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=================================================== Serpents, Spirals and Prayers - A Journey Through Symbolic Forms in Jewelry =================================================== Going through regular monthly cycles, the moon inevitably came to be identified with femininity and the fact that it showered soothing and comforting rays from an eminent position high above in the sky ensured that our venerable ancient forefathers (and mothers), ascribed the status of a goddess to this nocturnal body. This is one reason why the early mainstream religions, with their marked preference for the male of the species, found the veneration towards what was a palpably feminine deity hard to digest and hence came to associate such an inclination with an aberration of the mind and it was not long before the word 'lunatic', with its lunar associations, came to brand such devotion as insanity. However, notwithstanding the injunctions to the contrary, the moon as a symbol continued to fascinate humans. To observers on the earth, it was the most changeable of all celestial phenomena. In earlier times, the appearance of the new crescent was often greeted with joy as a return of the moon from the dead. In ancient Egypt, the sickle-shaped deity signified the goddess Isis and any jewel fashioned in its likeness was believed to protect infants. The crescent's association with babies derives from the fact that it is itself the small, newborn moon. (It was always the waxing moon, never the waning one.) Specifically, since it appeared to give birth to itself, it was natural for the heavenly body to become the patron deity of childbirth. Even when submerged in the sea of night, the moon possesses the secret of a new, evolving life. Similarly are all babies born into life out of the dark waters of the womb. To the skeptic the fact that the moon has no light of its own but merely reflects the sun is an indication of the inferior status of the former. It is left to the sacred text Prasna Upanishad to bring things into perspective: 'The sun is the principle of life and the primeval waters are the moon. And these waters are the source of all that is visible or invisible. Hence the waters are the image of all things.' (Tr. >From Sanskrit By Alain Danielou.) Thus does the moon reflect the sun's light. Further, by analogy, it is the same archetypal waters which fertilize the male seed floating in its infinite depths. It is all the more auspicious to craft the crescent out in silver as it is considered the moon's metal much as gold is associated with the sun. Illustration: http://www.exoticindia.com/artimages/jet99.jpg Then there is Shiva, the Hindu god of destruction, who adorns his crest with the crescent, which both softens and sensualises his appearance at the same time. Illustration: http://www.exoticindia.com/artimages/bg22.jpg In Islam too, the crescent is considered sacred since it was Prophet Muhammad himself who proclaimed the lunar dating system, replacing the earlier one based on a combination of the solar and lunar calendars. The crescent motif, known as the hilal, has been much used throughout the centuries in Islamic art and appears on the flag of many nations thus inclined. Illustration: http://www.exoticindia.com/artimages/flag.jpg The stand-alone crescent is in a sense incomplete, without the mating male element, represented by the sun. The two heavenly bodies, juxtaposed in a number of imaginative ways, denote the sacred marriage of the two underlying principles, which are the building blocks of the universe. In the world's earliest book, the Rig Veda, there is a hymn glorifying the union of Soma (moon) with Surya (sun). The Creative Tension in Chinese Thought One night in China, the venerable sage Chang San Fang had a vivid dream of a contest between two creatures, a snake and a crane. The former came up from the earth, and the latter flew down from a tree, and then began a struggle over a morsel of food. The dream recurred, night after night, and yet neither creature was ever wholly victorious. The contest was very evenly matched - an example of opposites in dynamic harmony. This active engagement of the two principles was given visual form in an ingenious diagram known in Chinese as the Tai Chi Tu. It is a perfect circle, divided into two equal parts by a central, vertical S, which symbolically represents the coiled dragon of Chinese mythology. In the white section, which is associated with the hard, male principle (yang) is a black dot. The latter signifies the presence of the softer feminine, known as yin. Illustration: http://www.exoticindia.com/artimages/jdk86.jpg The black region belongs to the yin and has the corresponding white dot representing the male. This overlapping suggests that nothing in the world is wholly yin or yang in itself, but each contains the seed of the other. Also, one may be yang in relation to something, but yin in relation to another. Hence, a grandfather is yang to the grandmother, but perhaps yin to his grandchildren (hopefully). The incongruent dots, each occupying the sphere of its opposite are a great spur to creative activity; inasmuch as a oyster gives rise to a pearl when a foreign matter enters it, similarly does the trace of the disparate element present in the two fields become the root behind all creative impulse. Amulets, Talismans and the Like Though in popular parlance, the terms amulet and talisman are used interchangeably, there is a fine distinction between the two. While the former wards off bad luck, a talisman is believed to be an enhancer of good fortune. Amulets and talismans are two sides of the same coin. One repels what is baneful while the other impels on the beneficial. The employment of both rests on the belief that the inherent quality of a thing can be transmitted to human beings by contact. The choice of objects used as amulets and talismans is determined by several different criteria, at the root of which lies the basis that "like affects like". For example, parts of animals exemplifying certain characteristics - hare for swiftness or bull for strength; relics of holy or heroic persons, or even dust from their graves, believed to be imbued with their charisma; models of common objects to which a symbolic significance is attributed, such as a miniature ladder representing the soul's ascent to heaven. The color of an object may also be decisive and a yellow stone may be used against jaundice while a red one to relieve menstrual disorders. Ubiquitous also are models of the male and female genitalia, thought to increase the procreative ability and its associated pleasures. Illustration: http://www.exoticindia.com/artimages/lm33.jpg It is not only material things that function as effective amulets and talismans. In primitive thought, the name of a person was not a mere verbal appellation but an essential component of his being, that of a god or demon written on a slip or engraved on a gem could therefore serve as a potential magical instrument. Similarly, scrolls or scripts containing mantras or excerpts from scriptures were (and still are) considered extremely powerful. Such sacred written treasures naturally required equally beautiful receptacles to hold them. Thus was born the unique box container, the skilled craftsmanship of which was taken to dazzling heights by the Tibetans, where it was called the 'gau'. The gau is used widely throughout the western and eastern sub-Himalayan area by tribes which follow Buddhism. The origin of this container-pendant can be traced to the often inhospitable environment of Tibet. Violent natural phenomena, such as seasonal floods, hail, winds and sandstorms, affect the success of the crops upon which the people's very existence depends. An ancient, animistic Tibetan iconography shared by most people in this region provides them with a means of coping with such natural disasters. Elemental in this system is the belief that the physical elements in the environment possess power attributed to the presence of natural spirits, some benevolent (trinchhem-po) and others malignant (sem ngem-po). The former must be propitiated, and magical protection secured against the latter. It is either of these two functions, which influences the choice of the gau's contents. The gau combines in itself form and function. Since it is a container to hold and protect various charms placed within, it consists of two basic parts that fit together, so that access to its inner space is possible. Most generally the gau is made of silver (nga), which is used for the visible front, and the removable back half can be copper, brass, or silver itself. In addition to being a functional object, the gau is also a decorative one, often of considerable artistic merit - with the flat surface ornamented with wire work, stamped units, and often, turquoise and coral stones. The main space may be filled with filigree (cha-ku le-ka) in scrolling and tendril patterns, that symbolize the ever-flowing essence of nature. Illustration: http://www.exoticindia.com/artimages/jim52.jpg In some cultures, the written word may directly serve as a magical ornament. Among Muslims for instance, the most potent amulet is believed to be a small and flat sheet, usually made of gold or silver (or a gemstone), on which is inscribed a verse from the sacred Quran. Looking like a tiny page from the sacred book, it displays a special verse in Arabic script. Their spiritual strength is derived not from the shape or design, but rather the massive power that is invested in the holy words inscribed on their surface. Craftsmen (and women) from Afghanistan, create the finest examples in this genre, embellishing their calligraphic plates with tedious arabesque and other decorative patterns. The preferred materials for carving out the sacred texts are lapis lazuli and carnelian, the latter renowned for its special connection with Prophet Muhammad, who reputedly adorned his finger with an inscribed ring of the same stone. Illustration: http://www.exoticindia.com/artimages/jim93.jpg The Story of The Evil Eye Another ancient motif, which has amuletic connotations, is the eye, encountered on many prehistoric walls and monuments. These represent the providential vigilance of benevolent gods and spirits, counteracting the evil eye of the malevolent demons. This belief is particularly prevalent in the Arab world, where a proverb goes: "the evil eye empties houses and fills tombs". According to a related Turkish legend, there was once a massive rock by the sea, which even the force of a thousand men and a load of dynamite couldn't move or crack. There was also a man in the town, known to carry the evil eye (nazar). After much persuasion, he was convinced to come to the rock. He took one look at it and said, "My! What a huge rock". No sooner had he uttered the words than there was a rip, roar and crack and the impossible boulder split into two. Indeed, the deep-seated fear of the harmful eye has meant that wearing a rival eye - a protective symbol that can outstare the evil one - has proved immensely popular over many centuries. One such object is the blue eye from Turkey, known locally as nazar boncuk, which is set into a variety of jewelry forms. Illustration: http://www.exoticindia.com/artimages/jew49.jpg Another rebuff to the negative eye are the Tibetan gzi beads, believed to be the droppings of the mythical bird Garuda as it flies across the skies. Illustration: http://www.exoticindia.com/artimages/us13.jpg The Potential Power of the Spiral The spiral is one of the oldest pagan symbols in existence. It represents the perpetual motion of life, with the spring-like coils suggesting latent power, presenting a picture of life as an endless, evolutionary process bound within the cycles of time. Although each loop of the spiral brings us back to the same place, it takes us to a higher and more evolved level. Illustration: http://www.exoticindia.com/artimages/jhn61.jpg Triple Spiral This Celtic spiral represents the triple goddess of the three ages of womanhood (maiden, mother and crone). It later came to signify the holy trinity in Christianity, God the Father, Son and Holy Spirit. This motif is also called the triskele. Illustration: http://www.exoticindia.com/artimages/jdx29.jpg Beaded Prayers The activity of using beads in spiritual practice is not a recent or ancient phenomena but rather an archetypal one, as is borne out by the fact that it is common to all traditions. When strung together, these beads are used as a device to count recitations of prayers or as an aid to meditation. The etymology of the word 'bead' helps us to understand this function, deriving as it does from the Sanskrit buddh, which refers to self-realization (Buddha being one such realizer) and from the Saxon verb bidden, to 'pray'. The rosary however, is only one of the several ways to count prayers. The earliest means involved summing on fingers or shifting pebbles from one pile to another. These unwieldy methods were replaced by tying knots on a cord and the string of prayer beads probably evolved from this knotted thread. The Greek Orthodox Church still employs such a knotted rosary known as the kombologion. The present Catholic rosary is believed to have been given by the Virgin Mary to St. Dominic (1170-1221 AD), bidding him to teach it to the faithful. The term rosary itself is loaded with symbolic significance, one of its meaning being a necklace of roses suggesting the stringing together of prayers in the form of blossoms. Further, the red rose symbolizes Christ's blood and the purity of the Virgin Mary. Also, collections of medieval prayers and hymns were bound into books called rosaria (flower gardens). Thus was the spiritual identity of roses extended to beads, which came to signify a permanent garden of prayers. Illustration: http://www.exoticindia.com/artimages/rosary.jpg Since Catholics must say 150 prayers, their rosary is divided up into 15 sets of 10 beads. Each set of ten is separated from the next by a larger bead and, at one point in the circle, there will be a special punctuation, probably in the form of a crucifix, to mark the end of the cycle. For common use, there is a lesser rosary of only 50 beads, in which each piece is worth three prayers. The credit of inventing the rosary goes to Brahmanical Hindus, as early as 1500 BC. It came to be known as the mala, literally meaning a 'garland of flowers.' Often worn as a necklace in India, the rosary thereby became a form of devotional jewelry. Today however, many prefer not to display it as a personal adornment and wear it out of sight under clothing. In fact, some place the rosary and the hand counting it into a small, often embroidered bag, so as not to make a public exhibit of their devotion. Illustration: http://www.exoticindia.com/artimages/mala.jpg The Hindu rosary has 50 beads, corresponding to the number of characters in the Sanskrit language. The number may go up to 108 incorporating the nine planets in 12 zodiac houses. This is also the number of dairymaids (gopis), who surrendered themselves to Krishna. Here it is relevant to observe that no material is regarded as too lowly or precious to form mala beads, just as any soul is perfect enough to seek union with god. The Buddhist mala too consists of 108 beads, echoing the number of Brahmins present at the birth of Buddha. This is also the number of earthly desires of ordinary mortals in the Japanese Nichiren tradition. It is common to see Buddhists wearing their rosaries either as a necklace or wrapped like a bracelet around the left hand. Its constant presence makes the mala always available for use in leisure time which is more often than not devoted to its counting. Even when occupied with other routine tasks, a Buddhist will commonly say his beads and will tend to stick to one string throughout his life, its inevitable wear and tear reminding him of the impermanence and transience of one's own life. The Muslim rosary is known as the tasbih, derived from the Arabic root s-b-h, which means 'to glorify'. It consists of 99 pieces, divided into three equal groups, usually by a bead (different from the rest in shape and material) placed after the 33rd and 66th piece. These markers are considered equivalent to the round mark (ayat) in the Quran text where a reader may occasionally pause. The beginning (or the end) of the rosary is hung with tassels. These are said to repel the evil eye, which specifically dislikes such ornamental fringes. The number of the beads represents the 99 beautiful names of God, Asma'u'llah (Quran, Surah, vii 179). According to Muhammad, "Verily there are 99 names of God and whoever recites them shall enter into Paradise" (Mishkat, Book cxi). Often the rosary will have a 100th special piece representing the ineffable name of God: Allah. However, theologians differ on this, rejecting the idea that the essence of God the Creator could be thus rendered into concrete terms. Like the Christian one, the lesser version of the Muslim rosary may contain 33 beads only, each equivalent to three prayers. Illustration: http://www.exoticindia.com/artimages/tasbih.jpg The Cross Though the prophet Isaiah castigated women who wore charms (3:20); nevertheless, the cross has developed into the principal symbol of the Christian religion, recalling the crucifixion of Jesus Christ and the redeeming benefits of his passion and death. It is thus both a sign of Christ himself and the faith of the Christians. There are four basic types of iconographic representations of the cross: 1). The crux quadrata, or Greek cross with four equal arms. 2). The crux immissa or Latin cross whose base stem is longer than the other three arms. 3). The crux commissa, in the form of the Greek letter tau, and sometimes called St. Anthony's cross. 4). The crux decussata, named from the Roman decussis or symbol of the numeral 10, also known as St. Andrews cross. Tradition favors the crux immissa as that on which Christ died, but some believe it was the crux commissa. The symbol of the cross however predates Christianity. Two of the earliest forms are the Swastika from India and the ankh from ancient Egypt. Illustration: http://www.exoticindia.com/artimages/cross.jpg The cross was not the symbol of choice for the early church, for whom the crucifixion presented a problem. It had to convince unbelievers of what would have seemed a bizarre claim, that its god was a victim of this foul, and then still very current, form of punishment. Historically, crucifixion was not a punishment meted out by the Jewish authorities, whose preferred method of execution was stoning; it was imported into Palestine by the Romans, and so was an instrument of imperialism and subjugation. Secondly, it was used in particular on slaves found guilty of a crime. Therefore, it was humiliating for Jesus the Jew to die like a slave on the Roman cross. It was only over time that Christians began to think through the implications and meanings of the crucifixion, and to glorify the cross. It seems though that Jesus always understood the cross' positive significance. He had predicted his death by such means and compared himself to the bronze snake that Moses erected during the Exodus ('Just as Moses lifted up the snake in the desert, so the Son of Man must be lifted up, that everyone who believes in him may have eternal life', John 3:14-15). The purpose of the snake was to cure people from poisoning. God had sent a plague of snakes to the Israelites but he also provided a cure, which was effected by looking at the bronze snake. Poison is a Christian symbol for sin, and Jesus' words suggest a direct analogy between the power of the bronze snake to cure poisoning and his own potential to do the same for sin. Illustration: http://www.exoticindia.com/artimages/bronzesnake.jpg The cross is also a cosmic symbol, with its vertical and horizontal lines spanning the universe. According to Rutherford: 'The cross of Christ on which he was extended, points, in the length of it, to heaven and earth, reconciling them together; and in the breadth of it, to former and following ages, as being equally salvation to both.' A beautiful thing about the cross is that its center of gravity is not at its exact center, but upwards where the stake and the crossbeam meet. In simple terms it symbolizes the tendency to remove the center of man and his faith from the earth and to "elevate" it into the spiritual sphere. Illustration: http://www.exoticindia.com/artimages/jim90.jpg The Serpent - Friend or Foe? For many, the serpent is an enemy to be feared and avoided at all costs. Its venom makes it a villain. However, in several parts of the world, this slithering reptile, with its peculiar and swift locomotion, is viewed as a sacred protective power. Snake amulets were being worn at least 3,000 years ago and still are today. How can this contradiction be explained? The answer lies in the serpent's ability to renew itself by shedding its skin. When the ancients observed this, they may have imagined them to be immortal. One day, they would see a snake with a dull, damaged skin and eyes glazed over. The next morning, the same creature would be smooth and glistening, with eyes once again clear and penetrating. It appeared as if the snake was capable of rejuvenating itself, much like the moon and thus it was concluded that it held the secret to eternal life. The world traditions are replete with positive references to the serpent. According to the Celtic druids, the world originated from an egg that came from the mouth of a snake; in some Gnostic writings there is the notion that the first human beings crawled on the ground like snakes; the Ngala tribe of central Congo believes that the moon once lived on earth as a python; and then, there is the well-known saying of Jesus: "Be wise as serpents" (Matthew 10:16). Some Unique Images of the Viper The double serpent (or dragon) - one with a head at each end - can simultaneously symbolize both the sun and the moon. Illustration: http://www.exoticindia.com/artimages/jif65.jpg When depicted with three-and-a-half coils, the snake represents the inherent potential energy which lies coiled at base of our spine (kundalini). Illustration: http://www.exoticindia.com/artimages/jg71sm.jpg The Indian snake goddess Manasa is even today invoked against snakebite. Illustration: http://www.exoticindia.com/artimages/wb64.jpg The dragon shares the cosmic stage with the serpent. According to a legend, when the Chinese monster Kung Kung battled with the emperor Yao and tore a hole in the sky, it was a dragon who replaced the cavity, causing daylight when it opened its eyes and night with their closure. When this great sky dragon inhaled, it brought forth summer, and by exhalation, winter. Illustration: http://www.exoticindia.com/artimages/jij42.jpg The Egyptians regarded the lizard as a benevolent spirit, keeping watch over the house or hearth. Indeed this diminutive reptile, that basks in on the stone walls of houses or gardens in Mediterranean countries, drinking in the sunshine and snapping up little insects, has become a familiar, protective creature and a symbol of domestic happiness. Illustration: http://www.exoticindia.com/artimages/jhm07.jpg The Chinese Journey to Paradise If one visits the Chinese market in Singapore and asks for a lucky charm, the amulet that is most likely to be offered will be a simple, circular, flat disc with a hole in the center. It is none other than the ubiquitous donut. This is the Chinese symbol of heaven known as the Pi (or Bi) disc. One tomb dating from the fourth millennium BC contained no fewer than 24 such rings, which had been placed there to ensure the deceased's ascent to heaven. Illustration: http://www.exoticindia.com/artimages/qn39.jpg It seems strange to envisage paradise shaped like a circle with a hole in the middle, rather something like Nestlé's Polo mint. The orifice at the center is said to signify the 'path of transcendence', which leads to eternal bliss. In other words, the thread that passes through such a bead, recreates in a sense the journey to heaven. The Power of Sikh Unity A follower of the Sikh religion feels unprotected without a symbolic bodyguard in the form of the metal bangle called the kara. This religious bracelet, worn permanently by both sexes on the right wrist, must be made of iron or steel. It is forbidden to fashion it from either gold or silver. Illustration: http://www.exoticindia.com/artimages/kara.jpg Officially, the function of the kara is to act as a visible symbol of power and unity. The material represents the strength while the circular shape signifies the essential oneness of the Sikh faith. The Butterfly and the Moth The latter is irretrievably attracted to a flame, and the moth that immolates itself at the lighted candle is one of the favorite images of Sufism. It is a metaphor for the soul losing itself in the divine fire. The life cycle of the butterfly presents a perfect analogy for immortality: a). The crawling caterpillar signifies the ordinary life of mortals, preoccupied with fulfilling our trivial needs. b). The next stage, the dark chrysalis (cocoon), represents death. c). The butterfly symbolizes rebirth and a new beginning in life, with the soul fluttering free of material concerns and restrictions. Illustration: http://www.exoticindia.com/artimages/jin01.jpg These three stages also serve as a microcosm for the biography of Jesus Christ - life, death and resurrection. The Stabilizing Dragonfly They are fantastic and confident flyers, darting like light, twisting, turning, changing direction, even going backwards as the need arises. They are inhabitants of two realms - starting with aquatic bodies, and moving to the air with maturity, but nonetheless staying close to water. Thus, the motif of the dragonfly is believed to endow on the wearer a relative stability deriving from a sense of rootedness, and mental control and clarity as against emotional and impulsive excitability. Illustration: http://www.exoticindia.com/artimages/jib39.jpg The Peacock - The Transformed Beauty of Venom The magnificently endowed peacock has posed and strutted in the gardens of kings and emperors during biblical times and before and has attracted attention throughout the world ever since. When he raises the feathered train high above his back, rattles his quills, and emits raucous, harsh screams, he is unsurpassed in drama and beauty. Although this display is part of the peacock's courtship ritual (small wonder that peacocks have harems of two to five hens), he will not hesitate to repeat the performance for attentive humans. According to a Greek legend, the peacock was sacred to the goddess Hera. She directed Argus, the creature with 100 eyes, to spy on a rival. When Argus was slain, Hera placed his eyes on the tail of her favorite bird. However, the earliest mention of peacocks in Western Literature is in the play The Birds, written by Aristophanes in 414 BC. In Hinduism, the peacock is the vehicle of the god of war Karttikeya, and in Buddhism that of Amitabha - one of the five Dhyani Buddhas. It is said to be capable of swallowing vipers without coming to harm itself. In fact, the peacock is believed to derive its rich plumage from the poison of the snakes on which it feeds. This symbolism, of being open even to poison, and transmuting it into beauty, gives us a feeling of the purifying and transforming power of this fascinating bird. For us ordinary mortals, it is a reminder that perhaps even our darkest and most venomous aspects are capable of reformation. Illustration: http://www.exoticindia.com/artimages/jha01.jpg =========================================== References and Further Reading: =========================================== Alun-Jones Deborah and John Ayton: Charming - The Magic of Charm Jewelry: London, 2005. Andrews, Tamra. A Dictionary of Nature Myths: Oxford, 2000. Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs: Boston, 1999. Bontekoe, Ron and Eliot Deutsch. A Companion to World Philosophies: Oxford, 1999. Cashford, Jules. The Moon Myth and Magic: London, 2003. Chebel Malek and Laziz Hamani. Symbols of Islam: Paris, 1997. Colin, Didier. Dictionary of Symbols, Myths and Legends: London, 2000. Cooper, J.C. An Illustrated Encyclopedia of Traditional Symbols: London, 1999. Danielou, Alain. The Myths and Gods of India: Vermont, 1991. Dubin, Lois Sherr. The History of Beads (Concise Edition): London, 1995. Fontana, David. The Secret Language of Symbols: London, 1997. Gideons International. The Holy Bible: Tennessee, 1978. Henry, Gray and Susannah Marriott. Beads of Faith: London, 2002. Huxley, Francis. The Eye - The Seer and the Seen: London, 1990. Jones, Lindsay (ed). Encyclopedia of Religion (Previously Edited by Mircea Eliade) 15 volumes: MI, 2005. Leaman, Oliver. Eastern Philosophy Key Readings: New Delhi, 2004. Leaman, Oliver. Key Concepts in Eastern Philosophy: New Delhi, 2004. Morris, Desmond. Bodyguards Protective Amulets and Charms: Boston, 1999. Nissenson, Marilyn and Susan Jones. Snake Charm: New York, 1995. Purce, Jill. The Mystic Spiral (Journey of the Soul): London, 1997. Taylor, Richard. How to Read a Church: London, 2003. Tresidder, Jack. The Hutchinson Dictionary of Symbols: Oxford, 1997. Untracht, Oppi. Traditional Jewelry of India: London, 1997. ------------------------------------------------------------ The illustrations along with the text can be read at the HTML version of the article: http://www.exoticindia.com/article/symbolicjewelry/ ------------------------------------------------------------ This article was send as a newsletter from the website: http://www.exoticindia.com Nitin G. ------------------------ Yahoo! Groups Sponsor --------------------~--> Get fast access to your favorite Yahoo! Groups. Make Yahoo! your home page http://us.click.yahoo.com/dpRU5A/wUILAA/yQLSAA/JjtolB/TM --------------------------------------------------------------------~-> To subscribe, send a message to: [EMAIL PROTECTED] Or go to: http://groups.yahoo.com/group/FairfieldLife/ and click 'Join This Group!' Yahoo! 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