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April 14, 2010

(MP3) Traci Lords What Gets Me Hot! (Debut Film)

(Listen) Post Sex Pistols Malcolm McLaren: New Romantics, Bow Wow Wow, Adam & The Ants (Last Episode) BBC

Following the death of Malcolm McLaren the Godfather of Punk puts his musical life into context. The Death of punk and moving forward to the start of the New Romantics with Bow Wow Wow and Adam & The Ants. The start of Hip Hop which he describes as 'Black Punk'. Meeting Afrika Bambaata and cutting the Buffalo Girls track. The invention of cds and cd compilations. The growth in technology leading to Club Culture, Chip Music, Video games and the abuse of the interenet. Looking like your straight counterpart - referencing Madonna and 'Vogue-ing'. 'Authenticity and Karaoke'. How it turns out that the bankers in the uk were the biggest punks of them all. 2008 was the end to the culture of desires.

Broadcast on:
BBC 6 Music, 3:00am Sunday 11th April 2010
Duration:
60 minutes
Available until:
4:02am Sunday 18th April 2010
Categories:

* Factual,
* Arts, Culture & the Media,
* Life Stories,
* Music,
* Classic Pop & Rock

Go to Malcolm McLaren: From the Forties to the Noughties site

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John and Malc Pals At Last - Facebook | NME

MP3 (RARE) Malcolm McLaren with Catherine Deneuve 'Paris Paris' PLUS Sex Pistols: Disco Mix, Today Show, Rock 'n' Roll Swindle (Malc)! BONUS: Top-5 Nude Celebrities 1980

RARE MP3 s

Malcolm McLaren

Catherine Deneuve
'Paris Paris'

 

PLUS Sex Pistols: Disco Mix
Today Show

Rock 'n' Roll Swindle (Malc)!


BONUS:

Top-5 Nude Celebrities 1980


  
Download now or listen on posterous
Sex Pistols disco mix.mp3 (2026 KB)

  
Download now or listen on posterous
Sex Pistols Toda.mp3 (7007 KB)

God Save The Queen - Malcolm Mclaren by The Sex Pistols  
Download now or listen on posterous
the_sex_pistols_-_god_save_the_queen_-_malcolm_mclaren.mp3 (3765 KB)

  
Download now or listen on posterous
Top 5 Celebs 1980.mp3 (477 KB)

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(VIDEO) Motorhead Lemmy on Malcolm McLaren Legacy 'Stealing' and 'Not a Nice Person' YouWeirdTube Youtube

Malcolm McLaren Legacy: Stealing—Motorhead Lemmy

John Lydon Misses Malcolm McLaren...Sorta

Can't believe i found this soundbite today. it was hiding at the end of a Malcolm Remembered. i happened to glance and all of a sudden i see Lemmy and then he says...AND I LAUGHED FOR A LONG TIME.

Punk it Up (I'm a Sex Pistol)
PIL Public Image Ltd. Tour Starts Tomorrow
Taquila Mockingbird

R.I.P. Malcolm McLaren
New PIL Tour Starts Tomorrow
Father and Mother Punk Fashion Document! Watch remarkably Rare Footage of Interior at 'Sex' on the King's Road. Viv conducts a 'bit' Tour (including canned laugh trac) for BBC's Derek Nimmo. With VERY YOUNG JOHNNY ROTTEN, SID VICIOUS AND Pistols. Only Network Footage featuring entire group and Deceased McLaren's Partner (World Famous Haute Couture Fashion Designer), Vivienne Westwood (whose own son currently sees over famous lingerie kink company, Agent Provacateur--its own name and inspiration a tribute to Mum and Malc's most famous appellation and Situationist leaning).

http://whatgetsmehot.posterous

"sex pistols" sex pistol "Malcolm McLaren" "sid vicious" S&M fashion "John Lydon" "Sex Pistols" "Public Image Ltd" Pistols "Johnny Rotten" Motorhead MacLaren Lemmy Legacy punk rock anarchy band Steal swindle "ace of spades" hawkwind Death "Limbs Andthings" facebook youweirdtube whatgetsmehot yt:quality=high mrjyn www.facebook.com videos "ronnie biggs" great "train robbery" "rock n roll" limbsandthings1

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(Podcast) Tourette Syndrome (A Cup of Health with CDC) CDC Radio Update (3:57)



Tourette Syndrome

Does your child have a persistent twitch or make sudden vocal outbursts? They could be symptoms of a condition known as Tourette Syndrome, a neurologic disorder that begins in childhood and is characterized by involuntary, repetitive tics or twitches and random vocalizations. Dr. Rebecca Bitsko discusses Tourette Syndrome in this podcast.

Tourette Syndrome (A Cup of Health with CDC)

Listen to the Podcast Listen To This Podcast (3:57)

Does your child have a persistent twitch or make sudden vocal outbursts? They could be symptoms of a condition known as Tourette Syndrome, a neurologic disorder that begins in childhood and is characterized by involuntary, repetitive tics or twitches and random vocalizations. Dr. Rebecca Bitsko discusses Tourette Syndrome in this podcast.  Created: 6/4/2009 by MMWR.   Date Released: 6/4/2009.

More info on this topic


Tourette Syndrome is a neurologic disorder that begins in childhood and is characterized by involuntary, repetitive tics or twitches and random vocalizations. This broadcast discusses how Tourette Syndrome can be effectively treated and managed.

Tourette Syndrome (A Minute of Health with CDC)

Listen to the Podcast Listen To This Podcast (0:59)

Tourette Syndrome is a neurologic disorder that begins in childhood and is characterized by involuntary, repetitive tics or twitches and random vocalizations. This broadcast discusses how Tourette Syndrome can be effectively treated and managed.  Created: 6/4/2009 by MMWR.   Date Released: 6/4/2009.

A CUP OF HEALTH WITH CDC
Tourette Syndrome
Prevalence of Diagnosed Tourette Syndrome in Persons Aged 6-17 Years, by Parent Report – United States, 2007
June 4, 2009


[Announcer] This podcast is presented by the Centers for Disease Control and Prevention. CDC — safer, healthier people.


[Karen Hunter] Welcome to A Cup of Health with CDC, a weekly feature of the MMWR, the Morbidity and Mortality Weekly Report. I’m Karen Hunter, filling in for your host, Dr. Robert Gaynes.


Does your child have a persistent twitch or make sudden vocal outbursts? They could be symptoms of a condition known as Tourette Syndrome, or TS. TS is a neurologic disorder that begins in childhood and is characterized by involuntary, repetitive tics or twitches and random vocalizations.
Dr. Rebecca Bitsko is a researcher with CDC’s National Center for Birth Defects and Developmental Disabilities. She’s joining us today to discuss the childhood disorder known as Tourette Syndrome. Welcome to the show, Dr. Bitsko.


[Dr. Bitsko] Good morning. Thank you for having me.


[Karen Hunter] Dr. Bitsko, about how many children in the United States have been diagnosed with Tourette Syndrome?


[Dr. Bitsko] CDC found that in 2007 about 148,000 U.S. children were diagnosed with Tourette Syndrome; this about 3 in every 1,000 kids. However, we believe this is an underestimate, as a number of children with Tourette Syndrome are not diagnosed, so the number is probably quite a bit higher.


[Karen Hunter] Is Tourette Syndrome associated with any physical or mental disorders?


[Dr. Bitsko] Yes. In this study, we found that about 79 percent of children with Tourette Syndrome had another associated condition. The most common condition was attention deficit hyperactivity disorder, and other common conditions were behavioral conduct disorder, anxiety disorders, and depression.


[Karen Hunter] What are some common tics or vocalizations associated with this condition?


[Dr. Bitsko] Some common motor tics include eye blinking, neck jerking, or grimacing. Some common vocal tics are things like sniffing, coughing, or throat clearing.


[Karen Hunter] Now, why is early diagnosis for Tourette Syndrome so important?


[Dr. Bitsko] Early identification and diagnosis allows for the family to understand the child’s symptoms, and also, for the child to receive appropriate treatment, both for the Tourette Syndrome and for any other conditions the child might have. The child may also receive additional support in school which may help them to improve their academic performance.


[Karen Hunter] Dr. Bitsko, tell us about CDC’s partnership with the Tourette Syndrome Association?


[Dr. Bitsko] CDC sponsors efforts by the Tourette Syndrome Association to educate healthcare providers and school personnel about Tourette Syndrome to ensure earlier identification and promote appropriate medical, educational, and comprehensive behavioral interventions for children with TS, as well as co-occurring conditions.


[Karen Hunter] And where can listeners get more information about Tourette Syndrome?


[Dr. Bitsko] I can tell you about two websites. The CDC website: www.cdc.gov; if you go there and click on “T” in the A to Z list and select “Tourette Syndrome.” And also the Tourette Syndrome Association website, which is www.tsa-usa.org.


[Karen Hunter] Thanks, Dr. Bitsko. I’ve been talking today with CDC’s Dr. Rebecca Bitsko about the childhood disorder Tourette Syndrome.
Remember parents, if your child has involuntary, repetitive tics or twitches or random vocalizations, you might want to ask your healthcare provider about Tourette Syndrome. Although there is no cure, it can be treated and managed.


Until next time, be well. This is Karen Hunter for A Cup of Health with CDC.


[Announcer] For the most accurate health information, visit www.cdc.gov or call 1-800-CDC-INFO, 24/7.

 

Visit the CDC Radio site >>



Cover Artwork
Edward Hopper (1882–1967) Drug Store (detail) (1927) Oil on canvas (73.6 cm × 101.9 cm) The Museum of Fine Arts, Boston, Massachusetts, USA Bequest of John T. Spaulding, 48.564

"The man's the work. Something doesn't come out of nothing," Edward Hopper once said. This private and introspective man, known for his dry wit and "monumental silences" and for expressing himself "tersely but with weighted exactness in a slow reluctant monotone," was offering a glimpse into the creative process as it applied to him. Much was made of the sense of isolation and despair in his work and their connection with modern life. But "The loneliness thing is overdone," he noted. "My aim in painting is always, using nature as the medium, to try to project upon canvas my most intimate reaction to the subject as it appears when I like it most; when the facts are given unity by my interest and prejudices."

"Hudson River Dutch" is how Hopper described his ancestry in Nyack, New York. The son of a dry goods merchant, he was not discouraged in his artistic ambitions, though his family did steer him toward commercial illustration for its earning potential. The skill stood him in good stead during the lean years. He attended the New York School of Art and studied under Robert Henri, one of the fathers of American Realism, "the most influential teacher I had." He visited Europe several times. "Paris had no great or immediate impact on me." But when he returned to the United States, his work reflected what he had seen abroad. "It took me ten years to get over Europe."

Hopper settled in New York, where he would make his primary residence. He moved into a 74-step, cold-water walk-up with a sky-lit studio in Greenwich Village. He had to haul coal for the furnace up four flights of stairs, but the space suited his self-sufficient and frugal nature. He painted many major works there and, despite a reasonable measure of success during his lifetime, never pursued more plush quarters.

During a career that spanned 60 years and saw the heyday of abstract expressionism, as well as a resurgence of realism in the United States, he made a unique contribution. In a 1932 exhibition at the Museum of Modern Art, his work was described as "part of a new international progressive trend emerging within modernism, represented by a balance between 'form' and 'content' in its work." Hopper's approach, which appealed to his colleagues from all factions, explored natural and artificial light on surfaces, particularly on the vernacular architecture of American cities: motels, gas stations, storefronts, diners, apartments. "What I wanted to do was to paint sunlight on the side of a house." His work employed classical elements and formal discipline in the dispassionate presentation of everyday scenes.

Hopper captured what he called "our native architecture with its hideous beauty, its fantastic rooms, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps," and by capturing it, he defined it. His images, often described as theatrical or cinematic, went on to inspire the cinema and its greats, among them John Huston, Elia Kazan, John Cassavetes. Alfred Hitchcock credited Hopper for influencing his films Rear Window and Psycho.

"The whole answer is there on the canvas," Hopper said in lieu of explaining his paintings. "I hope it will not tell any obvious anecdotes since none are intended." Just like the content of his paintings, the form was stripped of extraneous details. He sought perfection in perspective, geometric structures, and two-dimensional space, as well as in the use of color and light. "As a child I felt that the light on the upper part of a home was different from that on the lower part. There is a sort of elation about sunlight on the upper part of a house." He described his style as "an amalgam of many races" and refused to belong to any school.

"Hopper is always on the verge of telling a story," observed novelist and art critic John Updike, referring to scenes whose very stillness suggests that something is about to happen. A room seems either recently vacated or soon to be occupied. If inhabited, it is always sparsely, and that also goes for public places—theaters, restaurants, offices. Any occupant has either just arrived or is ready to leave, psychologically absent, or lost in thought. Human presence is not required, although the viewer is always allowed in, either through an open window or some other vista. And the night is just as paintable as the day, or even more so because of its mysterious, even ominous, contrasts and shadows.

Drug Store, on this month's cover, is one of Hopper's nocturnal works. During one of his visits to Europe, he saw Rembrandt's Night Watch, "The most wonderful thing…. It almost amounts to deception." In his own work, he came to view the night as an opportunity to scrub a scene from the hustle and bustle. In the darkness, it seems, he could focus on the unexceptional and familiar elements of the uninhabited streets and capture the essence of places.

In Drug Store, drama resides strictly on the weight of darkness in back of the setting against the brightly lit establishment forward. The lamp above the entrance lights the window, which with the awning pulled up all the way, is unabashedly exposed. Emotion is rendered in place and time, not human terms. In painting this street icon, Hopper as always, sought the "most exact transcription possible." But what might have been a most sterile, even disturbing, presentation is rendered here with softness and calm. The storefront glows against the surroundings, its curtains and colorful vessels inviting and homelike but for the commercial signage. The wedgelike positioning foreshadows another one of Hopper's famous corner establishments, Nighthawks.

Silbers Pharmacy was typical of the profession in the early part of the 20th century. The move away from artisan plasters, powders, and carbonated waters saw increasingly flamboyant advertising of medications based on better understanding of disease etiology and the mechanisms of drug action.

These new drugs were a mixed bag of cure and trouble, just like today's offerings. In this journal issue alone, countless examples underline unintended consequences in the use of otherwise effective medications, among them antimicrobial drugs. Commonly used to treat infections, these drugs also may change intestinal microflora and make patients vulnerable to other infections, as with Clostridium difficile. In addition to increased C. difficile–associated disease, severity is also increasing from a new strain. And while clinical illness used to occur almost exclusively among the elderly in healthcare facilities, it is now seen in the community, among the young, and apart from antimicrobial drug treatment. Some retail meats contain the pathogen, though its role there is unknown. Changes in disease setting alter who is at risk and what the risk factors are. The clean, well-lighted healthcare setting where antimicrobial drug use leads to pseudomembranous colitis does not describe the risk for or characteristics of community-acquired infections with C. difficile.

"I was never able to paint what I set out to paint," Hopper said. During the unpredictable course of the creative process, inspiration injects itself unawares, the miscellaneous and extraneous intercede, color dictates, or thought transforms the initial intention to an unrecognizable final result. The artist's discerning eye must complete the process by honing in on the essential. Public health scientists at work to stay ahead of pathogens also come up against unpredictability in the creative process. Much like Hopper, they must have an eye for the setting. One is not like another, and light makes all the difference. And while the whole answer may indeed be there on the canvas, for Hopper the essence was found in the light, whereas for the scientist trying to capture and define risk factors for infection, the essence may still be lurking in the shadows.


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(My Second Favorite Gov. Magazine) Emerging Infectious Diseases 11: Sunday Afternoon on the Island of La Grande Jatte | CDC EID

Volume 11, Number 3 –March 2005
About the Cover
Optics and Biologic Connectedness

Polyxeni Potter* comments to authors
*Centers for Disease Control and Prevention, Atlanta, Georgia, USA

Suggested citation for this article

Cover Artwork
George Seurat (1859?1891). Sunday Afternoon on the Island of La Grande Jatte, detail (1884?86).
Oil on canvas (2.08 m x 3.08 m). The Art Institute of Chicago

"…It is this passion for beautiful colors that makes us paint as we do… and not the love of the 'dot,' as foolish people say," wrote painter Paul Signac in his journal (1). He was defending the art movement started by his good friend and fellow artist George Seurat and built upon by Signac himself, Camille Pissarro, and others. This movement, divisionism or pointillism, was Seurat's artistic contribution during a brief but extraordinary life.

Parisian from a middle-class family, tall, and handsome, Seurat enjoyed a comfortable life and proper education. He showed early talent for drawing, studied sculpture, and attended the prestigious École Des Beaux-Arts. A competent photographer, he became interested in the workings of light, particularly in black-and-white images. This interest grew as he studied optics and the processes at work on the silver particles of photographic film (2). During his art studies, particularly under the tutelage of a student of Ingres, he came to believe in a systematic approach to art.

Nicknamed "le notaire" (the notary) for his immaculate attention to his appearance, Seurat was temperamentally suited for a scientific approach to art (3). Idiosyncratically bent toward order and control and gifted with formidable observational skills, patience, concentration, and painstaking adherence to detail, he embarked on a style of painting based on color and structure that was cerebral and calculated.

Like the impressionists, Seurat was interested in the relationship between natural light and the application of paint, only he wanted to create an impression not on the canvas but in the mind of the viewer. Influenced by the work of French chemist Michel-Eugène Chevreul (1786–1889), he believed that next to each other, colors appear as dissimilar as possible, both in optical composition and tonal value (4). Seurat's color theory, in which the viewer plays a key role in perception, influenced the development of modern art.

His artistic goal, Seurat once said, was to show "modern people, in their essential traits, move about as if on friezes, and place them on canvases organized by harmonies of color, by directions of the tones in harmony with the lines, and by the directions of the lines" (5). In his best known work, images are tightly structured as if on a grid, the figures systematically placed in relation to each other in permanent, non-negotiable arrangements. Pure color is used directly from the tube, in static "points" clearly separate but intended to merge in the viewer's eye, producing a confluent image brighter than any achieved with brushstrokes. Like many scientific experiments, Seurat's daring process had unexpected results. The points remained visible, akin to tesserae in a mosaic, but produced a shimmering translucent effect (5).

A Sunday Afternoon on the Island of La Grande Jatte, on this month's cover of Emerging Infectious Diseases, is Seurat's masterpiece and one of the best-known works of the 19th century. The placid scene in an island park on the Seine shows a local crowd during a moment of leisure outdoors. Seurat's version of this commonplace event is revolutionary. As figures register in the viewer's eye, they seem suspended in mid-moment, levitating yet permanently fixed. Prototypes rather than likenesses, they represent workers in shirt sleeves, fashionable couples, children at play, soldiers in uniform. Seurat did not dwell on their faces, nor did he offer anything but their frontal or profile forms—classical, refined, distinct, balanced, and frozen in time. The iconic setup, like backdrop in a period drama, impassionedly places people, animals, and objects in a suddenly interrupted scene, creating a spellbinding visual effect.

As much interested in the science as in the art of painting, Seurat used figures as scene building blocks. Elegantly curved and grouped in harmonious ensembles, the figures are isolated from each other and detached from the beauty around them. And like separate dots of color, they do not fully blend, their shimmering presence only a means to a perfect artistic end.

Seurat's own life embodied the personal isolation seen in Sunday on La Grande Jatte. Even though surrounded by friends and supported by family, he was intensely private, even secretive, about his affairs. His parents did not know that he had a child until he was taken ill, possibly with diphtheria (6). He died precipitously at age 31, while hard at his innovative work. Signac encapsulated his friend's achievement, "He surveyed the scene and has made these very important contributions: his black and white, his harmony of lines, his composition, his contrast and harmony of color, even his frames. What more can you ask of a painter?" (1).

Seurat was not interested in the emotional or evolutionary connectedness of the crowd in La Grande Jatte. The nannies, belles and beaux, the playful pet monkey, even the stray dog foraging picnic crumbs in the foreground, are locked into themselves. Had Seurat been interested in biologic rather than optical accuracy, he might have ventured beyond visual perception of the crowd on the lawn. And between the dots, he might have found invisible connectedness, the glue that binds humans, monkeys, stray dogs, vegetation. Impervious to optics and inaccessible to the naked eye, biologic connectedness abounds.

Around the world, as in La Grande Jatte, scrounging animals share the landscape with humans. Along with scraps of food, they gather data that properly transcribed can be valuable. In African forest villages, loose dogs living near hunters and eating dead animals become exposed to Ebola and carry antibodies to the virus. Their destinies intertwined with ours in a way inaccessible to Seurat, the dogs may become predictors of human disease as their serologic status signals the presence of virus in the community (7).
References

1. Weston L. George Seurat. [cited 2005 Feb 7]. Available from http://www.si.umich.edu/CHICO/Emerson/seurat.html
2. Zuffi S. One thousand years of painting. Spain: Borders Press; 2001.
3. Georges Seurat: French neo-impressionist painter. [cited 2005 Feb 7]. Available from http://www.renoirinc.com/biography/artists/seurat.htm
4. Michel Eugene Chevreul. [cited 2005 Feb 7]. Available from http://216.239.37.104/translate_c?hl=en&sl=fr&u==http://www.colorsystem.com/projekte/fr/
5. Janson HW, Janson AF. History of art. New York: Harry N. Abrams, Inc.; 2001.
6. Vora SK. Death of Seurat. Emerg Infect Dis. 2005;11:162–6.
7. Allela L. Ebola virus antibody prevalence in dogs and human risk. Emerg Infect Dis. 2005;11.[this issue]

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URGENT: Hasidic Mumps Outbreak - CDC Radio

March 2010 Mumps Outbreak in the Hasidic Community PSA (:60)
An urgent message related to the March 2010 mumps outbreak in the Hasidic community.

An urgent message related to the March 2010 mumps outbreak in the Hasidic community. Created: 3/10/2010 by Centers for Disease Control and Prevention (CDC). Date Released: 3/10/2010. Series Name: CDC Radio.

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April 13, 2010

Here are some of Limbs Andthings's friends:

The Archies Sing The Sex Pistols God Save the Queen by Limbs Andthings (Facebook Videos)

The Archies Sing

The Sex Pistols

God Save the Queen


2:53





What Gets Me Hot just republished The four-most-important-settings-on Facebook http://whatgetsmehot.blogspot.com/2010/04/four-most-important-settings-on.html German Die.presse article on Facebook's Privacy Settings.

I found this last night!
in my own http://dailymotion.com/mrjyn Video account (OVER 1.5 MILLION VIEWS...thank you very much).  I pray to God that I won't find anymore Malcolm McLaren Connection Videos (
although I may put up a special one for Taquila Mockingbird and anyone else in LA who's going to the PIL show tonight.  Don't forget: Not a Band, A Company!)

I was in a good mood.  My blog got the most Unique Reader Views yesterday, I've ever received.  Thanks to my favorite top-30 Facebook Friends for making that possible whether you think you did or not!




-Karen Eliot- Barbara Stinson Rusty Spur Vmr Recordings Желимо пренос утакмица Србије на СП-у на видео биму на Тргу Крајине у БЛ. what is that one Annamarie O'Brien Cam Paterson Ny Press Dog Show Fashion Police Afrikabok Senegal-France Dampira Quin Claus Sorensen Deanna Ivey Lynn Flynn Steven Fonseca Gary Norris Guilty Bystander Lenore Herb Matt Hamlin Teresa Hooker Jeanne Martian Jennifer Keller Kenny Johnson Lenny Smith Luanna Anders Zemanta Vervang de aulastoelen door leren zetels. Facial Videos NetworkedBlogs Andrea Minton WEVL FM 89.9 STUDIO 54 Malcolm mclaren 4ever!!! Jay Reatard 1980-2010 Taquila Mockingbird Tallworks Tfm

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