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Philips Avent 3 Pack 4oz Bottles

More doctors recommend the Avent Reusable Bottle than any other brand. The reasons are clear: superior form and function, plus a clinically demonstrated, award-winning design. The patented Avent Reusable Bottle Nipple has a one-way air valve clinically demonstrated to reduce colic. Plus, the nipple's soft shape allows your baby to switch effortlessly from breast to bottle and back again.
Avent invented the now-popular wide-neck bottle, with an award-winning design that's easier to clean and hold than conventional bottles. Made of dense, durable polycarbonate plastic, these bottles hold up through repeated boiling, dishwasher and microwave use. Easy-to-read markings on the bottle ensure accurate mixing and feeding measurements. Each bottle also comes with a dome cap for spill-proof mixing and transporting. This set includes three 4-ounce Avent Reusable Bottles.

Breast is best, but a time may come when you'll need to feed baby from a bottle. These Avent 4-ounce bottles feature a wide neck for easy cleaning and filling. The cap seals shut for leakproof mixing and travel; the wide, soft silicone nipple mimics the feel and shape of the breast; and the patented antivacuum skirt valve reduces air swallowing and painful gas. Use these bottles with the Avent Isis manual breast pump to express milk directly into the bottle--no messy filling. --Terri Shea

By Al Hazan.

One day (either late 1961 or early 1962), I was with Lester Sill at his office on Sunset; we were going over a new song of mine when the telephone interrupted us. It was Phil Spector asking Lester to join him at Harmony Recording Studios in Hollywood. I figured even a musical genius likes moral support and to ask for other opinions once in a while. Since I was with Lester when the call came, he invited me to join him in the studio booth to watch while Phil put the finishing touches on "Uptown."

Phil was already a well known producer, so I felt fortunate to be invited to watch him work. There were two musicians in the studio when we arrived and Phil was busy adding flamenco guitar to the record's introduction. I was immediately impressed with his intensity - he knew exactly what he wanted to hear. Once he was satisfied with the guitar work, it only took one take for the percussionist to successfully add castanets.

Flamenco guitar and castanets gave the arrangement a Spanish flavor which impressed me and demonstrated Phil's originality. As I watched him, I remember thinking,"This guy could cut hit records anywhere. He doesn't need to be at Gold Star with Stan Ross or Larry Levine (Stan's cousin) or anyone else." Although he had a slender frame physically, to me he became a giant when he got behind the producer's microphone.

After staying in Los Angeles for a while, Phil returned to New York for reasons unknown to me. The next time I saw him in town, I couldn't help noticing his changed appearance. He had grown a goatee and now wore a dark suit and tie. This was unusual, for West Coast independent producers those days usually wore t-shirts and jeans.

These changes, which Phil apparently adopted while in Manhattan, were striking and set him apart as an individual with style. I also remember he almost always wore a certain cologne, the name of which I can't remember. It was a little sweet smelling, but I bought a bottle of the stuff.

Some of the music people started growing goatees and upgrading their wardrobes due to Phil's influence. Maybe they thought some of Phil's genius would rub off if they imitated his appearance. Anyhow, he was definitely a style trendsetter for many of us.

Steve Douglas was a long-time friend of Phil's and began contracting the musicians for him here in Los Angeles, calling all the musicians for the record dates. Because of Steve's friendship with Jack Nitszche and Sonny Bono, Jack became Phil's arranger and Sonny Bono worked as the record promotion person for Spector. That's how the business was back then.

Because of my friendship with Steve, Jack and Sonny, I was privileged to sit in the booth with Phil while he recorded many of those wonderful sessions at Gold Star. Phil did things I never thought of doing. Instead of using a single bass on the basic track, he would have four people playing bass in unison. Instead of one guitar, he would have five or six playing the same rhythm, and so on. This use of so many instruments was a blessing to the musicians and their wallets. Many became wealthy as a matter of fact.

This production technique magnified the sound of the instruments, which bled into the other microphones in the studio, and helped create the famous "Wall of Sound". Another ingredient that added to the "Wall" sound was the famous Gold Star echo chamber designed by David Gold, Stan's partner.

Phil would take a tape of the session home, or over to Lester's office and listen to it over and over again. Then, deciding what to add, he would call Hal Blaine, or any other musician he needed, back into the studio to overdub and "sweeten" crucial points within the record. This was very effective and enhanced the backgrounds greatly. Of course, some producers - myself included - could not afford to do such things. Phil had become so successful that money was no object.

Because of the "Wall of Sound," the great material Phil had access to, and the wonderful artists who performed the songs, the hits churned out of Gold Star. Some of them I can remember off hand are "He's a Rebel" and "Da Doo Ron Ron" by the Crystals; "Be My Baby" by the Ronnettes; "Zip-A-Dee Doo-Dah" by Bob E. Sox & the Blue Jeans; and "You've Lost That Lovin' Feeling" by the Righteous Brothers. Also Phil's classic album, "A Christmas Gift for You".

I recall the night Phil scheduled the session for "He's a Rebel" and feeling the anticipation while sitting in the booth next to him. There was always an air of excitement and a lot of noise in the studio at Gold Star during his sessions. Especially at the beginning, before the recordings began. Jack Nitszche would be going over the parts with the musicians and some would be tuning up their instruments or practicing their part.

Once, during this initial chaos, I heard Al DeLory fooling around on the piano wi

Uh huh, no homo
I say he so sweet, make her want to lick the rapper
Remix baby!

Lollipop, lollipop, breasts is just like Dolly Parton
She ride my spaceship 'til she hit the top
That hit the spot, 'til she ask how many
Li-il-li-il-licks do it take, 'til she get to shop
Don't worry why my wrist got so freeze
Tell a girl like Doritos that's not your {nacho} cheese
Tell her friends like Frito's I'm tryin' too lay
I can only have one and I ain't tryin' to wait
[rap, hip-hop and R&B lyrics found on beckerist.com]
This a song with Wayne so you know it's goin' melt
But you ain't finna murder me like everybody else
I'm a rap like I got some tight respect for myself
I don't do it for my health, man, I do it for the belt, man
I do it to the death, 'til the roof get melt
100 degrees drop the roof, so the coupe don't melt
Man I flow so cold, chicken soup won't help
We need 4 more ho's, we need oh oh oh OH!
You know what it is when we out of town
We ball in 2 seats, and you out of bounds
So come here baby girl
You're now fuckin' with the best in the world
Lollipop (pop, pop, pop, pop)
The best in the world

[rap, hip-hop and R&B lyrics found on beckerist.com]
She licked me like a lollipop (world)
She-she licked me like a lollipop (world)

Shorty want a thug (thug, thug)
Bottles in the club (club, club)
Shorty want to hump
You know I like to touch
Your lovely lady lumps
Shorty want a thug
Bottles in the club
Shorty want to hump
You know I like to touch
Your lovely lady lumps

Shorty say she want to lick the rapper
[rap, hip-hop and R&B lyrics found on beckerist.com]
And she goin' to lick the rapper
And I just want to act like a porno flicking actor
I Anita Baker and now she caught up in that Rapture
I got so much chips I swear they call me Hewlett Packard
I got so much chips you can have a bag if you're a snacker
Greedy mother fudge cake, now tell me how that fudge taste
I do it for blood sake, suu woop think it's voodoo
How that roof do-di-dissipate
Your girl wants to participate
She so so sophisticated, 'cause her brain is off the chain
And then my diamonds are in the choir because
They sing from off my chain
And my Nina just joined the gang because
All she do is bang, like Rikki Martin, Wayne, and
Kanye pick your poison and if that woman want to cut
[rap, hip-hop and R&B lyrics found on beckerist.com]
Then tell her I am Mr. Ointment
Tell her make an appointment with Mr. I-Can't-Make-An-Appointment
Take my lollipop and enjoy it (remix!)

Shorty want a thug (thug, thug)
Bottles in the club (club, club)
Shorty want to hump
You know I like to touch
Your lovely lady lumps
Shorty want a thug
Bottles in the club
Shorty want to hump
You know I like to touch
Your lovely lady lumps

[rap, hip-hop and R&B lyrics found on beckerist.com]
Why would she, she's probably be the odd cookie
In the plastic bag, 'bout to get crushed by a building
I flushed out the feeling of me being the shit
'Cause I was leaving skid marks on everywhere I sit
I am everywhere I'm it like, hide-and-go and I can go anywhere
Eenie-meenie-meinie-mo I'm in your, neighborhood
Area, CD thing, tape deck, iPod your girlfriend
And she say I got great sex
Safe sex is great sex, better wear a latex
'Cause you don't want that late text
That "I think I'm late," text
Eh heh, so wrap it up
Bu-bu-but he's so sweet, sh-she wanna lick the rapper

Shorty want a thug
[rap, hip-hop and R&B lyrics found on beckerist.com]
Bottles in the club
Shorty want to hump
You know I like to touch
Your lovely lady lumps (re-re-remix baby!)

She licked me like a lollipop x5

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