Sparrow, Im still yours...

The Sparrow, and the Dog

A sheep-dog had not a good master, but, on the contrary, one who let him suffer hunger. As he could stay no longer with him, he went quite sadly away. On the road he met a sparrow who said, "Brother dog, why art thou so sad?" The dog replied, "I am hungry, and have nothing to eat." Then said the sparrow, "Dear brother, come into the town with me, and I will satisfy thy hunger." So they went into the town together, and when they came in front of a butcher's shop the sparrow said to the dog, "Stay there, and I will pick a bit of meat down for thee," and he alighted on the stall, looked about him to see that no one was observing him, and pecked and pulled and tore so long at a piece which lay on the edge, that it slipped down. Then the dog seized it, ran into a corner, and devoured it. The sparrow said, "Now come with me to another shop, and then I will get thee one more piece that thou mayst be satisfied." When the dog had devoured the second piece as well, the sparrow asked, "Brother dog, hast thou now had enough?" "Yes, I have had meat enough," he answered, "but I have had no bread yet." Said the sparrow, "Thou shalt have that also, come with me." Then he took him to a baker's shop, and pecked at a couple of little buns till they rolled down, and as the dog wanted still more, he led him to another stall, and again got bread for him. When that was consumed, the sparrow said, "Brother dog, hast thou now had enough?" "Yes," he replied, "now we will walk awhile outside the town." Then they both went out on to the highway. It was, however, warm weather, and when they had walked a little way the dog said, "I am tired, and would like to sleep." "Well, do sleep," answered the sparrow, "and in the meantime I will seat myself on a branch." So the dog lay down on the road, and fell fast asleep. Whilst he lay sleeping there, a waggoner came driving by, who had a cart with three horses, laden with two barrels of wine. The sparrow, however, saw that he was not going to turn aside, but was staying in the wheel track in which the dog was lying, so it cried, "Waggoner, don't do it, or I will make thee poor." The waggoner, however, growled to himself, "Thou wilt not make me poor," and cracked his whip and drove the cart over the dog, and the wheels killed him. Then the sparrow cried, "Thou hast run over my brother dog and killed him, it shall cost thee thy cart and horses." "Cart and horses indeed!" said the waggoner. "What harm canst thou do me?" and drove onwards. Then the sparrow crept under the cover of the cart, and pecked so long at the same bung-hole that he got the bung out, and then all the wine ran out without the driver noticing it. But once when he was looking behind him he saw that the cart was dripping, and looked at the barrels and saw that one of them was empty. "Unfortunate fellow that I am," cried he. "Not unfortunate enough yet," said the sparrow, and flew on to the head of one of the horses and pecked his eyes out. When the driver saw that, he drew out his axe and wanted to hit the sparrow, but the sparrow flew into the air, and he hit his horse on the head, and it fell down dead. "Oh, what an unfortunate man I am," cried he. "Not unfortunate enough yet," said the sparrow, and when the driver drove on with the two hoses, the sparrow again crept under the cover, and pecked the bung out of the second cask, so all the wine was spilt. When the driver became aware of it, he again cried, "Oh, what an unfortunate man I am," but the sparrow replied, "Not unfortunate enough yet," and seated himself on the head of the second horse, and pecked his eyes out. The driver ran up to it and raised his axe to strike, but the sparrow flew into the air and the blow struck the horse, which fell. "Oh, what an unfortunate man I am." "Not unfortunate enough yet," said the sparrow, and lighted on the third horse's head, and pecked out his eyes. The driver, in his rage, struck at the sparrow without looking round, and did not hit him but killed his third horse likewise. "Oh, what an unfortunate man I am," cried he. "Not unfortunate enough yet," answered the sparrow. "Now will I make thee unfortunate in thy home," and flew away.

The driver had to leave the waggon standing, and full of anger and vexation went home. "Ah," said he to his wife, "what misfortunes I have had! My wine has run out, and the horses are all three dead!" "Alas, husband," she answered, "what a malicious bird has come into the house! It has gathered together every bird there is in the world, and they have fallen on our corn up there, and are devouring it." Then he went upstairs, and thousands and thousands of birds were sitting in the loft and had eaten up all the corn, and the sparrow was sitting in the midst of them. Then the driver cried, "Oh, what an unfortunate man I am?"

"Not unfortunate enough yet!" answered the sparrow; "waggoner, it shall cost thee thy life as well," and flew out.

Then the waggoner had lost all his property, and he went downstairs into the room, sat down behind the stove and was quite furious and bitter. But the sparrow sat outside in front of the window, and cried, "Waggoner, it shall cost thee thy life." Then the waggoner snatched the axe and threw it at the sparrow, but it only broke the window, and did not hit the bird. The sparrow now hopped in, placed itself on the stove and cried, "Waggoner, it shall cost thee thy life." The latter, quite mad and blind with rage, smote the stove in twain, and as the sparrow flew from one place to another so it fared with all his household furniture, looking-glass, benches, table, and at last the walls of his house, and yet he could not hit the bird. At length, however, he caught it with his hand. Then his wife said, "Shall I kill it?" "No," cried he, "that would be too merciful. It shall die much more cruelly," and he took it and swallowed it whole. The sparrow, however, began to flutter about in his body, and fluttered up again into the man's mouth; then it stretched out its head, and cried, "Waggoner, it shall still cost thee thy life." The driver gave the axe to his wife, and said, "Wife, kill the bird in my mouth for me." The woman struck, but missed her blow, and hit the waggoner right on his head, so that he fell dead. But the sparrow flew up and away.

:( Gladly you live, sadly I too do, but away from you.

Ghost Reveries, Opeth

One of the most brilliantly performed Opeth albums, this clearly sets a threshold for any "copy-cats bands" to be able to reach, a feat yet to be surpassed. Although all of the songs are not as impressive as some of those from the previous albums, the album as a whole is simply stunning. Here's more inspiring words on the album by someone more suited to do the job.

Let me start by stating the obvious: Opeth isn't exactly the most accessible metal band around. Too boring for those who only need METAL!!!1 and too extreme for the fans of lighter genres, it takes either a fair amount of patience, or an unusual enough taste to appreciate. Ghost Reveries doesn't change this at all, with five large, complex compositions and three shorter, calmer songs working, as great as they are, as interludes more than anything else. Still, there's plenty of those, including the one writing this, who really enjoy thorough digging into the creations of Mr Akerfeldt and co., and the reason is simple enough – it's extremely rewarding in every way. The journey we're taking on Ghost Reveries isn't exactly an optimistic nor a simple one – we're dealing with ghosts (in the more spiritual meaning rather than the fantasy one), solitude, guilt, and even occultism at more than one point. It takes time and patience to fully get into the world presented here, but the way it is presented makes it worth the effort entirely. As (nearly, there's Damnation after all) always in case of Opeth, the music is a combination of straightforward death metal with a progressive edge, more melodic and melancholic sections, and the calmest, mostly acoustic parts. On Ghost Reveries, all three are executed and combined with perfection and finesse, as the music can pass from crushing riffs and deep growling to acoustic guitars and clean vocals within 30 seconds, and it feels entirely natural. However, this time the focus is definitely on darker parts, even though there are four songs feeling – more or less – lighter than the others. The longest one of them, and actually also the longest composition of the album, called Reverie/Harlequin Forest, is an impressive work with a more melodic approach, some beautiful guitar leads and solos, and also an amazing combination of clean vocals and heavier riffs in the first part. It's still not void of heavier parts with growls, which are very nicely combined with the rest, but this time it's not the main part. This song also perfectly displays another strength of the album – the incredible use of keyboards and mellotrons. This is the first Opeth album recorded with Per Wiberg, and also the first “normal” album using the keyboards so extensively - they're present pretty much from start to finish of Ghost Reveries, they hardly ever take the lead, and greatly add to the whole sound. They're used to great effect in the heavier sections, just as the first half of The Baying of The Hounds and intro/outro of The Grand Conjuration, but obviously, it's the lighter parts in which they have more space and importance. The three shorter songs, called Atonement, Hours of Wealth and Isolation Years, are particularly dominated by the use of keyboards. Atonement has a slightly jazzy feeling to it, but it's the vocals that shine the most – it's one of the most emotional moments of the entire album, with a beautiful, slightly processed voice that really remains in your mind... Hours of Wealth may be the weakest track of Ghost Reveries, but it still works as a very good acoustic interlude. However, the closing track – Isolation Years – is a different thing entirely. The most melancholic and the shortest track on the album, but full of emotion and feeling, it's extremely memorable since the first listen, and the perfect ending of the album, it's also probably the most impressive clean vocal performance of Mikael Akerfeldt on Ghost Reveries. The most impressive growling performance, on the other hand, would be the first half of The Baying of The Hounds. Actually I'll go as far as saying this is one of the best growling performances I've ever heard, with a really deep, dark, powerful voice, that really will make you feel the lyrics (and we're talking about lyrics such as “the cities lay dead and beyond despair”). The truth is that vocals on the whole album are absolutely top notch, emotional, powerful and simply excellent in every way, and these examples are just the ones that stand out the most, but there are many, many more (such as the beautiful “Drown in the deep mire...” part – The Baying of The Hounds, again). I admit I had considered Mikael Akerfeldt a good, but not great vocalist – I was proved entirely wrong by this album, which is vocal-wise one of the best things I've ever heard. The metal side of the album is nearly perfect as well, and the aforementioned The Baying of the Hounds is one of the heaviest tracks, dominated by excellent death metal riffs, with a particularly great, heavy, chugging one around the 7th minute. Another one is the opener, Ghost of Perdition (which seems to have gained a nearly untouchable spot in the band's live setlist), also alternating a bit between heavier and softer moments, both being equally brilliant. Beneath The Mire is the most unusual and probably also the most prog-metal oriented track on the album, with a slightly more technical approach and some unconventional experiments (such as the opening riff), and also an amazing outro. And then, there's the song which has really possessed me. But hell, I'm happy with that. It's called The Grand Conjuration, and it's hands down the heaviest and darkest piece on Ghost Reveries. It's the most focused on the theme of occultism and ritual, which is rather obvious, looking at the title, and the atmosphere is so dark and dense that it's capable of giving chills during most of its duration. On one hand, there's the particularly grim growling style, sounding like you really don't want to mess with him, and on the other – there are the quiet moments, with a repeating low guitar sound, and a clean, silent, nearly whispered vocal style... but the way it sounds is so incredibly discomforting (especially with the “ritual” whispers in the background here and there) that it manages to sound even darker than the heavy parts, which, by the way, are just filled with amazing riffs, from start to finish. And the outro... I've mentioned it when talking about keyboards, I'm mentioning it again, and it's still not enough. I'm listening to this song for around the twentieth time and it feels just as incredible, monumental and powerful as for the first time. I'm not the “if it's the heaviest, it's my favourite” type, especially on albums like this, but this is an exception... One more thing that shines on the album, in fact on The Grand Conjuration the most, is the drumming. This is the last Opeth album with Martin Lopez, and his performance here is excellent, with lots of finesse and feeling, but also a lot of punch in the heavier parts. This was one of those rare albums which I had decided to try not really knowing what to expect, and ended up forgetting about the rest of the world for two weeks. If someone can't stand long songs and the “boring” acoustic sections, I don't think Ghost Reveries can change his/her opinion. Otherwise – this is an album with amazing songwriting (and with this song length and the diversity of musical styles involved, this means a lot), absolutely stunning and incredible vocals, excellent riffs and drumming, beautiful softer parts, and everything combined together by a unique, dark atmosphere. Impossible to do all at once? Maybe. But this is Opeth.

Originally from: the records of Encyclopaedia Metallum, done by Darkes_7

Hindsight, Anathema magic

Hindsight is one of the best albums of all times. Each of its songs are so superbly done that I find myself at a loss of words to describe it. The songs are very touching and I would be making a mockery of myself if I tried explaining any of it. Here's a review on the album:

It’s been five long years since Anathema graced us with an album. Five long years since the magnificent A Natural Disaster that sealed the deal for the bands movement away from all things metal. After that though, there’s just been the steady increase in anticipation levels among fans of the band for the new album. While it has been made public that the album will be called Horizons and Porcupine Tree’s Steven Wilson will be producing, a release date and a label to release the music is still not known.

So in the meantime almost like a piece of meat thrown at their rabid fan base comes Hindsight. A collection of songs previously released on various albums but now re-worked into a largely acoustic framework. The album opens with Fragile Dreams and the song has been transformed into a keyboard led gently melancholic refrain. It’s a stunning re-working of one the bands more popular songs and when the cello comes in instead of that opening guitar line you just know that this compilation is going to be a bit special. Leave No Trace from 2001s A Fine Day to Exit has a folk feel to it while the original version’s spacey feel is completely missing on this one. Inner Silence sounds even more morose and brooding than the original and seems to be the result of Danny Cavanagh’s time spent in Antimatter.

The centerpiece of the album though is the magnificent re-working of A Natural Disaster. The title song taken from the bands most recent album is essentially the same. It’s the subtle changes like the cello coming in for the original bass guitar and an absolutely stunning vocal performance from Lee Douglas really taking this song to a whole new level. Flying also from A Natural Disaster is another terrific song and while the original was a definite highpoint of that album, this re-working is absolutely essential stuff.

The album ends with Unchained (Tales of the Unexpected) which is another melancholic and brooding song that’s held together by a gentle acoustic guitar and some vaguely ominous sounding cello and keyboards parts. Terrific ending to the album and is good reason to check out Hindsight on its own. I suppose the only real downside to this collection is the exclusion of Forgotten Hopes and also the fact that this only focuses on material from Eternity onwards.

I think most fans of the band are going to love Hindsight. The songs are all essentially the same but have been tweaked just enough to give things a fresh perspective. I can’t wait for the new album to come out but till then, Hindsight will do very well.

Originally written for http://www.kvltsite.com

AYURVEDA

One of the most phenomenal bands in the genre at the moment, Ayurveda continues to remain unheard of, yet simply beautiful to hear. Here's the bands bio, quoted from their own website:

Let’s define the word first, before we define the band. Ayurveda is a Sanskrit word meaning “the knowledge (or wisdom, or science) of life.” It is an ancient system of philosophy and naturopathic health care rooted in the Hindu Vedas, applying in very individualized ways to the physical, mental, social and spiritual welfare of all who practice it.

Ayurveda, the band, is a five-member group based in Ithaca, New York. Their sound, as it exists on their debut album Being, is heavy rock music — the album was produced by Alex Perialas, known for his work with Anthrax, Testament and Bad Religion — with all the thunderous guitar riffs and freight-train rhythms one might expect given the 13-track set’s pedigree. But Ayurveda’s music has a delicacy, and an intelligent tonality; and singer Tom Burchinal’s lyrics, while not afraid of the darkness, explore a more positive, spiritual reality consistent with their namesake.

The story goes like this: Diwas and Shikhar met at a dinner Shikhar’s mother hosted for Nepalese exchange students at Ithaca College. Shikhar learned that Diwas was a fellow guitarist, and asked if he’d ever played a Les Paul. “No,” Diwas replied, and Shikhar brandished his axe — and was floored by Diwas’s playing. Diwas was asked to join the nascent Ayurveda, which already included Shikhar and Tom.

One night, after they finished rehearsal in the Bajracharyas’ basement, Dr. Bajracharya asked Tom why his lyrics were so angry, and she introduced him to the meaning of his band’s name. It was a revelation, and the genesis of Ayurveda’s collective sense of purpose.

The trio soon found likeminded allies in drummer Mike Parker, a session player at the studio where Ayurveda recorded their first EP; and bass player Dan Halperin, an early fan who was enlisted after their then-bassist left town for an internship shortly before the EP release party. From there, it was as if everything clicked; five became one, and Ayurveda as you hear it today was complete.

Great music: check. Dedicated, diverse cult following: check. Next step: conquer the world. Ayurveda is coming to you, the science of life delivered via Les Paul. And if you let it in, if you believe, then it just might transform you.

Source: Ayurveda official webpage

FLYING men |--

The Legacy of Hovering Men

During the 1950s and 1960s the United States Army spent considerable energy developing one- and two-man flying machines to carry its soldiers into battle. These vehicles were intended to offer a powerful advantage in scouting and observation, and to give infantrymen unprecedented freedom of movement on the battlefield. Ultimately the US Army hoped to give the common foot soldier a set of wings.

The US National Advisory Committee on Aeronautics (NACA) began to conduct feasibility research on such technology in the early 1950s. After some encouraging results in the laboratory using compressed air, several companies went on to build experimental vehicles. This brief fad of military aviation gave rise to a number of unique contraptions, including such unlikely inventions as backpack helicopters, hovering platforms, and flying jeeps.

The research was first spawned by NACA engineer Charles H. Zimmerman, who determined that a helicopter-style vehicle would be significantly more stable if the rotors were mounted on the bottom rather than on top. Furthermore, he suggested that a human’s innate balancing mechanisms could be used to keep such a machine upright. He referred this as “kinesthetic control,” a set of reflexes similar to those which allow humans to ride bicycles and surfboards.

Among the first flying platforms was the HZ-1 Aerocycle from De Lackner. It used a forty horsepower outboard motor to turn two counter-rotating helicopter blades. The two opposing rotors cancelled one another’s torque, allowing the mounted platform to maintain orientation rather than spinning. Secured by safety belts, the soldier-pilot stood on a platform just above the churning blades, using motorcycle-like handlebars to turn the vehicle and to change altitude. Directional control was achieved by leaning in the desired direction of travel, with a maximum velocity of 65-70mph.

Captain Selmer Sundby, an experienced pilot with over 1,500 hours of flying experience, was the test operator for the Aerocycle. He made many flights, with times varying from a few seconds to over forty minutes. The HZ-1 was designed to be used by soldiers after twenty minutes of instruction. Captain Sundby said, “. . . it only took me one flight to realize that a non-flyer would have considerable difficulty operating it.” Twice during testing the contra-rotating blades flexed and collided, causing the apparatus to fall out of the sky. Sundby was lucky to survive both incidents, one of them from forty feet in the air. Hiller VZ-1 PawneeThe project was cancelled after the second accident, and Sundby was awarded the Distinguished Flying Cross for his efforts.

A similar prototype was the VZ-1 Pawnee developed by Hiller Aviation. As with the Aerocycle it was hoped that soldiers could operate the Pawnee with only an hour or two of instruction. Using two 44 horsepower engines, the platform was lifted by two counter-rotating five-foot-wide rotors in a round enclosure, a configuration known as aducted fan.

In horizontal flight, the VZ-1 demonstrated an automatic self-righting tendency. This occurred because the leading edge lip of the duct generated more lift than the trailing edge, causing an upward pitch. This force worked to balance the pilot’s weight as he shifted the platform in the direction he wanted to fly. Consequently, the platform was almost impossible to topple.

The Army saw some promise in the design, and two larger prototypes were built which also worked quite well, but ultimately the project was abandoned as too impractical. The idea that a soldier could use the Pawnee to snipe at the enemy turned out to be a fantasy, as it was very noisy and made the soldier a highly vulnerable target. Another shortcoming was that the Pawnee had a top speed of only 16 mph.

A few companies applied the hovering concept to larger vehicles. The best attempt at making a flying jeep was the VZ-8 Airgeep built by Piasecki. The VZ-8 was built around two ducted fans driven by a pair of 180 horsepower engines. Both power plants were connected to a single central gearbox so that both rotors would continue to turn even if one engine failed. Piasecki VZ-8 AirgeepControls for the Airgeep were very much like conventional helicopter controls.

Although the Airgeep was intended to operate within a few feet of the ground it was also capable of flying at altitudes of several thousand feet. The Airgeep was a very stable weapons platform and could hover or fly around most any obstacle. A larger, more powerful version called the Airgeep II was developed in 1962, and it proved even more capable. Further evaluation of the concept, however, led the Army to conclude that the design lacked the ruggedness and flexibility of conventional helicopters, and that its maintenance demands were too high. The Airgeep was abandoned in the early 1960s.

At around the same time, Bell Aerosystems was developing a series of rocket and jet packs for military use. The army lost interest when it found that maximum practical flight time was less than thirty seconds, but the small kerosene jets used in these jet packs were later employed in other configurations. This engine would become the basis for Williams Research Corporation’s WASP (Williams Aerial Survey Platform). Test pilots would come to give it the nickname “Flying Pulpit”.

Williams WASPThe WASP, later named the X-Jet, was the result of fifteen years of development. It looked a bit like a flying garbage can, with the pilot standing on the fuel tank and a 600-pound turbofan engine mounted in front of him. Performance of the WASP was impressive, with a speed of 60 mph and a service ceiling of 10,000 feet. Maximum flight time was just over 30 minutes. The craft was listed in Jane’s All the World’s Aircraft as late as the 1985 edition but once again the army, which had financed its development, lost interest. Today the Williams Corporation makes compact jet engines for cruise missiles and jets.

The United States Army also tested a series of one-soldier assault helicopters, including a device named the Hiller Rotorcycle which could collapse into the volume of a large trunk. Several attempts were also made to develop backpack helicopters, but the idea never got off the ground because the machines were much too large and heavy to be practical. Moreover, the constant vibrations during short test flights left operators extremely disoriented and unable to properly control the craft.

By the 1970s the US military largely abandoned such flights of fancy. Although a one- or two-man light aircraft was an intriguing concept, all of the vehicles shared common weaknesses in regards to maintenance, noise level, vulnerability, and the lack of practical applications. There were also very valid concerns about the stability of the small aircraft in windy conditions. Examples of these unique military aircraft can currently be found at aviation museums all over the country.

Quote: DamnInteresting.com

Hypnotizing Cat, Meeeeeoeoeoeooew?

Another very interesting news from the British world

The Hypnotizing Cat

The regulation of hypnotherapists in the UK is so lax that even a cat can become accredited, the BBC has found.

Chris Jackson, presenter of Inside Out in the North East and Cumbria, registered pet George with three industry bodies.

Each one accepted a certificate from the non-existent Society of Certified Advanced Mind Therapists as proof of George’s credentials.

It follows a similar investigation by an American clinical psychologist.

Dr Steve Eichel suspected industry bodies in the US were not running checks on their members.

He said: “I felt I’d test my hypothesis and I did that by getting my cat certified by a number of the most prominent lay hypnosis organisations in the United States. It was a frighteningly simple process.”

In the UK, George was registered with the British Board of Neuro Linguistic Programming (BBNLP), the United Fellowship of Hypnotherapists (UFH) and the Professional Hypnotherapy Practitioner Association (PHPA).

The UFH welcomed the Inside Out investigation and admitted the mistake, which it said has since been corrected.

A PHPA spokesman said the organisation makes great effort to ensure every applicant is a fully-qualified hypnotherapist.

The BBNLP said it exists only to provide benefits to its members, not to check or certify credentials.

Source: BBC News

Darwin Awards Event !!!

I found this joke the other day at a website
I am repeating, this is not my work. But it is good nevertheless:

DARWIN AWARDS 1995

The Arizona Highway Patrol were mystified when they came upon a pile of smoldering wreckage embedded in the side of a cliff rising above the road at the apex of a curve. The metal debris resembled the site of an airplane crash, but it turned out to be the vaporized remains of an automobile. The make of the vehicle was unidentifiable at the scene.

The folks in the lab finally figured out what it was, and pieced together the events that led up to its demise.It seems that a former Air Force sergeant had somehow got hold of a JATO (Jet Assisted Take-Off) unit. JATO units are solid fuel rockets used to give heavy military transport airplanes an extra push for take-off from short airfields.

Dried desert lakebeds are the location of choice for breaking the world ground vehicle speed record. The sergeant took the JATO unit into the Arizona desert and found a long, straight stretch of road. He attached the JATO unit to his car, jumped in, accelerated to a high speed, and fired off the rocket.

The facts, as best as could be determined, are as follows:

The operator was driving a 1967 Chevy Impala. He ignited the JATO unit approximately 3.9 miles from the crash site. This was established by the location of a prominently scorched and melted strip of asphalt. The vehicle quickly reached a speed of between 250 and 300 mph and continued at that speed, under full power, for an additional 20-25 seconds. The soon-to-be pilot experienced G-forces usually reserved for dog-fighting F-14 jocks under full afterburners.

The Chevy remained on the straight highway for approximately 2.6 miles (15-20 seconds) before the driver applied the brakes, completely melting them, blowing the tires, and leaving thick rubber marks on the road surface. The vehicle then became airborne for an additional 1.3 miles, impacted the cliff face at a height of 125 feet, and left a blackened crater 3 feet deep in the rock.

Most of the driver's remains were not recovered; however, small fragments of bone, teeth, and hair were extracted from the crater, and fingernail and bone shards were removed from a piece of debris believed to be a portion of the steering wheel.

Ironically a still-legible bumper sticker was found, reading"How do you like my driving? Dial 1-800-EAT-SHIT."

Pope begs Pardon for Perverts ?

I wish to discuss some interesting news I just read of,

these are not my works, yet they are very intriguing and I think all should take a look at it

Pardon the Pope for the Perverts

As Pope Benedict XVI hurts underneath his first visit to the United States in 2008, the service of the news of the US catholic church observed that pontiff had reached its objective superior after the trip personally having apologized to the Americans who had been abused sexual by the priests. The Pope “brought certain confinement to the scandal priestly of the abuse of the sex that has sacudarido the church by more than six years,” the catholic service of the news, an arm of the E.E.U.U. Conference of catholic bishops, disclosed in that then. In recent weeks, that scandal has been opened wide blown again. This time, the excessive loads of the abuse of the sex of the crisis of the catholic church have gone global, with the allegations separating with average dozen of the countries in two continents -- as well as the many E.E.U.U. The catholic dioceses continue facing excessive alleged sexual abuse of the lawsuit of the priests. The allegations of the church-based abuse of sex are mounting through Europe, including in Austria, Germany, the Netherlands, Spain and Switzerland. The new allegations of the abuse have emerged in Brazil, home of the greater catholic population of the world, thanks to a recent report of the TV that presumably included a video that demonstrated to a priest who had sex with a boy of altar of 19 years. Ireland, meanwhile, continues fighting with polvillo radioactive as of years of revelations on abusive priests. It was not until this week that the superior catholic cardinal of Ireland recognized the answer from the church the abuse had been “desperate inadequate.” A letter of the Pope that responds to the Irish abuse delay Saturday.

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