DIY Science Galaxy Glitter Slime Kit, डीआईवाई खिलौना, डीआईवाई टॉय – FundooLabs Creative Learning LLP, VadodaraDIY Science Galaxy Glitter Slime Kit, डीआईवाई खिलौना, डीआईवाई टॉय – FundooLabs Creative Learning LLP, Vadodara | ID: 23970128848
|Country of Origin||Made in India|
|Age Group||6 – 99 Years|
|Size||24 x 16 x 5 cm|
|1||Colored and Scented PVA Clear Glue bottles (Blue, Pink and Purple)|
|2||Perfect kit to make thick, glittery, colorful & fragrant slimes|
|Minimum Order Quantity||36|
- DIYScience Galaxy Glitter Slime Kit contains everything needed for making super stretchy, glittery, shiny, fragrant, and colorful slimes in three colors i) Blue, ii) Pink, and iii) Purple.
- The Kit Contains Colored and Scented PVA Clear Glue bottles (Blue, Pink and Purple), Activator Bottle, Craft Sticks for Mixing, Premium Sprinkles – Glitters, Starts and Unicorns, Moisturiser Container, three Slime Storage Containers, Soft Tissues and User Guides.
- It is perfect kit to make thick, glittery, colorful & fragrant slimes which is super smooth, stretchy, and super fun to play with. Your child would have hours of playing with the kit.
- The kit is suitable for children above 6 years, teens, and adults up to 99 years who could keep alive the child within. All the material inside the kit is of excellent quality, safe for children, nontoxic and eco-friendly.
- The kit is ideal for Birthday party return gifts for girls and boys, Science Experiment, classroom projects, novelty gifts and presents, home or school activities for boys and girls of all ages.
- The exotic sprinkles add the magic to the beauty of your slime. You can mix and match different slimes/glues to discover new galaxy slime creations.
- The kit also helps children to understand various scientific concepts like chemical reactions, properties of polymers, science of galaxy etc. The user guide also has various tips and tricks to maintain keep your slime in a good condition for a longer time.
- DIYScience is India’s Premium Emerging Brand for Do It Yourself (DIY) Scientific Toys which are Proudly Manufactured in India. Our goal has always been to create amazing products that make people of all ages fall in love with science.
- The DIYScience kit helps kids to develop some important 21st century Skills such as Sensory and Motor Skills, Cognitive Development, Creativity & Imagination, Critical Thinking, Problem Solving and Scientific Aptitude
|Delivery Time||Ready Stock|
|Packaging Details||36 Pack Master Box|
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About the Company
Year of Establishment2016
Legal Status of FirmPartnership Firm
Nature of BusinessManufacturer
Number of EmployeesUpto 10 People
Annual TurnoverRs. 1 – 2 Crore
IndiaMART Member SinceSep 2013
Import Export Code (IEC)AAEFF*****Since our establishment in the year 2016, we, FundooLabs Creative Learning LLP, are acknowledged in the industry as one of the leading organizations, engaged in Manufacturer and Wholesale Trader a commendable range of Science Lab Equipment, 3D Printer and many more. Back to Top
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Galaxy Slime – Easy 3 Ingredient Recipe!
All activities should be supervised by an adult. As an Amazon Associate I earn from qualifying purchases. This post may contain affiliate links.
We like to make all kinds of slime here and this galaxy slime is no different! Kids will love making their very own galactic slime mixing these different glittered slimes. And no galaxy slime will look the same, just like real galaxies! The best part is that this slime recipe is easy – only 3 ingredients!
RELATED: Unicorn SlimeGalaxy Slime
When we think of a galaxy, we think of black primarily but if you look at galaxy images you’ll see vibrant pinks, blues and purples. The colors are quite stunning and this galaxy slime is no different!
We love how glittery each color is – and the best part is you won’t need to add much extra glitter yourself using Elmer’s glitter glue!
You’ll need to make 4 different slime batches to make this Galaxy Slime. One black glittered glue, one blue, one pink and one purple.
Each batch is quick to whip up – only 3 ingredients and uses our top recommended slime activator – contact lens solution.
Here are the ingredients you’ll need to make one of the colors (if you plan to make all 4 colors you’ll need to grab 4 of each of the ingredient amounts below).
– 1 Bottle of Elmer’s Glitter Glue (6 oz). We used black, blue, purple and pink. Note: We have only tested this with Elmer’s glitter glue and recommend this brand as other brands may not work.
– 1 TBSP or more (up to 1 cup) water which will make your slime stretchier. This is optional.
– Silver glitter
– 1/2 TBSP Baking Soda
– 1½ TBSP of Contact lens solution.
Galaxy Slime Recipe
This is our favorite part of the galaxy slime – the black glitter glue slime! We added some extra silver glitter to this slime to make it look like it has stars in it. It actually looks like a galaxy with distant stars!
Once you have all of the colors made, you’ll need to line them up together to twist and form your “galaxy”.
Twist your slime together now to form your galaxy! Isn’t it pretty? We will note that the more you mix and play with the slime it will turn into one color. But the glitter glue and extra glitter will still make it look galaxy-worthy!
Watch the full tutorial video here before you get started!
Now head over to our RECIPE INSTRUCTION PAGE to get the step-by-step instructions for how to make slime.Slime Safety & Precautions
Note: Making slime is a science experiment and safety precautions should still be made when creating slime. By making this slime, you agree to our site terms which you can read here.
- Adults should handle any chemicals and products
- Adults should make the slime
- Always read and follow the labels of products used. If contact lens solution is accidentally ingested, seek medical attention immediately.
- This project is not suitable for children under 4.
- Slime should not be placed in the mouth. Always wash hands before and after playing with the slime.
- If you notice any skin irritation, discontinue use immediately. If you have sensitive skin, wear gloves while making and playing with the slime.
- Slime is a science experiment and should be made and played with in moderation. Do not allow children to make their own slime and do not play with slime for an extended period of time.
Want more Slime Recipes?
Have you tried fluffy slime yet? This is fun to make and the texture is “fluffy”!
See our Unicorn Slime Recipe – one of our most popular slime recipes!
Blue Archive release date for global announced
Blue Archive Global now has an official release date in sight. The mobile gacha game will be releasing globally on 8 November, 2021 (UTC).
Earlier today, the Blue Archive English Twitter account made the following announcement:
A mish-mash of schoolgirls and military combat, Blue Archive puts players into the shoes of a school club advisor. Specifically, the Federal Investigation Club. Expect the typical anime shenanigans such as school drama, romance and the occasional military operation or two, no big deal.
The game will be available for Android and iOS devices. Here are the recommended specs for the game:
- OS/Device: Android OS 9.0 or higher / Galaxy Note 8 or higher
- RAM: Minimum 3GB required
- OS/Device: iOS 13 or higher / iPhone 8+ or higher
- RAM: Minimum 3GB required
The game’s pre-registration was announced on October 14 last month. Since then, the game has racked up over 1,000,000 pre-registrations, shattering the initial target of 500,000 pre-registrations at breakneck speed. The pre-registration rewards are as follows:
- 100,000: 200 x Pyroxene, 150,000 x Credit
- 200,000: 400 x Pyroxene
- 300,000: 800 x Pyroxene
- 500,000: 1 x 2-star Mutsuki
- 1,000,000: 800 x Pyroxene
As we wait for the global servers of Blue Archive to arrive on its 8th November release date, feel free to check out our reroll tier list that we made for the game.
To stay updated with the game’s developments, follow it on Twitter.
Publisher: Yostar Inc, Nexon
Developer: NAT Games
Release Date: 2021-02-04
You have been appointed as an advisor to the Federal Investigation Club, Schale, located in Kivotos. It’s a huge academy city where numerous academies are clustered together. Resolve the endless incidents that occur in Kivotos with charming allies full of personality, and build special memories with them!
Amazon Coupon Codes: November 2021 Promo Codes
Amazon Frequently Asked Questions
How do I use Amazon Coupons?
- After you’ve added the applicable items to your cart, proceed to checkout. On the “Shipping and Payment” page there’s a box to enter gift card numbers and promotional codes. Simply enter the promotional code you found on DealCatcher.com and click the “Apply” button. The promotional code amount will automatically be subtracted from your order total.
Should I Pay for Amazon Prime?
- Consider signing up for Prime membership. Prime members receive free shipping on most purchases regardless of the order total. That includes free two-day shipping and free same-day delivery for eligible products and locations. Prime members also get access to Prime Video streaming service, which allows you to watch hundreds of movies and TV shows on-demand for free. Additional Prime benefits include early access to deals and access to special product sections such as the Prime Pantry selection of household items.
What is Amazon’s Return Policy?
- They give full refunds on virtually all new, unopened items returned within 30 days of purchase. They’ll also cover the return shipping costs if they’re at fault, such as if the wrong item was shipped. If you’re purchasing apparel, they also offer free return shipping on many items if they don’t fit properly, even if you accidentally choose the wrong size. Note that if you’re purchasing from one of the third-party sellers, the third-party’s return policy applies.
How do I contact Amazon.com?
- You can contact them by filling out their official contact form online or by calling their customer service department at 1 (888) 280-4331.
What is Subscribe & Save and how does it work?
- Amazon also offers a “Subscribe and Save” program that allows you to set up monthly recurring orders for items you need. They offer up to 15% off on your “Subscribe and Save” orders, and free shipping is included. You can cancel subscribe at any time, even right after you order it the first time meaning it’s a no brainer to save the extra 5% – 15%!
When is Amazon Prime Day 2021?
- Amazon just announced their plans for their highly anticipated Prime Day 2021. This year, Amazon Prime day will span 48 hours and begins June 21st, 2021. Visit both DealCatcher and our Facebook Group to stay up to date on the latest time sensitive offers from Amazon.
4 with 4751 ratings.
How to shoot “Alien” without a single special effect – Popcorn
At the very end of the 1970s, a film was released that is still frightening viewers in a way that no modern “horror movie” can do. Director Ridley Scott turned the genre of science fiction and he played with new, hitherto unseen paints. Colors of horror and despair.
Cold space, deep loneliness and acute tension have become the hallmark of the “Aliens” universe. Lost in space ship “Nostromo” dark history scared worse than the world’s cataclysms.Let’s see, how it’s done.Actors, director and the most disgusting scene
For relatively little money with a remarkable talent you can shoot a masterpiece. “Alien” was no exception. Feed to creators cost $ 11 million, or $ 35 million, taking into account inflation. It almost quadruples less than the budget of the later Prometheus.Alien Frame: 20th Century Fox
It is not surprising that in “Alien” as such special effects practically none.Why did people in the cinema feel bad, some in ran out of cinemas in horror, some fainted, while others felt sick? How always, it’s all about skill, dedication and little tricks.
Take, for example, the famous episode of the “birth” of an alien. This the scene is considered one of the most impressive in the history of cinematography. According to creators, at the premiere, almost half of the viewers turned a blind eye to the moment when blood began to gush from the torn T-shirt.Alien Born Frame: 20th Century Fox
Excerpt with Alien’s cub bursting from Kane’s chest became the strongest scene of the film. Many publications wrote as if during her shooting almost all the actors did not know what would happen the next moment, so on the screen – not a game, but a genuine reaction of the performers of the roles to what is happening. In fact in fact, the actors knew perfectly well that from the chest of their colleagues it should seem small and evil alien. They didn’t know only that all the action would be accompanied by mini-explosions and dozens of liters of bull blood pouring on them.
The episode was filmed in two takes. In the first one, Kane gets sick he gasps and falls on the table.In the second take on the table, we already see an artificial torso with a T-shirt pulled over it. Inside were containers with blood and offal purchased at the nearest slaughterhouse. All this “Good” pumps were pumped under high pressure.Frame preparation: 20th Century Fox
Some problems have arisen with the T-shirt, which does not wanted to break through with the efforts of a newborn alien. Had to spray her acid to make it weaker, and also to cut a little.
It is curious that who played one of the two female astronauts actress Veronica Cartwright was warned – during the filming of the episode, it will drip just a little blood. In fact, she was literally doused with a hose. Young woman was in genuine shock, screamed hysterically and even fell – all this fell into the final version of the film.Kid Frame: 20th Century Fox
The embryo itself initially looked more like an angry plucked chicken.Then there was a certain little dinosaur, who in the end Legs were “amputated”, leaving the head and tail. The table on which the cub runs from the cabin, was divided into two parts, between which there was a gap of about 15 centimeters. Below, a man on a skateboard cart held a mini Alien mockup. on a stick, and another assistant at the right moment dragged the cart over to himself.First version of a newborn alien shot: 20th Century Fox
By the way, it was Veronica Cartwright who was supposed to play Ripley, until the director was shown aspiring film actress Sigourney Weaver.She was so happy with the offer that she hid her allergy to the cat, which here and there there flickers in the film. The actress was afraid that the director, upon learning about the disease, would rather get rid of it than a cat, which is much more difficult to find a replacement for.
In the first versions of the script, the main role was assigned to man. Ripley was turned into a woman purely for commercial reasons – into In the late 1970s, it was fashionable to make films about women. It was a trend thanks to which any tape won in the eyes of critics only by the very fact of having the main female role.Sigourney Weaver and cat frame: 20th Century Fox
The name “Alien” did not appear at once either. There were many other options such as Star Beast. However, it all smelled like movies. category “B”. Writer Dan O’Bannon came to “Alien” straight from the text dialogues – the heroes of the picture often mentioned this word.
None of the famous directors wanted to take on filming ribbons.They flipped through the script and saw in it “a stupid movie about a monster, crawling out of the chest. ” Ridley Scott was then known as the author commercials and one full-length film – “The Duelists”. He immediately agreed to an offer from Hollywood bosses after seeing a chance to film his The Texas Chainsaw Massacre is a science fiction genre.Ridley Scott Frame: 20th Century Fox
Alien was filmed in a studio near London.Ridley Scott did the storyboards with his own hand, chose lenses, showed where and what camera to shoot (and he himself controlled the camera), he came up with for the actors biographies of their heroes.
The director borrowed many of the methods from Alfred Hitchcock. He preferred not to show the viewer everything, relying on the play of imagination – namely it paints the most terrible pictures.
Actors recall that Ridley Scott was very demanding, but with almost everyone he had an excellent relationship. Exception became the African American Japhet Cotto, who so annoyed the director with his advice on how to “correctly” shoot, that he was hiding from him, trying not to meet again.The actor attacked Ridley Scott with hundreds of ideas every day and even offered to rewrite the scene in which the Alien kills him hero. On the set, Yaphet Cotto said that he would not die today and would “kill this bastard alien.”
The real star of the tape, albeit behind the scenes, was the Swiss artist-designer Hans Rudolf Giger. It was he who invented and created the image of the creepy xenomorph – not just scary, but also beautiful and even sexy a humanoid biomechanical insect.Hans Rudolph Giger frame: 20th Century Fox
In the studio, Giger’s work was not accepted at first due to excessive disgusting that repelled people.Ridley Scott insisted that Alien, facehugger and eggs, which the Swiss also invented, nevertheless appeared in his film, because he is shooting horror and not a thrash comedy.
The film crew avoided Giger. They thought he was strange compared with Count Dracula and did not want to meet again. We even went rumors that in his basement he hides the skeleton of the bride who committed suicide.Alien, Jockey, Face Hugger and Other Creations of Giger
Over time, the image became more and more perfect frame: 20th Century Fox Be that as it may, but Giger managed to create impressive images.By the way, he also worked on the interior design of the ship, the image of the Jockey and the appearance of the planet that Nostromo lands on.
Another artist tried his hand before Giger. But his version The alien was rejected immediately – the alien looked like a giant cuttlefish and came up for second-rate films, but not for what they wanted to do filmmakers.
An actor for the role of an alien was found in a bar. Bolagi Badejo, for whom this experience in cinema was the first and last, was the best fit for an Alien – he was extremely skinny and very tall (the growth of a Nigerian reached almost 2 meters and 20 centimeters).The only role of Bolagi Badejo frame: 20th Century Fox
The newly minted alien was immediately sent to study plasticity and pantomime to teach you to move slowly and smoothly. For Bolaggi Badejo made a very thin rubber suit. In some scenes into it a gymnast suspended on ropes is dressed.
In addition to latex, the extraterrestrial monster costume included any stuff: old Rolls-Royce tubes, snake spines, plasticine, a human skull and god knows what else. They even made a mechanical tail, but it it did not work, so I had to limit myself to a rubber model.Break frame: 20th Century Fox
The most difficult element of the Alien was his head. For filming close-up created a structure consisting of 900 moving elements, a large some of which were used in the mechanism of the mouth. The actor did not wear this design, a lighter alien head was made for him.
Giger specially made it so that the monster had no eyes. The artist believed that it was so much more terrible when the viewer did not understand where looks Alien. A lubricant was used to simulate mucus dripping from it.
No less terrible in Giger’s performance turned out to be a facehugger. The Swiss drew on him long “fingers”, because he always believed that imitation of a human hand is very scary. Naturalism in the episode preparation was achieved with the help of oysters, sturgeon bought on the market, caviar and other fish delicacies.Facehugger diagram frame: 20th Century Fox
Translucent was used as the basis for the egg. fiberglass and hydraulic wall opening mechanism. Inside the tank there were the stomach of a cow, lamb intestines and the director’s hands in gloves for washing utensils. He wiggled them to simulate life inside an egg.Egg frame: 20th Century Fox
An unacceptable luxury and an example of unjustified waste for the producers was the layout of the Jockey.Its construction took as much as 500 thousand dollars. And this despite the fact that the dummy is involved only in a small scene and not carries a special plot load. The management suggested using miniature puppet model, but the director insisted that the scenery be “real”.Gothic “Nostromo” and other decorations Ship Nostromo Frame: 20th Century Fox
Since the team has decent special effects filmmakers simply had no money, they had to impress viewers in the old fashioned way. To create a fantastic environment, you cannot do without decorations, so more than 120 people worked on their creation.
Several models of Nostromo were built, in which Ridley Scott saw a fantastic incarnation of a Gothic castle. The director wanted to do the exterior of the ship is technologically advanced, with flat, thin displays, however, due to limited budget and persistence Giger gave preference to retro technologies. That is why in the cabins, wheelhouse and corridors we see unsightly tumblers and large convex screens.Interior trim frame: 20th Century Fox
The largest model “Nostromo” reached several tens of meters. Another was about 10 meters long, but weighed impressive 250 kilograms. This structure was lifted with a velvet-covered forklift, creating the illusion of a smooth movement of the ship. Most episodes where the surface of “Nostromo” is shown at close range, show this particular layout. Another lightweight acted as an understudy the model is about one and a half meters long.
The game was widely used to hide visual flaws. lights and shadows, as well as fans that dispersed the smoke throughout the set. The fog covering a hostile planet is not a “trick” and not a director’s handwriting, but a cheap and quick way to hide what the viewer is better off not seeing.Foggy Planet Frame: 20th Century Fox
A huge set was created in a studio near London, the design of which exactly repeated the architecture and design of the premises Nostromo.It was not easy to shoot in such conditions, besides the actors was haunted by claustrophobia.
In order to create the illusion of more extensive in fact, the spaces had to resort to very simple but effective methods. For example, a spaceship corridor was made of scrap metal, and at the end of it put a mirror that visually increased the length of the room.
Animal bones were used in the decoration of the Jockey’s ship. Was trying to use fresh material from the slaughterhouse, but because of the unbearable the smell of this idea was abandoned.Giger had to look for old dry bones and generously coat them with plasticine.
The largest decoration in Europe at that time was desert planet. To create the desired surroundings, we had to bring tons of sand.Actors had to sweat in non-breathing spacesuits frame: 20th Century Fox
A big test for the actors was the spacesuits in which they heroes explore the planet and the extraterrestrial ship.The costumes are huge soft and with hockey gloves included. There were no holes in the suits for breathing, so after a while the actors began to choke. Because of heat, one of them was sweating so much that he could not see anything in the helmet and was on the verge of loss of consciousness.
In order to emphasize the enormous dimensions of the ship and the chair the pilot with the Jockey, in the scenes with the general plan, children dressed in spacesuits were filmed Ridley Scott. Once they both fainted while filming.Only after that, the supply of fresh air was organized into the spacesuits.
Like this, on a limited budget, but with ingenuity and ingenuity Ridley Scott left his name in fiction as the director of one of the most feared in the history of cinema films. It turned out that for naturalistic and frightening scenes, we need special effects, enough available tools. Remember the impressive episode of Ash’s severed robot head? An artificial head was created for him, but it turned out to be completely different from the actor Ian Holm.The budget for the alteration is not was, so it was simply poured abundantly with milk, “seasoned” with pasta, onions and glass beads. It turned out great!Ash Robot and Pasta Frame: 20th Century Fox
Found a mistake? Select the fragment and press Ctrl + Enter.90,000 Read Byte III. Star and Death Shshlemkhh Ainna online (completely and free)
“Women can’t wait, remember that!”
On the outskirts of the Ouroboros Tracks.
Instead of the Galactic Core Center in the Paths of Ouroboros, I tumbled out of the gigantic worm’s belly into the beginning of the corridor illuminated by magical lamps, leading to the luxuriously decorated doors at its end. Exactly the same that we passed to the entrance to the First Path. With armchairs and tables along the wall. Falling from the height of the stomach level of Ouroboros, I tried to twist so as not to fall on my back.
Convulsively clenched fingers automatically grabbed the first thing that came under them. And fell under them, or rather fell, a slender girl, accompanied by a small retinue, in a multicolored formal dress with a dozen guards in rich type-set chain mail of the color of a raven wing with gold coats of arms on convex bibs.
Flying by (lucky – I could literally fall on my head!), I clung to her clothes, reminiscent of a sky-colored silk veil, hiding a slender figure from head to toe, and all I could do was hear the sound of tissue tearing under my fingers, as in slow motion, sliding in large rags from the shoulders of a pretty girl.
And also, – to see huge eyes filled with horror, the color of May honey. I almost managed to land successfully – slightly broken fingers do not count.
– Hello everyone! – I got to my feet and bowed politely, in spite of the aches in my lower back, and small tremors in my knees.
I don’t deny that there was another vidocq, all in the mucus and shreds of worm flesh, fragrant with remnants not completely digested by it, I don’t know what, in torn and partially missing clothes.And almost bald …
The first thing that I lost without noticing was the “Cap of the Eternal Wanderer”, and the hair on my head had time to dissolve for the most part in the vapors of the gastric juice of Ouroboros. At the same time, the skin did not suffer, although some burning sensation was felt. And in general, a hot shower, and a set of new clothes, I would not hurt at all.
The passage of time returned to normal, but everyone around froze, and it seemed, even stopped breathing.
The girl, embarrassed, with narrow palms covered on the back with intricate ligature of tattoos, covered not those parts of the body that traditionally attract the opposite sex in people, but a pretty face and graceful neck, of an unexpected sunny color.Why, I did not understand. In addition, everything and so for the most part was hidden by the golden hair, an iridescent waterfall tending downward and almost completely covering the poured beautiful breasts, less bright, closer to saffron shade.
It was no longer horror that was read in her eyes, but rather amazement.
Despite the comic situation, I was not in a laughing mood. It looks like it was me who got here.
We were surrounded, bristling with short spears, by a dozen soldiers of her escort, ready to turn me into a pillow for needles with one slow wave of the mistress’s thick black eyelashes.
She made an imperceptible gesture with graceful fingers, and immediately next to her appeared another female, apparently a servant. She threw on the lady a new chador, turquoise with gold embroidery, which, as if specially for this occasion, was worn in a carved chest. The beauty did not hide her face. At the same time, another sentient in a dark blue robe sent a wave of blue fog at me, carrying a washing feeling of purity. The burning immediately stopped, replaced by a feeling of vigor and freshness.
I did not really understand what happened, and what unknown taboos I violated, however, judging by the impending wadded silence around, I was able, as often happens to me, without making absolutely any special efforts, to plunge into something unexpectedly very serious.
Obeying the girl’s next gesture and uttering an indefinite sound, one of her attendants in a black robe embroidered with silver dragons “hung down”. Coming close and squeezing between the warriors who surrounded me, he moved his dry, shiny lips and at the same time his forked tongue almost touched my ear.The guards pretended not to hear his whisper, covering their eyes with a translucent film, as is the case with some amphibians, without closing the eyelids. Maybe the ears were covered with something – you can’t see it under the helmets.
– Dear druhh, you sseychass scraped a royal blood ossob!
There was no sadness!
I, just like him, whispered with my lips:
– But I didn’t on purpose! I just fell out of the portal! By pure coincidence, it was here!
– Everybody saw it.But you kissed the herssogine and bared her for everyone! We looked at the color of the skin of her face, saw her!
– Is it so scary? – Christmas tree-sticks, where did I start hissing ?!
– It’s not scary, – he looked at me sympathetically and pulled away a little, – it’s deadly, dear druhh!
The guards accompanying the Duchess tightened their grip on the ring, almost touching my throat and chest with their sharp tips.
– What can I do about it ?! – I hissed almost in despair.
– Dear druhh can make an offer to the duchess, – and seeing my utter bewilderment, he clarified – zssamushsh.
Ignoring my attempts to shake off the misfortune that had fallen down with the standard gesture of disagreement, he continued:
– And I really hope that she will agree. In the first place, death is threatening not only the respected druhkh, – he paused for a moment, looking mournfully at the ceiling, – but the duchess is the same. You did what you’re allowed to do to your spouse after your wedding night.If you deprive your spouse, you have to poke around with everyone, because your spouse has a true princess of blood. After the wedding night, my spouse is well and can bear strong offspring.
He looked at me:
– Do you understand the whole seriousness of the situation, man?
I, at the risk of losing my head, once again twisted it negatively.
– Not sovssem, – I didn’t even notice that I was hissing again with might and main.
– Only after the wedding, – you really can’t, – he reproachfully wagged his outstretched forefinger in front of my nose.- A naked unmarried woman is a disgrace for a nest. A disgrace, a stripper! If you do not agree to live, then now she will scam herself to death for herself and her respected friend, in order to avoid embarrassment!
Complete absurdity. I’m not going to get married! Moreover, for such an insignificant occasion! Nonsense! Of course, the girl is beautiful in her own way, although I am suspicious of her environment of lizards. In general, what does it matter to me, and all the reptiles put together, with all their relatives and customs !?
An episode from an old movie came to mind completely inopportunely:
“You have no right! This is lynching! I demand that I be judged according to our Soviet laws! ”
Ugh, what does the court have to do with it !? I didn’t do anything bad to anyone!
However, those gathered around the lizard seemed to have a different opinion.The Duchess, who had already mastered her emotions, studied me with a cold, calculating look. Frankly speaking, with undisguised interest. As I said, there would be something to look at. I, without embarrassment, held her gaze and after prolonged gazing, the expression in her eyes changed – I don’t know what she saw there, but apparently made some conclusions of my own and, probably, found them satisfactory.
– We are waiting, dear druhh! The scaly mediator reminded me.
I was not ready to exacerbate the situation.I also didn’t want to act against my will.
– Tell the Duchess that it is not customary for us to make hasty decisions. I need to talk to her without strangers. Will she understand my speech?
– The State Housekeeper owns nine languages, but the respected language is not included in their number.
– Maybe you can translate what I am going to say?
– No. I am not admitted to the conversations of her lordship. But you can improve our language. I will make the opportunity. Fast.90,000 Throbbing Gristle and Music from the Factory of Death – SPECTATE – Webzin about contemporary art. Essays, podcasts, exhibition reviews, translations of important texts about art
Throbbing Gristle. Whitehouse. Nurse With Wound. Clock DVA . 23 Skidoo
Thesis: Industrial, the musical style of the late seventies, was the second flowering of true psychedelia. Nowadays, at first glance, the music of Throbbing Gristle seems impossibly distant from the mystics of 1967, who frolicked in the English meadows in bliss, and from Syd Barrett with his melodies in the spirit of lullabies and images from children’s fairy tales.Industrial music was the unrelenting urban sound mirror of a world of dehumanizing brutality. Innocence figured in her only as something subject to desecration. As for pastoralism, suffice it to say that when Throbbing Gristle posed on an idyllic grassy cliff overlooking the Channel for 20 Jazz Funk Greats, it was an unhealthy joke – because Beachy Head has always been popular. place of take-off before suicide.
And yet, industrial had a lot in common with psychedelia.The Intention To Blast Brains With Multimedia Sensory Overload: Nearly every industry group used movie projection as a backdrop and extreme stage lighting, reminiscent of 1960s happenings and acid tests. Obsession with distortion and sudden effects: Both psychedelia and industrial have abandoned “naturalistic” recordings of rock samples in favor of lavish processing, tape looping and electronic noises. The significant difference (and what made industrial a “real” psychedelia, not an attempt at rebirth) was that industrial replaced the attempt at kissing the sky with a gaze into the cosmic abyss.Industrial was psychedelia turned inside out: one long bummer trip.
There were also direct historical ties between the acid freaks of the late sixties and the connoisseurs of self-disclosure of the late seventies. A flyer for Throbbing Gristle’s 1976 debut show – “discos,” as they jokingly called it, described the band as “post-psychedelic thrash metal.” It was pure truth: TG arose out of COUM Transmissions, a taboos-breaking ensemble of performance artists, but COUM was originally conceived as an absurd space rock band.In 1971 they supported Hawkwind, a leading band in the “post-psychedelic” British underground. In 1969 photographs, singer Genesis P-Orridge resembles none other than Hippan Neal from the comedy television series Youth: he has the same droopy expression on his face and long slicked hair. It so happened that his real name was Neil (Neil Megson, for added stupidity). Back in 1979, the list of his favorite music fully corresponded to the classic definition of a junkie-sixties: The Doors, Pearls before Swine, The Fugs, Beefheart, Zappa.
In 1966, at the age of sixteen, P-Orridge, after reading stories in the newspapers about the first acid hangouts in London, arranged a “Happening” at his Solihull High School. A few years later, he joined the art commune Transmedia Research, an offshoot of Exploding Galaxy, famous for its Kinetic Theater performances at psychedelic feasts at clubs like UFO.David Lynch, Untitled (Łódź), 2000
“Transmedia” refers to the then fashionable concept of a new form of “total art”, which consisted in creating “experiences” by combining different forms of art and breaking down barriers between performer and viewer.But the most amazing thing was the way of life of “Transmedia”. The regime and customs were deliberately violated: the members of the commune slept in different beds every night and every morning they chose clothes for themselves from the common chest, meals were irregular, and the games affecting social roles, personality and language did not stop.
This search for a certain real pure “I” through a depleting regime that worsened his physical condition began to accompany all the achievements of P-Orridge in life and in art. “We must look for ways to break the prejudices, those strategies of unreasonable acceptance that make us so vulnerable to Control within our constructed behaviors,” he wrote a few years later, borrowing from Burroughs the semi-mystical concept of Control as an all-pervading force embedded in the fibers of consciousness itself.COUM and Throbbing Gristle aimed to produce “psychic explosions that nullify Control.”
Following his adventures with Transmedia, P-Orridge returned to Solihull (where he did not complete his studies in philosophy and social management) and set up his own art laboratory / collective, COUM Transmissions. He fell in love with flower child Christine Carol Newby, who moved to COUM’s communal headquarters in a warehouse and renamed herself Cozy Fani Tutti. COUM started out as an arbitrary rock band that was not hampered by the lack of training and knowledge of improvisational techniques, and which used both broken violins and rebuilt pianos, as well as traditional instruments like drums and bass guitars.Inspired by John Cage’s lyrics and primitivists like The Fugs and the Velvet Underground, P-Orridge believed that “the future of music lives in non-musicians.” Gradually, the chaotic concerts became more theatrical and “spatial”, with the addition of costumes and props, and later full-scale installations. P-Orridge and Tutti realized that they could receive grants from the Arts Council if they called what they were doing not rock music, but “performative art.”
Starting in July 1972 with an event called Alien Brain, COUM have staged more and more out-of-the-box and shocking performances in art galleries and mixed art festivals in Britain and Europe one after another.An important predecessor to COUM was Fluxus, an international art movement of the 1960s, whose work combined elements of dadism, zen and practical joke, often with a confrontational approach to performative art. P-Orridge admired Fluxus as “a protracted battle with art itself and commentary on it.” Another forerunner of COUM from the sixties was the Viennese actionists with their acts of torture and self-mutilation. Typically, COUM performances consisted of P-Orridge placing several severed chicken heads on his penis and masturbating, or P-Orridge and Tutti engaging in anal and vaginal sex at the same time using a double-ended dildo.Various combinations of used tampons, larvae, black eggs, feathers, and milk-filled syringes served as props. For example, P-Orridge could pierce his testicle with a syringe and then inject blood into a black egg. The highlight of the program was that he gave himself an enema of blood and milk, and then, with a kick, sprayed the liquid across the floor of the gallery.
At the end of 1973 COUM moved to London. Their new headquarters was the basement of an abandoned factory in the East End. Early the next year, they acquired a new member – Peter Christopherson, nicknamed “Slime” (because he was most interested in COUM’s “delicious and ingeniously groovy” sexual extremism).Slime worked as an assistant designer at Hipgnosis, a renowned firm that created gorgeous LP illustrations for prog rock bands like Pink Floyd – another sign of the industrial / post-psychedelic connection. It was also the arrival in 1975 of Chris Carter, the fourth member of the band, who was soon to become Throbbing Gristle. The turning point for Carter was attending a Pink Floyd concert in 1968 while under the influence of LSD. But instead of picking up an instrument, he started his own business to develop lighting design for concerts.Later, a fan of the space kraut rockers Tangerine Dream, he became interested in synthesizers.
Increasingly worried that COUM was choking on recognition (they had articles in art magazines, and invitations to speak from all over Europe), P-Orridge decided it was time for a strategic shift into the world of pop culture. He wanted to find an audience that was more open to real shocks and that the shock effects and radical ideas of COUM would inspire action.In addition, P-Orridge was fascinated by Warhol’s idea of using fame, hype, and controversy as artistic media in their own right.
Throbbing Gristle, founded in September 1975, is enthusiastic about conceptualization and sound research. They also diligently cultivated a kind of group intelligence (according to P-Orridge, they slept together every weekend for a whole year). On weekdays, Carter, a tech genius, designed speakers, sound effects, and synthesizer modules, and adapted traditional instruments like bass and guitar.Everything was passed through a multiple effects relay. All of these overdubs transformed guitar and bass into synthesizing machines, but extracting noise from them required physical effort to give these noises a uniquely long lasting and percussive sound. The vocals were often also heavily processed and passed through the echo with chorus, which allowed Carter to speed up and slow it down, which made the singing sound viscous and jerky. He built a unique thing for Slime – a mechanism for creating specific music or a primitive sampler, which was given the nickname “Gristlizer”.The mechanism’s one-octave keyboard triggered a set of cassette machines, each charged with sounds they found — dialogues from television programs and movies, or daily conversations surreptitiously recorded by the prowling Slime.
TG’s basement in Hackney became a “chaotic research lab”; P-Orridge and Carter, using themselves as laboratory pigs, studied the physical effects of perception of high and low frequencies, distortion and high volume. “Sometimes, from certain frequencies, our field of vision was sharply narrowed, we could not walk or stand up straight and the like,” – recalled P-Orridge in 1999.And it seems no coincidence that TG was formed in the same year that Lou Reed released “Metal Machine Music”, his infamous suite of white noise compositions. But if Reed saw “MMM” as a form of modern classics, then TG’s goal was more instinctive – whole body music, stimulating and aggressive. They neglected song, melody, and groove in favor of the pure, crushing power of the sound itself.
P-Orridge told Voltage magazine: “It was a literal experiment … Let’s get a band together.Let’s give it a completely inappropriate name (“Pulsating Cartilage” in Yorkshire slang meant an erect penis). Let’s do without a drummer, because all rock bands have drummers. Let’s not learn to play music. Let’s put a huge amount of content into all of this – in terms of words and ideas. A normal group would be composed of music, skill, style and all that kind of stuff – we threw out the usual band attributes and said, “Let’s focus on content, authenticity and energy.Let’s refuse to look or play something acceptable within this group and see what happens “”.David Lynch, Untitled (Łódź), 2000
The official public launch of Throbbing Gristle took place in October 1976 at the opening party of Prostitution, the COUM exhibition at the Institute of Contemporary Art, which the band saw with their swan song. When it comes to attracting media attention, COUM’s last breath turned out to be their finest hour. Situated in central London a short stroll from Buckingham Palace, the House of Commons and the National Gallery, ISI was a citadel: a place where the radical art field met high culture.The centerpiece of Prostitution was photographic documentation of Cozy’s modeling work in some forty porn magazines. This, plus a display of used tampons, made Prostitution the perfect powder keg for the growing public concern about government funding for the avant-garde – which the Arts Council did with taxpayer money during recessions and cuts in municipal spending. Conservative MP Nicholas Fairbairn condemned “Prostitution” as “an outrageous act … Public money is being spent here to destroy the morality of our society.These people are destroying civilization! ” Taken by surprise, COUM found itself as the # 1 Enemy of Society in the tabloids (which were full of annoyed headlines, slanderous stories, and reporters picking their dirty laundry) and the much-talked about symbol of deteriorating standards in more sober, quality newspapers and broadcasters. They were discussed even in the Parliament itself.
The furor of “Prostitution” could only be compared with the raging panic in December 1976, when the Sex Pistols swore on TV.Some soon-to-be-famed punks attended the Throbbing Gristle concert at ISI, but P-Orridge and his company were too skeptical about punk’s relevance to radical music – it was too rocky, too musical. Speaking for a November 1977 special for Sounds, titled “New Music,” P-Orridge stated that fanzine Sniffin ‘Glue’s call “here are three chords for you, now go and start a band” was still within the framework of traditional musicality. …“It all starts with chords. They say: “Be like everyone else, you need to learn to play.” You can start without any chords at all. Why not just say: ‘Create a group, no matter how it sounds, or you will make some noise at all, or maybe you will just stand in silence for an hour, but just do what you want’ ” … He often stressed that TG was “anti-music”. “You can’t have both anarchy and music at the same time,” P-Orridge disparagingly charged the sneering punks who came at one of his early concerts – at the Nag’s Head club in High Wycombe in February 1977.During the cacophonic performance, Cozy bared her boobs and P-Orridge poured fake blood on his head. Then he invited a dozen kids from the audience and gave them the tools.
TG believed that “any tool should be taken as a child would,” as stated by P-Orridge. He took up the bass because it was the instrument he played worst of all; For the same reason, Tutti chose the guitar – because she was the least attracted to her. Cozy never learned the chords, but, like the know-wave guitarists, she released glissandos with the help of a slide, which made her hair stand on end, or simply beat the strings, using them as a rhythm instrument and – with the help of a set of effects – source of abstract noise.
Apart from the rhythm tracks designed by Chris Carter, TG’s songs were composed live from scratch, and only very vague musical guidelines were discussed in advance. P-Orridge also improvised with his lyrics after a short consultation with the group about possible topics. The song “Persuasion”, for example, was composed during a concert at the Notting Hill squat called Centro Iberico. Before going on stage, P-Orridge asked Christopherson what he would sing about today, in response to which he heard “persuasion” (Slime was very interested in how people are persuaded against their will to various things of a sexual nature).P-Orridge uttered a text about a guy forcing his partner to take a picture for the “Readers’ Wives” column in a porn magazine.
TG’s spontaneous composing / arousal obsession had both pros and cons. Check out live recordings (and TG, as a holdover from their art performances, fully documented each show and eventually all of them from afar) and you will be faced with amazingly powerful passages: melted, loosened soundscapes of solar gases, garlands of bouncing off the surface of a star, furious flares and strokes shells from some kind of audio zone of the fighting.But TG has inevitably acquired an arsenal of riffs and tricks as predictable as any musical language: hollowed-out bass explosions, thrashing jumps, upward swinging arcs. As for free improvisation, the palette of sound colors felt somewhat monotonous, despite all its ugliness and disorder.
Sixties free music bands like AMM (who had a big influence on Pink Floyd) were overwhelmingly spiritual, yearning to regain their lost “wholeness.”Devoid of romanticism, TG’s music simulated the soul-destroying rhythms of mass-flow Fordist production. Carter likened the band to “the sound of an assembly line,” and P-Orridge created a neologism like Tesco-Disco, reminiscent of “conveyor belt rhythms of alienating labor.” TG named their label Industrial Records to communicate both the quality of the product line in which they churned out noise and the group’s “journalistic” ethics: “recordings” as personal files or information, a series of documentaries about “The ferocious reality of decaying capitalism.”
P-Orridge viewed TG as sci-fi music. “We write about the future, looking at the present day,” he told Melody Maker. Although he cut his hair in 1977 in a symbolic act of parting with the hippie era, examples of the “classic” TG such as “Slug Bait” and “Hamburger Lady” sound like a rusty, wasting Tangerine Dream: space rock for a collapsing universe. TG also played clean, unabashed space music like “After Cease to Exist”, which occupied the second side of their debut album “Second Annual Report” with its scattered sounds of trembling guitar in the spirit of early Floyd / Sid Barrett.
After completing their debut LP, P-Orridge wandered around the studio, listened to the sound of a train rumbling on a dirty Victorian viaduct, the rattle of a nearby sawmill, and decided that the band had not “invented” anything new, but simply absorbed the environment and reproduced it. In the late seventies, Hackney in east London was one of the creepiest urban areas with poor housing, rising unemployment, dire street crime and a palpable National Front presence.TG called their studio on Martello Street “The Factory of Death,” and it was somewhat of a nod toward the nearby London fields where plague victims were buried. It was also, of course, a reference to the Nazi concentration camps. The Industrial Records logo featured a deceptively harmless leafy alley, at the end of which looked like a factory. It was actually a photograph of Auschwitz taken by P-Orridge during a trip to Poland. “We called our album Music from the Death Factory as a metaphor for our society and how life works,” he told NME.- Each of us lives in our own concentration camp … And this is what we say: be careful, because one is not far from the other. The human race is the greatest masochists in the whole world. ”
But even in the process of the wildest melodramatic and indifferent generalizations, Throbbing Gristle flirted with fascist images. The band’s logo was based on Oswald Moseley’s lightning “Wake England” emblem of the British Union of Fascists. On the second side of TG’s first single, “United,” was the track “Zyklon B Zombie”, a parody of “blunt punk” that thought the most punk thing to do would be to sniff not the glue, but the poisonous gas Zyklon B.The covers of the next two singles touched upon the imagery of the Holocaust – a billowing pile of human skulls (on “Subhuman”) and walking frames that were taken from the old and infirm before being sent to the death chamber (on “Distant Dreams (Part Two)”). TG research into twentieth-century atrocities was deliberately impartial, providing information without any moral judgment. But between the agonizing awareness of the nightmare and the unhealthy fascination with evil – bordering on identification – there is a fuzzy line.TG has always balanced on the edge.
This ambiguity was even more pronounced in TG’s obsessive addiction to pedophilia and violent kidnapping, rape and infanticide. After Cease to Exist, a lengthy vague thing from the Second Annual Report, contains a speech by a psychopathologist discussing the murder of a teenage victim, a victim of gay pedophiles who traded in runaway boys hostels in the 1970s. The first thousand copies of “D. o. A .: The Third and Final Report of Throbbing Gristle ”(their second album, released at the end of 1978) came with a gift: a parody girl’s calendar for 1979, where the model was a real little girl – blonde Kama Brandick. who appeared to be about seven years old, was depicted on a bed in only her underwear.On the cover of the record was a photo of another prepubescent girl next to the stereo system, and there was also a smaller photo in which Brandick was reclined on a fur rug so that her panties were visible. Five months after D. o. A. ” TG released the single “We Hate You (Little Girls)”, in which P-Orridge literally choked as he screamed lines like “I hate you little girls / With your little curls / And your pretty dresses / And your little breasts.”David Lynch, Untitled (Łódź), 2000
TG were interested in psychopathology from the very beginning. One of their earliest songs, “Very Friendly”, concerned the exploits of Ian Brady and Myra Hindley, the infamous “swamp killers” from Manchester who sexually tortured and killed children in the mid-sixties. P-Orridge’s text refers to the murder of an adult young homosexual, Edward Evans. His attention to both the grisly details and the creepy absurdity of the murder saves “Very Friendly” from trivial picking in shit – “German wine”, which Brady treats the hapless victim; the way blood splatters the Anglican prayer book and the television picture of the announcer Eamon Andrews; “Pieces of bone and white marrow” plopped on “the fireplace very close to the brush they used to clean the chimney, and luckily there was linoleum on the floor.”Other songs – such as “Slug Bait”, in which a psychopath ripped open a pregnant woman’s belly and bit off a child’s head – seemed just plainly vulgar.
Today, after the slag horror cheats of death metal and third wave industrial (TG’s grandchildren), “Slug Bait” seems almost commonplace. But at one time, rock did not come across anything like this, with the exception, perhaps, of Alice Cooper’s theatrical freak show. P-Orridge saw his lyrics as a sequel to The Velvet Underground’s pushing rock handwriting into taboo territories such as sadomasochism and heroin.Ideas about the criminal artist also have a very long pedigree: de Quincey, de Sade, Dostoevsky, Bataille. In Culture of the Bomb, a classic 1968 anthology about the emergence of the British counterculture, Jeff Nuttall singles out the “swamp killings” as a turning point. The incredible crimes of demonic lovers have convinced many bohemians that the world has gone mad and madness, hidden behind a neat English facade, has surfaced. Others recognized that Brady, an admirer of de Sade, brought to life the principles of radical art: “take your desires for reality”, “everything is possible and nothing is forbidden.”
TG’s concerts, which consisted of sadistic attacks on the audience, were also quite appropriate. The TGs did “metabolic music” that directly affected the nervous system. They were fascinated by military research into the use of infrasound as a non-lethal weapon, certain frequencies of which caused nausea, epileptic seizures, and even involuntary defecation. “People … believe that music is only for the ears, but they forget that it penetrates into every particle of the body, into the pores, cells, and has an effect on blood vessels,” said P-Orridge.The action of loudness, ultra-high and ultra-low frequencies and continuous repetitions caused altered states of consciousness in the group itself. P-Orridge recalled how his whole body shook and shook; sometimes he reached such a state that he began to speak in unknown languages and became a vessel for forces “from outside”. TG also used lighting as a visual stimulus – convulsive strobes and high-power halogen lamps aimed directly at the audience’s faces.
When viewers began to expect an extreme experience, it was time to change the script.TG’s first major twist came just after the Second Annual Report, an ultra-low-quality enterprise recorded with a Sony tape recorder, one condenser microphone, and a regular blank cassette tape. The single “United”, on the other hand, was polished enough to pass for pop music: a song inspired by disco and intended to “make people fall in love with it” (according to a press release from Industrial Records) could hit the charts if not her slightly flawed groove and snotty P-Orridge voice. “United” was the first of a series of electropop dance pieces somewhere between Giorgio Moroder and Cabaret Voltaire, followed by the throbbing porno disco “Hot on the Heels of Love” with Cozy’s husky whispers; then the eerie shimmering driving force of “Adrenaline” and its flip side “Distant Dreams (Part Two)”.
As was typical of TG, “United” reappeared on “D. o. A. ” in a version so accelerated that its four minutes were reduced to sixteen seconds of treble, squeaky like the squeak of a bat. “D. o. A. ” did not live up to expectations and the rest. The album contained archetypal TG songs such as “Hamburger Lady” (a sickening mixture of whimpering, agonizing sounds, inspired by the true story of a burn victim with a charred upper torso), but also “solo” songs like Chris Carter’s rhapsody “AB / 7A”, reminiscent of a cross between Abba and Kraftwerk, and P-Orridge’s unexpectedly sad and personal Weeping, made with four different types of violin sounds.In the most plaintive and despondent voice, P-Orridge mumbled accusing lines like “You didn’t see me crying on the floor / You didn’t see me swallowing my pills” – it was about his suicide attempt in November 1978, when he drank large amounts of antidepressants and steroids before entering the Cryptic One stage and woke up in the ICU. The target of his injections was Cozy Fanny Tutti, who dumped him and went to Chris Carter, making “Weeping” the industrial equivalent of “Go Your Own Way,” the anthem of Fleetwood Mac’s intragroup discord.
As this giant cleft in TG’s group consciousness widened, P-Orridge spent more and more time with Monte Cazazza, an extreme performance artist from San Francisco who had unofficially become a sort of fifth member of the group and an equally true associate and mentor of P-Orridge. For the first time, they met through the art mail network, which consisted in the fact that people sent each other handicraft, intricately executed work using the postal services (Pi-Orridge liked to send Catsazze animal carcasses).In the early days of TG, Cazazza helped the group with conceptualization and strategy. He even coined the term “industrial music”. “Initially, it was such a joke: ‘industrial music for industrial people,’ – he recalls. “I didn’t think people would take this so seriously!” And Industrial Records’ first non-TG release was Cazazza’s 1979 single “To Mom on Mother’s Day” / “Candyman”; the last thing was about a boy killer named Dean Corl, who ran a candy factory in Texas.
Most of 1979 Cazazza spent in England, supporting the fallen in spirit P-Orridge. “I’m always more fun when Monte is here – he makes me be more sophisticated,” – said P-Orridge. An avid reader of survivalist literature and books about weapons, Catsazza captivated P-Orridge with military imagery. Their concerts in Derby and Sheffield in April 1979 began with a series of samples from US Army training tape with the characteristic sounds of firing from various high-tech weapons – grenade launchers, fail-safe rifles, guided anti-tank missiles, armored personnel carrier flamethrower.The group began to dress in camouflage uniforms. TG has always attracted a fanatical fanatic, and P-Orridge considered setting up a paramilitary sect. Through the Industrial Records newsletter, he invited fans to become TG’s agents: “Want to be a fully equipped Guardian of Terror? Ready for some action? It’s time to move on to focusing forces. WE ONLY NEED A TOTAL WAR. NUCLEAR WAR – TODAY! Then send a request for a catalog of available weapons and insignia, emergency supplies and clothing. “David Lynch, Untitled (Łódź), 2000
Around the same time, TG started an experiment in totalitarian psychology that got somewhat out of control. Balded by survivalist fiction, the group transformed their home on Back Road into a fortress with black painted windows, barbed wire on the garden wall, and an alarm system. A tribe of itinerant ragamuffins camped in the wasteland off Beck Road, and with their arrival the crime rate in the area increased. “The police wouldn’t have helped us in any way, so we decided to get these people out of here ourselves,” says Cazazza.”They made our life hell, and we answered them with a rather interesting way.” TG unleashed a sound war with unpleasant vagrants, directing infrasonic frequencies into the camp area and causing travelers a lot of inconvenience: headaches, fear, disturbed sleep, nightmares. As a result, they packed up their vans and left, convinced that the place was cursed.
P-Orridge was well aware that these “gypsies” (as they were mistakenly called by hostile residents of cities across the UK) were unpleasantly similar to the Romanian wanderers that the Nazis captured and destroyed as “pests”.This whole incident seemed like a purposeful journey to the dark side of paranoid psychology, a proto-fascist way of thinking, a scapegoat search and full-fledged persecution. In disgust, recoiling from the beggarly life of the vagabonds, TG called them “subhuman”. From this period of playing with fire, two singles arose. The cover of “Subhuman” featured a van, and the text read “I am sick of your illnesses / I want to destroy you and feel calmer.” “Discipline” appeared in two versions.The first, recorded live at a Berlin club S036, essentially documents how the song was composed on stage. Having received the theme of the day from Cozy a few minutes before going on stage, P-Orridge issued an impromptu series of harsh orders: “I want to see discipline here!” A thing eleven minutes long begins unsteadily, then acquires coherence, as if undergoing the very process of systematization that is proposed in it. The beat in it sounds like the chomping of a high boot trampling unstable and barren soil, and disgusting cutting sounds create the feeling of a slaughterhouse.The later version, recorded in Manchester, is much more succinct. Like a hybrid of Fuehrer and Scout counselor, P-Orridge recites, “Are you guys ready? Are you girls ready? We need discipline here. ” On the front side of the single, TG poses against the backdrop of a building that once served as the Ministry of Propaganda of the Third Reich, and on the back side is the slogan “Marching Music for Clairvoyant Youth”.
How did the TG, the people born of the sixties and various liberation movements of the time, manage to succumb to this fascist attraction? In fact, there is a slippery zone where anarchism (or at least that libertine and libertarian variety of anarchism, which is not in workers’ councils, but in an almost solipsistic individualism, in which we are all despots, pursuing our every desire) turns into an inquisitive understanding and affinity with some aspects of fascism.The meeting place becomes that Gnostic side of Nazism, concerning the pagan and primordial. P-Orridge’s research into cults and secret societies led him to books on the Nazi inner circle’s obsession with the occult, alchemy, and the search for the Holy Grail.
TG were also “fans” of Charles Manson, one of several charismatic sociopaths who hunted hard-stick countercultural children and accepted them as members of surrogate families, in which the group consciousness was extremely associated with a distorted view of the father figure (journalists Robin Green, David Dalton and David Felton, in their book Brainfuckers, called this phenomenon “acidic fascism”).P-Orridge’s passions led him to conceive of Thee Temple of Psychick Youth, a sectoral organization he created around his post-TG group Psychic TV. Throbbing Gristle’s concert in Manchester in late 1980 was the first to be called a Clairvoyant Youth Gathering. Earlier that year, P-Orridge announced his new identity as a shaman on TG’s fourth album, Heathen Earth, improvised live in the studio in front of a small audience of friends and associates.By recording a single performance in the presence of “adepts,” TG attempted to create an atmosphere of ritual and ceremony in which magic could be present – “radiant and philosophical,” as P-Orridge emphasized. On the cover there is a line from a Charles Manson song – “Could the world be as sad as it looks?” – placed next to the creepy looking veterinary chart of canine teeth.
By the spring of 1981, internal conflicts between TG caused by the split between Cozy and P-Orridge made the situation impossible to work with.P-Orridge also felt that the band had already outlived their suitability. He believed that Throbbing Gristle moved beyond the agrarian blues roots of rock and created a new kind of music (or anti-music), more suitable for a post-industrial society. Now, as he told a radio interviewer, “we have to move to where man meets space. I don’t mean space in Tangerine Dream; I’m talking about what’s inside the head. ” The very fact that TG had built a significant audience that accepted whatever they did (by the time Heathen Earth was released, Industrial Records had reached the point where it became one of the largest independent labels in the UK) was a sign of moving forward. farther.
Almost from scratch, TG created a new genre, a whole subcultural field – partly consisting of groups equal to them (like-minded people who had already followed a similar path: Cabaret Voltaire, Non, SPK, Z’ev, Clock DVA, some of them released records on Industrial Records) and partly from projects catalyzed by the TG example (not only in the UK, but also in places as remote as Yugoslavia, Australia and Japan). Surprisingly, Throbbing Gristle has almost single-handedly created one of the most enduring and densely populated areas of post-punk music, despite being very dismissive of music as such.Their music was best perceived as a delivery system for their ideas – a holdover from the previous incarnation of COUM in the world of conceptual art. TG knew exactly what they were doing and explained everything to their listeners in the smallest hyper-specific detail. Indeed, one can skip their tapes altogether and just read the expressive interviews of Genesis P-Orridge, a disarmingly nice guy.
By the time TG announced that their “mission was over,” P-Orridge was beginning to conclude that industrial was turning into a decidedly unhealthy bunch.If this was the case, then it would be reasonable to blame the TGs themselves and their convincing idea that the peripheral areas of existence are somehow more real or tangible than the golden mean. The most egregious example of a “misunderstood” TG band was Whitehouse, a band that P-Orridge hated. In the annotation for his debut album, Birthdeath Experience, leader William Bennett promised that “it will be the most brutal and extreme music of all time.” Bennett, who released extremely toxic noise with the Wasp synthesizer and recorded everything in order to maximize distortion so that the indicators went off scale, without any remorse pursued his “vision of … a crushing, tyrannical sound.”By disregarding beat, melody and structure, cutting all ties to prior genres of music, Whitehouse spawned a micro genre of “ears are wounds” industrial, which later became known as power electronics, “power electronics.”
Their goal was to “get to the bottom of the pure states of man,” which Bennett believed meant violence and sexual abuse, expressed in songs such as “I’m Coming up Your Ass” and “Cock Dominant “(” Dominant dick “). At his live “actions” (named after Viennese actionists) Bennett shouted lines like “this is your right to kill, this is your fucking nature!” and cut off the electricity.The words “crushing, tyrannical” well conveyed Bennett’s worldview. An expert on the Marquis de Sade, he would surely agree with the bitter anti-humanism of Minister Saint-Fon of Juliette, who dreamed of establishing a new feudal system that would treat an entire class of humanity like animals. “I affirm: the very first, deepest and strongest desire in a person is to chain his neighbor in chains and oppress him with all his might,” declared de Sade through the mouth of Saint-Fon. “The sucker who bites the breast of his nurse, the child who constantly breaks his rattle, show us that the tendency to destruction, cruelty and oppression is the very first thing that Nature has imprinted in our hearts” [trans.G.G. Kudryavtseva].David Lynch, Untitled (Łódź), 2000
Although named after the White House porn magazine (which, in turn, was insolently named after the anti-pornographic matron Mary Whitehouse), Bennett’s group favored such ultra-hardcore publications for “Specialists” like “Tit Pulp” and “Shitfun” (Shitfun), each of which inspired the band’s song of the same name. Fascism was another favorite: the title of the compilation album “Für Ilse Koch”, released on the band’s own label Come, praised the sadistic wife of Commandant Buchenwald.Not content with a tribute to the genocidal monster, Whitehouse honored famous British serial killers with albums such as Dedicated to Dennis Andrew Nielsen and Bradford Red Light District.
If you can judge the group by its fans, the most serious incrimination against the Whitehouse is Peter Sotos, who proved to have so much in common with them that he became a member of the group in 1983. Creator of fanzine PURE , Sotos was a great connoisseur of pedophile rapists and “artists” of the Third Reich.One typical episode of his fanzine featured extensive material about a Chicago gang ritually mutilating women; Torture of Children, an essay on the “tremendous pleasure” of beating children; and Triumphs of the Nazis, a photographic article about Mengele-style medical experiments in Nazi concentration camps.
Another early colleague of Bennett’s, Steve Stapleton, was not a full member, but came to the fire in his spare time from his main group Nurse With Wound. De Sade’s 1981 album The 150 Murderous Passions was a collaboration with the NWW, and Stapleton performed at some early promotions.“I have a strong respect for Whitehouse, the endless chasm of their noise goes deeper and deeper into the abyss of atonality,” he declared in the early eighties, and dismissed TG as “weak music for weak minds”.
Stapleton dropped the term “industrial”, claiming that Nurse With Wound was only placed in this category because of the bandage / fetish looks from Latex & Leather Suits magazine on the cover of their first album. But they were in their place in this category already because of their post-rock approach to abstract noise sculptures and collages of found sounds.If the NWW had a spiritual incarnation, it was not de Sade, but another French writer, Lautréamont, author of the 1868 Gothic prose poem Maldoror . The band’s 1979 debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, took its name from one deliberately absurd comparison of Lautréamont, whose incoherent dreaming logic led to the fact that the surrealists recognized him as their illustrious ancestor.”Chance Meeting” scored five question marks in Sounds (????? instead of *****) because reviewer John Gill was not entirely sure if these seemingly random noise sequences were pure genius. or complete nonsense.
Kraut rock was Stapleton’s main musical love. He briefly lived in Germany, working as a guitar technician for minor kosmische bands like Guru Guru or Kraan. The cover of “Chance Meeting” featured a legendary large and eclectic list of “electric experimental music” ranging from free improvisation and Euro-prog to specific music.In a way, Nurse With Wound is Faust’s longest-running cover band because their aesthetic is based on the same principles of dissonant audio editing as that band’s most outstanding album, The Faust Tapes. If “Chance Meeting” sounded shapeless (it was recorded in six hours by a bunch of semi-musicians who had never played together before), then on Homotopy to Marie in 1982, Stapleton developed a truly unique way of organizing noise, using the studio as an instrument. to create whimsical sonic worlds as brilliantly grotesque as the Kwai brothers’ animations.
Another thing that all industrialists from the TG follower have distinguished is the unwavering Nordic approach to rhythm. At best, it meant a Moroder-style metronomic heartbeat; at worst, it hid clumsy and pompous marching bats. Some industrial bands nonetheless embraced modern black dance music, and the top two, Clock DVA from Sheffield and 23 Skidoo from London, were TG’s protégés.
Clock DVA was what Edie Newton did after he was kicked out of The Future.In the beginning, he studied experiments with abstract sounds – loops from tape, cuts, filtered through a frequency filter and other psycho-sound effects. “The very first DVAs were so wrong — trash, violence and tape recorders, full of buzz,” Newton recalled. “Sex and magic in an industrial setting.” Slowly developing a relationship with TG, DVA released “White Souls in Black Suits” on Industrial. Drawn from fifteen hours of improvisation without any re-recordings or overdubs, the album was an attempt, as Newton says, “to record the moment when intuitive music happens – what the surrealists called pure psychic automatism.”DVA’s second album, Thirst, featured funk influences – James Brown, The Pop Group. “This is what we wanted – a more tense, nervous energy of funky stuff, body music that makes you flinch, that makes you move,” Newton said. “4 Hours”, with a somber sick saxophone tossed in and driven by a brooding gloomy bass, comes close to achieving that funky noir . “Thirst” was released in 1981 on Fetish, a label founded by TG fan Rod Pearce who published their latest single.David Lynch, Untitled (Łódź), 2000
Fetish also released 23 Skidoo, P Orridge’s henchmen, who took the idea of industrial meets funk much further than Clock DVA. Relying on a number of black predecessors (the dope voodoo funk “On the Corner” by Miles Davis, the street hellish oratorio The Last Poets, the heavy trance of the polyrhythm of Fela Kuti), 23 Skidoo perceived funk as sinister energy, a powerful metaphor for Control whose groove is a trap , monotonous mechanical labor.Their mini-album “Seven Songs” topped the Independent Chart in 1981 and still sounds so fierce that it chills your veins. It begins with “Kundalini”, a malicious jumble of hand percussion, guitar feedback and guttural chants. On “Vegas el Bandito,” the horny slap bass and bare rhythm vie with a trumpet lost in endless fog (an industrial theme song invented by Cozy Fanny Tutti, who played the horn on several TG tracks). But the best of all the tracks on the album is “Porno Bass”, in which industrial finally makes a long-overdue overtly anti-fascist statement.The droning of the bass resonates in the deep gloom through which the aristocratic voice of the vile admirer of Hitler Unity Mitford, taken from her interview, rushes through. Thrown in the middle of an album so intriguingly soaked with trance rhythms and black funk, Mitford’s announcement of the “insensible repetition” of pop music serving as a “sign of a degenerating race” is exposed as unambiguously Aryan paranoid.
23 Skidoo’s Alex Turnbull says that while they learned a lot from TG both practically (P-Orridge let them rehearse at the Death Factory) and intellectually, they were more inspired by rhythm-experimenting bands like This Heat. and A Certain Ratio.Throbbing Gristle completely cut themselves off from the music of the African diaspora: jazz, funk, rhythm and blues, reggae. Skidoo let black America back in and let the rest of the world come in. 23 Skidoo, fans of the Can series of “ethnological forgeries” and Holger Shukai’s panglobalist borrowings, performed at the first WOMAD festival in July 1982, composing a special set combining ethnic polyrhythm and urban concrete music. “Instead of using pleasant ethnicity, we used city noises, gas cans, explosions,” says Turnbull.- Such a flurry of noise. A third of the viewers immediately dumped, but most of those who remained, responded to everything in the spirit of “wow, it was completely unexpected!”
Part of their WOMAD program was the first side of their next album, “The Culling Is Coming”. The ringing of tuned gongs on the other side indicated a heading shift towards the East towards Bali music. After an expedition to Indonesia, they recorded 1984’s Urban Gamelan. It has an atmosphere of a kind of damp uneasiness – a kind of imaginary sequel to Apocalypse Now.In the track “GIFU” – another version of Skidoo’s disco hit “Coup” – in order to reinforce the anti-imperialist mood, the Vietcong war cry “Ji-ai, fuck you!” Sounds. By then, Skidoo was less interested in extreme Gristle-style noise terror, as Turnbull says, and more in the graceful applied power of repetition and polyrhythmic to get “this trance, this thought of achieving ecstasy through music.” (Coincidentally, around this time a drug called ecstasy began to invade the industrial scene, but that’s a different story …) 23 Skidoo and Clock DVA, the white (but sounding black) crows of the industrial family, were the least typical offspring TG.The vast majority of second-wave industrialists preferred either abstract noise landscapes or a Teutonic flat metronome. The further the eighties advanced, the more the legion spawned by TG grew: Lustmord, Nocturnal Emissions, Death in June, In the Nursery, a: grumh, Controlled Bleeding, Laibach, Skinny Puppy, Severed Heads, Front 242, Last Few Days,: zoviet * france :, Merzbow … Most of them shared the same anti-rock (and even anti-music ) attitude and confusion about concept and content as their progenitors.As with The Velvet Underground (one of the few bands that TG considered their predecessors), it sometimes felt like almost everyone who heard Throbbing Gristle formed their own bands.
We are grateful to the Shum publishing house for the kindly provided preprint.
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Rainbow Slime Makeup Kit – Super Slime Simulator APK + ModHere are some of the features offered by By Sec Browser:
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Deodorant feetDue to the physiological characteristics of the human body , the sweat produced by the sweat glands of the legs has an unpleasant and very pungent odor. If the legs were for a long time without air access, i.e. in closed shoes, the smell of sweat is especially noticeable to others.
Deodorant feet are available in a wide variety of forms, including:
- DEODORIZING FOOT CREAM
Deodorant foot creams include plant extracts and mineral components , which reduce perspiration.In addition to this primary function, a deodorant foot cream generally has antibacterial, antifungal, moisturizing and nourishing properties. The active components of the deodorant cream usually favor the rapid healing of microcracks and prevent the occurrence of inflammatory processes on the skin of the legs.
- DEODORIZING FOOT POWDERS
Deodorant foot powder is a homogeneous, finely ground, easily crumbling powder, which contains deodorant , mineral and organic substances .
Highly concentrated (absorbent) powder for feet with a deodorizing effect has anti-inflammatory, disinfectant, antibacterial properties, prevents fungal infections, odor and rubbing of corns when wearing tight shoes. This powder is a cosmetic for feet intended for daily use.
- DEODORIZING LOTIONS AND TONICS FOR LEGS
Refreshing foot toners are usually available in aerosol spray form.In addition to the deodorant effect, Foot Tonic perfectly relieves the feeling of fatigue and burning in the sole of the foot.
When applying tonic to the legs, special attention should be paid to the skin surface between the toes and on the heel. Long-term and regular use of tonic for legs will normalize the work of the sweat glands, and accordingly adjust to reduce sweating.
Deodorant Foot Toner is oil-free, so it keeps its refreshing properties all day long.
- DEODORIZING FOOT SPRAY
The action of the deodorant foot spray is directed at to reduce perspiration and to prevent fungal diseases . In addition, like all foot care products, Foot Spray has antibacterial, anti-inflammatory, refreshing and toning properties.
- DEODORIZING SHOE SPRAYS
Thorough foot care does not only involve the use of cosmetics for the skin of the feet.Occasionally, Deodorant Shoe Spray is necessary to avoid unpleasant odors.
Footwear, no matter what material it is made of, has the ability to accumulate odor. To overcome this problem, a variety of shoe care products are currently on the market. The most popular, due to their user-friendly form, are sprays.
90,000 Rotovirus infection
Rotovirus infection in children At present, there are a lot of viral diseases that adults and especially children have to deal with. In this article, we will consider a disease called in everyday life gastric or intestinal flu, in official medicine “rotavirus intestinal infection”, symptoms and treatment in children, and also tell you how long the incubation period for rotavirus infection lasts.As the name suggests, this disease is caused by a highly contagious rotavirus. Infections are mainly affected by small children aged 6 months to 5 years, adults also get sick, in this case, the disease is more often asymptomatic.
Rotavirus infection : incubation period, as transmitted The main mechanism of transmission of rotavirus infection, like any that affects the gastrointestinal tract, is fecal-oral. The source of the disease will be a sick person or carrier.With unwashed hands, the infected person contaminates household items with the virus (doorknobs, tap valves, toys, dishes, etc.). Not only the feces of a sick person carry the danger of infection, but also mucous discharge from the nasopharynx. In this case, the transmission of infection by coughing and sneezing, i.e. by airborne droplets, has not yet been conclusively proven. An infected person, if personal hygiene is not observed, can also infect food by participating in their preparation. It is worth considering that the virus is resistant to low refrigerator temperatures.Also, the infection is resistant to the effects of chlorine added to the water, which also adds waterborne transmission. So, for the development of the disease, contact with the virus is necessary, then after 12 hours the disease can develop (the incubation period can last up to 4 days). Rotoviral intestinal infection in children, its symptoms and treatment are not characteristic only for this disease, nevertheless, you need to familiarize yourself with their main signs. The development of a complete picture of the disease is possible in several ways: The onset of the disease resembles a cold: the child feels a sore throat, dry cough, runny nose, conjunctivitis may develop.Fever, as a rule, no. In another case, signs of damage to the gastrointestinal tract (repeated vomiting, diarrhea) come to the fore. Another variant of the course of the infection is the predominance of symptoms of intoxication at first, when the child is drowsy, lethargic, there is a loss of appetite. After a while, signs of involvement of the gastrointestinal tract come to light. Rotovirus intestinal infection: symptoms and treatment in children Rotovirus intestinal infection: symptoms Symptoms of the gastrointestinal tract damage:
Vomiting.one of the first signs, it can be up to 5 times a day and on an empty stomach. Abdominal pain is severe enough, cramping, localized in the central part of the abdomen, relieved after a bowel movement. Diarrhea. The stool has a yellow color, an unpleasant sour smell, there may be inclusions of mucus. In the presence of blood and green inclusions, it is worth considering another infection. There is a different stool frequency: from exceeding the usual one by 1-2 times, to multiple (5-10). Signs of general intoxication are not specific, manifested by lethargy, loss of appetite.Fever is characterized by a persistent course, does not respond well to medication, and there are no characteristic figures for a rise in temperature. Rotavirus infection, despite its rather severe course, has a good prognosis. Usually, after 5-7 days, recovery is observed with the formation of a stable immune response, which prevents repeated cases of infection with this infection.
Rotavirus intestinal infection: treatment In the treatment of rotavirus infection in children, as well as many other diseases of viral etiology, there is no specific therapy.Due to the serious danger of dehydration, which develops from repeated vomiting and diarrhea, for the child’s body, treatment must be carried out under medical supervision. To accelerate the processes of virus elimination, drugs based on interferon are used, i.e. a substance produced by the affected organism in the fight against viruses. Suppositories or suspensions taken orally are often used as dosage forms. The doctor selects the necessary dosage of the medicine based on the age and weight indicators of the child.The second most important direction in the treatment of rotavirus infection in children is the replenishment of fluid lost during vomiting and diarrhea. The amount of moisture replenished depends on the amount of fluid lost; it is best to give your child special rehydration solutions. The child is allowed to drink in small portions and often (every 10-15 minutes), they start with a teaspoon. If the baby’s condition is satisfactory, you can offer him to drink himself with the help of a measuring syringe, which are often found in a set with various children’s medicines.From ready-made solutions for rehydration, “Oralit”, “Regidron” are suitable, you yourself can prepare a decoction of chamomile, rice, compotes from dried fruits with a minimum addition of sugar are also acceptable. Important! In the case when the child responds with vomiting to the reception of even small volumes of fluid, it is necessary to immediately seek medical help, in such cases, the replenishment of the water balance will occur in a hospital with the use of intravenous infusions. To eliminate viral particles from the intestine, various enterosorbents (activated carbon, smecta) are used in an age-specific dosage.With poor tolerance of high temperature and possible febrile convulsions, the child is given antipyretic drugs in the form of syrups or suppositories. The use of drugs based on acetylsalicylic acid (aspirin) in children is prohibited. Painful abdominal cramps can be relieved by taking antispasmodic drugs (no-shpa) at a dosage appropriate for age and weight. Nutrition is a special consideration in the treatment of rotavirus infection. If you feel unwell, do not insist and force-feed the child.For a start, you can limit yourself to rice broth, then give rice porridge, mashed potatoes. Completely exclude dairy products, fatty and fried products. Meals should be fractional and as gentle as possible. Rotovirus intestinal infection in children, the symptoms and treatment of which have been described above, has a generally favorable course. However, not a single parent wants to watch the torment of their baby.