Ecocriticism and American Popular Music Since 1960

Total Page:16

File Type:pdf, Size:1020Kb

Ecocriticism and American Popular Music Since 1960 The Jukebox in the Garden Nature, Culture and Literature 07 General Editors: Hubert van den Berg (Adam Mickiewicz University of Poznaýn ) Axel Goodbody (University of Bath) Marcel Wissenburg (Radboud University Nijmegen) Advisory Board: Jonathan Bate (University of Warwick) Hartmut Böhme (Humboldt University, Berlin) Heinrich Detering (University of Göttingen) Andrew Dobson (Keele University) Marius de Geus (Leiden University) Terry Gifford (University of Chichester and University of Alicante) Demetri Kantarelis (Assumption College, Worcester MA) Richard Kerridge (Bath Spa University College) Michiel Korthals (Wageningen University) Svend Erik Larsen (University of Aarhus) Patrick Murphy (University of Central Florida) Kate Rigby (Monash University) Avner de-Shalit (Hebrew University Jerusalem) Piers Stephens (University of Georgia) Nina Witoszek (University of Oslo) The Jukebox in the Garden Ecocriticism and American Popular Music Since 1960 David Ingram Amsterdam - New York, NY 2010 Cover image: www.morguefile.com Cover design: Pier Post The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 978-90-420-3209-5 E-Book ISBN: 978-90-420-3210-1 ©Editions Rodopi B.V., Amsterdam - New York, NY 2010 Printed in the Netherlands For my parents, Roy and Eileen Table of Contents Introduction 11 Part One: Theories of ecocriticism and popular music 1. Popular music and environmental ethics 23 1.1 Humanist Marxism: Ernst Bloch 23 1.2 Postmodern musicology: Susan McClary 28 1.3 Post-structuralism: Deleuze and Guattari 30 1.4 Critical realism and political ecology 33 1.5 Popular music and structural homology 34 2. Popular music and eco-aesthetics 37 2.1 Political modernism and popular music 37 2.2 Postmodern aesthetics and popular music 40 3. Popular music and ‘nature’ 47 3.1 Popular music, authenticity and ethical naturalism 47 3.2 American popular music and the pastoral mode 52 4. Eco-listening 59 4.1 Immersive listening and the deep ecological self 60 4.2 Rhythmical entrainment and New Age ecologism 65 Part Two: Ecocriticism and American popular music since 1960 5. Blues and country music 73 5.1 The blues and environmental ethics 73 5.2 Country music and rural authenticity 79 5.3 The farmer in country music 82 5.4 The cowboy in country music 89 5.5 Country music and wilderness conservation: John Denver 92 6. Folk 97 6.1 The rise of environmental folk music: Pete Seeger 97 6.2 Folk music and environmental protest since the 1960s 110 6.3 Folk music and the ‘American Primitive’ 114 8 7. 1960s rock and R’n’B 119 7.1 Sixties rock music as electronic pastoral 121 7.2 Biocentrism in sixties rock music 130 7.3 Environmental apocalypse in sixties rock music 134 7.4 Anti-pastoral as dystopian satire: Frank Zappa 139 8. Country rock 143 8.1 Country rock and the return to ‘roots’ 144 8.2 Bob Dylan’s nervous pastoral 153 9. Post-1960s rock, R’n’B and hip hop 159 9.1 Environmental protest in 1970s African-American R’n’B 159 9.2 Rock music and environmental protest since 1970 164 9.3 Anti-naturalism in American punk rock 169 9.4 Indie rock: a return to ‘nature’ 174 9.5 African-American hip hop and environmental protest 177 10. World music 185 10.1 World music and globalisation 185 10.2 Eastern music and environmental consciousness 192 11. Electronica 201 11.1 Popular music and environmental sound 205 11.2 Ambient electronica and the simulation of nature 207 11.3 Organicism and electronic dance music 210 12. Jazz 217 12.1 Jazz and ecological awareness 217 12.2 ‘Living Music’: Paul Winter 222 12.3 ‘Earth Jazz’: David Rothenberg 225 12.4 Jamming with nature 229 Afterword 233 Recordings cited 243 Works cited 249 Index 265 I would like to thank the following for helping me in various ways along the way: Scott Slovic, Geoff Ward, Terry Gifford and Axel Goodbody for their support, and the two anonymous referees at Rodopi for their generous and insightful comments. Early drafts of the book were first aired at conferences organised by the Association for the Study of Literature and Environment at Boston University (2003), University of Oregon, Eugene (2005) and the University of Edinburgh (2008), the British Association for American Studies at the University of Oxford (2002), the University of Aberystwyth (2003) and Manchester Metropolitan University (2004) and at the University of Queensland (2002). My thanks go to the organisers of these excellent conferences. I acknowledge the support of the Arts and Humanities Research Council for a Research Leave grant in 2003-4. An early version of part of Chapter 6 was published as ‘My Dirty Stream: Pete Seeger, American Folk Music, and Environmental Protest’ in Popular Music and Society. 31.1 (2008): 21-36. An early version of part of Chapter 7 was published as ‘Go to the forest and move: 1960s American rock music as electronic pastoral’ in The Forty-Ninth Parallel: An Interdisciplinary Journal of American Studies. 2 (Spring 2007): 1-16. Introduction The rise of the modern environmental movement in the 1960s saw the notion of ecological crisis enter popular debates on the natural and built environments. This book traces the various ways in which American popular musicians reacted to such developments. The historical context is well known. In 1962, biologist Rachel Carson raised fears of environmental catastrophe by drawing attention to the use of pesticides in industrial agriculture. Fears of overpopulation were highlighted with the publication of Paul Ehrlich’s The Population Bomb in 1968. A series of environmental accidents, including the Santa Barbara oil spill in January 1969 and the fire on the Cuyahoga River, Ohio in June of the same year, added to public concerns. For the New Left, opposition to the Vietnam War turned into a wider belief that capitalism was waging war against the Earth itself, while some members of the hippie counterculture responded to the social and political crisis by setting up rural communes. As the 1970s saw this back-to-nature movement transmute into New Age environmentalism, the first Earth Day in April 1970 signalled the beginning of the institutionalistion of the modern environmental movement (Rossinow 1998: 276). The ensuing decades have seen a catalogue of environmental issues brought to popular attention, from hunger, nuclear power, species extinction, the destruc- tion of the rainforests and ozone depletion to climate change. American popular musicians have responded to these concerns in a variety of ways. Environmental issues have become the subject matter for popular music, and songwriters and composers in a wide range of styles, from folk singer Pete Seeger to jazz saxophonist Paul Winter, have lamented, and protested against, what they see as the degradation of the Earth. The Jukebox in the Garden explores how environmental themes have been represented in popular song. It also investigates the growing link between music and ecophilosophical thought, according to which music, amongst all the arts, has a special affinity with ecological ideas. Unsurprisingly, much explicit theorising about music and ecology has come from advocates of ‘art’ music, with composer John Cage most influential in such debates. Cage rejected ‘program’ music, 12 The Jukebox in the Garden in which composers seek to imitate either the literal sounds of the natural world or the subjective effects that particular landscapes have on them. Instead, music was for him an attempt to imitate what he understood to be the inner workings of the natural world, rather than its external appearances. He quoted the Indian art critic Ananda K. Coomaraswamy, who wrote that the traditional role of the artist in Indian art was ‘to imitate Nature in her manner of operation’. Coomaraswamy had taken this phrase from the medieval theologian St. Thomas Aquinas: imitation, in Aquinas’ neo-Platonist sense, meant not copying the external appearances or concrete details of the natural world, but its inner, essential forms (Cage 1961: 194; 1968: 31). Cage drew on such philosophical ideas about nature and ecology as a creative model for both composition and performance. Asserting in the early 1970s that ‘Music IS Ecology’, he developed revolutionary notions of musical form influenced by Taoist and Zen Buddhist conceptions of the natural world (1981: 229). In effect, instead of writing and playing music about ecology, Cage wanted to make ecological music; his music aspired to be a form of ecophilosophical speculation in itself (Ingram 2007a). The popular musicians discussed in this book tend to be less explicitly theoretical than art composers like Cage. Popular music, as musicologist Theodore Gracyk points out, tends to arise ‘from the materials, not from theory’ (1996: 119). Nevertheless, as we will see, ecophilosophical speculation is also emerging in American popular music, particularly under the influence of both deep ecology and New Age thinking about the relationship between human beings and the rest of the natural world. Deep ecology has influenced composer, clarinettist and philosopher David Rothenberg, who has written most extensively about music and ecological thought. As we will see in Chapter 12 on Jazz, improvisation is for Rothenberg the key to his artistic strategy of ‘looking for nature right in the music’ (2001: 7). Musicologist Charles Keil’s Born to Groove (2006) is also influenced by deep ecology, and provides another sustained exploration of the idea that playing music can be a route to ecological awareness. More unashamedly New Age thinkers on music and ecology include the British composer and music therapist June Boyce-Tillman and the American ‘neo-pagan’ Jesse Wolf Hardin, otherwise known as Lone Wolf Circles. This book is, in part, an exploration and critique of such speculations on the role that music can play in raising ecological awareness.
Recommended publications
  • The Beatles), 80, 165, 357, 358, 389
    Index of Titles Abbey Road (The Beatles), 80, 165, 357, 358, 389 “Abraham, Martin and John” (Dion), 40, 75, 115, 194, 321 Absolutely Free (The Mothers of Invention), 156, 310, 375, 388 “Absolutely Sweet Marie” (Bob Dylan), 207 “The Acid Queen” (The Who), 71 “Across the Universe” (The Beatles), 222, 309, 374 “Action” (Freddy Cannon), 69 “Adagio Per Archi e Organo” (Brian Auger and the Trinity), 72 After Bathing at Baxter’s (Jefferson Airplane), 358, 388 “After the Lights Go Down Low” (Al Hibbler), 337 “Afterglow” (The Small Faces), 357 Aftermath (The Rolling Stones), 292 “Ahab the Arab” (Ray Stevens), 25, 95, 366 “Aiko Biaye” (Ginger Baker’s Air Force), 374 “Ain’t It Funky Now” (James Brown), 212 “Ain’t No Mountain High Enough” (Marvin Gaye and Tammi Terrell), 77, 111–112, 128 “Ain’t That a Shame” (Pat Boone), 314; (Fats Domino), 321 “Ain’t That Peculiar” (Marvin Gaye), 168 “Ain’t Too Proud to Beg” (The Temptations), 105, 124, 226, 319 “The Air That I Breathe” (The Hollies), 196 “Al Di Lá” (Emilio Pericoli), 114–115 “Alabama Song (Whisky Bar)” (The Doors), 115, 366 “Albatross” (Fleetwood Mac), 16, 377 “Albert’s Shuffle” (Mike Bloomfield / Al Kooper / Steve Stills), 62 “Alfie” (Dionne Warwick), 174, 199, 206, 279–280, 386 “Alice’s Restaurant Massacree” (Arlo Guthrie), 141, 203, 270, 327, 364, 379 “Alice’s Rock & Roll Restaurant” (Arlo Guthrie), 31, 327 “All Alone Am I” (Brenda Lee), 182 “All Along the Watchtower” (Bob Dylan), 172, 260 “The All-American Boy” (Bill Parsons), 175 “All Around the World” (Little Willie John), 139 “All Day and
    [Show full text]
  • Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
    Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90
    [Show full text]
  • Animal Behaviour, Animal Welfare and the Scientific Study of Affect
    WellBeing International WBI Studies Repository 5-2009 Animal Behaviour, Animal Welfare and the Scientific Study of Affect David Fraser University of British Columbia Follow this and additional works at: https://www.wellbeingintlstudiesrepository.org/emotio Part of the Animal Studies Commons, Comparative Psychology Commons, and the Other Animal Sciences Commons Recommended Citation Fraser, D. (2009). Animal behaviour, animal welfare and the scientific study of affect. Applied Animal Behaviour Science, 118(3), 108-117. This material is brought to you for free and open access by WellBeing International. It has been accepted for inclusion by an authorized administrator of the WBI Studies Repository. For more information, please contact [email protected]. Animal Behaviour, Animal Welfare and the Scientific Study of Affect David Fraser University of British Columbia KEYWORDS animal behaviour, animal welfare, affect, emotion, qualitative research ABSTRACT Many questions about animal welfare involve the affective states of animals (pain, fear, distress) and people look to science to clarify these issues as a basis for practices, policies and standards. However, the science of the mid twentieth century tended to be silent on matters of animal affect for both philosophical and methodological reasons. Philosophically, under the influence of Positivism many scientists considered that the affective states of animals fall outside the scope of science. Certain methodological features of the research also favoured explanations that did not involve affect. The features included the tendency to rely on abstract, quantitative measures rather than description, to use controlled experiments more than naturalistic observation, and to focus on measures of central tendency (means, medians) rather than individual differences.
    [Show full text]
  • 1 a Conversation with Abigail Washburn by Frank
    A Conversation with Abigail Washburn by Frank Goodman (9/2005, Puremusic.com) It’s curious in the arts, especially music, that success or notoriety can sometimes come more easily to those who started late, or never even planned to be an artist in the first place. But perhaps, by the time that music seriously enters their life, people they’ve met or other things that they’ve done or been interact with that late-breaking musical urge and catalytically convert it into something that works, takes shape or even wings. And so many who may have played the same instrument or sung or composed the same style of music all their lives may never have been rewarded, or at least noticed, for a life’s work. Timing, including the totality of what one brings to the table at that particular time, seems to be what matters. Or destiny, perhaps, if one believes in such a thing. By the time that musical destiny came knocking at Abigail Washburn’s door, her young life was already paved with diverse experiences. She’d gone abroad to China in her freshman year at college, and it changed her fundamentally. She became so interested in that culture and that tradition that it blossomed into a similar interest in her own culture when she returned, and she went deeply into the music of Doc Watson and other mountain music figures, into old time and clawhammer banjo music in particular. She’d sung extensively in choral groups already, so that came naturally. She was working as a lobbyist and living in Vermont, and had close friends who were a string band.
    [Show full text]
  • Functional Aspects of Emotions in Fish
    Behavioural Processes 100 (2013) 153–159 Contents lists available at ScienceDirect Behavioural Processes jou rnal homepage: www.elsevier.com/locate/behavproc Functional aspects of emotions in fish ∗ Silje Kittilsen Norwegian School of Veterinary Science, Norway a r t i c l e i n f o a b s t r a c t Article history: There is an ongoing scientific discussion on whether fish have emotions, and if so how they experience Received 19 March 2013 them? The discussion has incorporated important areas such as brain anatomy and function, physiological Received in revised form and behavioural responses, and the cognitive abilities that fish possess. Little attention has however, been 10 September 2013 directed towards what functional aspects emotions ought to have in fish. If fish have emotions – why? Accepted 11 September 2013 The elucidation of this question and an assessment of the scientific evidences of emotions in fish in an evolutionary and functional framework would represent a valuable contribution in the discussion on Keywords: whether fish are emotional creatures. Here parts of the vast amount of literature from both biology and Emotions Behaviour psychology relating to the scientific field of emotions, animal emotion, and the functional aspects that Cognition emotions fulfil in the lives of humans and animals are reviewed. Subsequently, by viewing fish behaviour, Psychology physiology and cognitive abilities in the light of this functional framework it is possible to infer what Fish functions emotions may serve in fish. This approach may contribute to the vital running discussion on Evolution the subject of emotions in fish. In fact, if it can be substantiated that emotions are likely to serve a function in fish similar to that of other higher vertebrate species, the notion that fish do have emotions will be strengthened.
    [Show full text]
  • AVMA Guidelines for the Euthanasia of Animals: 2020 Edition*
    AVMA Guidelines for the Euthanasia of Animals: 2020 Edition* Members of the Panel on Euthanasia Steven Leary, DVM, DACLAM (Chair); Fidelis Pharmaceuticals, High Ridge, Missouri Wendy Underwood, DVM (Vice Chair); Indianapolis, Indiana Raymond Anthony, PhD (Ethicist); University of Alaska Anchorage, Anchorage, Alaska Samuel Cartner, DVM, MPH, PhD, DACLAM (Lead, Laboratory Animals Working Group); University of Alabama at Birmingham, Birmingham, Alabama Temple Grandin, PhD (Lead, Physical Methods Working Group); Colorado State University, Fort Collins, Colorado Cheryl Greenacre, DVM, DABVP (Lead, Avian Working Group); University of Tennessee, Knoxville, Tennessee Sharon Gwaltney-Brant, DVM, PhD, DABVT, DABT (Lead, Noninhaled Agents Working Group); Veterinary Information Network, Mahomet, Illinois Mary Ann McCrackin, DVM, PhD, DACVS, DACLAM (Lead, Companion Animals Working Group); University of Georgia, Athens, Georgia Robert Meyer, DVM, DACVAA (Lead, Inhaled Agents Working Group); Mississippi State University, Mississippi State, Mississippi David Miller, DVM, PhD, DACZM, DACAW (Lead, Reptiles, Zoo and Wildlife Working Group); Loveland, Colorado Jan Shearer, DVM, MS, DACAW (Lead, Animals Farmed for Food and Fiber Working Group); Iowa State University, Ames, Iowa Tracy Turner, DVM, MS, DACVS, DACVSMR (Lead, Equine Working Group); Turner Equine Sports Medicine and Surgery, Stillwater, Minnesota Roy Yanong, VMD (Lead, Aquatics Working Group); University of Florida, Ruskin, Florida AVMA Staff Consultants Cia L. Johnson, DVM, MS, MSc; Director,
    [Show full text]
  • Book of Abstracts
    Dr. John Miller (University of Sheffield) Animals, Capital, Literature and the Victorians: Writing the Fur Trade The difference between what we think of as ‘animal’ and what we think of as ‘human’ is routinely conceptualised as a fullness on the side of the human against a poverty on the side of the animal. In response, animal studies, in its emergence over the last twenty years or so, has set about dismantling this crude logic and broadening the scope of humanities research to include the nonhuman. Although at this juncture of the twenty first century, animal studies has the status of an emerging field of study, many of its central concerns are significant ingredients of nineteenth-century thought. Evolutionary theory radically destabilised entrenched ideas of human–animal difference; animal advocacy flowered, through the work of the RSPCA, the vegetarian society and the humanitarian League amongst others; the connections of discourses of species to discourses of race, class and gender became increasingly clear, and increasingly subject to debate, as the century progressed. At the same time, the use of animal bodies in a developing commodity culture accelerated to a remarkable degree, marking the Victorian period, in particular, as an era of extraordinary violence. This paper explores one of the most disturbing examples of this objectification of animal life: the global fur trade. I am interested especially in the ways in which literary fiction both bolstered and contested the conceptions of value behind the fur trade’s commodifying processes. How, I ask, do literature and capital entwine in the imagining of animals as resources to be consumed? Simone Rebora (Università di Verona) “It’s as semper as oxhousehumper!” James Joyce’s animalisation of the human Few animals can be met through the works of James Joyce.
    [Show full text]
  • Ingestion and Nutrient Utilization
    INGESTION AND NUTRIENT UTILIZATION 9·1 VARIATIONS IN NUTRIENT INTAKE There is a continuous flow of nutrients through the metabolic pathways in an animal-range relationship. There is variation in both the ingestion rate and the turnover rate of different forages as the food is processed by the animal. A time lag also occurs in the conversion of forage to metabolically useful energy for activity and tissue synthesis. An analysis of the characteristics associated with ingestion and the subsequent use of food material provides an understanding of the chemical communication between the animal and its range at a fundamental life-support level. SEASONAL VARIATIONS. Wild ruminants exhibit seasonal differences in the rate of ingestion of different forages. The general pattern observed by many investi­ gators shows a marked drop in consumption that begins ~ n the fall and continues through the winter, with a reversal in the trend in the spring and summer. Males show a greater reduction than females. Silver (unpublished data) reports a 60% decline in intake from September through March for penned adult white-tailed deer on a pelleted diet of grains and alfalfa. Fowler, Newsom, and Short (1967) observed a decline in food consumption of white-tailed deer in Louisiana during the winter, accompanied by a 10% weight loss in bucks and a 3% weight loss in does. A decline in both feeding activity and cedar consumption was recorded for penned animals at the Cusino Wildlife Research Station in Upper Michigan during January and February (Ozoga and Verme 1970). 164 9·1 VAR IATIONS IN NUTRIENT INTAKE 165 Nordan, Cowan, and Wood (1968) have studied the intake of black-tailed deer through several annual cycles, and they observed a very obvious decline in feed intake that begins when male deer exhibit rutting behavior.
    [Show full text]
  • Unexplained Repeated Pregnancy Loss Is Associated with Altered Perceptual and Brain Responses to Men's Body-Odor
    bioRxiv preprint doi: https://doi.org/10.1101/2020.02.06.937029; this version posted February 7, 2020. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. Rozenkrantz et al Unexplained Repeated Pregnancy Loss is Associated with Altered Perceptual and Brain Responses to Men’s Body-Odor Liron Rozenkrantz*1,2, Reut Weissgross*1,2, Tali Weiss*1,2, Inbal Ravrebi1,2, Idan Frumin1,2, Sagit Shushan1,2,3, Lior Gorodisky1,2, Netta Reshef1,2, Yael Holzman1,2, Liron Pinchover1,2, Yaara Endevelt-Shapira1,2 Eva Mishor1,2, Edna Furman-Haran1,4, Howard Carp5, Noam Sobel1,2 1The Azrieli National Institute for Human Brain Imaging and Research, and 2Department of Neurobiology, Weizmann Institute of Science, Rehovot, Israel. 3Department of Otolaryngology & Head and Neck Surgery, Edith Wolfson Medical Center, Holon, Israel. 4Life Sciences Core Facilities, Weizmann Institute of Science, Rehovot, Israel. 5Department of Obstetrics & Gynecology, Sheba Medical Center, Tel Hashomer, Israel *Equally contributing first authors 1 bioRxiv preprint doi: https://doi.org/10.1101/2020.02.06.937029; this version posted February 7, 2020. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. Rozenkrantz et al ABSTRACT In the Bruce effect, pregnant mice remember the odor of the fathering male, and miscarry in response to the odor of a male stranger.
    [Show full text]
  • The 10 Most Common Toxicoses in Dogs
    Toxicology Brief managing common poisonings in companion animals PEER-REVIEWED The 10 most common toxicoses in dogs Irina Meadows, DVM, and Sharon Gwaltney-Brant DVM, PhD ogs are usually exposed to potentially toxic house- Chocolate hold products and medications accidentally. But 2 Chocolate contains two types of Dsometimes well-intentioned owners unknowingly methylxanthine, theobromine and caf- give their dogs harmful products and medications. To help feine, with their amounts varying de- prepare you for patients with theses toxicoses, we com- pending on the type of chocolate. For piled this list of the 10 most common hazards to dogs, example, milk chocolate contains about based on the number of calls we have received at the 60 mg/oz methylxanthine, dark chocolate about 150 mg/oz, ASPCA Animal Poison Control Center (APCC) between 2001 and baking chocolate about 450 mg/oz.3 and 2005.1 Clinical signs of chocolate ingestion range from GI upset to cardiovascular effects (e.g. tachycardia, hypertension or hy- Ibuprofen potension, arrhythmias) to CNS signs (e.g. agitation, pacing, hy- 1 Ibuprofen, a nonsteroidal anti- peractivity, tremors, seizures). The toxicity depends on the inflammatory drug with analgesic, anti- type of chocolate, the amount ingested, the size of the animal, inflammatory, and antipyretic effects,2 is and the animal’s sensitivity to methylxanthines. Mild stimula- available in a variety of strengths. The tion such as hyperactivity, agitation, and restlessness may most common over-the-counter occur in dogs ingesting around 20 mg/kg methylxanthine. strength is 200 mg, but the prescription-strength tablets can Cardiotoxicosis may occur in dogs ingesting 40 mg/kg, and contain up to 800 mg ibuprofen.
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]
  • Charles Earle's
    CATAMOUNT T #82/171 NOVEMBER 2003 Paige Ladrone 4 Eric Babcock CHARLES EARLE's B-Sides JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #51 REVIEWS (or not) David Brake & That Damn Band Albert Lee Rick Shea & Patty Booker Wailin' Elroys TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S “TURBINADO" texas íí:::c round-dp YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! Me R i s in TH! E n T s "A BOUNTY-SIZED CREW OF TEXAS MUSIC HITTERS HAVE STEPHEN BRUTON JON DEE GRAHAM JOINED FORCES FOR ONE WILD TOUR DE FORCE THAT HAS JUD NEWCOMB BRUCE HUGHES > TO BE HEARD TO BE BELIEVED. TRULY AN ASSEMBLAGE THAT'S JOHN CHIPMAN A DREAM BAND, THE KILLER MUSIC FLOWS LIKE WATER." - MIDWEST RECORD RECAP IY TOMBUN BAND FEATURING REDO VOLKAERT EARL POOLE BALL CINDY CASHDOLLAR SARAH BROWN BOBBY ARNOLD JON HAHN WITH SPECIAL GUEST AUGIE MEYERS "THIS IS THE KIND OF UNDER-THE-RADAR COUNTRY ALBUM THAT RENEWS ONE'S FAITH IN THE INDIE SCENE IN GENERAL, AND TEXAS IN PARTICULAR." -SLIPCUE.COM TEXAS WORLD RECORDS 210 Barron Springs Road, Suite 550, Austin, Texas 78704 512-615-2412 “To my mind, she’s the best new thing to come down this Austin pike in some time, displaying class, versatility, and a distinctiveness...” -Mob Patterson,Country Music People “ Every once in a while, a musician moves to Austin and knocks the town on it’s ear. Elizabeth McQueen is one of those.” -Jim Caliguirl,Austin Chronicle "It's country for those with dirt under their fingernails and rock for those with dust on their jeans..
    [Show full text]