Flowers Flowers

rattansetinshare Free

From poolside chaise lounges to picnic tables perfect for summer barbeques, Outdoor Lounge Set is made to withstand the elements. In this guide, we take a look at the best outdoor furniture materials, from the most durable outdoor furniture to what outdoor furniture lasts the longest – plus some maintenance tips on how to prolong the life of each material.

Factors to Consider for Outdoor Materials

Outdoor furniture frames, tabletops and upholstery need to retain structural integrity and their appearance over many seasons, and through a variety of weather conditions. Additionally, the time and effort needed to maintain materials throughout the year, as well as their “green-ness” and costs are important aspects to examine.

Rain & Moisture

If you live in an area where there are frequent rainstorms, or that has high humidity, you want to be sure that your furniture is resistant to damage from various water-based issues. Standing water or retained moisture can not only physically degrade the material, but it can also lead to health risks.

Mold, Mildew & Rot

Humid or moist conditions create an environment where various fungi thrive. Organic materials that retain water are susceptible to mold and mildew, which can cause respiratory problems, irritation and other health issues. However, they typically don’t damage the material and can be cleaned off. Rot, on the other hand, leads to biodegradation and decomposition (decay) of the material.

Rust & Corrosion

Metals that contain iron or steel are vulnerable to corrosion when they are continually exposed to water and oxygen. The corrosive oxidation process slowly weakens these metals, resulting in visible rust and other discoloration. Salt in the air and water accelerate the chemical process, so rusting is often more prevalent in coastal regions.


Materials that allow water penetration can dry unevenly, resulting in warping (twisting or bowing) of the original shape. Initially, it may be imperceptible, but over time it can noticeably distort the material, misalign seams and loosen screws and other fasteners used to hold the furniture together.


Some outdoor materials may last for years under ideal conditions but might need to be replaced every couple of seasons when exposed to inclement weather. Others can withstand a myriad of elements for a lifetime and still look new. Another variable that relates to durability is usage. If you eat outside on your patio dining table only a few times each summer, then it will have less wear and tear than sun loungers and daybeds that line the poolsides of popular upscale resorts and hotels. The more frequent the use, the more durable the materials should be.

Looking for high-quality, low-maintenance Rattan Corner Sofa you can love for years to come? Contact our team or click https://www.insharefurniture.com/product/garden-set/ to learn about our unique selection of Outdoor Lounge Set today!

Rachel Free

Natural remedies for hair growth

Your hair is said to be your crowning glory, and it’s normal to want to improve your hair if it’s not to your satisfaction. If you’re trying to regrow hair that you’ve lost or would simply like to improve the hair that you have, try some of these natural remedies. Their proven benefits can help to stimulate growth and enhance the hair that you have.

1. Massage

Massaging the scalp can help to restore hair growth and can be used in conjunction with hair oils and masks. This stimulates the scalp and can improve hair thickness. Taking the time to massage your scalp each day can also help you relieve stress and tension. It’s thought that stretching forces during the massage encourage hair growth and thickness in the dermal papilla cells.

2. Aloe vera

Aloe vera has long been used for treating hair loss. It also soothes the scalp and conditions hair. It can reduce dandruff and unblock hair follicles that may be blocked by excess oil. You can apply pure aloe vera gel to your scalp and hair a few times per week. You can also use shampoo and conditioner that contain aloe vera.

3. Coconut oil

Coconut oil contains fatty acids that penetrate inside the hair shaft and reduce protein loss from hair. Coconut oil can be used either before or after you wash your hair depending on your hair type. If your hair tends to be oily, you can do a leave-in treatment overnight or for a few hours before you wash it. Massage coconut oil into your scalp and all of your hair. If your hair is dry, you can also use it as a leave-in treatment. There needs to be more research on coconut oil as a promoter of hair growth, but it’s been shown to improve the health and luster of hair and has been used for centuries.

4. Viviscal

Viviscal is a natural hair-growth supplement that promotes hair growth in people with thinning hair. It contains a marine complex known as AminoMar C. This is made of minerals, vitamins, and shark and mollusk powder. These ingredients help to regenerate new cells and strengthen existing cells. You have to take the pills twice a day for at least six months in order to see results. Viviscal also makes a shampoo and conditioner.

5. Fish oil

Consuming omega fatty acids can help to improve your hair from the inside since they are filled with nutrients and proteins. Taking an omega supplement along with antioxidants helps to improve hair density and diameter. It also reduces hair loss. Omega fatty acids help your cells to work correctly and can boost immunity, leading to better overall health. Follow the manufacturer’s recommended dosage.

6. Ginseng

Taking ginseng supplements can promote hair growth by stimulating hair follicles. Ginsenosides are the active components of ginseng and are thought to be responsible for its positive effect on hair. Always take as directed and be sure to check for any possible side effects.

7. Onion juice

If you can handle the smell of onion juice, you may find that the benefits are worth it. Onion juice has been shown to successfully treat patchy alopecia areata by promoting hair growth. Onion juice is also thought to improve circulation. Animal studies show improved keratin growth factor and blood flow to the cuticles. You can blend a few onions and squeeze out the juice. Apply the juice to your scalp and hair and leave in for at least 15 minutes. Then shampoo normally.

8. Rosemary oil

Rosemary is one of the first essential oils people choose to promote hair growth and reduce hair loss. Rosemary oil stimulates new hair growth and can be used to treat androgenetic alopecia. Mix a few drops of rosemary oil into a carrier oil and massage it into your hair and scalp before rinsing. Do this a few times per week. Add a few drops of rosemary oil into your shampoo and conditioner on a daily basis. Do not use essential oils directly on the skin. Always mix them in a carrier oil or shampoo.

9. Geranium oil

You can use geranium oil to promote hair growth and boost circulation. Mix a few drops into a carrier oil and use it to make a hair mask. You can also add a few drops to your shampoo and conditioner. Geranium oil can help to strengthen, hydrate, and restore your hair.

10. Lemon

You can use fresh lemon juice or lemon oil since they are said to enhance hair quality and growth. Lemon oil can help you to maintain a healthy scalp and encourage hair growth. Apply fresh lemon juice to your scalp and hair 15 minutes before you shampoo. You can use lemon essential oil diluted in a carrier oil as a hair mask.

Rachel Jul 27 · Tags: hair growth
xiaoyu Free

The only difference is that folk guitars use steel strings. It has a small neck and is equipped with an electro-acoustic system. This kind of guitar is usually used as an accompaniment in popular music.

On the other hand, the electric guitar is an electronic musical instrument. Can be played with an amplifier. Unlike acoustic guitars, it has no sound holes. As an alternative, it consists of a plate-shaped body. Electric guitars use steel strings. When playing, the pickup will receive its vibration. It is a typical rock instrument, because it will make a loud sound when amplified.


xiaoyu May 25 · Tags: guitar
Celia VIP

Roses have always been a favorite flower across many different cultures.
From the Osiria Rose to the Black Halefti Rose, their beauty and diversity seem to have no bounds, however, it would seem that the Juliet Rose trumps them all.
The Juliet Rose was first introduced to the world at the RHS Chelsea Flower Show in 2006 by rose breeder David Austin.
Juliet Rose is a completely unique flower that took 15 years to create and more than £3 million to produce, making this the most expensive rose ever developed.
It is often referred to as the “£3 million Rose” as a result of this, but bouquets of the Juliet Rose actually sell for around £90.
The flower is a medium-sized rosette that has soft peach and apricot petals. When fully open, the blooms reveal neatly arranged petals nestled in the heart of the flower.
The elegant Juliet Rose has a beautiful light tea rose fragrance and is a popular choice of wedding flower.

Celia Apr 5 · Rate: 5 · Tags: juliet rose
Suzi VIP

Коронавирусная инфекция COVID-19 (аббревиатура от англ. COrona VIrus Disease 2019), ранее коронавирусная инфекция 2019-nCoV - потенциально тяжёлая острая респираторная инфекция, вызываемая вирусом SARS-CoV-2. Представляет собой опасное заболевание, которое может протекать как в форме острой респираторной вирусной инфекции лёгкого течения, так и в тяжёлой форме, специфические осложнения которой могут включать вирусную пневмонию, влекущую за собой острый респираторный дистресс-синдром или дыхательную недостаточность с риском смерти.
Против болезни пока отсутствуют какие-либо специфические противовирусные средства лечения или профилактики. В большинстве случаев (примерно в 80 %) какое-либо специфическое лечение не требуется, а выздоровление происходит само по себе. Тяжёлые формы болезни с большей вероятностью могут развиться у пожилых людей и у людей с определёнными заболеваниями, включающими астму, диабет и сердечные заболевания. В тяжёлых случаях применяются средства для поддержания функций жизненно-важных органов.
Заболевание вызывается новым вирусом, у людей к нему нет приобретённого иммунитета, поэтому к инфекции восприимчивы люди всех возрастных категорий. Распространяется вирус воздушно-капельным путём через вдыхание распылённых в воздухе в процессе кашля или чихания капель с вирусом, а также через попадание вируса на поверхности с последующим занесением в глаза, нос или рот. К числу эффективных мер профилактики относится частое мытьё рук и соблюдение правил респираторной гигиены.
Примерно в 15 % случаев заболевание протекает в тяжёлой форме с кислородной терапией, ещё в 5 % состояние больных критическое. Летальность заболевания оценивается в 3,9 %.
В связи с эпидемией Всемирной организацией здравоохранения объявлена чрезвычайная ситуация международного значения в области здравоохранения, а риски на глобальном уровне оцениваются как очень высокие. Ситуация быстро развивается, ежедневно увеличивается количество заболевших и погибших. Ведутся различные научные и клинические исследования. Многие научные и медицинские издательства и организации подписались под заявлением о свободном доступе и обмене информацией, связанной с новым заболеванием.
Распространение нового коронавируса в мире приобрело характер пандемии, заявил 11 марта на брифинге в Женеве гендиректор Всемирной организации здравоохранения Тедрос Адханом Гебрейесус. Пандемия является первой в истории человечества контролируемой. Правительствам имеет смысл подготовить списки обученного персонала, который способен взять ситуацию под контроль, а также списки медикаментов, средств индивидуальной защиты, припасов и оборудования, необходимых для лечения.
31 декабря Всемирная организация здравоохранения была проинформирована об обнаружении 44 случаев пневмонии, вызванной неизвестным патогеном в Китае, в городе Ухань провинции Хубэй. Патоген оказался новым коронавирусом (ныне известным как SARS-CoV-2, ранее - под временным названием 2019-nCoV), который ранее не обнаруживался среди человеческой популяции. В течение 30 дней с момента обнаружения вирус распространился из города Ухань по всей стране. Тем не менее, на примере Китая становится понятно, что распространение инфекции можно ограничивать, останавливая вспышки заболеваемости.
30 января 2020 года в связи со вспышкой эпидемии ВОЗ объявила чрезвычайную ситуацию международного значения в области здравоохранения, а 28 февраля 2020 года ВОЗ повысила оценку рисков на глобальном уровне с высоких на очень высокие.
Согласно анализу 72 314 случаев заболеваний Центра по контролю и предотвращению заболевания Китая по состоянию на 11 февраля 2020 года в 87 % случаев заболевшие были в возрасте от 30 до 79 лет, в 1 % - дети 9 лет и младше, ещё 1 % - дети и подростки в возрасте от 10 до 19 лет, а в 3 % заболевшими были пожилые люди в возрасте от 80 лет. О случаях среди детей сообщается редко, обычно это случаи заболеваний всей семьи или в результате контакта ребёнка с инфицированным пациентом. Соотношение мужского и женского пола составило 51 % к 49 % соответственно. Среди заболевших 4 % были медицинскими работниками.
Коронавирусное заболевание COVID-19 вызывается ранее неизвестным бетакоронавирусом SARS-CoV-2, который был обнаружен в образцах жидкости, взятой из лёгких в группе пациентов с пневмонией в городе Ухань Китая в декабре 2019 года. SARS-CoV-2 относится к подроду Sarbecovirus и является седьмым по счёту коронавирусом, способным заражать человека.
SARS-CoV-2 является зооантропонозным РНК-содержащим вирусом с оболочкой, согласно филогенетическому анализу полного генома изначально вирус циркулировал среди летучих мышей, но человеку передался от пока неизвестного промежуточного животного. Полный геном вируса уже расшифрован, находится в открытом доступе и доступен в том числе через базу GenBank.

Вирус передаётся воздушно-капельным путём через вдыхание мелких капель, распылённых в воздухе в процессе кашля или чихания. Капли с вирусом могут попадать на поверхности и предметы, а затем инфицировать прикоснувшегося к ним человека через последующие прикосновения к глазам, носу или рту. По данным Китайского центра по контролю и профилактике заболеваний активный вирус был обнаружен в фекалиях больных COVID-19, что означает возможность фекально-оральной передачи инфекции, например, через контаминированные руки, пищу и воду, однако данный механизм передачи не является основным в случае COVID-19. Есть также сообщения о том, что вирус обнаруживался в крови и слюне.
В одном из исследований сообщается о случае заболевания внутри семьи, где у двух членов семьи отсутствовали какие-либо симптомы и аномалии на рентгеновских снимках, но пробы слизи из верхних дыхательных путей показали наличие вируса. Таким образом, возможны бессимптомные случаи инфекции. Хотя известный случай передачи инфекции при её бессимптомном течении подвергся критике, становится всё больше свидетельств возможной передачи инфекции от бессимптомных носителей.
Также пока нет доказательств возможности развития внутриутробной инфекции или каких-либо осложнений после неё у новорождённых, если у матери выявлена пневмония на третьем триместре беременности. Тем не менее, выборки у текущих исследований крайне маленькие, а Национальная комиссия по здравоохранению Китая дала рекомендации вести мониторинг беременных в том числе и после выздоровления, а также изолировать младенца от больной матери после рождения как минимум на 14 дней.
В Китае передача идёт в основном в кругу семьи, внутрибольничная передача в данной стране для инфекции не характерна.
На текущий момент патогенез неизвестен, но может быть схож с патогенезом вируса SARS-CoV. Считается, что вирус попадает в клетку присоединением к рецепторам ангиотензинпревращающего фермента 2. Этим же путём происходило проникновение в случае вируса SARS-CoV, однако структура рецепторного домена клиновидного гликопротеина на поверхности вируса в случае SARS-CoV-2 предполагает возможно более сильное взаимодействие с рецептором. Также у клиновидного гликопротеина был обнаружен сайт для расщепления фуринами, который отсутствует у других ТОРС-подобных коронавирусов. После заражения вирус распространяется через слизь по дыхательным путям, вызывая большой выброс цитокинов и иммунный ответ в организме. При этом наблюдается снижение количества лимфоцитов в крови, в частности Т-лимфоцитов. Некоторые исследования предполагают, что на борьбу с вирусом расходуется слишком большое количество лимфоцитов. Снижение их количества также снижает защитные способности иммунитета и может приводить к обострению заболевания.
Данные о длительности и напряженности иммунитета в отношении вируса SARS-CoV-2 в настоящее время отсутствуют. Против коронавирусов, отличных от SARS-CoV-2, формируется гуморальный иммунитет, однако часто сообщается о случаях повторного возникновения инфекции.
- лихорадка - кашель - усталость - одышка - боль в мышцах или суставах - боль в горле - головная боль
Мокрота отходит в 33,7 % случаев. Реже встречаются симптомы гастроэнтерита, включающие диарею, тошноту и рвоту. Последние сообщения предполагают наличие симптомов простуды в случае лёгкого течения болезни. Заложенность носа встречается в 4,8 % случаев.
Лихорадка является наиболее частой среди госпитализированных, однако до госпитализации возникает меньше, чем у половины больных. Температура поднимается далеко не у всех пациентов. Выше 39 °C температура тела поднимается у 12,3 % пациентов.

- мыть руки с мылом или спиртосодержащим средством; - при кашле или чихании прикрывать нос и рот согнутым локтем или одноразовой салфеткой с последующим обязательным мытьём рук; - избегать тесного контакта (менее 1 метра) с людьми, у которых кашель или высокая температура тела; - по возможности не трогать руками нос, рот и глаза; - при наличии симптомов лёгкого острого респираторного заболевания оставаться дома; - при наличии лихорадки, кашля и затруднённого дыхания обратиться в медицинское учреждение за помощью с предоставлением истории предшествующих путешествий; - соблюдать правила гигиены при посещении продуктовых рынков, где продаются живые животные, мясо или птица; - избегать потребления сырых или плохо термически обработанных продуктов животного происхождения. Медицинские маски обычному населению рекомендуются в случае наличия респираторных симптомов. Нет каких-либо доказательств пользы масок среди людей без симптомов.
На текущий момент не существует рекомендованных средств, способных предотвратить инфекцию в случае заражения. Против вируса SARS-CoV-2 пока нет вакцин, но в данном направлении ведутся разработки.
Пока же наиболее эффективной мерой предотвращения распространения инфекции является контролирование её источников, включая раннюю диагностику, своевременное оповещение о случаях заражения, изоляцию больных, а также периодическое оповещение населения об обстановке и поддержание порядка.
Разработка вакцины является критически важной задачей для системы здравоохранения. Разработка ведётся, но по времени может занять около года. Текущие исследования концентрируются на получении антител к клиновидным белкам на поверхности вируса, в частности, к рецепторному домену данного белка.
Разрабатывается по меньшей мере 20 потенциальных вакцин. Если вакцины докажут свою эффективность и безопасность на животных, то есть шанс, что они будут готовы к масштабным клиническим испытаниям уже к июню 2020 года.
COVID-19 и грипп схожи по клиническим проявлениям болезни, инфекции могут протекать бессимптомно, в лёгкой или тяжёлой форме, в том числе с риском смерти. Вирусы, вызывающие оба заболевания, также передаются схожим образом: контактным путём, воздушно-капельным и через предметы или поверхности.
Однако у гриппа меньше инкубационный период (порядка 3-х дней), за счёт чего он быстрее распространяется. При этом в отличие от COVID-19 передача вирусов гриппа происходит в большей степени до появления симптомов. В случае гриппа распространение идёт в основном за счёт детей, в то время как COVID-19 затрагивает в основном взрослых, от которых уже заражаются дети, исходя из анализа случаев заболеваний среди семей в Китае.
При гриппе также меньше процентное соотношение тяжёлых и критических случаев заболевания. Смертность, судя по имеющимся данным, из-за COVID-19 выше, чем из-за гриппа. В случае гриппа наибольшему риску подвергаются дети и пожилые люди, в то время как в случае COVID-19 по текущим данным риск больше среди пожилых людей и людей с хроническими болезнями.
Против COVID-19 пока нет лицензированных вакцин и лекарственных средств, против гриппа же есть и вакцины, и противовирусные средства.

Jiwoo VIP

Ha Eun - Ha means Summer, Great, or Talented, Eun means Kindness, Mercy, Charity, and can also mean Silver, Money
Ha Rin - Ha means Summer, Great, or Talented, Rin means Female unicorn
Ha Yoon - Ha means Summer, Great, or Talented, Yoon means Allow or Consent
Ji Ah - Ji means Wisdom, Intellect, Perceive, Comprehend, Will, Ambition, Ah means Beautiful, Bud, Sprout, Elegant, Graceful
Ji Woo - Ji means Wisdom, Intellect , Perceive, Comprehend, Will, Ambition, Woo means Rain, House, or Universe
Ji Yoo - Ji means Wisdom, Intellect, Perceive, Comprehend, Will, Ambition, Yoo means Abundant, Rich, Plentiful
Seo Ah - Seo means Auspicious, Ah means Beautiful, Bud, Sprout, Elegant, Graceful
Seo Yeon - Seo means Auspicious, Yeon means Beautiful or Graceful
Seo Yoon - Seo means Auspicious, Yoon means Allow or Consent
Soo Ah - Soo means Water, Sore, Bank, Ah means Beautiful, Bud, Sprout, Elegant, Graceful
Ae-Cha - A loving daughter
Bong-Cha - The ultimate girl
Chin-Sun - The one who seeks truth and goodness in everything, truth and goodness
Choon-Hee - A girl born at the time of spring
Chun Hei - Justice and grace
Chung Cha - Noble and daughter
Jin Ae - Truth, treasure and love

Jiwoo Jun 29 '19 · Tags: korean girl, girl names
Anna Marshal

‘Imagine’ evokes a utopian world in which our heightened consciousness would make everything that oppresses us wither away, ‘Gimme Some Truth’ looks our real troubled world square in the eye and demands answers right now. If one song floats like a feather on a piano melody as gentle as an evening breeze, the other rides a droning, distorted guitar line and a searing slide-guitar solo. If one vocal sounds as intimate as your good angel speaking to you from someplace inside your own mind, the other pins you against the wall, so impassioned that the singer can barely take the breaths he needs to spit out his lyrics.

Those are two of the many sides of John Lennon, two expressions of the many truths that he came to know. These days we live in a world that to value an unthinking consistency above all other virtues. If you hold an opinion that contradicts something that you said twenty years before, it’s not assumed that you’ve simply matured or reconsidered your earlier views for perfectly good reasons. No, you’re a waffler, a hypocrite, a flip-flopper. People are not encouraged to ‘contain multitudes’, in Ralph Waldo Emerson’s immortal phrase. They are encouraged to be as small and one-dimensional as possible if they want to avoid controversy.

Lennon did not see himself or his world in those terms. He thought of his songs as snapshots of what he was thinking and feeling at the moment of composition. He believed that the one quality his calling as an artist demanded of him was complete emotional and intellectual honesty. And from his earliest years, he had no interest in disguising what he had to say to bring it into conformity with what anyone else thought his ideas should be, or even with points of view he may have felt at one time himself. If he was true to the emotion that had given birth to the song, that was enough.

‘I made the decision at sixteen or seventeen that what I did, I wanted everybody to see,’ Lennon explained in 1980. ‘I wasn’t going after the aestheticism or the monastery or the lone artist who supposedly doesn’t care what people think about his work. I care a lot whether people hate it or love it, because it’s part of me and it hurts me when they hate it, or hate me, and it’s pleasing when they like it. But, as many public figures have said, “The praise is never enough, and the criticism always bites deep.”’
From his undying love of rock’n’roll to his songs of social consciousness, from his devotion to women and family, to his eventual understanding of the fragility of all our lives, Lennon devoted his genius to chronicling the unvarnished experiences of one man’s journey through life. Whatever truths he found, he shared, and they are embodied in his songs. Well beyond his own tragic end, and even our own lives, they are his unending gift to us, and to everyone who comes after.

For better or worse, very few things remained constant in John Lennon’s life. In his early years that was not his fault. His mother and father bolted unpredictably in and out of his life, and then his mother was killed in a car accident when he was seventeen. After that he trusted very few people, fearful that they would leave him, so that truly loving anyone was an enormous risk, until he fully settled into his marriage to Yoko Ono.
But one love that lasted throughout Lennon’s life was rock’n’roll. In December of 1970, Lennon did the interviews with Jann Wenner of Rolling Stone that would eventually be published as the book Lennon Remembers. Having just undergone primal-scream therapy and completed his fiercely autobiographical Plastic Ono Band album, Lennon was subjecting every aspect of his life to unforgiving self-examination. Rock’n’roll, however, emerged unscathed.

When Wenner asked him, ‘What do your personal tastes run to?’ Lennon replied, ‘“Wop-bop-a-loo-bop”, you know? I mean I like rock’n’roll, man, I – I don’t like much else… That’s the music that inspired me to play music.

There’s nothing conceptually better than rock ’n’ roll. No group, be it Beatles, Dylan or Stones, has ever improved on ‘Whole Lotta Shakin’ (Goin’ On)’ for my money.

Maybe I’m like our parents, that’s my period. I dig it and I’ll never leave it.’ It’s no surprise then that when Lennon attempted to communicate the depths of despair in his song ‘Yer Blues’, he sang, ‘Feel so suicidal, even hate my rock’n’roll’. From his standpoint, what could be worse than that?
Earlier in that Rolling Stone interview, Lennon explained that ‘I only liked simple rock and nothing else.’ However, for Lennon, there was really nothing simple about rock’n’roll. For him, it was a style of music that got directly to the essence of things, without pretence or affectation. As ambitious as he became as an artist and activist, there was always part of him that grew impatient with overwrought complexity – whether embodied in the tangled, allusive lyrics of Bob Dylan; the semi-classical aspirations of George Martin (and Paul McCartney); or the endless realpolitik arguments of the best and brightest in government for why nations couldn’t achieve peace.

A product of the tough port city of Liverpool, Lennon prided himself on his no-nonsense demeanour, and he eventually became a New Yorker, a breed not exactly known for restraint in their opinions. In interviews and conversations, when he encountered overly elaborate explanations, Lennon would start to wonder if he was being conned. He came to view obscurantist “literary” writing as a form of dishonesty, a means of shielding yourself from the consequences of just saying what you mean. If everything in a lyric was open to interpretation then you didn’t have to take responsibility for it. Apart from a brief psychedelic period in the mid-to-late Sixties, Lennon always strove for honesty and directness in his lyric writing. He inherited that standard from the rock’n’roll songs he grew up loving. They were the core of his musical DNA.

‘I remember the old rock songs better than I remember my own songs,’ Lennon said in a 1980 Interview. ‘If I sat down in a room and just started playing, if I had a guitar now and we were just hanging out singing, I would sing all the early and mid-Fifties stuff – Buddy Holly and all. I remember those. I don’t remember the chords or the lyrics or anything of the Beatles stuff. So my repertoire is that. I still go back to the stuff the Beatles performed before they wrote, you see. I would still enjoy doing it.’

But simplicity was far from the only gift Lennon received from early rock’n’roll. Even if lyricists like Chuck Berry, Jerry Lee Lewis, Little Richard and Buddy Holly didn’t write lyrics that aspired to the sort of literary effects typical of the poetry Lennon might have read in school, they helped teach him about playfulness and a love of language purely for its own sake.
Lennon loved children’s poems, fairy tales, Mother Goose rhymes and the zany nonsense literature of such writers as Edward Lear and Lewis Carroll. He read them voraciously as a child, and retained his fondness for them into adulthood. They are primary sources for the pun­wielding, wild and whirling words of his two splendid books of stories and drawings, In His Own Write (1964) and A Spaniard In The Works (1965).
So no wonder Lennon answered ‘Wop-bop-a-loo-bop’ when Wenner asked him about his ‘personal tastes’. Songs like Gene Vincent’s ‘Be-Bop-A-Lula,’ Lee Dorsey’s ‘Ya Ya’ and Larry Williams’s ‘Bony Moronie’ all revel in silly rhymes, light-hearted neologisms, and childlike, sing-song syllables. It was music that seemed to Lennon at once innocent and rebellious. In their playfulness such songs evoked the freedom of childhood, and in their raucous rhythms and refusal of adult language and decorum they posed an implicit – and occasionally explicit – threat to the established order. That grown-ups not only mocked the music but tried to stamp it out only provided undeniable proof of its power. That was another lesson from the early days of rock’n’roll that Lennon never forgot.
The insurgent force of rock’n’roll originated as adolescent rebellion – anything that kids did was good, anything adults did was bad. As bracing as it was, the culture surrounding the music even had a nihilistic strain. It was associated with juvenile delinquency, and an appetite for destruction. Teenagers became a social class of their own, and youth was not merely a chronological time period, but a state of mind and a set of values, even if that mostly consisted of rejecting the tepid conformity of Fifties post-war life. Rock’n’roll’s attitude was best summed by a line tossed off by Marton Brando in his role as Johnny Strabler, the leader of a motorcycle gang in the 1953 movie, ‘The Wild One’. When a girl asks him, “What are you rebelling against, Johnny?” Brando offhandedly replies, “Whaddya got?”
Such scenes were thrilling and Lennon constructed much of his early identity on their basis. But as the Sixties counterculture began to take shape, and Lennon found himself as one of its leaders, it became evident to him that a more sophisticated approach to changing the world around him was necessary. At first the Beatles were encouraged by their handlers to avoid controversy at all costs, but their intelligence and desire to engage the issues confronting their generation finally made that patronising strategy impossible to sustain. Lennon’s insistence on speaking his mind, beginning with his correct observation in 1965 that the Beatles were ‘more popular than Jesus’, generated shockwaves, and he came to understand that if his words were going to have such an impact, he needed to learn how to use that power to advance the ideals he believed in.

But first he needed to understand who he was, and that process of social, political and psychological self-discovery that makes such songs as ‘Working Class Hero,’ ‘God,’ ‘Isolation’ and ‘I Found Out’ absolutely gripping. Those songs all appear on John Lennon/Plastic Ono Band (1970), Lennon’s first solo album after leaving the Beatles. It’s an undeniable, acknowledged masterpiece, widely recognised as one of the greatest albums in the history of rock’n’roll. But even at that, its true significance is often not fully understood.

Among the album’s many sources, Lennon’s scarifying dive into the depths of himself in primal-scream therapy is the most obvious, which has lead to the album being heard almost exclusively in personal terms. But part of Lennon’s daring was his willingness to explore how social forces shaped him as fully as the terror of abandonment he experienced as a child. In the absence of more substantive options for forging an identity, accepting the chains that society provides seems like a worthwhile choice – or, as Lennon succinctly put it, ‘a working­ class hero is something to be.’ Still, Lennon’s songs didn’t simply indict “the Man” or “the system”, as so many protest songs did. Lyrics like ‘Keep you doped with religion, sex and TV/And you think you’re so clever and classless and free’ exploded the pretences of counterculture hipsters, and challenged them to question how “liberated” and free they really were.

Of course, Lennon also understood that every movement needs its slogans, and he made use of and even coined some of the best of them. ‘Give Peace a Chance’ ‘Instant Karma! (We All Shine On)’, ‘Power to the People’ and the lovely ‘Happy Xmas (War Is Over)’ are all intentionally meant to preach to the progressive choir, to keep the spirits of activists up and their hopes high. But even those songs are often more complex than they are thought to be. The conviction that ‘War is over if you want it’ suggests that if war persists perhaps we have not sufficiently desired its end, or done enough to bring that end about. (Just this year Robert Randolph and the Family Band recorded a torrid cover of Lennon’s anguished ‘I Don’t Wanna Be a Soldier Mama I Don’t Wanna Die’ about very different armed conflicts than the Vietnam War that Lennon had in mind.

Similarly, ‘Instant Karma! (We All Shine On)’ is going to get friend and foe alike. If you want to “shine on” you need to make sure your actions keep you on the uplifting end of karma’s ever­-turning wheel.

Finally, ‘Imagine’, too, is not merely a pastel vision of a utopian world. It is a challenge and a responsibility, a sentiment akin to Mahatma Gandhi’s statement that ‘We need to be the change we wish to see in the world’.

Sometime in New York City (1972) is Lennon’s most overtly political album, and its opening track, ‘Woman Is The Nigger Of The World,’ is one of its most compelling songs. Co-written with Yoko, It is perhaps the first feminist anthem recorded by a prominent male rock star, and it marks both the impact his marriage to Yoko had on his evolving political consciousness, but also the deepening of his own understanding of women’s role in the world – and in his life. John and Yoko use of the charged term ‘nigger’ in the song was both a provocation and a deft bit of political analysis and guerilla marketing. Comparing the political oppression of women to the plight of blacks, and using the most racially incendiary term in the language to underscore the connection, incited heated and necessary debate, as it was intended to.

Lennon knew as well that no truth is absolute, and that the presence of love can excite our deepest fears.

Many songs have been written about jealousy, but none match Lennon’s ‘Jealous Guy’ for insight and honesty. Declarations like ‘I was shivering inside,’ ‘I was swallowing my pain’ and ‘I began to lose control’ are rare in any style of popular music, let alone a delicate ballad. Lennon’s ability to plumb the depths of himself and state his fears so directly – with such a raw, eloquent beauty is one of his most profound gifts.

Meanwhile, ‘I’m Losing You’ explores those feelings of desperation in a musical context that reflects those emotions rather than soothes them. And, as always, Lennon could be caustic.

The fear of being abandoned and alone drives ‘Nobody Loves You (When You’re Down And Out)’, to its bitter conclusion: ‘I’ll scratch your back, and you knife mine.’

The serrated rhythms of ‘Well, Well, Well’ capture the mood of a couple – guess who – who are “nervous, feeling guilty” and talking about revolution ‘just like two liberals In the sun.’

Such moments of dread and self­-doubt require the gentleness and encouragement of ‘Hold On’ – ‘hold on, John; hold on, Yoko; hold on, world: It’s gonna be all right.’

The hard-fought optimism that love provides, the rock-solid conviction that, however difficult the struggle, you’re not in it alone, leads to the sweetness of ‘Beautiful Boy (Darling Boy)’ – a paean to a true love child and the awareness, in one of Lennon’s most memorable lines, that ‘Life is what happens to you while you’re busy making other plans.’ That acceptance of the world and its inevitable changes is the ultimate gift of love. The inability to control life makes it more precious, because it requires knowledge of life’s evanescence, even as love has made life so much more desirable.

Which is the beauty and poignancy of ‘Grow Old With Me’, Lennon’s lovely, deeply felt wish for a long life with Yoko. The song was inspired by Robert Browning’s poem ‘Rabbi Ben Ezra’, and replies to a song Yoko had written called ‘Let Me Count the Ways’, drawing on the well-known sonnet that begins ‘How do I love thee? Let me count the ways’ by Browning’s wife, Elizabeth Barrett. The nineteenth-century marriage of Robert and Elizabeth Barrett Browning is among the most moving love stories in literary history, and John and Yoko clearly identified with them. Among the many reasons why ‘Grow Old With Me’ is notable is how strongly it counteracts the rock’n’roll mythology of living fast and dying young. It is a hymn to longevity, to the possibility that love can deepen and grow, that romance never has to end.

In one of his final interviews, Lennon described the central aesthetic question of his and Yoko’s life this way. ‘In a way,’ he told the New York Times critic Robert Palmer, ‘we’re involved in a kind of experiment. Could the family be the inspiration of art, instead of drinking or drugs or whatever? I’m interested in finding that out.’
While one of the innumerable tragedies of John Lennon’s death at the age of forty is that he never fully got the opportunity to answer that question, the fact that he asked it in the first place suggests that as far as he was concerned the ‘experiment’ he referred to had already reached an irrefutable conclusion. The life he had built with Yoko and their son Sean had provided plenty of material for great art. But as life became richer and more satisfying, its ephemeral nature became more apparent. When you’re experiencing so many moments that you wish would last forever, you are inevitably haunted by the awareness that they can’t.

The solution, Lennon understood, was a calm awareness that we are all living on ‘Borrowed Time.’ That song’s gentle reggae lilt lightens the weight of its ideas, and captures the sense of wise acceptance that had increasingly come to be part of his world view. Lennon still lived his life with passion and intensity, still committed to his beliefs with conviction, but the anger that had been with him for so long had eased. Without question, there are many complex reasons for that welcome development, but the simplest reasons perhaps are the most determinative ones. He had settled into his marriage; he was enjoying fatherhood; he had come back refreshed to his music, and as he entered his forties, he had matured. He had discovered that many things could and should be important, but not everything had to be a matter of life or death. In short, he was happy.

Humour, always an under-appreciated aspect of Lennon’s music, was still very much a part of his new vision, hilariously, ‘Crippled Inside’ takes the serious theme of the lies of the world – and ourselves – to hide our vulnerabilities and fears, and sets it to a tinkly, honky-tonk beat. The song in that sense mirrors its subject – a cheerful surface genially concealing a scarier reality.

Similarly, the jaunty ‘Nobody Told Me’ comments on the confusion of living in confounding times (‘Most peculiar, mama!’) with such panache that it remains perfectly relevant as a soundtrack for today. ‘Scared’ and, particularly, the hauntingly beautiful ‘How?’ address the internal version of such confusion and terror, with characteristic honesty.

Perhaps Lennon’s greatest philosophical song is ‘Watching the Wheels’, which appears on Double Fantasy. It can be thought of as his explanation of his life to fans who had wondered what he’d been doing since 1975 when he had stopped making albums and devoted himself to his life with Yoko and Sean. ‘Ah, people asking questions, lost in confusion’ Lennon sings. ‘I tell them there’s no problems, only solutions.’ Given the tumultuous life he had lived to that point, that optimism was earned.
Without being at all self-righteous, the song also has a strong spiritual undercurrent. The wheel, being a circle, is one of the oldest symbols of unity in human history. The karmic wheel, the mandala, the wheel of fortune all spin, and, as the song suggests, peace of mind comes from neither panicking nor growing complacent with their turnings. That is the state of mind Lennon had achieved by the end of his life.
Acceptance is not necessarily passive. Lennon still believed the world could – be made a better place in both personal terms and for humanity at large. Speaking about Double Fantasy on the very day he was killed, Lennon describes himself as reconnecting with his audience in this way: ‘I’m saying “Here I am now, how are you? How’s your relationship going? Did you get through it all? Weren’t the Seventies a drag? Here we are, well, let’s try to make the Eighties good, because it’s still up to us to make what we can of it.”’

The confluence of those crucial events had a decisive effect on the remaining years of Lennon’s life. For the next five years he would disappear from public life almost completely, devoting himself to raising Sean and re-immersing himself in his life with Ono. It was an unprecedented move for a rock star of his fame and stature, and he characteristically threw himself into it without reserve. When he re-emerged again in 1980 to do interviews for Double Fantasy, an album dedicated to the ideal of family and domestic bliss that he had embraced with Ono, Lennon delivered spontaneous lectures on feminism and the importance of sharing gender roles in relationships.
When a reporter from Playboy asked if Lennon had been working on any ‘secret projects’ during this period, Lennon made it decidedly clear that his personal life was the only project he had been interested in – or had any time for. ‘Are you kidding?’ Lennon replied. ‘There were no secret projects going on in the basement. Because bread and babies, as every housewife knows, is a full-time job…And it is such a tremendous responsibility to see that the baby has the right amount of food and doesn’t overeat and gets the right amount of sleep. If I, as housemother, had not put him to sleep and made sure that he was in the bath by 7:30, no one else would have…Now I understand the frustration of those women because of all the work. And there is no gold watch at the end of the day.’
As strong a personality as you could encounter even on his most cooperative day, Lennon couldn’t stand the idea that some people viewed him as passively under Ono’s spell. ‘Listen, if somebody’s gonna impress me, whether it be a Maharishi or a Yoko Ono, there comes a point when the emperor has no clothes,’ he insisted. ‘There comes a point where I will see. So for all you folks out there who think that I’m having the wool pulled over my eyes – well, that’s an insult to me. Not that you think less of Yoko, because that’s your problem; what I think of her is what counts! But if you think you know me or you have some part of me because of the music I’ve made, and then you think I’m being controlled like a dog on a leash because I do things with her, then screw you. Because – fuck you brother or sister, you don’t know what’s happening. I’m not here for you. I’m here for me and her and the baby!’

For John Lennon, the truth was not a fixed category, but a shifting one that took into account all of the factors that determine the circumstances of our lives. He lived by a code of honesty, of self-revelation, of the belief that the best songs he could write were the ones that communicated a clear picture of who he was at the moment of their creation. That process of speaking person-to-person is how the truth took shape for him. His life and his work were continual experiments in discovery and rediscovery. His values remained constant. What changed were the times, the ways in which those values could best be presented and transmitted, and the definition of those values given the current state of the world.
Whether he was singing rock’n’roll songs or writing songs that captured how fragile our lives are, whether he was extolling the virtues of women or railing against the evils perpetrated by our governments, Lennon viewed his work as one rich story, one step on the journey to Creating a better world, one ongoing, never-ending search for truth.
‘I always consider my work one piece…and I consider that my work won’t be finished until I’m dead and buried – and I hope that’s a long, long time,’ he said on the last day of his life. ‘So to me it’s part of one whole piece of work from the time I became public to now…And the eighties is like, we’ve got a new chance.’

Every decade, every new year, every day, every moment constitutes a ‘new chance.’ As Lennon sings in ‘Borrowed Time’, ‘Now I am older/The more that I see, the less that I know for sure/Now I am older/The future is brighter, and now is the hour.’ Now, and whenever anyone hears any of these songs.

Anna May 24 '19 · Rate: 5 · Tags: john lennon, music
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