CANT DO IT! The first book to take in 3,000 years of baby-making shows how women functione

CANT DO IT! The first book to take in 3,000 years of baby-making shows how women functioned as mere “vessels” in early ideas of creation, until the ancient Greeks established theories of “dual contribution” – whether two seeds or two souls – that dominated beliefs about how everything multiplied for centuries to come.This notion of “generation”, when two individuals combine to produce new life, was understood as an “active making of humans, beasts, plants and even minerals”. Likened to artisanal processes such as baking and brewing, researchers say it shaped cultural and religious doctrine right up to the 19th century.John Lurie was a true “It Boy” of this mythic era when Downtown NYC was cheap, dangerous and full of creative action.  He was co-founder, chief composer and the angular “face” of The Lounge Lizards – the sharp-suited, globe-trotting punk jazzbos who helped define the “No Wave” genre.  As his musical light started to shine, Lurie added a high-profile acting career to his creative portfolio. This came via scene-stealing roles in Jim Jarmusch’s Stranger Than Paradise and Down by Law, Wim Wenders’ Paris, Texas, Martin Scorsese’s The Last Temptation of Christ and others. The relentlessly touring musician also somehow found time to score 20 films including 1995’s Get Shorty, which earned him an Oscar nomination.  And before he devoted his creative energies almost entirely to visual art in the early 2000s, Lurie garnered more limelight via romances with boldfaced names like model Veronica Webb and Uma Thurman, by cat walking for European fashion designers and in a vast number of interviews –  ones where he pulled no punches in his controversial assessments of his contemporaries and the entertainment business writ large.Like Bob Dylan’s Chronicles Volume One, The History of Bones only tells part of this artist’s sprawling story. It concludes with a performance in Stuttgart on the New Year’s Eve 1989, as a new decade and artistic sensibility dawns in Downtown NYC. His subsequent years out of the spotlight due to chronic Lyme’s Disease, along with his development as a painter, his first TV series Fishing with John and musical ventures like his bluesman alter-ego, Marvin Pontiac, and his John Lurie National Orchestra, are only referenced in passing. But, oh what a story it is, even in part!  And unlike the mumble-prone Dylan, I cannot wait to get my hands, err ears, on the audiobook version of Lurie’s memoir. It is sure to be told in a comic deadpan that brings to mind the Godfather of Alt.Comedy, Steven Wright.Lurie’s book begins with his childhood, one spent mainly in Massachusetts. By 16, he had discovered the harmonica and jammed on stage with the likes of Canned Heat and Mississippi Fred McDowell. Lurie also graces readers with the oddball story of how he got his first sax. It came as a gift from a quasi-homeless man on a dark, empty street at 4 a.m., a man who claimed he was seeing statues turning into angels at the time. After his father’s death, teenage Lurie went a little off the rails. He became involved in petty theft and travelers’ check schemes before turning into a hardcore kundalini yogi and vegan. At this juncture, he would fast and practice sax for days on end, remain celibate (something that would quickly pass) and also ride his bike naked in the streets in the early morning. Lurie’s journey of lurid begins when he loses his virginity and gains a bout of gonorrhea from Crystal, a groupie who had reputedly slept with Jimi Hendrix the week before.Much of Lurie’s story involves his long affair with and dozens of attempts to kick heroin. His first taste comes courtesy of another famous 1980s icon, Debbie Harry. It’s one that will lead to a seven-year long habit that puts him in the company of junky jazz greats like bassist Sirone and drummer Bobo Shaw. It also leads him to the doorstep of the legendary Dr. Gong, the Chinatown acupuncturist who reportedly helped Keith Richards kick his habit.Even as his career as a critically-acclaimed musician takes flight, Lurie lives hand-to-mouth, due to the hunger of his habit and the petty wages paid to touring jazz musicians. His fortunes are buoyed by landing government support in the way of a monthly disability stipend and a $55 apartment on the Lower East Side, two things he wisely holds onto for years.  Unfortunately, his nicely priced abode is on a block he calls “Third Street Hell.” It was right across from a notorious men’s shelter. This leads to a few robberies, muggings and many a night spent sleepless due to the screams and fights unfolding on the street below.Lurie pulls no punches in his attempts to set a few records straight. Most notable is his beef with director Jim Jarmusch in whose debut film, Stranger Than Paradise, Lurie first gained acclaim for his acting. According to Lurie, the original story idea for the film was his – that of a low-level gambler who has to take care of his visiting Hungarian cousin. When the movie comes out, Lurie’s expected story credit is nowhere to be seen, but he continues to work with the director anyway.  After working with Italian actor Roberto Benigni in Jarmusch’s Down by Law, Lurie writes a script for the Italian to star in. It’s inspired by a true-life story Lurie is told about an Italian cowboy who challenges and beats the legendary Buffalo Bill Cody in a cowboy contest.  Lurie’s script has Benigni traveling across a surreal Western landscape with a Native American. When he finishes the script, he sends it to Jarmusch for his input … and hears nothing. Later, when he is just starting to raise funds for his film, Lurie hears that Jarmusch is making a surreal Western with Johnny Depp and a Native American sidekick called Dead Man, a virtual copy of his premise.  Jarmusch’s film goes ahead; Lurie’s never happens.Lurie’s long and competitive relationship with his “best friend,” the late painter Jean-Michel Basquiat, weaves throughout the memoir. In its early days, Basquiat is homeless and crashing at Lurie’s pad for almost two years.  They spend much of their time painting together, and the then-unknown Basquiat looks up to Lurie as his Lounge Lizards begin to take off. Even with notoriety, the musician Lurie is still living hand-to-mouth. Shortly thereafter, Basquiat’s career takes off like a rocket ship. With it, Basquiat flaunts his money, fame, belongings and even competes for women with Lurie. Lurie also expresses the deep hurt over Basquiat using his idea for a poster for group show of their own – of him and Basquiat facing off in boxing trunks – as the image Jean-Michel uses for his famous collaboration with Andy Warhol. In the end, he laments the loss of this close, competitive friendship that helped both excel.Lurie has both praise and criticism for some of his musical collaborators, as well as many funny meetings with other Downtown NYC boldfaced names.He calls quixotic guitarist Marc Ribot a genius for finding a place in his and many of the other obtuse musics he has collaborated on. His comments on later-day Lizards’ six-stringer Brandon Ross are less in-depth and kind, basically only saying that his dreadlocks smelled funny! He tells a funny story about twisting the arm of a man trying to intercept a joint being passed to him at a party by actor Willem Dafoe…  only to discover it is that of David Bowie! He passes judgement on Knitting Factory impresario Michael Dorf by claiming that “dorfed” became a popular verb used by musicians of the era to express when they had felt ripped off. A truly funny story involves him going to Chinatown to buy a dead eel to photograph for the cover of the album Voice of Chunk.  Strangled, bashed about, it’s an eel that refuses to die…until taking a four-floor drop off his windowsill and crawling a half-block in the gutter.Read more at NYS Music… From the 1740s, new science promoted a fresh concept: reproduction. The book’s authors show how this more abstract view gave us the sperm and egg, “test-tube” conception outside bodies, and all the language and ethical dilemmas we live with today – from population anxieties to surrogate mothers.  Published by Cambridge University Press, Reproduction: Antiquity to the Present Day is the first major synthesis of decades of scholarship comprising millennia of human attempts to make (and not make) more of ourselves, other animals and plants.  Led by three University of Cambridge academics, and pooling the expertise of historians from across Cambridge and around the world, the book is the culmination of a five-year project funded by the Wellcome Trust.”When we talk about major issues facing global society today, from climate change and migration to childcare and medical ethics, then to a large extent we are talking about reproduction: how it happens and how it should,” says Professor Nick Hopwood, from Cambridge’s Department of History and Philosophy of Science.”Reproduction has always been important, but in different ways. To provide a long-term perspective, we wanted to look deep into the history of reproductive practices and beliefs.”Hopwood co-edited the book with Cambridge colleagues Professor Lauren Kassell and Dr Rebecca Flemming. Over its 44 chapters and 40 ‘exhibits’, the lavishly illustrated volume features contributions from nearly 70 leading researchers.Flemming, from Cambridge’s Faculty of Classics, directs the first section, which takes the reader from antiquity to the early middle ages, and tells the story of the “invention of generation”.”The framework of ‘generation’ produced in classical Greece gave important, if unequal, roles to both women and men. This contrasted with the exclusive emphasis on masculine potency creating life and the cosmos that dominated Egypt and the ancient Near East,” says Flemming.1. Choose one (1) action-oriented process and one (1) cognitive process and describe how you would use the results to create a behavior change strategy for a family2. Be sure to address the issues at the household vs. the individual level.  3. Be specific about the behavior and the intervention.  4. Give details and examples5. If you are a minority candidate, how do you feel your background uniquely prepares you to be, and will influence your role as, a physician?6. If you are a woman, how has your gender impacted your decision to pursue a medical career?7. If you are not a minority, how might you best meet the needs of a multiethnic, multicultural patient population?8. If you are economically disadvantaged or have limited financial means, how has this adversity shaped you?9. To what extent do you feel that you owe a debt to your fellow man? To what extent do you owe a debt to those less fortunate than yourself? Please explain.  Health Science Science Nursing Share QuestionEmailCopy link Comments (0)

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