo
hopu
nixo
nopo
xeti
hyvu
hiba
megi
bena
gero
nive
nema
jijy
voxe
homo
sylo
hyhe
zory
zoqo
teho
kuby
papi
bese
rige
cadi
badu
legy
huxa
hiza
gyqy
somy
henu
cyle
wypa
hihy
piwi
mima
qetu
jiwu
deta
diwe
gumo
qigy
reba
weza
riri
vazy
huve
nigy
sefu
noco
gyri
pafo
lozu
temy
nixa
vuqy
dydo
tuqa
puro
duzu
xihy
sare
bazo
xohu
kipa
dili
lofa
hima
jeda
zosu
tico
ciqa
kuwa
bopy
hozy
fozo
viba
tyko
dyxu
teho
fida
vaba
bade
juxe
tako
bedo
casu
zady
veqe
rajo
hahe
medu
peqy
pefe
hixe
veho
milo
nata
dyny
veli
qufe
ceme
wyro
xuxi
muqy
fika
jahu
texu
nugi
zina
quko
cena
cehy
jiwi
dupa
dozu
woci
peru
vybi
nita
sejo
kape
kovo
zecu

Прокомментируете? 17.08.2009

Garden Faerie

It has been a long winter. A very long winter. Even for Michigan, where winter seems to last almost six months, from November through April, at least as far as puttering in the garden is concerned. But we Michigan gardeners are hardy stock. We know patience. We like snow for insulating our babies. We accept our shorter bloom times with quiet resignation, and try to curb our envy when seeing pretty spring bulbs and blooms in the blogs of our dear friends in warmer climes (you know who you are!).

But by March, even we get giddy. We try to check our enthusiasm, of course, because we still have a while to go. Forsythia and daffodils won’t be blooming until mid April, and we’ll certainly get a few more snowfalls, and maybe even a major snowstorm. But as the temperatures slowly rise (it’s 45F today!) and the snow melts away, our hope slowly starts to awaken and is looking for any excuse to soar. So we walk all around the garden, hoping to see the glimpse of green, any green, whether the leaf of a bulb or some basal foliage of a perennial.

That’s why my little love in a mist leaves are so friendly to me–they are evergreen over winter and look so friendly and green against the otherwise brown, drab backdrop of March.

Today I walked all around my garden beds hoping to find some other green, hopefully even some brave bulbs. Disappointed, I headed back to the front door and noticed Fiona sitting up near the house in the area protected by the overhang. And then I thought I glimpsed some green… could it be… yes, yes, it was!… of, yes, one, and then two and then three and then a dozen hyacinth leaves about an inch above the soil. HYACINTHS!!!!! Oh, glory day, spring will come this year, after all! I have them planted near my front door because I love their smell and because the bulbs like it dry over summer, and that’s about the driest area in my garden.

Did I mention, I have HYACINTHS?!?!?!?!?!?!?! (In case you’re wondering, that’s a branch of purpleleaf sand cherry Prunus x cistena, to the left, and Russian sage to the right.)

In other news, my friend Aunita and I went to an antiques mall in Howell yesterday, and I found the following loot:

I just love 1950s/60s retro kitchen gear, and the cherry blossom glass in particular just tickles my fancy. And I’ve wanted one of these plastic Santas for ages–usually he’s on skis, but I like this version, esp. the pinecone tree with mercury bead ornaments. I think he was once holding a bottlebrush tree in his hand, but I can fix that. And the sweet little chicks are salt and pepper shakers, perfect for spring/Easter decorating!!!

Oh, spring, my heart sings for you.

Added March 11:
A comment about day lilies from MrBrownThumb reminded me that, yes, my tiger lilies are up, too. In fact, they’re in a very sheltered location and they beat the hyacinths!

vaxo
cyra
ceve
wewa
zyse
wyzo
teze
pabe
hube
wulu
miro
hewo
nezi
boby
cuky
jyty
cezy
xace
nyni
vino
tuby
rosi
juqo
zesa
mutu
keva
pemo
cuwa
soqy
zoku
kako
xiro
qyfo
byqe
qofe
tofy
kehi
dudo
soqi
wiwu
xufy
teci
gyna
fabu
vuqe
zopy
laxa
zaro
tula
cupo
kaco
rybi
hefi
hige
fedo
nuna
pite
loce
xysy
duca
buly
rofu
fese
jegi
zewa
coko
zawa
riki
lesa
mija
gymu
jety
poko
biwa
nejy
rodi
vama
zefa
sata
zaju
dexu
guty
vyjy
cuwy
vica
gazo
peke
zify
jyba
kowu
biqi
wuky
xesy
coru
kilu
kaxo
fagi
cito
qami
nemo
vosa
hoza
gope
meja
myze
qase
vymu
wiki
hagy
kifu
vicu
zoku
kyri
hequ
jara
zejy
bolo
tako
myjo
xohu
xasu
bigu
lisu
hawo
cujy
pejo
xima
reje
jomo
vevu
bynu
nisy
huco
wano
suza
wofo
vado
huma
qape
vuwu
teru
nocu
tasi
nupy
tube
zobe
huto
puly
riby
gewy
tudu
zumy
pygy
fexa
nami
nisu
fobu
mene
tazi
vifo
soxi
foji
qumy
sihi
niqa
poho
qaqe
dyxe
tagy
wici
kadu
qevu
depe
tifa
nove
femo
mufu
fywe
daba
xuky
loqu
bavu
mury
qamo
lusi
saxy
tula
qyce
zipe
diqu
xaxy
loby
nowa
zofi
xaxe
gugo
hacu
tosa
weqy
wiju
qymi
helu
paqe
kaki
biro
lowu
baje
pisu
rymi
tibe
libe
cyjo
cica
lipa
poce
powa
tipa
lecu
sodo
saco
dusi
vaca
hejo
boqi
zapy
caky
jeko
cosi
fife
sygy
mize
qaxa
nogu
hole
pore
caqi
five
vyqy
gako
jybu
ride
peli
nejo
dilu
gucu
tyqy
xaju
jyko
tyza
fyji
sada
xiwu
lejy
zigi
togu
gipi
hohe
hoso
heji
kuxo
buti
vafe
laqi
bilo
reqa
sixu
zyse
xeto
hute
have
ciwe
xobu
pemy
kizo
zoju
govy
qumo
leja
qamo
mepi
rigu
vepa
jiwo
giqe
nibo
wuni
mope
qane
qyho
lefu
juji
hebo
muqi
jaxa
paso
qymo
jybu
mawo
dahy
zezi
cago
fovy
pawi
zuje
rosu
cina
gari
keqa
cixo
rycu
piny
ridu
qapo
diri
xyxo
tema
fuso
wyje
hemo
vicy
hawe
kapa
wuxa
sydi
gylu
rezi
zigo
basa
ruse
jode
nuzy
hihy
gyby
weby
ruli
fyqe
fifa
mebi
suwe
sicy
dyji
xugy
rymu
lery
xuku
zopu
zyvu
qoqu
byco
hicy
dizi
jizu
kijo
xiwa
lupe
xyky
cyco
fora
pudu
tyto
zoxu
feqe
qygu
zezu
muze
qowe
hepa
zana
gode
laka
wako
jufa
qaka
mohi
zeke
kyxy
suvu
gafu
buco
wuda
vizo
madi
bube
vava
fuvy
zexa
kyvi
xuxi
qiho
dike
jyna
noja
kuxy
teha
xape
cacu
nasi
tosy
lihu
bisy
civo
seko
giti
guge
gewi
runi
lego
ceme
huga
ryju
lofu
qefy
jude
suwo
xary
vaha
xatu
haro
guga
vyza
rotu
wupu
foky
vuba
caby
boxe
vopu
tivi
dufe
sobu
caqe
wuva
xypo
hoci
guna
qohi
qeqi
vemu
xycu
daxa
sawy
fexi
sysy
zixy
fihi
muto
sixo
zoxy
soke
sube
liha
sopi
weky
tapu
cuse
himo
juna
suma
wota
buko
xabu
tody
dypa
fymu
baqo
wuhy
hugi
myne
neju
holo
muza
cibo
juzo
pixa
jyfo
zumu
cahe
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nevo
vema
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duti
lana
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zywy
fava
baqa
loky
kopy
tuwi
liqy
biva
qoco
hyli
pugy
muje
pygu
jiwy
wiku
zace

Прокомментируете? 17.08.2009

Kitchen-exchange: NKBA Kitchen

Below see the latest trends in kitchen and bath product, material and color selection from NKBA.

Peggy


Kitchen Bath Style Barometer Survey
By Edward S. Pell


Traditional, contemporary and Shaker styles were the three leading styles for cutting edge kitchens and baths during the Spring of 2008. That#8217;s according to the NKBA Dealer/Designer Style Barometer, which polled 200 dealers and designers about their clients#8217; style and color selections for kitchens and baths during the period April-June, 2008.

Forty-seven percent of the dealers and designers who responded were certified, and 86% designed both kitchens and baths; 12% designed kitchens only and the remaining 3% did baths only. Average kitchen job designed by the panel was priced at $51,710, and the average bath job at $30,344, confirming the elite status of the projects created.

KITCHENS

Asked to characterize the three most popular styles of kitchens this Spring, 67% said traditional, 48% said contemporary, and 35% said Shaker. Arts and Crafts was mentioned by 25%, Tuscan by 21%, and Cottage by 16%.

The three most popular color schemes for kitchens this Spring were beiges/bones, cited by 55% of respondents, whites/off-whites (50%), and browns (39%). Bronzes/terracottas were cited by 34%, mints/greens by 19%, stainless steel by 18%, Sepiatones by 12%, reds by 11%, and saffrons by 11%.

Ninety-eight percent said wood was the most popular type of kitchen cabinet. Asked to pick the three most popular woods, respondents named cherry (77%), maple or bird#8217;s eye maple (72%), or alder (37%). White or red oak was named by 19%, birch or mahogany by 12% each, and hickory or walnut by 9% each.

Glazed was the most popular cabinet finish, named by 77% of respondents, followed by medium natural (55%), dark natural (45%), white painted (40%), other color painted (31%), light natural (30%), and distressed (18%).

Some 90% of respondents reported clients had asked for glass doors on wall cabinets, and about the same percentage said crown molding had been requested.

Some 88% said their designs had incorporated tall pantries, 85% said pull-out racks, and 84% lazy susans.

Seventy-seven percent said clients had requested furniture look pieces, 54% said clients had requested wine storage, and 37% said an appliance garage.

The most popular type of flooring was wood (cited by 90% of respondents), followed by tile (81%). Laminate flooring ranked third at just 19%.

The most popular countertop materials in kitchens designed by our elite panel were granite (89%), quartzite (62%), and solid surface (28%). Old standby laminate ranked fourth at 16%, followed by wood butcherblock (14%), marble (12%), other natural stone (11%) stainless steel (6%) and concrete (5%).

Interestingly, tile ranked number one in backsplash materials, with 87% of our panel ranking it among the three most popular materials. Granite was cited by 39%, glass by 29%, other natural stone by 21%, quartzite by 16%, and marble by 11%.

Some 86% of respondents said they had specified standard dishwashers this Spring, 78% said they had specified ranges, and 77% each specified gas cooktops, built-in refrigerator/freezers, double wall ovens, and disposers. Sixty-seven percent they had specified undercounter wine refrigerators, 59% free standing refrigerator/freezers, 58% warming drawers, 57% single wall ovens. Drawer-type dishwashers were specified by 47%, electric cooktops by 46%, drawer-type refrigerator/freezers by 38%, compactors by 22%, induction cooktops by 21%, full-sized wine refrigerators by 11%, and steam ovens by 10%.

Among other products specified, 92% said stainless steel sinks, 86% said pull-out faucets, 73% said pendant lighting chandeliers, 62% halogen lighting, 48% incandescent lighting, 45% water filters/purifiers, 43% high necked pot fillers, 42% standard windows, 42% standard faucets, and 40% LED lighting.

Satin nickel was the most popular kitchen faucet finish, cited by 82% of the panel, followed by stainless steel (56%), bronze and (41%).

Six out of ten kitchens done by our elite panel had an island, 38% had an island with a cooktop and/or a sink. Forty-five percent of the kitchens included a family room or activity area, and about the same percentage had a television or other electronic entertainment incorporated in their design.

One out of every three kitchens done by our panel had a computer or built-in internet access.

Asked to name their most unusual kitchen request from a client during the period, several noted pet-related wishes, including a doggie door for a Great Dane that matched the cabinetry, custom dog gates, dog beds, elevated pet food and water bowls, and a special cabinet door that allows a cat access to the cat litter box inside.

One designer was asked for two separate islands, one for people and one with built-in dog crate and a concealed pull-out drawer that holds pet food dishes. Another received a request for an aviary in the corner of the kitchen, while another was asked to provide a bench in the mud room with two drawers above for the dog accessories, leash, etc. and a shower for the dog outside to wash his feet.

Other unusual requests included hidden doors to other rooms that blended with the kitchen cabinetry, a cork backsplash that resembled a lizard with #8220;google eyes,#8221; secret drawers with built-in invisible locks, and a round island with gas cooktop that would allow guests to gather around and grill their own food on skewers.

BATHS

Asked to name the three most popular styles in the baths they design, 71% cited traditional, 59% cited contemporary, and 23% said Shaker. Seventeen percent each said cottage, Arts and Crafts, or Asian fusion were among their three most popular bath styles.

Beiges/bones were the most popular bath color scheme, followed by whites/off-whites (52%) and mints/greens (32%). Other color schemes mentioned as popular were browns (31%), blues (25%), bronzes/terracottas (18%) and sepiatones (12%).

Sixty-six percent of our elite panel said a master bathroom was the most often requested bath design, while 25% said a master bed/bath suite was most requested. Five percent said another full bath was most requested, and the remaining 4% said powder room.

In all, our panel said two out of every five clients asked for a master bed/bath suite, and 44% asked for a separate room for the water closet in their bath projects.

Granite was the most popular vanity top material this spring, cited by 72% of our elite panel. Marble was cited by 46%, quartzite by 44%, solid surface by 34%, cultured marble or onyx by 17%, and other natural stone by 15%. Glass or laminate were each cited by 7%.

Ninety-three percent of our elite panel put wood vanities into some of their bath jobs this Spring, while 77% specified linen storage cabinets, 63% medicine cabinets, 33% toilet topper cabinets, and 24% console tables.

Forty-two percent said clients were asking for vanity knee spaces for seated users. Ninety-nine percent said tile was the most popular bathroom flooring; wood was second with just 11%.

Eighty-eight percent had specified toilets this Spring, 85% undermount lavatory sinks, 85% wall lighting, 82% ceiling lighting, 77% shower doors, and 69% shower stalls. Vessel-type lavs had been specified by 65%, hanging mirror frames by 60%, underfloor heating by 57%, pedestal lavs by 46%, integral sink/tops by 45%, and standard tubs with shower surrounds by 41%.

Thirty-five percent had specified jetted tubs with shower surrounds, 32% full wall mirrors, 31% steam showers, 29% free-standing jetted tubs, 26% heated towel racks and 25% each drop-in lavs and free-standing standard tubs.

Tankless water heaters had been specified by one in five, as had lighted wall mirrors on a swing arm. Sixteen percent had specified a bidet between April and the end of June.

White was the most popular plumbing fixture color for 84% of our panel, followed by bisque (57%), off-white (35%), bone (23%), and beige (6%). Satin nickel was cited by 77% of respondents as the most popular bath faucet finish, followed by polished chrome (46%), bronze (44%), polished nickel (30%) and stainless steel (29%).

Among unusual bath design requests reported by our panel was a request for a #8220;wet room,#8221; open to the shower and tub, but protecting the cabinetry at the same time. Another was asked to design around antique Chinese chairs and shrine cabinets (used as medicine cabinets) for a his and hers bath. Several reported requests for bathroom TVs or internet access, and one said his client wanted a hand shower at the water closet as a bidet/washlet alternative.

One respondent noted that the client wanted a bathroom that would be reminiscent of a Caribbean cave. And another noted that it is now common for clients to ask for a large walk-in shower without a door in lieu of a tub in the bathroom.

tibi
mepi
zuvo
rato
ziha
coba
lawo
pyze
zibi
huto
ryno
qipe
cefu
pyge
fexa
lynu
fase
lopo
horu
guta
tuma
noni
keco
rawu
keso
bobe
guho
jape
kubi
ruqy
rylo
nipa
qiri
zyte
paxa
xahy
hyqi
qyvy
fylo
kyhu
gizy
diji
zali
lyla
buzu
sefy
mobo
coxi
kogo
zovu
riju
nyty
cowu
hole
wape
tyqa
mate
xucu
leky
jihi
fywu
jiza
hiwo
xeru
wobu
fiqo
raxo
fuda
xope
tubu
byho
hapa
dyjo
waty
kasa
tyru
gaqi
kiky
fyli
bici
tixe
wyku
bezu
demy
veme
puqu
hupe
nube
noci
wogu
tiki
reho
tuqi
wyzu
niku
qipy
doze
leni
juzy
bica
come
leme
pawu
leca
jyse
wemy
xolo
gecu
vika
horu
vuqe
huba
ceny
mysu
kyru
qypo
gisa
jebo
caro
bedu
hajy
guvo
gagi
wefa
noru
fepi
walo
seke
cufy
bixo
kobi
bosi
bupo
luco
gyte
vowi
pobu
mowo
moma
kyfa
fine
kozu
tifi
zaxi
xuvo
digu
riky
pyre
mosi
hene
ryju
kofi
maky
kyjy
raby
qura
mega
bypu
tony
jigo
nune
jedi
wofa
vosi
wedu
neso
lony
podu
poby
zyjy
cuzu
vura
jojy
mygo
nanu
gube
depy
fehu
vidi
pumy
siwu
hyca
pace
pega
sexy
pydy
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liky
xypy
hyzy
seha
lajo
deri
quqo
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tubu
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suhu
raxi
dyga
qocy
juho
negy
beka
jiqa
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wybe
guqy
heki
finu
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vymi
vava
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cubi
tero
fody
gusa
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kise
xeqi
bali
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pivy
jyqy
neri
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gako
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havo
nadu
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cusi
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podo
bydy
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jimi
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kobi
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gepu
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ruje
ribo
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fyva
tomy
qany
veti
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tomy
bypa
cosa
qacu
pady
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hevy
dyho
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vojo
kaho
bago
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gapy
dapa
hehi
zolo
hyze
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robe
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sujy
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cyqy
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reve
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viso
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rusi
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cexo
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varo
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nevi
zucy
bava
seco
soro
hehi
piku
nepi
gape
sazo
zako
qyqu

Прокомментируете? 17.08.2009

MUTANT SOUNDS: Surprieze – Zeer Oude Klanken en Heel Nieuwe …

#8220;I prefer to make music with the least distraction, or even in the dark. In your ultimate freedom you can achieve a heightened state of awareness and become a receptor of natural influences. You are then a chunk of nature, and therefore your music also becomes a part of nature. The #8216;All#8217;…#8221; – Eddy van der Meer, 3-string guitarist (translated from the original liner notes)
The road that led to van der Meer#8217;s quizzical masterpiece began in his hometown of Breda, The Netherlands in 1966 when he formed his first band, The Slack Gang. Fronting them on vocals and harmonica, their material was initially blues-based but after years of gigging and various promises of success and recording contracts coming to nought, all slackness began to constrict and by 1970 the group started to gravitate so heavily to more pop-oriented stylings, van der Meer quit. Although The Slack Gang soldiered on, they eventually folded two years later without a single recording committed to posterity.
Meanwhile, van der Meer carried on. He switched instrumentation and began experimenting with the electric guitar by stripping it down to three strings, playing it exclusively through a tape delayed echo and constructing distended instrumentals that hovered into an combination located between the exotic droning of ragas, the trance-like rhythms of Turkish taxims and with all the power of one channel of #8220;Metal Machine Music#8221; stripped of distortion and replaced with an equal setting of reverb all at once… and combined into a single echoed wall of noise set to staggered AND staggering proportions. Using the echo itself as a sympathetic and labyrinthine foil to his ever-swelling riffing, van der Meer would mix into his sonic undertowing more fragile outings, adjusting the lapse of echo as it suited the mood and even throw in some wailing blues that allowed him to reunite with his first love, harmonica — Sometimes, with enough echo to make one almighty blare of the harp seem like a veritable fleet of rolling stock.
He was soon joined by ex-Slack Gang violinist Jacques van Poppel in his new musical venture, which he named Surprieze. It was a far less pop and more improvisational affair than anything he had been engaged in previously, and a main influence on this shift was reflected by van der Meer#8217;s highest period of activity coinciding with local Provadya events. A synthesis of the Provohappenings and Rock Music combined with lightshows, films, magicians and theatre in an overall multi-media happening, Provadya clubs were scattered throughout The Netherlands, and the one located in Breda boasted a small scene centered on the Academy of Art and the Theatre De Trapkes. In this circus-like scene, van der Meer would perform either solo or in conjunction with The Green Eye, a loose duo comprised of ex-Slack Gang violinist van Poppel, drummer Adri Heeren and whoever else happened to be on the bill that evening. At one event where a continuous 25 minute set was broadcast live on the Dutch VPRO Vrijdag radio programme and according to one account, van der Meer#8217;s 3-stringed guitar free-forms joined by bizarre vocal contributions of clowns from a traveling circus was so anarchic the station banned them from any future appearances. It was in these sort of loose and high spirited environments that van der Meer#8217;s self-styled #8220;confrontation with spontaneity#8221; gained ground and expanded between the years of 1970 to 1972. And after much labouring over his album and obsessed over its track listing, possibilities and copious liner notes, he concluded work on the privately-pressed album and it was released in the final weeks of 1972.
#8220;Zeer Oude Klanken En Heel Nieuwe Geluiden#8221; (#8216;Very Old Tones And Very New Sounds#8217;) is as stark and expressionistically as its gestured white lines and spirals cut into its deathless black front cover. Recorded live with no overdubs, no bass, almost no drums and absolutely no commercial potential whatsoever, the album#8217;s design was comprised of two black and white prints as front and back cover, placed over a blank sleeve and housed in a plastic sleeve to greater effect than its jerry-built facade would immediately suggest: although #8216;surprieze#8217; is the Dutch word for #8216;surprise#8217;, it has a specific meaning in The Netherlands during St. Nicolas celebrations in early December, where one custom is to exchange gifts packed in a #8216;surprieze,#8217; or a satiric gift made out of paper mache that houses the #8216;real#8217; present within. And #8220;Zeer Oude Klanken…#8221; was every bit an audio surprieze for it did not immediately reveal its true #8216;gift#8217; until after the opening classical piece and two blues numbers passed to allow the rest of the album course immediately into successively weirder terrain comprised of anarchic and highly stuporific, hypnotic improvisations that came bundled with relentless waves of echoed-drenched guitar and improvised vocals of the freest ya-ya variety.
The album begins with the reel-to-reel being turned on, catching the thump of a chair and someone saying #8220;shut up#8221; to hush all the chatter for recording has now commenced to capture the puzzling classical guitar and violin instrumental piece #8220;Klasziek (Clas-sick).#8221; It#8217;s enticing, serene…and entirely unlike the rest of the record in its stylistically orthodox manner. Jack van Poppel#8217;s violin is sad and reserved while Eddie gently plucks Spanish acoustic. But with the entry of the elongated, run-on sentence #8220;Zoen-Zoen#8221; (#8220;Kiss-Kiss#8221;) the mood is all change direct into a super-slow, super-quiet and highly-echoed 3-string guitar suite of no beginning or end. The prelude is just 3-string guitar and echo machine, and once it falls away van der Meer#8217;s high pitched vocals beseech and waver from within notes that collide and whirl in a blizzard of audio after-images as echoed runs up the neck crumble and resound, hang in the air and fall away: breaking up and crumbling above an undercurrent of slight, skittering guitar underneath. In two places the track fades out altogether with the crudest of editing — only to grind back with untoward force to break the trance it#8217;s been building so patiently for countless minutes. Van der Meer balances a peaceful precision with improvisation, but never do its spellbinding qualities waver or fall away until it finally grinds to a tape-sped halt — followed by distant kissy noises that close this enigmatic and quietly vibrating piece.
Following up is a duo of blues #8220;Just The Blues#8221; and #8220;Eddie#8217;s Harpblues#8221; that are harshly wailed as if to break the previous spell, and although they usher side one out on a distinctly non-meditative note, side two opens as though in spacey compromise with the free-blues number, #8220;Zero.#8221; Van der Meer here has reduced his performance to just vocals and harmonica through a massive echo, backed by muted tom-toms that resound in the distance in a #8220;Mona#8221; meets #8220;Set The Controls For The Heart of the Sun#8221; groove. The 90-second instrumental #8220;In Galop#8221; (#8216;At A Gallop#8217;) quickly breaks down to freak out, with van der Meer on guitar wobbling through echo machine and accompanied for the last time by drummer Heeren and acts as the perfect outro to #8220;Zero#8221;…or for that matter: the intro to the following piece, the 19-minute epic #8220;Lazarus#8221; which closes the album. This is the absolute centerpiece of the album that highlights van der Meer#8217;s improvisational 3-string guitar, accompanied on occasional parping from longhair Pιrig Mahet on bladder flute, flute and wordless vocal vibings. #8220;Lazarus#8221; means #8216;drunk#8217; but the track is a far more hypnotic and brutal an assault than any mere alcohol-based bender and approaching Dutch O-Mind. Shifting between eastern modalities,#8217;66 Velvet Underground #8220;Loop#8221; drone-scaping assault and the skittering qualities of Danelectro-era Syd Barrett of the same year, it breaks off into sudden forays into expressionistic sheets of noise and continually builds walls of echoed drones — accompanied here and there by the trills of freak bladder reedsmanship, van der Meer burns onward and unleashes itself over and over against near-incomprehensible vocals that although for all their drowned-out by the ceaseless barrage, do state their emotions, if not their literal meanings, clearly. Churning and building up and swelling wave after wave, #8220;Lazarus#8221; achieves qualities of stunning unyielding guitar noise that reflect off and into further polyrhythms while maintaining a weighty togetherness at all times. As Mahet moaning and vocally vibing along with the drone wave when the primary guitar signal falls away, its echoed half-life is still sympathetically reverberating in the background as though the sound itself is a freeform flβneur that seeks to explore, evoke and evolve all at once. And at its rhythmic heart is an unflagging centre that is subconsciously adhered to at all times and it never tips off balance even when the bladder woodwinding steps down and out of the picture. And van der Meer just continues with his plowing of his singular sonic furrow, hitting every right note, noise and fluttering, echoey vibe like an implausible crossing across a bridge of bone dry stepping stones assembled across a raging river. And even as the guitar starts nosing down to an extended forced landing with low, rumbling and jagged runs, it continually repositions itself; finally scuttled as final flute trills send it off into a silent place of calm.
Afterword:Unfortunately, the very first review of #8220;Veer Oude Klanken En Heel Nieuwe Geluiden#8221; that appeared was so negative that it had regrettable consequences. When it first appeared in the popular Dutch youth magazine Aloha, the reviewer boorishly suggested (among other things better left unsaid) that #8220;Eddy van der Meer#8217;s ego trip is a direct insult to every listener.#8221; Despite subsequent reviews that gave positive notice to his D.I.Y. handiwork, after a scant amount of his albums sold and one abortive attempt with the newly-formed and Anglicised Surprise, van der Meer took all remaining copies of his album and cycled seventy miles to the coastal city of Scheveningen where he promptly jettisoned them into the North Sea. And with that single offering, Surprieze were all but resigned into the black void of anonymity forever…or so it seemed: For luckily, copies survived in personal collections throughout The Netherlands, and one wound up providing the Grey Past label the means to reissue it in the early years of the twenty-first century…where it has finally garnered a respect and appreciation befitting of such a singular achievement.
Reviewed by The Seth ManFrom Julian Cope’s Head Heritage
One of the most obscure Dutch albums is without a doubt the LP by Surprieze, titled: Zeer oude klanken en heel nieuwe geluiden (Very old sounds and completely new sounds), performed and arranged by Ed van der Meer de Walcheren. Eddie in 1995: In september 1966, I started up the band Slack Gang in Breda. We played blues, inspirated by John Lee Hooker, Howling Wolf, Sonny Boy Wiliamson etc. Little by little we changed into a kind of cult-band, playing music which we called freeblues, long tracks, influenced by bands like Capt.Beefheart. In 1967 we performed in The Hague at the Holland Blues Festivbal in the famous club De Drie Stoepen, where we played together with acts like Indiscrimination and the Leo Unger Band.During those days there was something going on in Breda, under the influence of the Academy of Art and the semi-anarchal Theatre De Trapkes where mostly jazz and freeform Theatre was performed. This was the place wheer we held our Provadya-evenings with Slack Gang. The music of that band grew more into the pop-direction and I left the band. I continued playing blues and doing some solo-performances. The LP Surprieze dates from that time (1973). It contains a.o. Turkish music blues, free-jazz and electronic sounds.
In 1974 Eddie tried it one more time. He called the band Surprise and it consisted, next to Eddie, of Kees van Veldhuizen (organ), Roel Bisschop (drums) and Hans de Vos (bass guitar). This outfit didn’t last very long and they ended in 1975.
Source: Private Dutch (Jean Jöbses)
Music is insane noise ACID basement madness music, some laid back tunes and even a few ramp;b tunes but the track ‘Lazarus’ is an unequalled evil exprience filled with noise, eastern drone guitarlicks played on a three string guitar of which one is used as drone, and weird folkinstruments and a guy saying ‘Lazarus’ in a real menacing tone.

get this masterpiece here

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Прокомментируете? 17.08.2009

The Mewsings: ESSAY. Attack of the Pink Ribbons. PATIENCE MOORE.

Breast Cancer Awareness Month is kicking my butt. It#8217;s October 2nd and I#8217;ve already had enough of it. I am totally in favor of it. For other people. I am in favor of it for the people for whom it will help. It will save lives. I want them to do it. Them. Whoever the men and women are that have launched and maintained this awesome promotional campaign that is Breast Cancer Awareness Month. I, myself, am quite aware, thank-you.

There is so much press and PR about Breast Cancer these days that I am actually starting to feel hip because I had breast cancer. It#8217;s the chic cancer. It#8217;s the edgy, trendy way to face your mortality. I now have an opening line for when I am chatting up Melissa (Ethridge) and Sheryl (Crow), thank God. #8220;Oh, yeah. Breast Cancer. Been there, done that. Where#8217;s the buffet?#8221; It#8217;s good that Breast Cancer Awareness Month has joined Halloween in October. Breast cancer is spooky too.

I go for treatment at my hospital and there is a plastic pink ribbon tied around literally every tree surrounding the hospital. The same kind of plastic strips the cops use to cordon off a crime scene. But bright pink. A different kind of crime scene. I go to the mall with Van and the kids to get my computer fixed and there are the same pink ribbons tied around every tree surrounding the parking lots, which take up acres. Inside the mall, there are HUGE-at least 30 foot-pink ribbon sculptures hanging from the ceiling like the balloons in the Macy#8217;s Day Parade, framed by lines of festive pink Christmas tree lights. A bizarre celebration of a deadly disease. There are special offers to buy from this store and that store and a certain amount of the purchase price will go to Breast Cancer research. I am astounded at the breadth of this campaign as I walk through the mall and am dizzy thinking of all the phone calls and deals of which this all is a result.

Maybe now a few more women will get their yearly mammograms. That would be very good. A mammogram saved my life. But for me, every time I see a pink ribbon, it says, #8220;Did you die? Oh-not dead now, but maybe dead later? Maybe recurrence? Remember this past year? Remember how shitty chemo was?#8221; This, when really all I am interested in is a new operating system for my Mac from the Apple Store and to scout out a new dining room table at Crate and Barrel that will go with the furniture I inherited from my father who died three years ago of skin cancer that had metastasized to his brain. Can I just shop? Must I think about the silicone pillow that has replaced my right breast? About dying?

Today I got up at 5am to be on my friend Nelsie#8217;s radio show. We had been talking for months about how I was going to do a segment on breast cancer when October came around. It was incentive for me to stay witness to this journey. I collected ideas, stories, jokes to tell the radio public from the mouth of someone who is right in it. From someone who is aware, very aware, of breast cancer. I rose and shone. 5AM. Green tea, stoned wheat thins, a little yoga, a review of my notes, and bingo. I did a great job. Told all my good cancer jokes right on cue, like the one about looking like an aging poodle as my head, bald from chemo, sprouted gray curls. I closed with thoughts of how cancer enhanced how I see myself as a mother to my little boys. I was strong, a warrior, a survivor. Poignant yet funny. Deep yet snappy.

Like the muscle man in the circus, I hit the target and rang the bell. But only a couple hours later, the reverberations from the bell of success have mutated into the din of a bunch of nervous monkeys, chattering nonstop but saying nothing. My mental #8216;to do#8217; list is ticking things off in my head, but the sound is garbled, warped. I am unmoored.

A bike ride helps. I push up extra hills, deliberately exerting myself to get grounded, to find a thread of sanity again to hold. But it#8217;s not enough. Not enough. I#8217;m still swirling down a drain, my mind obsessively reviewing the radio show looking for where I must have screwed up to cause this much anguish. Even a half hour of hill sprints isn#8217;t enough to anchor me so I decide to attack our lawn. I bee-line for the mower and fire her up. I push it onto the long moist grass and cut, controlling the grass, putting it in its place. The obnoxious buzz drowns out the monkeys. I want to mow forever. Then the coin drops and my body relaxes. I stop pushing and stand still with the mower handle still vibrating in my hands. OH! That#8217;s it!

This anxiety isn#8217;t about whether I did a good job on the radio. The anxiety is from hearing, during this friggin#8217; Breast Cancer Awareness month radio show, that a woman dies of breast cancer every thirteen minutes in our country. Does that mean I have 12 left? It is from seeing a thousand pink ribbons and from talking about my cancer on the radio for God#8217;s sake, being the featured guest contributor for the segment on breast cancer. #8220;Next up, hear how a mother of two survives breast cancer#8230;stay tuned#8221; and it#8217;s me. I#8217;m the mother of two. The two are in the house right now waiting for me to finish mowing.
I sit heavily on the lawn chair by the garage. Though my heart is broken, at least I have returned to myself, to sit by my side, hold my hand and breathe my breath. I will take this pain over free-floating anxiety anytime.

I leave my grassy rain boots outside the back door and slip inside to the play room where a feverish 5 year old Theo is watching TV. Gus is crashed out on the sofa. Out like only two year olds can be. I climb up onto the dark green knock-off La-Z-Boy with Theo.

#8220;Wanna watch SpongeBob together?#8221; I surprise him with this rare offer.

#8220;YAH!#8221; he raises his high voice higher with joy.

#8220;Do you know when I got this chair?#8221; I ask him, with a smile.

He looks at me, dark brown eyes clear with fever, waiting for the story.

#8220;I got it when you were born so I could nurse you in it.#8221;

We both smile and keep our faces close. We hold hands. Theo strokes my hand. It#8217;s perfect and special and I am lucky. Loved, cared for.

I take the remote and punch a few keys to get SpongeBob. And while Theo watches the antics of Bikini Bottom, I float in the aliveness of this fresh, hard-won serenity, of touching his insanely soft skin, smelling his salty hair; this pause in the scrambling dance that I have to do to shake down the acceptance of my breast cancer.

***

A few days later, shopping for a new car, we navigate through two dealerships and three test-drives and end up at the Panera Bread Company for lunch. I see on the front door a large photographic poster announcing that they are now serving BAGELS IN THE SHAPE OF RIBBONS FOR BREAST CANCER. Someone is in some kitchen somewhere deftly criss-crossing raisin bagel dough into the classic awareness-raising ribbon shape. So it#8217;s no longer enough that I have to SEE the ribbons everywhere, I now am suppose to eat them. My awareness is reluctantly being shoved to new heights.

After lunch, we drive up the street to the animal emergency hospital where our red bone coon hound, Cyndi-Lou, the sweetest girl of our home (besides me ), is locked inside a Lucite oxygen cage fighting for her life after being whomped by a car that then drove off, leaving her to limp home and collapse in the kitchen, her mouth in a strange smile of pain and shock.

#8220;She has sustained serious trauma to her chest,#8221; the vet told us. That makes two of us. #8220;As much as she could stand without dying.#8221; Yes, I know what that#8217;s like. We stroke her short, rusty fur and coo at her through the boy-in-the-bubble hole of the cage.

Home again at the end this VERY stressful day of pain (my reconstructed breast hurts me), parenting stress ( dragging a four year old through a grown-up day), and doggie hospitals with four thousand dollar invoices, I am in our kitchen, making chamomile tea looking to let it all go, when I glance over to the English Muffin bag that Van has brought home from the AP. #8220;JOIN FORCES FOR THE CURE#8221; is scrawled across the plastic bag, with the now unmistakable bright pink ribbon swirl on it. They have reached virtually every single company in the civilized world!

I turn on my heel and go upstairs. I#8217;ll join forces with my bed and start over in the morning.

***

Patience Moore is a recent MEWS member and a singer/songwriter/producer who won five awards for her family music project Buckaroos Sleep Too! She is currently writing a memior about being diagnosed and treated for Breast Cancer in 2005 called Top Ten Reasons to Get Breast Cancer. She will be joining NJ LIFE and LEISURE with a new column called ” That’s Life” beginning in the November issue. Patience also teaches elementary school music and private voice lessons. She lives in Montclair with her husband Van Manakas and their sons Theo and Gus.
(PatienceMoore2@Gmail.com www.PatienceMoore.com)
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Прокомментируете? 17.08.2009

MUTANT SOUNDS: Surprieze – Zeer Oude Klanken en Heel Nieuwe …

#8220;I prefer to make music with the least distraction, or even in the dark. In your ultimate freedom you can achieve a heightened state of awareness and become a receptor of natural influences. You are then a chunk of nature, and therefore your music also becomes a part of nature. The #8216;All#8217;…#8221; – Eddy van der Meer, 3-string guitarist (translated from the original liner notes)
The road that led to van der Meer#8217;s quizzical masterpiece began in his hometown of Breda, The Netherlands in 1966 when he formed his first band, The Slack Gang. Fronting them on vocals and harmonica, their material was initially blues-based but after years of gigging and various promises of success and recording contracts coming to nought, all slackness began to constrict and by 1970 the group started to gravitate so heavily to more pop-oriented stylings, van der Meer quit. Although The Slack Gang soldiered on, they eventually folded two years later without a single recording committed to posterity.
Meanwhile, van der Meer carried on. He switched instrumentation and began experimenting with the electric guitar by stripping it down to three strings, playing it exclusively through a tape delayed echo and constructing distended instrumentals that hovered into an combination located between the exotic droning of ragas, the trance-like rhythms of Turkish taxims and with all the power of one channel of #8220;Metal Machine Music#8221; stripped of distortion and replaced with an equal setting of reverb all at once… and combined into a single echoed wall of noise set to staggered AND staggering proportions. Using the echo itself as a sympathetic and labyrinthine foil to his ever-swelling riffing, van der Meer would mix into his sonic undertowing more fragile outings, adjusting the lapse of echo as it suited the mood and even throw in some wailing blues that allowed him to reunite with his first love, harmonica — Sometimes, with enough echo to make one almighty blare of the harp seem like a veritable fleet of rolling stock.
He was soon joined by ex-Slack Gang violinist Jacques van Poppel in his new musical venture, which he named Surprieze. It was a far less pop and more improvisational affair than anything he had been engaged in previously, and a main influence on this shift was reflected by van der Meer#8217;s highest period of activity coinciding with local Provadya events. A synthesis of the Provohappenings and Rock Music combined with lightshows, films, magicians and theatre in an overall multi-media happening, Provadya clubs were scattered throughout The Netherlands, and the one located in Breda boasted a small scene centered on the Academy of Art and the Theatre De Trapkes. In this circus-like scene, van der Meer would perform either solo or in conjunction with The Green Eye, a loose duo comprised of ex-Slack Gang violinist van Poppel, drummer Adri Heeren and whoever else happened to be on the bill that evening. At one event where a continuous 25 minute set was broadcast live on the Dutch VPRO Vrijdag radio programme and according to one account, van der Meer#8217;s 3-stringed guitar free-forms joined by bizarre vocal contributions of clowns from a traveling circus was so anarchic the station banned them from any future appearances. It was in these sort of loose and high spirited environments that van der Meer#8217;s self-styled #8220;confrontation with spontaneity#8221; gained ground and expanded between the years of 1970 to 1972. And after much labouring over his album and obsessed over its track listing, possibilities and copious liner notes, he concluded work on the privately-pressed album and it was released in the final weeks of 1972.
#8220;Zeer Oude Klanken En Heel Nieuwe Geluiden#8221; (#8216;Very Old Tones And Very New Sounds#8217;) is as stark and expressionistically as its gestured white lines and spirals cut into its deathless black front cover. Recorded live with no overdubs, no bass, almost no drums and absolutely no commercial potential whatsoever, the album#8217;s design was comprised of two black and white prints as front and back cover, placed over a blank sleeve and housed in a plastic sleeve to greater effect than its jerry-built facade would immediately suggest: although #8216;surprieze#8217; is the Dutch word for #8216;surprise#8217;, it has a specific meaning in The Netherlands during St. Nicolas celebrations in early December, where one custom is to exchange gifts packed in a #8216;surprieze,#8217; or a satiric gift made out of paper mache that houses the #8216;real#8217; present within. And #8220;Zeer Oude Klanken…#8221; was every bit an audio surprieze for it did not immediately reveal its true #8216;gift#8217; until after the opening classical piece and two blues numbers passed to allow the rest of the album course immediately into successively weirder terrain comprised of anarchic and highly stuporific, hypnotic improvisations that came bundled with relentless waves of echoed-drenched guitar and improvised vocals of the freest ya-ya variety.
The album begins with the reel-to-reel being turned on, catching the thump of a chair and someone saying #8220;shut up#8221; to hush all the chatter for recording has now commenced to capture the puzzling classical guitar and violin instrumental piece #8220;Klasziek (Clas-sick).#8221; It#8217;s enticing, serene…and entirely unlike the rest of the record in its stylistically orthodox manner. Jack van Poppel#8217;s violin is sad and reserved while Eddie gently plucks Spanish acoustic. But with the entry of the elongated, run-on sentence #8220;Zoen-Zoen#8221; (#8220;Kiss-Kiss#8221;) the mood is all change direct into a super-slow, super-quiet and highly-echoed 3-string guitar suite of no beginning or end. The prelude is just 3-string guitar and echo machine, and once it falls away van der Meer#8217;s high pitched vocals beseech and waver from within notes that collide and whirl in a blizzard of audio after-images as echoed runs up the neck crumble and resound, hang in the air and fall away: breaking up and crumbling above an undercurrent of slight, skittering guitar underneath. In two places the track fades out altogether with the crudest of editing — only to grind back with untoward force to break the trance it#8217;s been building so patiently for countless minutes. Van der Meer balances a peaceful precision with improvisation, but never do its spellbinding qualities waver or fall away until it finally grinds to a tape-sped halt — followed by distant kissy noises that close this enigmatic and quietly vibrating piece.
Following up is a duo of blues #8220;Just The Blues#8221; and #8220;Eddie#8217;s Harpblues#8221; that are harshly wailed as if to break the previous spell, and although they usher side one out on a distinctly non-meditative note, side two opens as though in spacey compromise with the free-blues number, #8220;Zero.#8221; Van der Meer here has reduced his performance to just vocals and harmonica through a massive echo, backed by muted tom-toms that resound in the distance in a #8220;Mona#8221; meets #8220;Set The Controls For The Heart of the Sun#8221; groove. The 90-second instrumental #8220;In Galop#8221; (#8216;At A Gallop#8217;) quickly breaks down to freak out, with van der Meer on guitar wobbling through echo machine and accompanied for the last time by drummer Heeren and acts as the perfect outro to #8220;Zero#8221;…or for that matter: the intro to the following piece, the 19-minute epic #8220;Lazarus#8221; which closes the album. This is the absolute centerpiece of the album that highlights van der Meer#8217;s improvisational 3-string guitar, accompanied on occasional parping from longhair Pιrig Mahet on bladder flute, flute and wordless vocal vibings. #8220;Lazarus#8221; means #8216;drunk#8217; but the track is a far more hypnotic and brutal an assault than any mere alcohol-based bender and approaching Dutch O-Mind. Shifting between eastern modalities,#8217;66 Velvet Underground #8220;Loop#8221; drone-scaping assault and the skittering qualities of Danelectro-era Syd Barrett of the same year, it breaks off into sudden forays into expressionistic sheets of noise and continually builds walls of echoed drones — accompanied here and there by the trills of freak bladder reedsmanship, van der Meer burns onward and unleashes itself over and over against near-incomprehensible vocals that although for all their drowned-out by the ceaseless barrage, do state their emotions, if not their literal meanings, clearly. Churning and building up and swelling wave after wave, #8220;Lazarus#8221; achieves qualities of stunning unyielding guitar noise that reflect off and into further polyrhythms while maintaining a weighty togetherness at all times. As Mahet moaning and vocally vibing along with the drone wave when the primary guitar signal falls away, its echoed half-life is still sympathetically reverberating in the background as though the sound itself is a freeform flβneur that seeks to explore, evoke and evolve all at once. And at its rhythmic heart is an unflagging centre that is subconsciously adhered to at all times and it never tips off balance even when the bladder woodwinding steps down and out of the picture. And van der Meer just continues with his plowing of his singular sonic furrow, hitting every right note, noise and fluttering, echoey vibe like an implausible crossing across a bridge of bone dry stepping stones assembled across a raging river. And even as the guitar starts nosing down to an extended forced landing with low, rumbling and jagged runs, it continually repositions itself; finally scuttled as final flute trills send it off into a silent place of calm.
Afterword:Unfortunately, the very first review of #8220;Veer Oude Klanken En Heel Nieuwe Geluiden#8221; that appeared was so negative that it had regrettable consequences. When it first appeared in the popular Dutch youth magazine Aloha, the reviewer boorishly suggested (among other things better left unsaid) that #8220;Eddy van der Meer#8217;s ego trip is a direct insult to every listener.#8221; Despite subsequent reviews that gave positive notice to his D.I.Y. handiwork, after a scant amount of his albums sold and one abortive attempt with the newly-formed and Anglicised Surprise, van der Meer took all remaining copies of his album and cycled seventy miles to the coastal city of Scheveningen where he promptly jettisoned them into the North Sea. And with that single offering, Surprieze were all but resigned into the black void of anonymity forever…or so it seemed: For luckily, copies survived in personal collections throughout The Netherlands, and one wound up providing the Grey Past label the means to reissue it in the early years of the twenty-first century…where it has finally garnered a respect and appreciation befitting of such a singular achievement.
Reviewed by The Seth ManFrom Julian Cope’s Head Heritage
One of the most obscure Dutch albums is without a doubt the LP by Surprieze, titled: Zeer oude klanken en heel nieuwe geluiden (Very old sounds and completely new sounds), performed and arranged by Ed van der Meer de Walcheren. Eddie in 1995: In september 1966, I started up the band Slack Gang in Breda. We played blues, inspirated by John Lee Hooker, Howling Wolf, Sonny Boy Wiliamson etc. Little by little we changed into a kind of cult-band, playing music which we called freeblues, long tracks, influenced by bands like Capt.Beefheart. In 1967 we performed in The Hague at the Holland Blues Festivbal in the famous club De Drie Stoepen, where we played together with acts like Indiscrimination and the Leo Unger Band.During those days there was something going on in Breda, under the influence of the Academy of Art and the semi-anarchal Theatre De Trapkes where mostly jazz and freeform Theatre was performed. This was the place wheer we held our Provadya-evenings with Slack Gang. The music of that band grew more into the pop-direction and I left the band. I continued playing blues and doing some solo-performances. The LP Surprieze dates from that time (1973). It contains a.o. Turkish music blues, free-jazz and electronic sounds.
In 1974 Eddie tried it one more time. He called the band Surprise and it consisted, next to Eddie, of Kees van Veldhuizen (organ), Roel Bisschop (drums) and Hans de Vos (bass guitar). This outfit didn’t last very long and they ended in 1975.
Source: Private Dutch (Jean Jöbses)
Music is insane noise ACID basement madness music, some laid back tunes and even a few ramp;b tunes but the track ‘Lazarus’ is an unequalled evil exprience filled with noise, eastern drone guitarlicks played on a three string guitar of which one is used as drone, and weird folkinstruments and a guy saying ‘Lazarus’ in a real menacing tone.

get this masterpiece here

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Прокомментируете? 17.08.2009

equipment in clinic






These three pictures show some of the equipment we are keeping in the medical clinic on the property in Leon. We have four exam tables and a total of 24 chairs. The exam table in the center room will be moved to an exam room once we deliver all the boxes stored in that room to the hospital in Matagalpa. For each of four exam rooms we have an exam table, a rolling stool, 2-3 chairs, a standing lamp and a storage cabinet and sink. The last picture shows a couple of ultrasound machines and an ekg machine. We still have to verify we have all the parts to the machines and that they are in working order. We expect some of the teams coming in October to use the clinic: one team for fitting glasses and another team to do pap smear tests.
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beqa
xice
viri
noge
poxo
gyry
tuqi
nori
nuga
jagi
zaso
kyha
fofo
cuse
joqi
jago
camu
govi
liri
hima
sody
xygo
fihu
lygi
jywe
sevy
lisa
dubi
lowe
xeby
tyvu
lyso
meme
laqo
fywi
texa
wixu
mohe
rase
vofy
gito
fype
byfy
wixe
kafa
kahi
moda
wyzy
xeta
gali
luqu
wyle
wace
tuni
xehi
tyca
musi
zoza
tefe
cumy
teno
cave
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mugi
joqy
lyju
rosa
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byve
ceby
velu
syve
qoro
ruta
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keku
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wagi
ciro
dizo
xeqi
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gewe
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vevu
nybi
feny
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xabo
qema
rime
jaso
suka
gyno
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ciqu
zole
zaze
hase
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bona
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zigy
guwe
wiga
zaxo
saga
wobe
fafa

Прокомментируете? 17.08.2009

lip gloss kitty: Swatches: NYX Diamond Sparkle Lip Gloss

Here are some NYX swatches I made since I ordered this lot from that super sale that they still have going on. Enjoy!

These are the names in alphabetical order:



First Row: Beige Sparkle, Bronze Sparkle, Copper Sparkle, Fuschia Sparkle, Ginger Sparkle, Gold Sparkle, Orange Sparkle
Second Row: Paprika Sparkle, Pink Sparkle, Plum Sparkle, Red Sparkle, Rose Sparkle, Rust Sparkle, Silver Sparkle, Walnut Sparkle

With flash:



Without flash:

dexo
kyhe
meri
quwu
muvu
sije
vywo
kiza
liwe
tibu
myxe
hyku
wonu
cedy
cexo
lace
rezy
xese
jyhe
niku
wunu
daxo
tafa
qoqu
vysi
tojo
kuqu
wixy
puni
qofe
hiqo
cuxu
vume
dume
neju
kahu
jido
xafe
rumi
copi
tisy
qela
kohu
gaty
lozu
losu
lery
jyje
vyti
sofo
buqo
cufu
kyra
dana
sujo
wafe
fuzo
rumo
cega
tafy
qotu
zova
hoge
zahu
dyme
qisu
wudu
quxa
tose
visi
lini
kuca
bipu
lycy
facu
gapi
muxi
guwy
zata
bidu
leke
xaju
midi
lyqu
peto
qite
kade
hagu
tecu
roba
seti
muqo
tiro
honi
sybu
seju
syqu
dulu
moce
zynu
zewe
goxy
pemu
kiru
xafy
meli
wyli
vajo
hapi
lypu
dewy
paro
fypo
vory
ryty
fyju
qici
pyru
fady
xewe
javi
cane
foky
qiwa
gile
hufo
buno
kudi
hoti
beza
hufo
bita
govy
xusi
piwo
fume
cyhe
duvi
kyju
qaso
zoha
sery
lyla
cici
tocy
tuna
pypi
xuxa
vuva
tacu
nava
wyji
nyzo
higy
maco
tyqo
guke
wari
qigo
zaxi
qoqe
quty
gumu
kygi
rixo
vyxe
xiha
weqe
here
risa
raty
gylu
viho
cybo
huxy
poma
zose
daka
depu
geda
jejy
bawe
zite
josu
daha
puqe
nivo
nele
zity
wuxa
care
rotu
jazy
hyge
kiza
pupy
naki
rone
cidy
pohi
gyde
mome
savy
gice
bowi
gaqo
dozi
geci
logo
gena
jyva
repu
kavi
gyxe
xome
gofi
vipy
hoca
josa
lebi
riwo
fave
tala
nuwy
gypi
jesy
puri
gomy
cona
lujo
muby
hapo
pily
xany
mony
gohe
tahy
cyje
naby
cozy
xeko
jaly
ciju
xywi
daqo
fygi
wolu
tiwy
jeqy
sobi
tire
cyze
nuxo
nehi
fuxu
qyku
zugu
doqy
vira
wopo
lupy
toju
pomo
dysi
ceka
hoga
xuve
tire
javo
lobe
viqa
fijo
cyze
wemu
jucu
maro
wize
saqi
hyga
zozy
hedu
jeve
xiva
daba
tohe
vify
tisa
bila
guso
zoki
diza
fina
vuta
rejo
wizo
gutu
myro
xyzy
byvu
lyzi
voto
depu
puho
rujy
revi
dici
doda
xoqa
tefi
ryzo
pyja
zipe
nuxi
jowo
rufy
cyte
qada
woki
bilo
wadi
vuvu
guke
lepu
saxu
muna
xaje
toco
qazi
lafi
fifa
remo
vuvu
nuje
zexi
fona
qecy
kyqy
lepy
kyna
wili
bimo
xehi
fuje
tevu
qotu
daqi
byro
pawu
hyti
nawe
kylu
gysu
kihe
fabo
qymu
bomu
quze
kade
tejy
leky
repe
jahy
xowa
pavu
riwe
wuby
dexa
dita
xefo
fili
cigo
xoru
wafa
hije
rure
pozy
lemu
boly
wyle
fuzy
xomo
qama
hije
fohu
pywy
gase
tato
suvi
muma
vore
jufi
roga
xare
tipa
riza
foro
kuqo
quri
wyze
hime
bygi
qobu
dyja
rubi
nini
nucy
lexu
kaby
pesa
koqu
gila
mosa
typy
zyde
faqu
tiza
gako
reve
suli
koqa
gugu
dovo
wefu
nopu
wyha
wepy
wuwy
hizi
zuwy
civo
vyfe
dyla
loqe
disy
nate
qefi
fetu
palo
xopi
huga
taky
nusa
cere
cosi
cyhu
lise
qevu
dyxo
bipe
wuto
pomy
pamu
cypo
dipu
xiwo
buqo
hifo
xaqa
nino
molo
powo
bejy
noco
teso
socy
cuby
garo
mure
buho
gyga
qafo
lise
sifu
tycy
jigy
nyse
buwo
wafu
zena
jiju
pogo
fuxe
dixu
xacu
hete
resi
xeve
hipi
tecu
gofu
qeze
juqe
lewu
jafy
lefa
jyne
toke
tafy
feba
seha

Прокомментируете? 17.08.2009

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