Dog and Cats

Why are people buying dogs from breeders considered selfish

If nobody gives dogs a good home, ending in a shelter and become a shelter dog also, why are people so critical about where people get their dogs? all dogs need a good home, no matter where they come from .. if absolutely necessary to be angry with someone, be angry with people who get a dog without thinking about all the responsibilities that come along with one. I'm obviously talking about backyard breeders .. If nobody takes the dogs end up in a shelter or dead. Why is it wrong to want to save too?

Because every time they buy a dog from a backyard breeder then get money and start again making more puppies! I understand where you are coming to leave, but if people would not buy them then breeding them because she would not have the money for the dogs. Rep. Breeders NEVER send un-sold dogs to the pound. Just back yard breeders do. So if they are not supported by the people buying the puppies then would that I have nothing against anyone getting a dog from a shelter or a good breeder. I hate poeple that your dog cage and continue to raise money from them! And dogs never have a good life, because they are pregnant until the day die

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Mad Dogs & Englishmen $45.89 Listening to this CD brings back a lot of memories. Mad Dogs & Englishmen was just about the most elaborate album that A&M Records had ever released, back in 1971, a double LP in a three-panel, fold-out, gatefold sleeve, with almost 80 minutes of music inside and a ton of photos, graphics, and annotation wrapping around it. A live recording done in tandem with a killer documentary film of the same U.S. tour, it was recorded at the Fillmore East, where the movie was a cross-country affair, and the two were, thus, completely separate entities — also, as people couldn’t “buy” the film in those days, the double LP has lingered longer in the memory, by virtue of its being on shelves, and also being taken off those shelves to be played. Unlike a lot of other “coffee table”-type rock releases of the era, such as Woodstock and The Concert for Bangladesh, people actually listened to Mad Dogs & Englishmen — most of its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique. The CD offers a seriously good sound, whether it’s just Joe Cocker and a pianist and organist in the opening of “Bird on a Wire,” or the entire band going full-tilt on “Cry Me a River”; the remastering was set at a high volume level and there was a decent amount of care taken to get the detail right, so you can appreciate the presence of the multiple drummers, and the legion of guitarists and singers, plus the multiple keyboard players. The lead guitar and solo piano on “Feelin’ Alright,” for example, come through, but so do the 34 other players and singers behind the lead. This record was also just as much a showcase for Leon Russell as it was for Joe Cocker, which A&M probably didn’t mind a bit, as Russell was selling millions of records at the time. As is now known, and it’s recounted in the new notes, the tour from which this album was drawn all but wiped out Joe Cocker — on a psychic level — because the music was presented on such a vast scale (and there is a moment in the movie where he mentions breaking up his former backing group, the Grease Band, with a hint of regret in his voice) and his own contribution was so muted by Russell’s work as arranger and bandleader. He may well have been the “victim” of a “hijacking” of sorts, but the musical results, apart from the dubious “Give Peace a Chance,” are difficult to argue about upon hearing this record anew, decades after the fact — it’s almost all bracing and beautiful. ~ Bruce Eder, Rovi

Dogs $13.58 The Parlor Mob’s bid for rock & roll stardom was initially thwarted by major-label reshuffling (dropped by Capitol, they quickly reemerged with the ostensibly independent Roadrunner), then stunted by confusing musical allegiances (lost somewhere between retro- and indie rock, they followed Wolfmother and the Sword into “hipster metal” purgatory), so it’s now up to their sophomore album, Dogs, to turn the band’s career prospects around. What’s more, the Asbury Park, New Jersey natives have to pray that consumers will listen with eyes closed and minds opened, ignoring the intra-genre politics and critical recriminations ignited by the issues cited above, in order to give said music a fair shot. So, eyes closed now, just listen. Fundamentally, Dogs finds the Parlor Mob aiming to first streamline, then modernize their debut’s classic hard rock hallmarks, losing most of their primal hard rock bombast (and reams of colorful keyboard and organ backdrops), but gaining some infectious simplicity in the process. The former is therefore reserved for a few punchy riff engines (”Fall Back,” “Take What’s Mine”), the moody “I Want to See You,” and the epic, teeth-gnashing “The Beginning,” which moves from fluttering strings to earthshaking riffs and desperate melodies before a roaring bassline finally takes it home. While the latter takes over on radio-oriented fare like “How It’s Going to Be,” “Into the Sun,” and the Strokes-flavored “American Dream,” as well as on surprisingly sedate numbers like “Practice in Patience” (featuring a jazzy piano, wobbly slide guitars, and a big catchy chorus), the folky lament “Slip Through My Hands,” and a string-accompanied “Holding On” (which recalls the Smashing Pumpkins’ “Tonight”). Now, on the one hand, this general change of direction is all well and good because the Parlor Mob’s basic instincts for crafting tight, diverse, and inventive tunes remain impressively sharp. On the other, it leads to shocking revelations such as the fact that those abandoned classic rock elements were actually masking singer Mark Melicia’s emo-born whine (an acquired taste any way you slice it) as some kind of born-again Robert Plant-ism; meaning some returning fans will be stunned when sonic cues that once pointed to venerable dinosaurs like Zep, Purple, or Queen now seem to reference My Chemical Romance and Foxy Shazam, instead. The paradigm shift is enough to leave one questioning one’s musical sanity. But then, a little willful insanity and a certain suspension of disbelief were always requirements for appreciating the Parlor Mob’s peculiar sonic vision anyway, so none of that will be changed by Dogs. ~ Eduardo Rivadavia, Rovi

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