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Vanishing twin
Classification and external resources
A fetus papyraceus shown with its umbilical cord next to the placenta of its dichorionic diamniotic twin.
ICD-10	O31.2
ICD-9	651.33
DiseasesDB	31893
eMedicine	med/3411

A vanishing twin, also known as fetal resorption, is a fetus in a multi-gestation pregnancy which dies in utero and is then partially or completely reabsorbed by the twin.^[1]

The occurrence of this phenomenon is sometimes referred to as twin embolisation syndrome or vanishing twin syndrome (VTS), since the 1980s when twin pregnancies were made visible early on by means of ultrasound.

Occasionally, rather than being completely reabsorbed, the dead fetus will be compressed by its growing twin to a flattened, parchment-like state known as fetus papyraceus.^[2]

If the fetus is absorbed completely, there are usually no further complications to the pregnancy, other than first trimester vaginal bleeding.^[3] However, if the event occurs in the second or third trimester, serious complications may include premature labor, infection due to the death of the fetus, and hemorrhage. Even at the end of the pregnancy, a low-lying fetus papyraceus may block the cervix and require a cesarean to deliver the living twin.

The vanished twin can die owing to a poorly implanted placenta, a developmental anomaly that may cause major organs to fail or to be missing completely, or there may be a chromosome abnormality incompatible with life. Frequently the twin is a blighted ovum, one that never developed beyond the very earliest stages of embryogenesis.

Frequency[link]

According to Charles Boklage, a professor in the Department of Pediatrics in the Brody School of Medicine and adjunct professor of biology at East Carolina University, vanishing twins occur in up to one out of every eight multifetus pregnancies and may not even be known in most cases.^[4]

Patricia J. Sulak, M.D., has reported similar findings: "In reporting 300 early pregnancies evaluated by means of ultrasound noted 21 twins, one triplet, and one quadruplet. Only three pairs of twins survived to term (85.6% loss of the second twin), whereas the triplet pregnancy evolved into a normal twin gestation, and the quadruplet pregnancy reported here also evolved into a singleton gestation. Additionally, the triplet pregnancy reported here also evolved into a pregnancy diagnosed by means of ultrasound that evolved into a twin gestation. These very high resorption rates, which cannot be explained on the basis of the expected abortion rate, again suggest intense fetal competition for space, nutrition, or other factors during early gestation, with frequent loss or resorption of the other twin(s)."^[5]

Since it is hypothesized that in some instances vanishing twins leave no detectable trace at birth or before, it is impossible to say for certain how frequent the phenomenon is. It was hypothesized for a long time that non-right-handed and non-left-handed individuals may be the survivors of "mirror image" identical twinning.^[6]

"Vanishing" twins are frequently encountered in pregnancies created as a result of IVF. Ultrasound scans are taken very early in these pregnancies (5–8 weeks), so that, where a multiple conception has occurred, it frequently happens that more than one amniotic sac can be seen in early pregnancy, whereas a few weeks later there is only one to be seen and the other has "vanished".^[7]

See also[link]

• Cerebral palsy
• Chimera (genetics)
• Parasitic twin

In fictional works[link]

• The Dark Half
• Omen IV: The Awakening
• Kingdom of the Wicked
• Dwight Schrute
• A Discovery of Witches

References[link]

Further reading[link]

• Landy, H.J.; Keith, L.G. (1998). "The vanishing twin: a review" (PDF). Human Reproduction Update 4 (2): pp. 177–183. DOI:10.1093/humupd/4.2.177. PMID 9683354. http://humupd.oxfordjournals.org/cgi/reprint/4/2/177. Retrieved 2007-06-03 

• Medland, Sarah E.; Wright, M.J.; Geffen, G.M.; Hay, D.A.; Levy, F; Martin, NG; Duffy, DL (2003). "Special Twin Environments, Genetic Influences and their Effects on the Handedness of Twins and their Siblings". Twin Research 6 (2): pp. 119–130. DOI:10.1375/136905203321536245. PMID 12723998 

• Pharoah, Peter O.; Price, T.S.; Plomin, R. (2002). "Cerebral palsy in twins: a national study" (PDF). Archives of Disease in Childhood Fetal and Neonatal Edition 87 (2): pp. F122–4. DOI:10.1136/fn.87.2.F122. PMC 1721448. PMID 12193519. http://fn.bmj.com/cgi/content/full/87/2/F122. Retrieved 2007-06-03  (Online version required free registration)

External links[link]

• Vanishing twin at eMedicine.com
• Vanishing twin occurrence in India
• Photographic evidence of a vanished twin found on the placenta after delivery of the surviving twin
• LNC Newsletter - Vanishing Twin Syndrome and Fetus Papyraceus
• A review in Human Reproduction Update
• 50 articles about vanishing twin phenomenon in PubMed
• Article by Kramer with useful references
• Attachment Issues Associated with the Loss of a Co-twin Before Birth

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Jiří Kylián
Born	Prague
Nationality	Czech
Other names	Jiří Kilián
Occupation	dance choreographer

Jiří Kylián (born 21 March 1947)^{[citation needed]} is a Czech dance choreographer.

Kylián studied in Prague and, at the age of 20, won a scholarship at the Royal Ballet School in London.^[1] He joined the Stuttgart Ballet in 1968 and worked under John Cranko, where he began to choreograph.^[2] Kylián became Artistic Director of Nederlands Dans Theatre in 1976. His style is very energetic and contemporary and his best known works include Symphony of Psalms (1978). In 1992, he started his own chamber company for dancers over 40.^[3] In 1993 and 1999, he was awarded the Prix Benois de la Danse as choreographer, one of the two only to receive it twice.

Works[link]

Kylián's works primarily explore the 'why' of the universal themes. One senses that he uses his work as playgrounds for human relationships and instincts.

Works from 1973 to 1998 include ^[4]

• Viewers (1973)
• stoolgame (1974)
• blue skin (1974)
• La cathedrale engloutie (1975)
• transfigured night (1975)
• torso (1975)
• nuages (1976)
• elegia (1976)
• symphony in d (1976)
• november steps (1977)
• ariadne (1977)
• kinderspelen (1978)
• sinfonietta (1978)
• rainbow snake (1978)
• symphony of psalms (1978)
• msa glagolskaja (1979)
• dream dances (1979)
• soldatenmis (1980)
• overgrown path (1980)
• forgotten land (1981)
• nomaden (1982)
• lieder eines fahrenden gesellen (1982)
• svadebka (1982)
• stamping ground (1983)
• dreamtime (1983)
• curses and blessings, with Christopher Bruce (1983)
• wiegelied (1983)
• return to the strange land (1984)
• valencia (1984)
• l'enfant et les sortileges (1984)
• heart's labyrinth 1 (1984)
• heart's labyrinth 2 (1985)
• piccolo mondo (1985)
• silent cries (1986)
• L'histoire du soldat (1986)
• sechs tanze (1986)
• heart's labyrinth 3 (1987)
• frankenstein! (1987)
• evening songs (1987)
• st joris rijdt uit (1987)
• kaguyahime (1988)
• no more play (1988)
• tanzschul (1989)
• falling angels (1989)
• sweet dreams (1990)
• sarabande (1990)
• un ballo (1991)
• petite mort (1991)
• obscure temptations (1991)
• stepping stones (1991)
• as if never been (1992)
• no sleep till dawn of day (1992)
• whereabouts unknown (1993)
• tiger lily (1993)
• double you (1993)
• arcimboldo (1994)
• bella figura (1995)
• anna and the ostriches (1996)
• compass (1996)
• if only ... (1996)
• Trompe-L'oeil (1996)
• wings of wax (1997)
• a way a lone (1998)
• one of a kind (1998)
• Indigo Rose (1998)
• Doux Mensonges (1999)
• Click-Pause-Silence (2000)
• Birth-day (2001)
• Blackbird (2001)
• 27’52” (2002)
• Claude Pascal (2002)
• When Time Takes Time (2002)
• Far too close (2003)
• Last Touch (2003)
• Il faut q’une porte (2004)
• Sleepless (2004)
• Toss of a dice (2005)
• Chapeau (2005)
• Tar and Feathers (2006)
• Vanashing Twin (2008)
• Gods and Dogs (2008)

Falling Angels[link]

Falling Angels is a part of the Black and White ballets which were created in 1989 with 8 white female dancers dressed in black leotards. It was performed to drumming/percussion music based on ceremonial ritual music from Ghana (West Africa). Musical rhythms and patterns are used and mixed in a synthesizer to produce a layered effect in some sections. The result of this a more energetic, sometimes frenzied sound that the dancers match in a very physical dance.

Falling Angels depicts females and female dancers in their aim to achieve perfection but succumb in various stages to the human female psyche and female events such as ambition, seduction, pregnancy, birth, death, motherhood and self-awareness. It is basically about the things that pull and push a dancer from the 'purity' of dance and performance. Kylián was influenced by surrealism and minimalism during the creation of this work and the 'black and white ballets'. In this ballet we see the combination of classical lines and sharp percussive movements that give unpredictability to the piece as a whole.

Forgotten Land[link]

Forgotten Land 1981 explores memories, events and people that over time are lost or forgotten and how people sometimes vainly try to recover them, or a sense of them in order to regain their former power and value. The work itself is inspired and based on a painting of women on a beach by the Norwegian Expressionist painter Edvard Munch. The work mainly involves duets who move their arms in various stretched positions, as if they were reaching out for something. The dancers arch their backs and dance expressively, reflecting both the music and the haunting painting that influenced the work. Kylián makes a statement of lost homelands, lost lovers and lost times and there are also duets that reflect violent moods. These duets end up as a large ensemble and then the women are left on the shore, stretching their arms again like birds that cannot fly.

Petite Mort (1991)[link]

• Choreography by Jiří Kylián
• Staged by and Assistant Choreographers: Roslyn Anderson and Ken Ossola
• Music by Wolfgang Amadeus Mozart:
  • Piano Concerto in A Major - Adagio
  • Piano Concerto in C Major - Andante
• Set Design by Jiří Kylián
• Costumes by Joke Visser

Jiří Kylián composed this piece for the 1991 Salzburg Festival on the second centenary of Mozart's death. With six men, six women, and six foils, they symbolically exude energy, silence, and sexuality.

Choreography style and characteristics[link]

• Use of SHAPE - Kylián sees the dancer as an expression of art. He is always exploring shape in the human body and the meaning behind shape.
• Use of SPACE - Kylián is always exploring the limitations and capabilities of the performance space physically, as well as exploring the use of space in his dance.
• Use of ISOLATION - The ability to focus on body parts.
• Use of ENTRANCES and EXITS - Kylián's choreography often focussed on how dancers entered and left a performance space. This is designed to create different impressions on the audience.
• Use of CONTRAST - Kylián uses dynamics as a choreography device. Lyrical flowing movements passages are contasted with staccato-like sharp movements.
• Use of HUMOUR - Kylián often uses humour in movement and gesture, as well as facial expression. His dance movements are often unpredictable due to this humour.

Films[link]

• Birthday
• Carmen

Media links[link]

• Nederlands Dans Theater - Finale from Petite Mort
• Nederlands Dans Theater - First part of Petite Mort
• Nederlands Dans Theater - Tar & Feathers
• Aspen Santa Fe Ballet - Stamping Ground (Jacob's Pillow Dance Festival 2011)

Bibliography[link]

• Elisa Guzzo Vaccarino, Jiří Kylián. Palermo, L'Epos, 2001. ISBN 88-8302-180-0

Notes[link]

Sources[link]

• HSC Online

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (March 2009)

Kristin Hersh (born August 7, 1966) is an American singer/songwriter who performs solo acoustic concerts; she also continues to perform as lead singer and guitarist for alternative rock group Throwing Muses and the hardcore punk-influenced power trio 50 Foot Wave. She has written a memoir, titled Rat Girl, which was published in the USA by Penguin Books on August 31, 2010 and is co-founder of the non-profit, open-source software project for recording artists, CASH Music.

Early life[link]

Born in Atlanta as Martha Kristin Hersh, she was raised in Newport, Rhode Island. She learned guitar at age nine from her father, and started writing songs soon after. As a teenager, she formed Throwing Muses in the early 1980s with stepsister Tanya Donelly and other high school friends.

Hersh has listed among her early musical influences The Raincoats, Talking Heads, Violent Femmes, Meat Puppets, Dead Kennedys, Hüsker Dü, Velvet Underground, R.E.M., and X. She has said her parents' albums by Patti Smith, the Carter Family, Stevie Wonder, Robert Johnson, Talking Heads, The Clash, Steve Miller, The Beatles, Philip Glass, and traditional music influenced her when she was growing up.

Musical career[link]

Throwing Muses and early solo work[link]

Hersh began singing and writing most of Throwing Muses' songs in changing tempos, with Donelly also singing and writing some of the songs. Early in the band's career, Hersh became friends with Betty Hutton while both were students at Salve Regina University. Hutton attended several Throwing Muses concerts.^[1]

The group was signed by the British 4AD Records label in 1986 and, after one album, signed a U.S. deal with Sire/Reprise Records in 1987. They began touring around the U.S. and Europe while recording critically acclaimed rock albums, with Hersh writing most of the songs.

Throwing Muses became a trio when Donelly left the group after 1991's The Real Ramona. In 1994, Hersh began an additional career on Sire/Reprise and 4AD as an acoustic solo performer, beginning with Hips and Makers, an album sparely arranged around her vocals, guitar, and a cellist, in contrast to the volatile, electric sound of her band work. Michael Stipe of R.E.M. made an appearance on this first solo album.

Hersh's solo songwriting style focuses some of the relationship subject matter on her family. While Hersh's work reflects her personal experience, she has said that she writes from a point of view outside of her personality. Stating that "songwriting is about shutting up instead of talking", Hersh has said that songs that appeal to her are those that "say things that I don't know yet and tell stories I may not have lived yet".

The New York Times pointed to Hersh's explorations of "rage, aggression and mental chaos" as evidence that there were at least a few female rock music artists by the early 1990s pushing against gender role boundaries to express "more than simply vulnerability or defiance" in their work.

Hersh, whose early publicity at times portrayed her as a tortured artist "channeling" her songs from her psyche, has mentioned that the "angry young woman" fascination of some writers in reviewing the work of female performers has at times led to cartoonish stereotypes, rather than three-dimensional portraits respecting their intelligence. By the mid-1990s, journalists acknowledged that the breadth of her "fierce, quirky, and imaginative" lyrical style included explorations of "emotional and physical love" combined with "elliptical puzzlement".

After receiving some airplay and major media coverage for Throwing Muses album University in 1995, Hersh moved to Rykodisc for her 1996 Throwing Muses album, Limbo, and her 1998 solo album, Strange Angels. In order to better control her career and the distribution of her recorded material she created the ThrowingMusic label with husband/manager Billy O'Connell in 1996. This enabled her to co-release certain Hersh-related projects, including an ongoing download subscription service called Works in Progress (WIP) for releases available only through the label's ThrowingMusic website.

Later career[link]

Bowery Ballroom in NYC 2007

In 1999, Hersh also participated in Throwing Muses drummer David Narcizo's Lakuna solo project album release, Castle of Crime.

In 2001, she released the Sunny Border Blue solo album, on which she again played nearly all instruments. She has described this album as having even more intensity than her previous works, as she continued her pursuit of songwriting as being in part a way to transform "ugly feelings" into art.

Hersh's recorded and live performances in recent years have occasionally included appearances with like-minded alternative artists like Vic Chesnutt, Willard Grant Conspiracy, Grant Lee Phillips, and John Doe.

In 2003, she released The Grotto, an acoustic solo album of song sketches with personal lyrics set in Providence, Rhode Island, with Andrew Bird on violin and Howe Gelb on piano. On the same date a self-titled album by her Throwing Muses group was also released, the first since Limbo. Both were recorded at Steve Rizzo's studio in Rhode Island.

Also in 2003, she formed a power rock trio called 50 Foot Wave, when Narcizo was unable to tour on a full-time basis due to other commitments. Her touring appearances and recording efforts in 2004 and 2005 centered around both 50 Foot Wave and her solo career.

Hersh discussing her memoir Rat Girl with Dan Charnas at the 2010 Brooklyn Book Festival.

In 2005, Hersh recorded a cover version of the Pixies' "Wave of Mutilation" for American Laundromat Records 80's film tribute.

In January 2007, Hersh released her first solo album in four years, entitled Learn to Sing Like a Star.^[2]

On November 26, 2007, Hersh announced the opening of CASH Music.^[3] The subscriber-based, direct-to-consumer model had its first year-long project in the form of what was supposed to be an album called Speedbath, which was released one song per month for free at Kristin's CASH website. 50 Foot Wave also released an EP titled Power+Light through the CASH organization. January 2009 began another series of one track per month for free on the website, and the tracks wound up cohering without the song "Speedbath" at all; the new record, Crooked, was released in 2010. It was available to buy as a hardback book which included essays on the songs and a link to download the album and related tracks.

Hersh has written and illustrated a children's book called Toby Snax.^[4]

In 2008, Hersh recorded a cover of Neil Young's "Like a Hurricane" for the American Laundromat Records charity CD "Cinnamon Girl - Women Artists Cover Neil Young for Charity".

A second collection of Appalachian folk songs, The Shady Circle, is expected to be released. Live recordings of the songs have been available since late 2008.

In 2010, Hersh released her memoir, Rat Girl, which covers events from early 1985 through early 1986, when she was in her late teens. The UK version of the book, released in early 2011, is entitled Paradoxical Undressing. The book covers topics such as the meaning behind many of her songs and the early stages of the Throwing Muses.

Musical style[link]

Hersh's music is known for its chords, sonic treatments, and a vocal style ranging from softly melodic singing to impassioned screaming. Some of her signature contributions to popular music include addressing the complexities of life through impressionistic, sometimes hallucinatory lyrics about everyday feelings and varying mental states. A few of her songwriting subjects have included childbirth ("Hysterical Bending"), love ("Tar Kissers", "Lavender"), surreal vignettes ("Delicate Cutters", "Fish"), death ("Limbo"), emotional anguish ("The Letter"), loss of custody of her first son ("Candyland"), and the shedding of a relationship's anxiety ("Snake Oil").

Hersh has used images such as apples, water, diamonds, eyes, the sea, snow, ice, rain, fire, the sun, parking lots, sand, and cowboys. On occasion she has used historical figures like anorexic suicide Ellen West as metaphors in depicting a state of mind. Eccentric characters encountered in her family's travels have made occasional appearances in songs such as "Ruthie's Knocking"; a 2005 live solo set list included a then-untitled song ("Under The Gun") about a "parrot lady" character she met while visiting Lake Michigan.

Some interviews have described Hersh's early drive to perform as due to hearing sounds in her mind so that her songs began to "write themselves", becoming at times their own separate presences in her life, inner voices haunting her. She has stated that hearing these "pieces of songs" clanging together in her mind compelled her to take the pieces apart and craft songs from them. "If I don't turn ideas into songs, they can get stuck in me and make me sick," she said in a 1995 interview with AOL's Critics' Choice electronic music magazine. "That's the way a song hits you right here, right here [she motions to the heart and gut] instead of in your brain because the words themselves are all real sweaty, color, action words, so they just go bangbangbang. They're not supposed to make you think and try to figure out some puzzle. People think that I'm trying to trick them, that I have some thing I could write down and I haven't done it and I've just given them a bunch of poetry instead. I find it to be the clearest way to talk. It's like the way little kids talk because they have no filler words and no overriding thoughts to color your impression of what's happening in a song."

Solo works discography[link]

Studio albums[link]

• Hips and Makers – 1994
• Strange Angels – 1998
• Murder, Misery and Then Goodnight – 1998
• Sky Motel – 1999
• Sunny Border Blue – 2001
• The Grotto – 2003
• Learn to Sing Like a Star – 2007
• Speedbath – 2008 under Creative Commons License
• Crooked – 2010

With Throwing Muses[link]

With 50 Foot Wave[link]

Her parents' Lookout Mountain heritage influenced her to record a solo album of Appalachian gothic folk songs in 1998 – Murder, Misery and Then Goodnight. Performing traditional songs was a rare covers excursion for the prolific songwriter, although she was no stranger to these tunes, having heard some of them played by her father when she was a child. In fact, Hersh has cowritten two songs with her father, "Uncle June and Aunt Kiyoti" and "Houdini Blues", which appeared on other solo releases; she also recorded a third, "Sinkhole", that he wrote on his own.

Hersh and her family have moved every few years to live in a different locale. Her experiences in each location have sometimes influenced the emotional landscape of her songs. Living for a period near Joshua Tree, California, affected some of the atmosphere and lyrical imagery of Sky Motel, a 1999 solo album on which she played most of the instruments. Time spent in the New Orleans area while recording Limbo in 1996 at Daniel Lanois' Kingsway Studio had similarly influenced songs like "Ruthie's Knocking", inspired by Ruthie the Duck Girl, an offbeat character well known to locals for her antics in the French Quarter.

Hersh has also said in an interview that she writes many of her songs which feel to her as though "they come from New Orleans or Providence, Rhode Island". She and her family additionally spent time in New Orleans when recording Throwing Muses' 1994 Bright Yellow Gun EPs, Throwing Muses' 1995 University album, and the Sky Motel solo album. University, Limbo, and Sky Motel were recorded by Grammy-winning engineer Trina Shoemaker, the latter album co-recorded by engineer Ethan Allen; Allen later worked on band tracks with Hersh in the 2000s. Hersh spent part of the 1990s in Portsmouth, Rhode Island, recording several solo albums and a few band tracks at Stable Sound studio with engineer Steve Rizzo.

Song samples[link]

• ThrowingMusic label downloads
• 4AD audio downloads
• Kristin Hersh: Loose Timing Splendid; article includes links to audio samples from Sunny Border Blue.
• CASH Music downloads
• Kirstin Hersh's page on ccMixter.

References[link]

• Aston, Martin (2003). "Kristin Hersh — Biography". Beggars Group website. Retrieved Dec. 2, 2004.
• Baehr, Mike (2004). "50 Foot Wave at the Tractor Tavern, Seattle WA, 2/27/04". Indie Rock Photo Gallery. Retrieved Dec. 21, 2004.
• Bowden, Marshall (March 10, 2003). "Kristin Hersh: The Grotto". Pop Matters. Retrieved Dec. 2, 2004.
• Brown, Glyn (January 23, 1998). "Strange Demons: Singer Kristin Hersh". The Independent. Retrieved Dec. 2, 2004.
• Chonin, Neva (November/December 1996). "Mommy! Mommy! — Kristin Hersh in a Family Way". Option.
• "Kristin Hersh Discography". Soundbug. Retrieved Dec. 2, 2004.
• Erlewine, Stephen Thomas (2003). "Kristin Hersh". Allmusic. Retrieved Dec. 2, 2004.
• Evans, Liz (1994). Women, Sex and Rock 'N' Roll: In Their Own Words. Pandora. ISBN 0-04-440900-1.
• Freydkin, Donna (August 19, 1999). "Kristin Hersh Checks Into her 'Sky Motel'. CNN Interactive. Retrieved Dec. 2, 2004.
• "Gallery of Eccentrics: Ruthie the Duck Girl". Eccentric New Orleans. Retrieved Apr. 22, 2005.
• Gray, Louise (March 11, 2001). "Songs take ugly feelings and turn them into something else". The Independent. Retrieved Dec. 2, 2004.
• Hampton, Mark. "Throwing Muses Section". Markwarehouse.com. Retrieved Dec. 2, 2004.
• Hersh, Kristin (September 2001). "Kristin Hersh Online Q&A Session Number Two: Questions Posted to the ThrowingMusic Message Board". Bradley's Almanac website archives. Retrieved Apr. 17, 2005.
• Kirkcaldie, Matthew (1994). "Throwing Muses/Kristin Hersh discography, third edition". Retrieved Dec. 2, 2004.
• Lewis, Judith (March 12, 2004). "Faster, Harder, Louder". LA Weekly. Retrieved Apr. 10, 2005.
• Nichols, Natalie (July 17, 2003). "Tough Love: Kristin Hersh confronts and conquers old songs and older demons". Los Angeles City Beat. Retrieved Dec. 12, 2005.
• Pagliari, Sonia (April 2005). "More Strings Please ... It's Kristin Hersh". Joy. Retrieved Apr. 22, 2005.
• Post, Laura (1997). Backstage Pass: Interviews With Women in Music. New Victoria Publishers. ISBN 0-934678-84-7.
• Powers, Ann (August 31, 1999). "Kristin Hersh: Surreal Visions From a Poet of Terror and Revelation". New York Times.
• Reynolds, Simon (February 9, 1992). "Belting Out That Most Unfeminine Emotion". New York Times.
• Rykken, Rolf (1995). "May 1995 Live Review" and Sept. 1995 interview, AOL's "Critics' Choice.
• Shirley, David (November/December 1991). "Cracking Up Is Hard to Do: The Break-ups (and Breakdowns) of Throwing Muses". Option.
• Sylva, Kathryn and Lasser, Robin. "Ellen West". Eating Disorders in a Disordered Culture. Retrieved Apr. 22, 2005.
• Strauss, Neil (March 9, 1995). "My So-Called Double Life: Kristin Hersh of Throwing Muses Finds the Common Ground Between Motherhood and Rock & Roll". Rolling Stone.
• Swenson, Kyles (October 1999). "Songcraft: Kristin Hersh". Guitar Player.
• Tranquilla, Ryan (June 2001). "Kristin Hersh: Loose Timing". Splendid. Retrieved Dec. 2, 2004.
• Tripney, Natasha (November 22, 2005). "Kristin Hersh at The Scala, London". musicOMH.com. Retrieved Dec. 12, 2005.
• Wolmarans, Francois. "Counting Backwards". Retrieved Dec. 2, 2004.

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

• Official Kristin Hersh site
• Official ThrowingMusic label site and artist blog
• 4AD biography on Kristin Hersh
• Kristin Hersh artist page at Beggars Group label
• Guest host of Bowed Radio - Episode 011
• Interview at RockBookShow.com about "Rat Girl"
• Kristin Hersh collection at the Internet Archive's live music archive
• October, 2010 Interview with Kristin Hersh