Adipocere

Adipocere (/ˈædᵻpəˌsɪər, -poʊ-/), also known as corpse, grave or mortuary wax, is a wax-like organic substance formed by the anaerobic bacterial hydrolysis of fat in tissue, such as body fat in corpses. In its formation, putrefaction is replaced by a permanent firm cast of fatty tissues, internal organs, and the face.

History

Adipocere was first described by Sir Thomas Browne in his discourse Hydriotaphia, Urn Burial (1658):

The chemical process of adipocere formation, saponification, came to be understood in the 17th century when microscopes became widely available.

In 1825, physician and lecturer Augustus Granville is believed to have (somewhat unwittingly) made candles from the adipocere of a mummy and used them to light the public lecture he gave to report on the mummy's dissection. Granville apparently thought that the waxy material from which he made the candles had been used to preserve the mummy, rather than its being a product of the saponification of the mummified body.

The body of the "Soap Lady", whose corpse turned itself into adipocere, is displayed in the Mütter Museum in Philadelphia, Pennsylvania.

Rusty Cage

"Rusty Cage" is a song by the American rock band Soundgarden. Written by frontman Chris Cornell, "Rusty Cage" was released in 1992 as the third single from the band's third studio album, Badmotorfinger (1991). The song became an instant hit and was released as a single in several different formats. The song was included on Soundgarden's 1997 greatest hits album, A-Sides and the 2010 compilation album Telephantasm.

Origin and recording

"Rusty Cage" was written by frontman Chris Cornell. Guitarist Kim Thayil on the song:

Composition

On "Rusty Cage" the bottom E string is tuned all the way down to B, with Thayil stating that "the string was all wobbly but it had a good effect." The song features a striking tempo change towards the end of the song. The phrasing and metre also change: the first part of the song is in 4/4 but the second, slower, part is in six-bar phrases consisting of three bars of 3/4 followed by one bar of 5/4, followed by a bar of 3/4 and a bar of 2/4 (3+3+3+5+3+2). Thayil has said that Soundgarden usually did not consider the time signature of a song until after the band had written it, and said that the use of odd meters was "a total accident."