Parent's Day For career needs and other compulsions you may have to stay away from parents and it is the case with millions of individuals nowadays. However, that does not really mean you cannot send them your heartfelt wishes on parent's day. You can surely send nice and apt gifts to your parents on this day using reliable online gifts delivery services. At BetterGifts Flowers, we have a vast range of gift items you can explore and pick one or more for your parents. Explore parents day gifts at Better Gift Flowers. Gifts to make your parents smile You should explore our online gift range and there is something that will surely catch your fancy. We keep items that suit budgets of different types of customers. You can ask us for required customization of parent's day gifts as well. A One stop shop for all parents day gifts. Flowery delight- Is not it a nice idea to gift your parents a beautiful vase of basket of flowers on this special day! You know what type of flowers they like the most and explore our online range to place order for bouquets made of those flowers. Possibilities are endless and you can combine many types of roses and other flowers to make enticing flower baskets. You may also use orchids with chosen flowers in the bouquet and we also offer specially chosen seasonal flowers. If necessary, we can bundle in a few chocolates with the basket. We take care to send the flowers in best shape to ensure the recipient receives fresh and top quality gifts.If you're looking for parents day gifts, Better Gift Flowers has an exclusive collection. Yummy, fresh cakes- If your mother or father has sweet tooth, gifting a cake on parent's day can be ideal. We sell different types of cakes in varying shapes and weights. You can pick a rounded or heart shaped cake. The chocolate cake range is absolutely enticing and you will have a hard time in selecting one over the others! If your parents are vegetarian, choose our black forest cake which has no egg. The red velvet cake is another good choice. Ask us for special topping and frosting on the cake. We will send freshly baked pieces and wrap the cakes in enticing manner, for sure.Handpicked parents day gifts at Better Gift Flowers. Beautiful and useful accessories- Apart from buying edible gifts for parents, you can also choose something they can use for a long time as gift. In that case, you can check out our wide accessory range. A soft and pretty cushion is ideal or you may choose cups for your parents on which we can print a suitable message. Similarly, you may buy a nice photo frame for your parents from our range. Such gifts will make them feel special and delighted, beyond doubt.Learn about parents day gifts at BGF. Prompt and hassle free gift delivery You can count on us for same day flowers delivery, whether it is for parent's day or any other occasion, throughout the year. You will get prompt response from us for any customization or query. You are welcome to use the live chat service in our website. To resolve issues on buying designer bouquets online, you can write to us at info@bettergiftflowers.com.
For career needs and other compulsions you may have to stay away from parents and it is the case with millions of individuals nowadays. However, that does not really mean you cannot send them your heartfelt wishes on parent's day. You can surely send nice and apt gifts to your parents on this day using reliable online gifts delivery services. At BetterGifts Flowers, we have a vast range of gift items you can explore and pick one or more for your parents.
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Flowery delight- Is not it a nice idea to gift your parents a beautiful vase of basket of flowers on this special day! You know what type of flowers they like the most and explore our online range to place order for bouquets made of those flowers. Possibilities are endless and you can combine many types of roses and other flowers to make enticing flower baskets. You may also use orchids with chosen flowers in the bouquet and we also offer specially chosen seasonal flowers. If necessary, we can bundle in a few chocolates with the basket. We take care to send the flowers in best shape to ensure the recipient receives fresh and top quality gifts.
Yummy, fresh cakes- If your mother or father has sweet tooth, gifting a cake on parent's day can be ideal. We sell different types of cakes in varying shapes and weights. You can pick a rounded or heart shaped cake. The chocolate cake range is absolutely enticing and you will have a hard time in selecting one over the others! If your parents are vegetarian, choose our black forest cake which has no egg. The red velvet cake is another good choice. Ask us for special topping and frosting on the cake. We will send freshly baked pieces and wrap the cakes in enticing manner, for sure.
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text:
'Sailing to Byzantium'
January 28, 2021 History, Insight, Poetry, RememberingHazel
Fatima Ronquillo
~This skin I wear is luminous imagination…
Light slants in thru the clerestory windows of my eyes,
& curls like incense thru my words…
'…in purest love
outpours the god-hood of my soul…'
Roger Landau
28 January 2021 – "Speaking with the Stars": Full Wolf Moon (exactly so at 1:16 pm CST). It shines this evening in dim Cancer, below Castor & Pollux, far above late-rising Regulus
Kellie Day
814 – The Deathday of Charlemagne, the first Holy Roman Emperor
1521 – The Diet of Worms conducted from 28 January to 25 May 1521 – a formal deliberative assembly of the Holy Roman Empire called by Emperor Charles V & conducted in the Imperial City of Worms. Martin Luther was summoned to the Diet in order to renounce or reaffirm his views in response to a Papal bull of Pope Leo X. In answer to questioning, he defended these views & refused to recant them. The Emperor issued the decree which condemned Luther as "a notorious heretic" & banned citizens of the Empire from propagating his ideas.
1591 – Execution of Agnes Sampson, accused of witchcraft in Edinburgh
1813 – Jane Austen's Pride and Prejudice is first published in the United Kingdom
1853 – Birthday of Vladimir Solovyov, Russian philosopher, poet
O mistress earth! Before thee have I knelt,
And through the fragrances that thee begird,
The glowing of a kindred heart I felt,
The throbbing of a living world I heard.
In noon-tide beams with such enraptured blaze
The bounty of the radiant skies was sent,
With whose still lustre the responsive lays
Of rippling streams and rustling woods were bleat.
To me the sacrament reveals again
Earth's soul with the unearthly sheen unite,
And from the fire of love all earthly pain
Is borne away like passing smoke in flight.
1855 – A locomotive on the Panama Canal Railway runs from the Atlantic Ocean to the Pacific Ocean for the first time.
1897 – Birthday of Norbert Glas, doctor & Author of 'Reminiscence's of Rudolf Steiner' "HOW TO LOOK AT ILLNESS: It will be clear that in order to understand illness we have to consider the whole of man's life. We must look more deeply into the subject of illness than is possible if we consider only chance, heredity, or the germ theory; or take the superficial view associated with euthanasia.
The diseases which attack us in our childhood — those occurring as a result of the crises of puberty are particularly significant — may be regarded not as a misfortune but as a blessing, since they provide opportunities for our development.
The deeper reasons for our illnesses at various ages, reviewed in the light of the threefold being of man, show that the forces of Thinking, Feeling and Willing must work harmoniously if we are to enjoy better health.
An understanding of our destiny will be of the greatest help, for as Rudolf Steiner points out, "The conception of karma does not paralyse our activities in regard to healing. On the contrary, it will bring us into harmony with regard to the hardest fate, with regard to the incurability of a certain disease …
"The understanding of karma alone makes it possible for us to comprehend the course of an illness in the right way, and to understand that in our present life we see the karmic effects of our previous life." (Rudolf Steiner)
Of the greatest importance is our attitude to the suffering which arises from illness, and our understanding of what steps we have to take when disease comes, when we may be disabled through some accident or when we face old age. If we can be rid of the strange idea that death ends everything and can understand and live with the idea of reincarnation, which gives such a broader view of life, we shall be inwardly fortified to meet blows of fate which may befall us."
1939 – Deathday of W. B. Yeats, Irish poet playwright, Nobel Prize laureate. The young William Butler Yeats was introduced to the study & practice of the occult while in art college in Dublin – when he met the poet, dramatist, & painter George Russell who inspired his interest in mysticism, giving him a copy of A.P. Sinnett's Esoteric Buddhism. This instant fascination with metaphysics & paranormal activities was to remain with him throughout his life. His passion for mysticism &the occult sciences was displayed through his poetry & writings.
He spent a lifetime seeking contact with the spirit world through occult researches & practices that informed much of what he did & wrote. His involvement in the occult was intimately bound up in his complex relationships with a series of women who shared these beliefs & almost all the women who inspired his poems were involved in the occult.
His occultism fits into an Irish Protestant literary tradition that includes Sheridan Le Fanu, Charles Maturin, Bram Stoker & Elizabeth Bowen.
Reincarnation, communication with the dead, mediums, supernatural systems & Oriental mysticism fascinated Yeats through his life. In 1885, he became a founding member of the Dublin Lodge of the Hermetic Society with Russell.
When the Yeats family moved back to London in 1887, the young poet paid a visit to Madame Helena Blavatsky, the famous occultist & founder of the Theosophical Society which he joined & was later expelled from.
In March 1890, still seeking deeper answers, he joined the Hermetic Order of the Golden Dawn in London, a secret & rather shady society that practiced ritual magic. Other members included his great love Maud Gonne, the actress Florence Farr, Welsh author Arthur Machen & English authors Evelyn Underhill & Aleister Crowley.
Maude Gonne
At one point, Yeats & Gonne conducted a 'spiritual marriage' thru the Golden Dawn, to channel his frustrations at the lack of a physical one. His future wife, Georgie Hyde-Lees joined the order in 1914.
At one point Yeats sought occult guidance for a crisis in his private life. He had been seeing the actress Mabel Dickinson who wrote to tell him she was pregnant. He asked for the advice of the spirit world through a medium and a message came through to say he had been deceived and "should not take the action I had all but decided on".
Dickinson, as it turned out, was not pregnant & his faith in the supernatural had, in his eyes, been vindicated. Yeats remained an active member of the Golden Dawn for over 30 years becoming involved in the order's power struggles, both with Farr & McGregor Mathers.
After the organization ceased & splintered into various offshoots, Yeats remained with the Stella Matutina until 1921. Influence of the occult on Yeats's poetry is infused with a sense of the otherworldly, the spiritual & the unknown.
Mysticism figures prominently in his discussion of the reincarnation of the soul, as well as in his philosophical model of the conical gyres used to explain the journey of the soul, the passage of time, & the guiding hand of fate.
Mysticism & the occult occur again & again in his poetry, most explicitly in 'The Second Coming' but also in poems such as 'Sailing to Byzantium'.
Yeats came to the marriage with Georgie Hyde-Lees partly as a way of escaping the emotional turmoil of his relationship with Maud Gonne, but he feared that domesticity would cost him his poetic inspiration. However four days into their honeymoon, his new bride astonished him by suddenly assuming the voice of a messenger from the other world, with secrets to impart.
This was the beginning of what would be a lengthy experiment with the psychic phenomenon called 'automatic writing', in which Georgie's hand & pen served as instruments for the spirit world to send information.
Yeats & his wife held more than four hundred sessions of automatic writing, producing nearly 4,000 pages that he avidly & patiently studied & organized. From these sessions, Yeats formulated theories about life & history.
He created a complex system of spirituality, using the image of interlocking gyres (similar to spiral cones) to map out the development & reincarnation of the soul. Yeats believed that history was determined by fate & that fate revealed its plan in moments when the human & divine interact.
He published his intricate theories of personality & history in 'A Vision' in 1925 (which he substantially revised in 1937), & some of the symbolic patterns (gyres, moon phases) with which he organized these theories provide important background to many of the poems & plays he wrote during the second half of his career.
The Rosicrucian societies that formed in Germany in the early 17th century were based upon this principle of the unbroken transmission of the prisca theologia—the one true faith of which all organized religions are but pale, debased reflections.
The hermetic tradition enjoyed a burst of vitality in the second half of the nineteenth century, beginning in France. Eliphas Lévi, the pen name of Abbé Alphonse Louis Constant, described the basic pitch in melodramatic terms, setting the tone for the esoteric groups that soon found a wide following. His first book, translated by Arthur Edward Waite as 'Transcendental Magic, its Doctrine and Ritual', hooked readers throughout Europe with its phantasmagoric opening sentence, emphasizing images over ideas:
"Behind the veil of all the hieratic and mystical allegories of ancient doctrines, behind the darkness and strange ordeals of all initiations, under the seal of all sacred writings, in the ruins of Nineveh or Thebes, on the crumbling stones of old temples and on the blackened visage of the Assyrian or Egyptian sphinx, in the monstrous or marvelous paintings which interpret to the faithful of India the inspired pages of the Vedas, in the cryptic emblems of our old books on alchemy, in the ceremonies practiced at reception by all secret societies, there are found indications of a doctrine which is everywhere the same and everywhere carefully concealed".
The occult movements in the fin de siècle & the early decades of the twentieth century were furiously debated & attracted many public figures. Yeats' involvement in the occult movement had begun two years before his move to London—the same year he published his first poems—when, at the age of twenty, he chaired the first meeting of the Dublin Hermetic Society; the agenda that day was "the wonders of Eastern philosophy." Soon after his arrival in the capital, he joined the Theosophical Society, a group led by a Russian journalist & world traveler named Helena Petrovna Blavatsky that sought to unite the esoteric tradition of the West with Eastern mysticism. Madame Blavatsky, as she is usually known, claimed to have visited Tibet, where she met a brotherhood of supremely enlightened lamas who preserved the prisca theologia in their mountain fastnesses. Communicating with Madame Blavatsky by telepathy, these sages divulged their arcane knowledge to her & entrusted her with the task of disseminating the Secret Doctrine, as she called it, to the world.
When Yeats met her in London in 1887, she was then living in a house in south London, rebuilding her movement with just three faithful followers. "I was admitted," Yeats wrote in his memoir, "and found an old woman in a plain loose dark dress: a sort of old Irish peasant woman with an air of humor and audacious power."
Madame Blavatsky invited Yeats to join the inner circle of the Theosophical Society, the Esoteric Section, & groomed him for a high position in the hierarchy. Yeats' main interest, however, was conducting magical experiments. He replicated one he had found in the works of an eighteenth-century astrologer; it involved burning a flower to ashes, then placing them under a bell jar in the moonlight for a certain number of nights. If the experiment was successful, "the ghost of the flower would appear hovering over its ashes."
When he finally parted ways with the Theosophists it wasn't because of doubts about Madame Blavatsky's sincerity—in his journal, he rejected the "fraud theory" because it was "wholly unable to cover the facts"—but because the society disapproved of his experiments.
The Theosophists expelled him in 1890, but Yeats had already joined the Hermetic Order of the Golden Dawn, an even more exotic cult, which claimed direct descent from the hermetic tradition of the Renaissance & into remote antiquity. When Yeats first met the order's leader, MacGregor Mathers, in the British Museum reading room, Mathers, "in a brown velveteen coat, with a gaunt resolute face and an athletic body," struck him as "a figure of romance"; later Yeats described the seer's house in Forest Hill, London, as "a romantic place to a little group," which included at various times Algernon Blackwood, Aleister Crowley, Bram Stoker, Arthur Edward Waite, & William Westcott, Coroner of the Crown.
Yeats joined the Golden Dawn after witnessing impressive displays of Mathers' magic powers, particularly his ability to stimulate visions. On one occasion he gave Yeats a cardboard symbol & told him to close his eyes. "There rose before me mental images that I could not control: a desert and black Titan raising himself up by his two hands from the middle of a heap of ancient ruins." Mathers told him that he had seen "a being of the order of Salamanders." Members took Latin mottoes as cult names; Yeats styled himself Demon Est Deus Inversus, the Devil Is God Inverted.
The Order experienced a crisis early in the new century after it was revealed that the Golden Dawn Cipher Manuscripts (said to have been found in a cupboard), the basis of its rituals & dogma, had been forged by William Westcott. The cult was disgraced, Mathers was expelled, & Westcott resigned to save his position with the Crown. In 1902 the order changed its name to Stella Matutina, "Morning Star." Yeats was undeterred by the controversy & remained active in the cult as Imperator, a high grade of wizard, until it dissolved in 1922.
It makes more sense to see Yeats' participation in the Hermetic Order of the Golden Dawn as one origin of his career in the theater. The order performed rites using props such as wands, cauldrons, & daggers, straight out of the Pre-Raphaelite school of painting. In W.B. Yeats, 'Twentieth-Century Magus', a study of the poet's magical activities based upon his diaries, Susan Johnston Graf describes the rituals of the Golden Dawn: "Members wore traditional robes and symbolic regalia while they intoned elaborately staged dramatic liturgies that they had practiced and memorized. The rituals invoked deities like Isis and Osiris and sometimes involved staged hangings or entombments."
By the time the Golden Dawn was in its final decline, Yeats had made a major breakthrough in his quest for communication with the spirit world, which took precedence over ritual magic & experimentation. He described this turning point in his life and art:
"On the afternoon of October 24th, 1917, four days after my marriage, my wife surprised me by attempting automatic writing. What came in disjointed sentences, in almost illegible writing, was so exciting, sometimes so profound, that I persuaded her to give an hour or two day after day to the unknown writer, and after some half dozen such hours offered to spend what remained of life explaining and piecing together those scattered sentences."
On an American tour in 1919, in a sleeping compartment on a train in Southern California, the spirits manifested themselves to Georgie in a new way, when she began to talk in her sleep. From that point on, Yeats wrote, "almost all communications came in that way. My teachers did not seem to speak out of her sleep but as if from above it, as though it were a tide upon which they floated." Sweet perfumes sometimes filled the room when the instructors spoke, "now that of incense, now that of violets or roses or some other flower."
Yeats & his bride, Georgie Hyde-Lees, made a strange match; he was fifty-two, she was twenty-five, & both presumably were virgins. Yeats had been obsessed throughout much of his adult life by a romantic infatuation with Maud Gonne, a charismatic beauty who zealously advocated the cause of Irish nationalism. She joined the Order of the Golden Dawn briefly, but resigned because she feared it would distract her from the Irish cause. Yeats proposed to her four times without success, though she did consent to a "spiritual marriage"; after she definitively rejected his suit in 1916, he redirected his passion toward her daughter, Iseult. It was only after Iseult refused him that Yeats proposed to Georgie.
Her revelations filled more than fifty notebooks, by Yeats' count, & served as the basis of 'A Vision', the summa of his metaphysical thinking, which set forth what he called his "public philosophy." It propounds an extraordinarily convoluted system that aims to integrate the human personality with the cosmos, a poetical astrology supplemented by charts & diagrams that look like figures in a geometry text. Yeats elaborates a scheme of the lunar phases to classify & categorize the human personality, out pictured in his poem: "The Second Coming."
Yeats' magical avocation presents a paradox to contemporary readers: a disciplined poet, a Nobel laureate, the founder & first director of the Abbey Theatre, a senator of the Irish Free State. Yeats believed that his occult knowledge gave him the power to write verses that would partake of the eternal. The proof is in his poetry.
← hmm that's funny… Tu' B'Shvat →
2 thoughts on "'Sailing to Byzantium'"
Bruce Angus says:
Wow Wee! Thank you Hazel, what a fab read. I was directing Yeats' Mystery Plays in college, and have put dozens of his poems to music. Love love love your daily inspirations and wonders. \|/
O i have never read his plays, But i have been a big fan of hos poetry over the years…

redpajama_set_name: RedPajamaCommonCrawl


text:
Predictably Lost
by Out of Order
Europe N to S
Angle to Key West and Back
Protect the Route
Grand Enchantment Trail
Hayduke Trail
Pacific Crest
Angle to Key West: One-Gallon (7/27)
August 8, 2013 September 14, 2013 • Out of Order
Past Deep River, Ontario – July 27, 2013
People tell me about this real world out there, this place I have to return to. What do you do in the real world? When are you going back to the real world? What about the real world? They say it so much that I almost believe in it myself. I catch the thoughts in my head, the words slipping out of my mouth.
Then I meet someone like One-Gallon.
He got his name on the Appalachian Trail back in '82. He stopped for the half-gallon challenge, decided it was too easy, and ate a full gallon. They used to write the name of everyone who finished the challenge on a wall. His had a tin foil star around it.
"So did you eat a gallon again the second time?" I asked.
He laughed and shook his head no.
There's a saying that divides long-distance hikers into two groups: "one trail or three." It's about the triple crown of hiking, the Appalachian Trail, the Pacific Crest, and the Continental Divide. You either hike one of them or all three because if you love it enough to hike two, if one didn't leave you in such a wreck that you never want to see a trail again, you'll die inside every day until the last step of the triple crown.
There aren't many triple crowners. No one knows the exact number. I'm one and I know a few dozen others. It's not easy to finish three half-year hikes, to walk almost 8,000 miles. I'd guess fewer than five-hundred people have done it.
One-Gallon's hiked it three times.
Northbound. Southbound. Just because. He started with an old external frame Kelty back in '82. Now he's got a homemade ultralight backpack that doesn't have a frame at all. He didn't stop there.
He showed me a map with lines drawn all over it in marker. Lewis and Clark's Route from the Pacific. The Inside Passage. The Great Loop. Across Canada to the Arctic. It looked like some odd interstate system of everything he's paddled.
"I have a thing about connecting lines," he said.
I stared at the paper in awe.
Most of us come back to earth. We fly off into this magical space for a few months, for half-a-year, then re-enter the so-called real world even though it burns. But some never come back, never stop, they reach escape velocity and go.
67,200 miles and counting.
The real world is what you make of it.
Posted in Angle to Key WestTagged Angle to Key West, hiking, one-gallon, trail names, triple crownBookmark the permalink.
6 thoughts on "Angle to Key West: One-Gallon (7/27)"
Odin says:
Once we recognize and embrace our passion(s), amazing things happen. It seems like One-Gallon is fortunate to have done this early in life …. "they reach that velocity and go." Impressive and inspiring.
How wonderful and inspiring!!! Empowering other "real" world choices! 🙂
I just finished reading "Finding Everett Ruess: The Life and Unsolved Disappearance of a Legendary Wilderness Explorer. I could not help thinking that you would find the travels of young Everett interesting.
GGS says:
You might escape the real world but there is no escape velocity from your pals. Hug!
comet4545 says:
Another way to define real world: The real world is one's passion and all that surrounds it; the unreal world are the things keeping us from our passion.
Rod T. Gasche says:
WOW! Is all I can Say Dan!! rod
Angle to Key West: Baptism Point (7/26)
Angle to Key West: Trail Talk (7/28)
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text:
Goliath interview
Mancunian band Goliath—a name familiar I'm sure to many of
our readers—was a female-fronted, jazzy, progressive outfit that left the world
one very commendable record on CBS in 1970. To be filed next to your
Catapillas, Affinitys and Rooms, the band featured the delightful Linda
Rothwell on vocals—who really packed a punch despite her five foot one
stature—with a Melody Maker article from the day affectionately christening her
"Little Linda—rock slinger". The band forwent the customary Hammond organ
favoured by many prog acts, instead choosing to flesh out their sound with
top-rate flute and sax courtesy of Joseph Rosbotham (or Ros as he was known to
the band). The rest of the line-up included Malcolm Grundy on guitar, John
Williamson on bass and Eric Eastman on drums and percussion. The band opened
for some of the big names back in the day including Led Zeppelin, Deep Purple
and E.L.P. and were slated for big things, with a heavy promotion campaign in
the works from CBS.
It's with great pleasure, therefore, that I welcome "Little
Linda", Joseph Rosbotham and John Williamson to It's Psychedelic Baby Magazine,
who have kindly agreed to shed some light on the band.
Hello Linda, Ros and John! We're so thrilled to have you on here!
Thank you for taking the time to do this!
I'd like to start with the basics and ask you where you
born, if your family was particularly musical and what memories you have of
music growing up?
Linda: Hi. I was born in Bury, Lancashire, which is in the
Greater Manchester area. I was the only one in my family who was musical,
although both my mother and father liked to sing (or try to sing) along with a
few opera singers every now and then. That's probably the reason why I have a
love for many operas to this day—yes opera!
At an early age I loved all the Sixties music: Diana Ross,
etc.. Before that—the Rolling Stones. I remember having Brian Jones' picture
plastered on my walls as a teenager [laughs]!
Ros: My place of birth was near a village some 13 miles
north of Liverpool—Rainford. My father was a small farmer and our farm was
close to the local railway station. My grandmother had a piano—disastrously out
of tune—which I explored on weekend visits. None of our family were musical,
but my mother always used to have Radio Eireann (the Irish wireless station) on
when I was a toddler. I must have absorbed a bit of Irish spirit somehow; her
favourite singer was Josef Locke!
Apart from being put in the middle of the school choir
concert at age 9 years—even though I had never learnt or heard the songs being
sung because of a long bronchial illness in hospital—my first conscious
interest in sounds began with Bill Haley & The Comets; Rudy Pompilli was
tenor sax man. The sound of saxophone tickled my ears; I remember making a
rough model of a saxophone out of wood and nails and learning where to put the
fingers long before persuading my dad to buy me a real one. Violin and piano
(Chopin and Bach) were also tried out, but sax was my first real love.
John: I was born in Lowton (the area of Manchester) and I
moved to Nairobi; my father worked for the East African Railways and Harbours.
My father played piano and my mother played cello, although I have no
recollection of hearing her play cello; I probably picked something up from
To Linda: What were some of the first songs you learnt to
sing as a child? I understand "How Much Is That Doggie In The Window"
was one of them? When did you realise singing was what you wanted to do?
Linda: Wow! Where did you read about "Doggie In The Window"?
This is a true story—my first audience outside a shop. I sang in the school
choir, around the house and alongside singers on the TV. I always wanted to
To Linda: You took part in your school choir; how did you
find that and what age would you have been then? Did you do any other singing
before joining bands?
Linda: I would have been around 11 years old. I also sang
with a couple of singing groups around the Manchester area to the elderly in
retirement homes.
To Ros and John: Could you adapt this question to your
experiences learning your instruments?
Ros: I began to listen to Humphrey Lyttelton's jazz
programme play Glenn Miller, Count Basie, Duke Ellington,… Gerry Mulligan
Quartet was a favourite. Jazz and blues were my areas of interest–any
experimental sounds. I thought the Rolling Stones, The Who,… were just noise,
tho' later on the Beatles sounded more musical.
During my teenage years at grammar school we had a wee
trio–clarinet, saxophone and piano, but no bass or drums–but we did not seem to
get much support. No choir or school band at that time; all the other kids were
listening to pop or classical, I guess…
John: My influences really started when I was playing
recorder in my school band for a nativity play and I bumped into a guy called
Richard Zebster. He was a guitarist and inspired me to learn to play the
guitar; I was about 14/15, I think, when I started playing. Guitar was my first
instrument. I used to dabble on piano at my auntie's, trying to write things. I
had an inkling to stick melodies together, so I was sort of doing that before
the guitar, really. I was listening to things like Jimmy Smith "Walk On The
Wild Side", [those] sort of organ things. Elvis was drifting in and out. It was
mainly American music, cultivating everything. I went to art school and then I
listened to R 'n' B and Sonny Boy Williamson, Muddy Waters, the blues side of
things. Then I got really into soul music.
To Linda and John: Linda and Goliath bass player John
Williamson were part of a band called Petrus Booncamp before forming Goliath.
Were either of you in any other bands prior to being in Petrus Booncamp and if
so, could you tell us as much as you remember about them?
Linda: I was in many different bands, the first of which was
with 2 local boys, Ray and Moss Studham. We would practice at the back of a
booking office after they closed. I must have been about 13 at the time. The
next was named Linda And The Wildlife. I was around 16 at the time; I sang a
lot at school concerts and somebody passed this information on to the Wildlife
band. Then came the Lemon Line which had 4 singers. They were Brian McGladdery,
Rick Dean, Precious Kingston and myself. We were managed by a man called John
Knowles who gave me the nickname Bubbles, which I hated (I believe he's
handling some big names in England right now). In 1967, Lemon Line was signed
to Decca Records and released one single—"For Your Precious Love". After a year or so with the Lemon Line and a
couple of tours of Germany, England and Ireland, John Knowles had bigger ideas
for me and wanted me to hook up with 2 other female singers; you may have heard
of them—Polly Brown and Louisa Jane White. We were at that time being
co-managed by a man named Morris King; he was the manager of the Walker
Brothers. Polly, Louisa and I were then named (don't laugh) Bubbles, Bangles
and Beads. I'll try and send a picture later; I have one. We had quite a few
backing bands from all over the country; we were one of the first girl bands,
if you will. After we broke up, I took a short break. I read an ad in the
newspaper for a female singer in Germany to sing for American troops. This is
how I met Roy Robinson; it was his band. I can't remember the other band
members' names; one was called Jimmy, another was Martin. When our bass player
announced he was leaving, John Williamson came as our replacement. John and I
became very good friends and would sing and play together till early in the
morning. That's when I first got into Nina Simone, Etta James and Aretha
Franklin.
Lemon Line. Linda Rothwell—front-left
© Linda Rothwell
John: After having been in sort of a little rock 'n' roll
band which was called the Banshees—I must have been about 17— I joined a band
from Leigh (near Manchester, UK) and that became the Night Train. It was a
Booker T. & The M.G.'s sort of repertoire and soul music, basically.
To Linda and John: I understand Roy Robinson, later singer
for the great Norwegian band Titanic, was also in Petrus Booncamp. Who else was
in the band, when did you form and what sort of music did you play? Did you
tour much around the UK? Please feel free to tell us anything else you remember
about the band and your time in it!
Linda: On returning from Germany, John Williamson, Roy
Robinson and I decided to form another band; it was a progressive band. We were
writing all our own music. We did a couple of demos; one was called "Salt In My
Wounds". I can't remember the names of the other members. We took it to another
level and formed Goliath.
John: I went to Germany to the US bases and joined a band
with Roy and Linda. We came back to the UK and me and Linda decided to form a
band [with Roy] which became Petrus Booncamp. Then Roy left and joined a band
called Titanic. We went on to become Goliath after various escapades in Europe
and working at the Top Ten club in Hamburg [alongside Danish band Lost And
Found]. In fact, me and Linda went back to Denmark with them after that
escapade and spent a week or so in Denmark. Petrus Booncamp were dabbling with
their own material; we started writing songs and did a demo in London—Tin Pan
Alley sort of demo. I can't remember what happened to it; I don't think
anybody's got a copy. Then we became Goliath.
Petrus Booncamp. Linda Rothwell—sitting on the chair; John
Williamson—far right
To Ros: What bands were you in prior to joining Goliath? Do
please feel free to go into as much detail as possible.
Ros: My tenor sax lay forgotten under the bed for a long
time after school days, until I rediscovered it while spring cleaning at age
24. "Oh! That were summat else I used to do one time—wonder what it sounds like
now!", methought. It still sounded good to me and I played tenor sax with a
showband (Irish showbands were popular) for 18 months around the Northern
Labour and night clubs. I decided there was not enough music in that for me. I
then ended up in a holiday camp in Devon with Malcolm Grundy, who I had heard
locally. We played foxtrots and waltzes, sometimes for holidaymakers in
wheelchairs. The bandleader was alcoholic "Red" Price—now passed away—of "Hoots
Mon" and Six-Five Special fame.
After that fiasco, Malc, Gerry Kenny and me played some
weird gigs doing Malcolm's post-Hendrix freakout sounds–including Bala village
hall, in North Wales–where the kids seemed to dance in a big circle
trance-like. I remember being fascinated by the sight of them, tho' our group
was out-of-their-minds stoned too.
Later Linda and John Willy asked Malcolm to join Petrus.
They had a contract to play one month at the Top Ten club, Hamburg—I went too.
We practised a bit at the farm but did not have much repertoire and struggled
for a drummer. That was hard work—late nights till early morning. There were
two bands alternating: us and a Danish band who were really big smokers. Both
bands got sacked after two weeks. The club got empty because of the fantastic
hot weather; the audience were out on the beach partying.
After Petrus Booncamp disbanded, Linda and John stayed
together and joined forces with Malcolm and Eric—both formerly in a band called
The Dominoes/the Beat Boys—and Joseph to form Goliath. I've read it took you a
while to settle on Eric as the drummer, going through several before being
happy. Could you go into as much detail as possible as to how the band ended up
with its definitive line-up, mentioning, if you could, the names of any passing
drummers?
Goliath with early drummer. From left to right: John
Williamson, Pete (background), Malcolm Grundy (foreground), Linda Rothwell and
Joseph Rosbotham
Linda: We went through many drummers looking for Eric; I
can't remember most of them. The one in the picture was a stand-in named Pete?
Ros: Malc and me came back from Hamburg wondering where
Linda and John Willy had got to; they were in Copenhagen, visiting Christiania
commune. Eventually they returned, broke as always. We began to practise in
earnest after that. Eric Eastman, I had seen on drums at Leigh Jazz club and
thought, "Here is a REAL drummer.". He had a job at an undertaker's but did not
like the job; he later gave it up when we started to get a few gigs as Goliath.
John: After watching Jethro Tull we decided we wanted a
flute, so that's how come we met Joseph Rosbotham, who was playing with a
friend of mine called Gerry Kenny. Gerry Kenny used to be in the Lancashire
Rats. Joseph joined the band and I went off guitar onto bass. Malcolm Grundy
came in on guitar, we formed Goliath and then recorded the Goliath album. We
had a drummer; again, myself and Linda can't remember what his name was. His
name was Pete; I can't remember his last name. We had a drummer called Martin
Roscoe [later of Nine Days Wonder] before that; that was in Petrus Booncamp.
Then we got Eric. Eric was a jazz drummer and played vibraphones too. We got
with Eric and used vibraphones in the stage set as well.
From left to right: Pete, Joseph Rosbotham, Linda Rothwell, Malcolm Grundy and John Williamson
Goliath with Eric. From left to right: Malcolm Grundy,
Joseph Rosbotham, Eric Eastman (background), Linda Rothwell (foreground) and
With the band formed, where did you rehearse and what
memories do you have of some of those first practice sessions?
Linda: This question made me laugh. Ros lived on a farm with
his parents. We literally practiced in the barn for the most part. John and I
did a lot of practicing/jamming together individually. I was the one most
focused on practicing.
Ros: The barn was full with tons of spuds (potatoes) by the
time we were seriously rehearsing. We used what I called the Wash-house, stoked
a big fire up, annoyed some neighbours half a mile away and had police call in.
Trouble was Ros had to taxi Linda from Bury, so there was much driving around
already for me. Somebody told me once that he didn't think farmers had much
time for music—that is true as farm work got neglected by me very quickly.
John: We rehearsed in Ros' farm and barn in Rainford. It's a
bit of a blur really; I remember walking across to the pub every now and again.
Did it take long for some of the songs featured on the LP to
take shape? Did you perform any songs not featured on your record?
Linda: It didn't take that long; we worked together as a
band pretty well. We were actually working on our second album when the band
broke up; we were doing a lot of these songs onstage. The one that comes to
mind was written by John and called "Seashore Sands", which we performed live
on BBC Radio.
Linda Rothwell
John: I can't remember the process, really, other than the
fact that some songs were quicker than others to formulate; some take a lot of
honing in and some get thrown by the wayside. We had a whole catalogue of stuff
for the second album—which never came to fruition—which we actually recorded on
a BBC session. I wonder what happened to that; we've never been able to trace
it. It's just one of those things. I really can't elaborate much more on that;
it's a bit lost in the midst of time!
The beginnings of Goliath saw you gigging in and around your
native Manchester. Could you reminisce about some of those early concerts? If
possible, could you tell our readers what gear each member of the band used on
stage?
Linda: If you're speaking of our clothing, I wore mostly
antiques—long dresses and gowns—from the Victorian and Edwardian period, bought
from antique clothing stores in Manchester. I also wore jeans tucked into boots and huge belts—that kind
of thing. The rest of the guys: jeans.
Linda onstage with Goliath
Ros: I never ever wore jeans! We carried a WEM Watkins PA
with condenser mikes; Linda had her own favourite mike. Malcolm had a
Telecaster with his own custom amp + speakers. The guitarists later used
Marshall 100 Watt amps with 4 x 12" speakers. I can't remember real detail now;
equipment was undergoing many changes late Sixties—probably still is. Because I
was the only person with cash, I had to buy equipment to get us going, and it
was a learning period for me. John Willy will have a clearer picture of all
Eric, besides conventional drum kit, played excellent
vibraphone onstage. I think the vibes would have been better left until a later
time, however; just the logistics of transport and miking up made extra work
too early.
I play a Selmer Mark VI tenor sax with a Lawton metal
mouthpiece lay 9 and a Uebel aluminium-bodied one-piece flute of unusual design
(a collector's piece, I think now). I loved that flute—heavy but sturdy. Once,
on reaching for it onstage, I knocked it across the room and it survived; an
ordinary flute would have been wrecked beyond repair.
John: We got a truck and we started gigging up and down the
country. As Petrus Booncamp, before we became Goliath, we supported Led
Zeppelin on their second ever gig; that was at Manchester or Salford
University—I can't remember which. Then we supported Deep Purple and Canned
Heat and various people like that. Oh! Before that—I mean way before that—with
Night Train, we supported Cream. I'll always remember that because the bass amp
broke and we asked the roadie from Cream if we could use their bass amp. He said,
"No", but what we did was… The amp was a Marshall stack—it was behind us on
stage— and we just plugged into it [laughs], much to their horror! They were
giving us daggers from the side of the stage. Cat Stevens we supported there
I had a Sound City bass head, Sound City cab (4 x 12") and
an Epiphone Rivoli bass, I think.
From left to right: John Williamson, Joseph Rosbotham, Eric
Eastman (behind Linda), Linda Rothwell and Malcolm Grundy
You were spotted at Leigh jazz club in Greater Manchester by
Phil Sanderson, a representative of Family Tree Productions. He signed you on
to CBS and ended up becoming your manager. Could you elaborate as much as
possible? You mention on your Facebook fan page that a certain Tommy Sanderson
was also involved in a managerial capacity. Could you tell us a few words about
him too?
Linda: Tommy Sanderson managed Louisa Jane White. Phil was
his son (who later married Louisa). If you remember, Louisa and I and Polly
were in a girl group together and we kept in touch. She told Tommy about me and
Goliath and what I was doing and he, along with his son, came up to Leigh jazz
club to watch us live—they loved us. The rest became history.
Ros: Tommy Sanderson I remember as a very approachable guy,
but Linda had more dealings with him than the rest of us. I think they
envisioned us as a girl singer with a backing group more than we did. Although
we thought the world of Linda, it was intended to be a group of equals—each had
their own voice to discover and share.
John: It was kind of an intense situation where we were
focused on what we were doing, I suppose, and the band was getting popular. I
think then we just came in contact with Tommy Sanderson, who had something to
do with Linda before we met her. We got the management situation deal and they
put us with CBS.
Where did you record the album and could you share any
memories that stick out for you during that time in the studio? In particular,
we'd love it if you could say a few words about each track off the LP—anything
at all that comes to mind!
Linda: The album was recorded in London. I remember being
quite stressed out at the time, trying to sleep but the songs going around and
around in my head. The songs I loved singing on the album were "Men", "No
More Trash" and "Hunters song". I remember "Prism" was extremely difficult
to record as the timing of the song is quite difficult for a singer, if you
listen closely. But, I loved singing it; the high notes—loved them. I would
open a set with "Men" or "No More Trash" many times and often close the set
with "Hunters Song". In the middle of "Hunters Song"—where you hear everything
being played but the kitchen sink (quite literally bottles, etc.)—I would sneak
offstage, and at the end where I start singing softly I would appear from
behind a speaker…"In some fields where rabbits run"….loved that song.
John: I can't remember much about it to be perfectly honest,
what with lots of green smoke lying around. It was those kind of days, so I
don't really remember too much about it, other than the fact that I know we
weren't happy with the overall sound. It didn't quite hit the spot that we
thought, even though we were all very proud of it when we'd finished. I think
we were kind of intimidated by the studio in London, really. They weren't
really used to Jimi Hendrix sort of turning up, so guitar amps had to be quiet
and the engineers were in white coats looking at dials.
"Port and Lemon Lady"—That was done with Linda, really (if I
remember rightly).
Linda in her Goliath days
"Hunters Song" is my favourite from the record.
"Hunters Song"—That was one of my favourites too. That was a
big number live; we were jamming quite a lot on that one. It was kind of a hit
and miss situation, you know; we didn't know where we'd end up. We'd seen a lot
of American jazz players: Pharoah Sanders, various people… We had a sound tree,
which was like some effects on a stand. I think it was Eric's wife who got it
from Co-Op where she used to work. It was some sort of postcard stand that
revolved; we used to hang alarm clocks and chains and whistle things on it and
Eric would sort of improvise (in the free moments) using these sounds. We were quite
into the avant garde at the time, taking things a bit further. When I listen
back to it, I sometimes think, "Where the Hell were we actually at!?"—it was
"Maajun (A Taste Of Tangier)"—It's written by David Graham;
he's a very famous guitar player. The album we listened to of his was called
Folk, Blues and Beyond…—it's a great album. He was an acoustic 12-string player
who played some amazing things. Malcolm introduced us, I think, to "A Taste Of
Tangier", which he and Ros used to play together in an incarnation of the Rats
(with Gerry Kenny). We [Goliath] sort of arranged it ourselves differently, and
that was that.
It's so long ago, I don't know how the process came about.
Most of the songs were done from an acoustic guitar point of view, you know,
and just kicking the idea around. I'd either finish it myself or do it with,
say, Linda or whatever and then take it into the band and see what happened,
basically.
Ros: A reel-to-reel ¼" tape was made by ourselves of all the
numbers, maybe five months before any studio in London. Both Malcolm and I
thought this tape had more life than the LP—freer and more relaxed. Malcolm had
the tape, but has forgotten what happened to it.
John: We did an acetate, yes. I think we captured more of
the vibe of the band.
Were there any tracks that didn't make it onto the LP and
that you wish had made it on?
Linda: I wished "Seashore Sands" had made it on that album.
John: That was particularly a favourite song of mine, really
[speaking of "Seashore Sands"]. Me and Linda had spoken a year or so ago about
redoing it, but I've not had the time to get round to doing it. There was quite
a lot of stuff in the stewing pot for the second album.
Ros: Some of my inventions! Malc, John and Linda took on the
writing mostly.
Did you have any input with regards to the album cover
artwork?
Linda: We designed a cover which we all liked but CBS had
their own ideas. We didn't particularly like the cigarette butt idea but we
liked the picture on the back; it was taken in an area of Manchester called
Moss Side. The gun belt on the picture had live rounds and, on a break from
taking the pictures, I remember the photographers screaming at me to get away
from the fire in the pub where we were taking a break.
Front cover of the record
Ros: Yep [in response to Linda's comments].That cover was an
advert for ASH—anti-smoking early on. There were definitely not any 12-bore
cartridges in the cartridge belt! It was mine; I used to shoot wood pigeons and
rabbits on the family farm for a short number of years. I was very interested
in wildlife and ecology, as most farmers are.
John: I think it was done by CBS. They sent a guy down from
London; I remember meeting him in Midland Hotel, in Manchester. He had this
idea we would be this…I don't know…from this insignificant cigarette butt, it
would be enormous against everything else, you know. Looking back at it, it was
probably a good concept, but I don't think we liked it at the time. We had the
pictures taken on the back of the sleeve in Moss Side, I think.
Back cover of the LP. From left to right: Joseph Rosbotham,
John Williamson, Malcolm Grundy, Eric Eastman and Linda Rothwell
Were you pleased with the finished product and did it
reflect the kind of sound you created live?
Linda: We sounded a LOT fuller on stage than the album
reflects and, of course, many of the songs went on for a considerable length
more time, as you can imagine. We would go to a club and Malc would start
playing a riff from "Satisfaction" and suddenly we were all doing a few bars of
that, just jamming away—good times!
Ros: Yes, we were quite disappointed with the sound on
record. It did not give a true impression of our live sound. Malcolm especially
was dismayed with having to play at low volume in the studio. Also, we only
used four short days to get the band on tape, so it was a little rushed. And
too much compression was used.
To Linda: You mention that the band broke up shortly after
the record was released, citing, as one of the reasons, a breakdown you
suffered brought on by exhaustion.
To Linda, Ros and John: Could you reflect and enlarge on
those final few months leading up to the end of Goliath?
Linda: I had a very physically abusive father—maybe one of
the reasons I liked being on the road a lot. When I came home, though, he was
always there. Need I say more? I was overwhelmed with everything (not realizing
my father was the main contributor at the time) but I went to the doc, told him
how I felt and admitted myself into hospital. After I came out, I moved into an
apartment by myself and started singing at Tiffanys, a night club in
Manchester. I was kind of taking it easy, while remaining in contact with Tommy
and Phil Sanderson.
Linda© Linda Rothwell
Ros: I could say much. Driving back from one of our odysseys
to London, the band van seized up, leaving us stranded on the motorway at
Watford Gap. Luckily, being band treasurer, I had enough cash with me to get us
back home safe. I picked the equipment up the next day; luckily nothing was
stolen. Always risky on der road!
John: Basically, I think Malcolm did as well [have a nervous
breakdown]. It just fell apart; we couldn't keep it together. All sorts of
things were going on. That was it, really.
To Linda: You later released two singles, one in 1972 and
another in 1973, on the Chapter One label. They are respectively
"Dip-Dip-Dip-Chu-Chi-Face" (B-side "Sweet And Sour") and
"Write Me A Letter" (B-side "Tell Me"). How did these come
Linda: "Dip dip dip" [laughs]. That was a song written for
someone else. I was supposed to be doing some session singing on it, and the
next thing I know I am the lead singer on it—sounded like a kids song to me.
"Write Me A Letter"—still love that song. I started to write
that on a road trip to London with Tommy's wife, who co-penned it with me. The
song was about the man who I met after I came out of hospital and later
married—he was American.
To Linda: In 1973, you left for the States. Could you fill
us in on what you've been up to since then up until the present day? You're
currently singing in a band—please do tell us more!
Linda: Well, I married the person who I just told you about
and had a son. I got divorced and gave up on singing for a while as I was
trying to raise a son. On and off, I would get up and jam—open mike, that type
of thing. I became very interested in "health and fitness" and
started my own personal fitness business in '83. I did quite well with that; I
was even voted best trainer in Richmond in Richmond Magazine. Many of my
friends—knowing I was a singer and knowing about my past life—would get me up
on stage now and again, but it's not been until the past few years that I have
really gotten back into it. I have met a band now (we haven't named it yet),
but we are practicing quite a lot so I am keeping my fingers crossed. So many
musicians have good intentions but when It comes to practicing, they fall
apart. Great bands don't become great without lots of practice. I have met
quite a few musicians lately who just don't want to put the time in, and I
can't stand this unprofessional bullshit.
To Ros and John: What did you do after Goliath disbanded?
Could you fill us in on what you've been doing since then?
Ros: [In response to Linda's comments] Practice, yes, but
folks have plenty of other things to take care of in life…
I was quite flat for a while after (took to my bed, even),
but eventually pulled myself out of self-pity and took a trip to Scotland. A
Sami friend who had brought some reindeer to the Cairngorms invited me to help
look after herding them. So, I walked about in the mountains for one year. I
loved the freedom of that but didn't want to play Santa Klaus over Yuletide, so
I went back working on the farm. Eventually, however, sax took hold of me
again—I tried a different approach.
John: I came back to my roots, really. I joined a band from
Leigh called King Kyde's Star World for a while, which had a bit of a brass
section and was kind of a soul, pop band. Then I met a young lady who went to
live in London; I was kind of besotted with her, so I left to go to London to
seek my fortune. I met up with the old drummer and guitar player from the Night
Train, who were living at Philbeach Gardens, off Earls Court Road. I took a
flat there with some other guys (bedsit) and started playing in London. I did
various auditions, and one day I saw an advert for a band called Titanic. Roy
from Petrus Booncamp was a member; I joined his band. They were a Norwegian
band and were originally called The Beatniks; they were quite big in Norway.
They changed their name to Titanic. They had a #1 with a track called "Sultana"
and they were looking for a bass player. I was kind of back on guitar, really,
but I went for the audition, met up with Roy, and I think I was only
shortlisted; they got somebody called Eric Siegmann from the USA, who didn't
last more than a couple of weeks, I think. In the meantime, I got a job in the
south of France working in a studio called Seed, in Vallauris. I met up with a
guy called Andrew Poulton, who later became a drummer with Titanic. Andrew
Poulton was from a band called Chapter Six, I think (with members of Procol
Harum, if I'm not mistaken). We kind of formed a band in this studio—the house
band—with Peter Walters on bass and some other people (whose names I can't
remember) and we basically played background music for 8-track cassettes.
Titanic came to play in Vallauris, near Antibes, and they offered me the job on
bass. I moved to Paris with Titanic.
Weren't you in a band called Skeleton Crew?
Oh, yeah, that was later. After various adventures with
Titanic, Titanic broke up—excuse the pun—and I came back to the UK. I was
playing various country/western outfits at the time, then I got a job in Ibiza
with a band called The Winterband—this is the early '80s (1980/1981). I started
writing with a guy called Brian Marston. I was there for quite a few years in
Ibiza, doing different seasons; I worked at Sgt. Pepper's night club in San
Antonio. I came back to the UK and then formed my own band, which was the John
Willy Band—everybody calls me John Willy—and that became Skeleton Crew. I was
just walking past the bookshop one day and I saw the Stephen King book Skeleton
Crew and I thought, "Oh! That's a good name for a band!", because we were a bit
of a skeleton crew. That's how that started, really. There's quite a few
recordings of Skeleton Crew, some YouTube stuff,… Skeleton Crew kind of
dissolved in about 1999, and I think we got a little bit of success in the
charts in France with a track called "Glory Hunter", which was written by
myself and Roy from Titanic. The band broke up and I joined The Animals &
Friends, which was John Steel from the original Animals and David Rowberry, the
keyboard player who replaced Alan Price. I stayed with them for about 10 years.
In that time, Dave Rowberry died (in about 2004) unfortunately, and was replaced
by Micky Gallagher from The Blockheads—an English band. He still plays with The
Blockheads and he was in the original Animals briefly in the '60s when Alan
Price left; I think he was with them for a few months, so he has a claim to
fame as being in the original Animals. So, I was with that band—The Animals—and
toured all over Europe quite hectically for 10 years. We recorded an album
called Animal Instinct, and then I left The Animals. I was working with a
gentleman called Mike Bowden, a songwriting partner of mine. We'd been writing
songs for a while and we got one of them on the Animals album. We decided that
we liked what we were doing, so we formed a little acoustic duo. We were doing
a few festivals, little gigs (as well as The Animals), and then I decided that
The Animals kind of became more like a bit of a theme park; they wanted the
songs sort of 'as they were', not like developing or anything. Artistically,
for me, it was kind of a clash, so we parted company and I formed a band with
Michael—the Blues Swamp Band (or Blues Swamp). We made an album as Bowden And
Williamson called Urban Prairie Tales, which is available from…me [laughs]. I
still have several thousand propping up the bed! [See link below] We recorded a
live album as Blues Swamp—sort of a live EP—on a support tour we did with
Nazareth a couple of years ago. We also did another Bowden And Williamson album
called Right Band, Wrong Planet, which again you can get from the Blues Swamp
website. We're just about to get together and put another album together
soon—we're working on songs. For the last two years, I've been managing a band
called Jeramiah Ferrari, who are a reggae/rock band from Manchester. They've
just done an album which they're putting out this week [speaking on 10/7/2014],
so that's what I'm doing: managing a band and managing my own band!
Looking back over the years, we'd love to hear your thoughts
on Goliath and what it meant to you then and now.
Linda: I always thought Goliath was way ahead of its time;
I've come to learn that more so now. There were a lot of great musicians. We
were definitely hard to categorize at the time, yet the bands that we opened
for (Led Zeppelin, Pink Floyd, Moody Blues, Deep Purple, to name a few) spoke
volumes for what we were achieving. It was a great time in my life. I took my
singing very seriously. I used my voice as a musical instrument, which you can
hear on some of the tracks but more so in live performance. I was very
theatrical on stage; I moved around a lot with a lot of emotion.
Ros: Groups got too big, very quickly. We tried real hard
but only lasted a short time together. It is quite an adventure, an exploration
of emotion, being in a music outfit—one needs much energy to do this thing.
John: Well, it's ironic really, because I see in this young
band that I'm managing kind of a similarity: the enthusiasm that we had. In
Goliath we were totally focused on what we wanted to do—nothing else mattered.
When we got the deal, it wasn't exactly the deal we wanted, but we got a deal.
We got signed to CBS, we got a lot of acclaim for it, and I see a similarity
with this young band that I'm managing with their enthusiasm and their
dedication. This fixed goal that they have in mind kind of reminded me of what
it was like for me in Goliath. I still draw inspiration from that period and
sometimes wonder where it's all gone, you know [laughs]. It's kind of like that
feeling of, "Right, this is it! We're going to do something.". That's kind of
an inspiration to me when I look for enthusiasm.
Can we expect a Goliath reunion concert sometime in the near
future, given you're in direct contact with most of your former bandmates? Have
you talked about it amongst yourselves?
Linda: I'm really in contact only with John, who I've Skyped
a couple of times. Malc has written to me via Facebook, and Ros lately too.
John is busy with the former Animals and doing his own acoustic thing, as you
can see on Goliath on Facebook. Malc is in Snooty Fox, Babbacombe, Torquay. I'm
in the States. A reunion is a nice thought but geographically probably
Ros: It's so long ago. We are the same but different. We
have our own preoccupations.
John: I don't think so, no. I'm not really in contact with
Malcolm. I bumped into Eric Eastman about 5 years ago in the street. I might do
something with Linda; we might write something or record something—that would
be nice. I'm thinking about that.
As is customary here at It's Psychedelic Baby Magazine, we
like to leave the last word to our interviewees. Here's your chance to say
whatever you want to all our readers and in particular the Goliath fans old and
new reading this! We can't thank you enough for being so generous with your
time in granting us this interview with you all!
Linda: This interview has brought back a lot of memories.
I've looked through old pictures of me, Roy Robinson, John Williamson, Polly
Brown, Louisa Jane White, Goliath as a band and many other bands in between.
Boy were we all young, haha! If I get a chance to Skype with John and sing
"Seashore Sands"—which we have both spoke of doing (but he is trying to revise
it)—maybe I will share it if technology will allow. It's pretty wild to think
of Goliath as a rare collectible bringing in hundreds of dollars for the album
in good shape—especially this many years after the fact—which supports the idea
that I said we were ahead of our time.
Ros: I listen often to Late Junction on BBC Radio 3 these
days; I recommend the ear-bending experience.
John: Thank you for still appreciating something that meant
a lot to us from that period of time, and I hope you get enjoyment from our
music. I hope you'll listen to some of the new stuff I'm putting out now
[laughs].
[Sources:
Melody Maker, November 28, 1970, page 22; article written by Mark Plummer.]
Facebook fan page run by the band members:
http://www.facebook.com/Goliath-uk
Swamp: http://blueswampband.co.uk
Jeramiah
Ferrari: http://jeramiahferrari.com
website covering the Night Train, one of John Williamson's bands before Goliath:
http://www.manchesterbeat.com/groups/nighttrain/nighttrain.php
another covering some of his post-Goliath bands:
http://www.brianmarston.com/biog
background reading on Malcolm and Eric's earlier bands:
http://www.manchesterbeat.com/groups/dominoes_leigh/dominoes_leigh.php
http://www.manchesterbeat.com/groups/beatboys/beatboys.php
Interview made by Sébastien Métens/2014
© Copyright http://psychedelicbaby.blogspot.com/2014
GoliathInterviewSébastien Métens
Tor Hershman
Your blog is amazingly detailed, here's a gift for you
http://www.youtube.com/watch?v=9jMA30_wUNM
Thanks for this, I've been waiting for Goliath to show up on the internet someday. Linda Rothwell was a worthy rival to Sonja Kristina, babe-wise. Also a great singer.
I really enjoyed reading your finished interview Sebastien..thankyou ,I enjoyed the interview.
Hey thanks for the compliment TJ..but I'm still alive..haha


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Top 10 Best Anime of 2018
The year seemingly keeps moving faster with every day, and the anime keeps coming. It's hard to believe that another year has come and gone, delivering so many fantastic anime series along the way. Whether you're joining alongside Midoriya as he trains to become the greatest hero of all time, witnessing the tedium of office work life which will make you want to scream or have front row seats to a world of boxing.
Image Source: Screen Rant
Where people now wear mechanical gears to punch even harder; 2018 has been an incredible year in anime. It can be really difficult to sort through all of the available series to find the best of the best. We should be sure to take a few moments to appreciate the very best of anime from this year.
10. JoJo's Bizarre Adventure: Golden Wind
The highly anticipated fifth installment in the foundational shōnen series JoJo's Bizarre Adventure finally premiered this year and managed to exceed every expectation. Golden Wind is a gorgeous anime with one of the most likable collections of protagonists yet and some of the most creative fights in the series so far.
Giorno's journey to use his supernatural powers to stop the spread of drugs in his community is both deeply understandable and terrifically bizarre. Golden Wind so far feels like one of the most refined installment of JoJo's yet. Hopefully, this level of quality keeps up for the entirety of part five, and it stays golden going into 2019.
9. Devilman Crybaby
Based on the classic Devilman manga, Devilman Crybaby follows the gory adventures of Akira Fudo after a demon fails to possess him. Now with the powers of the demon – and some of his personality traits – Akira takes on the name Devilman to fight other demons that threaten to consume humanity.
Devilman Crybaby never stops being shocking, and it's willing to go pretty far to prove its points about how needlessly violent and cruel people can be. Devilman Crybaby is one of Netflix's anime masterpieces.
8. Wotakoi: Love is Hard for Otaku
Wotakoi follows an office worker named Narumi Momose, who hides the fact that she's an otaku in her public life because it's led to issues in past relationships. When she starts a new job, she runs into an old childhood friend, Hirotaka Nifuji, who accidentally outs her as an otaku to some of their co-workers. Those co-workers, Hanako Koyanagi, and Taro Kabakura are not only secret otaku as well but have been in a relationship since high school, which their co-workers also don't know about.
Wotakoi addresses the hardships in being an adult that loves anime or manga, things that most of the world still deems weird and childish, while also showing the two couples navigate their relationships. The anime is filled with heartwarming scenes and moments that are so relatable. If you wanted to ever watch a more relatable romance anime, this show is for you.
7. The Ancient Magus' Bride
The series follows the adventures of Chise, a young girl with a dark past who sells herself on the black market only to find herself bought by Elias, an ancient, incredibly powerful mage with a deer-like skull for a face. He reveals that she possesses a rare gift for talking with and attracting spirits and that he will train her to become a mage – and one day marry her.
The Ancient Magus Bride has been able to succeed in making magic feel, well, magical. The esoteric spell casting, the unique solutions to magical problems, and the empathy it shows all of its characters really do a lot to elevate the series over comparable shows.
6. Attack on Titan: Season 3
The third season of the uber-popular Attack on Titan anime premiered this year and pushed the series into a new direction. this latest storyline resembled a political drama more than anything else. This story structure works surprisingly well for the anime and capitalizes on its rather fleshed out world and collection of big personalities.
There's a lot to like in the third season of Attack on Titan, even if it doesn't have much of the Titan fighting action that popularized the series in the first place. However, this new direction for AoT works surprisingly well and explores the background of some of the most interesting characters in the franchise.
5. Violet Evergarden
The highly acclaimed Kyoto Animation brings the Netflix exclusive Violet Evergarden to life with the beautiful scenes you'd expect from the studio. Our protagonist is Violet Evergarden, a former child soldier who has only known the battlefield before losing both of her arms and her commanding officer in the final battle of a brutal war.
After losing both of her arms and having them replaced with metal prosthetics, she has to learn how to integrate back into society as an Auto-Memory Doll, which is essentially a trained ghostwriter for books and letters. IIt's sweet and satisfying to watch Violet grow and learn about the complexity of human emotions, a journey complemented by gorgeous animation.
4. A Place Further Than the Universe
A Place Further Than the Universe is a simple coming-of-age story about four teenage girls together on a boat … to Antarctica. Each girl has her own reasons for wanting to go. Mari wants to make the most of her youth after being too scared her whole life to ever try anything hard, Shirase wants to find her mother who went missing in Antarctica three years prior and is presumed dead, Hinata wants to do something adventurous before taking her college entrance exam, and Yuzuki is an actress who's never had friends and wants to go with the three after they go out of their way to befriend her.
15 Notable Anime of Recent Times that Took Unusual Twists
A Place Further than the Universe packs a tremendous amount of well-written humor, drama, and character development into its 13 episodes, telling a bittersweet story about four girls struggling to overcome their shortcomings as they attempt to achieve an impossible goal together.
3. My Hero Academia: Season 3
After just three seasons, My Hero Academia has already become one of the greatest Shonen anime and manga of all time. This season is the start of a big shift in the series, with some major action scenes, important turning points, and long-awaited moments. The existential threat of the villains becomes more real as All for One starts to make moves, and we finally get to see what his protege Shigaraki will be like once he's out of his mentor's shadow — and how Midoriya plans to make One for All his own.
In a year where anime seemed bigger than ever, My Hero Academia absolutely played a pivotal role in pushing the medium to even greater heights and even wider audiences. My Hero Academia stands out not just as a great anime, but also one of the greatest superhero stories ever told.
2. Aggretsuko
Based on a series of web shorts that introduced Sanrio's "Aggressive Retsuko" a few years ago, Aggretsuko made a splash simply because it was so … well, relatable. Aggretsuko stars Retsuko, an adorable red panda who has been ground down by five years of working the same dead-end accounting job. Retsuko lets at her frustrations about her dead-end job, misogynistic boss and love life every night through Death Metal karaoke songs. Throughout the series, she navigates loneliness, misogyny and being single less than gracefully.
It's more surprising because of how brutally it portrays the hardships women have to deal with in the workplace and in society in general. But it also shows that, despite these daily hardships, you can find ways to make things better.
Before we reveal our best anime of 2018 there are few Honorable Mentions
Honorable Mention 1 – B: The Beginning
Honorable Mention 2 – Zombie Land Saga
Honorable Mention 3 – Hinamatsuri
Honorable Mention 4 – Cells at Work!
Honorable Mention 5 – Laid-Back Camp
1. Megalo Box
If you're a fan of Rocky or Creed and in any way interested in animation, Megalo Box has to be on your list of anime to watch. Taking place in and around a wealthy futuristic city, Megalo Box is about the sport of Megalo boxing, where fighters have powered exoframes on their upper bodies that augment their strength and speed.
The series follows a boxer who initially goes by the name Junk Dog as he tries to work his way up from making money by starting fights in the slums outside the city. He wants to take part in Megalonia, a tournament made up of the best Megalo boxers. The show recaptures the '70s and '80s, thanks to its cyberpunk aesthetic and themes that touch on a lot of the class struggle. The retro aesthetic of the show makes it stand out in a world of glossy high-definition anime.
Did Your Favorite Anime MakeThe Cut? Please let us know what you think in the comments below!
gigglingdonkey January 1, 2019


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Off-Duty Cop Rams His SUV Into Man's Car For Trying To Hold Him Accountable For Reckless Driving (Video)
November 30, 2015 November 30, 2015 by Infinite
– VIDEO: Off-Duty Cop Rams His SUV Into Man's Car For Trying To Hold Him Accountable For Reckless Driving:
Newly released surveillance video shows an off-duty Montreal police officer ram his SUV into a man's car who was attempting to hold him accountable for speeding through a stop sign and driving recklessly.
The incident occurred on January 14, 2015, but surveillance video has only now been released.
Jeffery Pokora says the man in the SUV, who was later determined to be SPVM Police Officer Mr. Roberto Tomarelli, sped through a stop sign and cut him off, he responded by following the man to his home and attempting to hold him to account.
"After 10 months of therapy, I started realizing I need to start holding people accountable. Just like our politicians, everybody is accountable," Pokora said.
Both men are seen exiting their vehicles at which point a verbal exchange takes place.
"I asked the gentlemen, 'excuse me sir, but you mind explaining to me what you, and why you, did what you did back there?'" Pokora said.
"The owner of the grey 4×4 then appeared to become enraged with such anger and hostility over my question, that he then proceeded to charge towards me, off his private property, and onto the public road way."
Pokora says the off-duty cop then physically assaulted him.
"The owner of the grey 4×4 then proceeds to take his right index finger and starts to poke and drill me several times and repeatedly into my left shoulder, thus the owner was now illegally assaulting me."
After their confrontation is over, Pokora is seen pulling his car behind the off-duty cop, blocking him into his own driveway. Pokora says he did so because he didn't want to be parked in the street while waiting for police.
"What happened next was EXTREMELY SHOCKING and DISTURBING to me," Pokora writes.
"The driver of the grey 4×4, after a 15 second delay then proceeded to 'floor it' in reverse. The grey 4×4 hit the passenger side of my large size sedan with so much impact that it forced my vehicle back out into the middle of the street on an angle. While I was in shock, and stunned that ANY human being could willing do such a thing, the grey 4×4 came at me again, but this time more of a head on approach and hits me two more times, in a panic and fear for my life, I scramble to compose myself and put my seat belt on. I managed to turn my vehicle around to try to get out of the situation, as I was doing so, the grey 4×4, again, charges the rear of my vehicle thus hitting me another two times. In such desperation, panic, fear, shock, and dismay I scrambled to call 9-1-1, failing to do so at lest three times due to shock of the situation I was in."
"I eventually was able to get a call through to 9-1-1 on my smart phone within minutes of this horrific event. I begged and pleaded with the emergency responder to help me, save me, he's going to hit me again, please help me, he's going to kill me, please, please help me (was crying with fear). The owner of the grey 4×4 pursued me at such high speeds, all the way down Des Oblats Street, to LaSalle Boulevard, and all the way down into the City Of Lachine, right until the corner of 'Chemin du Musée' and 'Boulevard Saint Joseph', in front of the Toyota car dealer, where finally the horrific events came to an end, when police were able to intervene and take over the situation, and arrest the owner or the grey 4×4, or so I thought."
Rather than arrest the officer, Pokora was arrested at gunpoint and charged with "assaulting a police officer" and issuing "death threats."
The officer was not hit with any charges and his police commander says he did nothing wrong.
"Let's put that this way…. If we have a sense that the action was not OK, or there could've been a problem, the officer could've been suspended," Montreal police Cmdr. Ian Lafrenière said.
"And now I'm telling you, he's still working for us."
Watch the full video below:
What do you think, did the officer have reason to "fear for his life," or was he the criminal in this situation?
Categories Global News, Society Tags Canada, Global News, Government, Montreal, Society Post navigation
Steering the Masses Towards Total War
HSBC Whistleblower: The Biggest Bank Fraud in British History Carried Out on UK Shoppers and Covered Up


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Tuesday Nov 29 2022
Five memorable Pakistan vs England Tests
Pakistan's players wait to bat during a training session ahead of their first cricket Test match against England, at the Rawalpindi Cricket Stadium in Rawalpindi on November 29, 2022. — AFP
RAWALPINDI: Pakistan play England in a home Test series for the first time since 2005 starting Thursday.
AFP Sport looks at five of the most memorable matches since the two sides first met in 1954.
The Oval, 1954
Pakistan were on their first tour of England since earning Test status two years earlier, and despite being regarded as the "babies" of the sport, they beat a formidable home side — with pacer Fazal Mahmood taking 12 wickets in the fourth match.
After Frank Tyson and Peter Loader bundled Pakistan out for a mere 133, Pakistan hit back through their pace duo of Fazal (6-53) and Khan Mohammad (4-58) to take a slender three-run lead.
Pakistan managed 164 in their second innings to set a 168-run target, but despite having Denis Compton and Len Hutton in their ranks, England were routed by Fazal's 6-46.
Playing only their ninth Test, Pakistan won by 24 runs.
Faisalabad, 1987
The second Test of the three-match series will always be remembered for the on-field confrontation between England skipper Mike Gatting and Pakistan umpire Shakoor Rana.
Rana accused Gatting of attempting to change the field as the bowler was running in, leading to a face-to-face confrontation with raised voices and jabbing fingers.
Rana demanded an apology, but Gatting initially refused — and no play was held on day three.
The matter escalated to the extent that the rest of the tour was thrown into doubt, and the foreign offices of both nations got involved.
Eventually, Gatting relented, and the match resumed — petering out into a stale draw overshadowed by the controversy.
Karachi, 2000
England achieved only their second Test victory in Pakistan, breaking the home nation's 34-match unbeaten streak at the National Stadium.
Pakistan lost the plot on the fifth morning, losing their last six wickets for only 30 runs.
That gave England a target of 176 runs, which they achieved for six wickets in near darkness and just 15 balls remaining.
In the gloom, Pakistan captain Moin Khan repeatedly appealed for the match to be called off, but West Indian umpire Steve Bucknor rejected his pleas — reminding him it was only the batting side's prerogative to "take the light".
The Test was poised for an intriguing finish until Inzamam-ul-Haq refused to take the field on the fourth day.
The Pakistan skipper was incensed at the decision of the umpires — Australian Darrell Hair and West Indian Billy Doctrove — to add five runs to England's total because of ball tampering.
After an hour of deadlock Inzamam finally lead his side out, only for the umpires to rule Pakistan had already forfeited the game.
Inzamam was later cleared of ball tampering, but banned for four one-day internationals for his actions.
Umpire Hair was also censured, and suspended from the elite panel for nearly two years.
Lord's, 2010
The fourth day of the Test started under the shadow of a shocking report in The News of the World newspaper of three Pakistan players involved in a spot-fixing scandal.
The report said sports agent Mazhar Majeed accepted 150,000 pounds from an undercover reporter to arrange deliberate no-balls from Pakistan's bowlers Mohammad Amir and Mohammad Asif.
Amir and Asif had bowled no-balls during the match — on the orders of skipper Salman Butt, they said — and all three were later jailed in Britain and banned from cricket.
England won the match by an innings and 225 runs to take the series 3-1.
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If you want to configure Cisco VPN on Ubuntu 9.0.4 is very easy now.You don't need to install the Cisco VPN client - NetworkManager includes support for Cisco IPSec VPNs.NetworkManager attempts to keep an active network connection available at all times. It is intended primarily for laptops where it allows easy switching betwen local wireless networks, it's also useful on desktops with a selection of different interfaces to use. It is not intended for usage on servers.
This package provides a VPN plugin for vpnc, providing easy access Cisco Concentrator based VPN's.


text:
AFSA, Trades Submit Letter Urging for TCPA Clarification
The American Financial Services Association, joining a number of other trade associations representing a wide variety of industries, submitted a letter on February 5 to the Federal Communications Commission (FCC) urging it to clarify its definition of automatic telephone dialing system (ATDS) found in the Telephone Consumer Protection Act (TCPA).
The combined trades noted that a declaratory rule would help stem the tide of abusive TCPA litigation fueled by uncertainty regarding the ATDS definition. The Pallone-Thune TRACED Act, which was enacted on December 30, 201, makes important strides in protecting consumers from illegal robocalls. The letter notes that combatting illegal robocalls is a shared goal of the FCC, consumer advocates and legitimate businesses and makes two common sense requests of the FCC:
· First, "make clear that to be an ATDS, equipment must use a random or sequential number generator to store or produce numbers and dial those numbers without human intervention."
· Second, "find that only calls made using actual ATDS capabilities are subject to the TCPA's restrictions."
These proposals are "faithful to the plain language of the TCPA, closely follow the D.C. Circuit's decision in ACA International, and have strong support in the record. The letter laid out a concrete case explaining the rationale for the two proposals and asked the FCC to act without further delay. "The Commission can issue an interpretation of ATDS that facilitates the ability of businesses to use modern technologies to communicate with their customers effectively and efficiently. The Commission can take this action without impairing its important work to combat illegal automated calls," the letter closed.
February 5th, 2020 by Dan Bucherer


You may be trying to choose a childcare centre Singapore for your little one. Chances are that you have asked this question to yourself. Should you pick a childcare centre near home or should you go for one which is located closer to your workplace? First and foremost, there are no hard and fast rules for deciding this since both options have their unique set of pros and cons.
It should be completely your own decision and will depend on your unique situation. Until recently, several parents opted for a childcare centre near their homes as a majority of the children in the centre resided in the immediate neighbourhood. This also made it simple to arrange for play dates. Even parents worked near their homes or were not keen on the idea of putting their kids through the trouble of travelling long distances.
On the other hand, in today's world, long working hours, traffic jams and commuting has reduced family time, which means more parents now prefer a caretaker close to their workplace. As a result, they can be close enough to visit their little ones whenever they feel like helping out or for special occasions. Mothers who are nursing their babies can go to the centre for a quick visit to feed their young ones. Moreover, they can also respond fast when there is an emergency or an illness. Even if the parents have to travel long distances, the travelling time can be used for bonding with their babies.
Due to these reasons, many mothers whose office is far away from their homes are now enrolling their kids at a centre that is in close proximity to their workplaces. It appears to be a sensible decision since the requirement of multiple stops can be reduced every afternoon and morning.
When a working mom is driving herself to work, her exhausted kids can sleep on the way back home while travelling so that they are full of energy when they reach the centre.
If a working mother commutes by public transport, bringing her little one along means a chance to get priority seats near the exit. Bus or train rides also indicate that there is an opportunity for the mom and her little one to spend quality time together for cuddling or reading stories.
Looking out for a good childcare centre Singapore near the workplace also means that the mothers can always stay close when something is not right. Moreover, a mom can always pop in to say hello to her baby during the day.


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On World Heart Day, we bring to you a list of mouth-watering, healthy recipes that might help your heart grow healthier. From sesame seared tuna to Berry Smoothies, try these recipes at home.
Although you come across a number of articles on the food you must avoid for a healthy heart, it often becomes tough to keep a check on your diet. Years of unhealthy eating slowly leads to wreck a havoc on your heart health. In order to have healthy heartbeats, a diet full of heart-friendly food like berries, pistachios, fish, nuts, dark chocolates is recommended. We have listed here five mouth-watering and healthy escapes to maintain a good heart.
Berries are full of heart-healthy phytonutrients and soluble fibre. Try blueberries, strawberries, cranberries or raspberries in yoghurt for tastier and healthier results.
* Blend all the ingredients together in a blender and serve fresh.
Flaxseeds are rich in omega-3 fatty acids, fibre and phytoestrogens that boost heart health. Make them a regular part of your diet to keep your heart pumping fine.
* In a medium-size saucepan, bring water to a boil. Add salt (and spices, if you're using any) to the boiling water.
* Once salt is dissolved, add flax meal and turn off the heat. Remove the saucepan from the heat. Using a wooden spatula, mix until the flaxseed meal absorbs all the water and forms a dough ball. (As the dough forms a ball, it will also naturally un-stick from the saucepan). This step should take 1-2 minutes max.
* Remove the dough from the pot and place it on a non-stick surface. When cool to touch, break the flaxseed dough into 4 equal pieces.
* Roll out each dough ball between two pieces of parchment paper – one on the bottom to keep the flaxseed dough from sticking to the surface and one on top to keep the flaxseed dough from sticking to the rolling pin.
* Take a round bowl and place on top of the rolled out dough. Cut around the edges to make them round. Place extra dough in a pile to make the last tortilla.
* After all your pieces are rolled out and cut, move them to your pan. Over medium-high heat, place flax tortilla in the pan. If you have a non-stick pan, you will not need to spray it. The oils in the flax will keep it from sticking.
* Let the tortilla sit for about 40-60 seconds, depending on your pan and heat. The tortilla might form little bubbles (press them down with a spatula). Flip the tortilla and let it sit for about 30 seconds.
* Place tortillas on cooling rack or plate. Serve warm or cold, they keep their flexibility which makes them versatile.
The American Heart Association recommends eating salmon or other fatty fish such as mackerel or tuna twice each week. It has several heart-protective benefits associated with omega-3 fatty acids.
* In a small bowl, whisk together the soy sauce, rice vinegar, sesame oil, ginger, garlic, brown sugar, lime juice and green onions.
* Pour half of the mixture over the tuna and cover with a lid. Refrigerate for at least 1 hour. Once marinated, coat the tuna with sesame seeds.
* Discard the marinade that the tuna was marinating in.
* Add the oil to a non-stick skillet over high heat. For rare tuna, cook for 1 to 2 minutes per side. For well-done tuna, after cooking it for 1 to 2 minutes per side, transfer it to a parchment-lined baking sheet and bake at 400ºF for 5 to 7 minutes, or until it is cooked to your liking.
* Serve it immediately with the remaining marinade that was set aside.


The dems are revolting as proof of the NY Wiener race proves. When you have a Democratic majority voting Republican. You know there pissed off at Obama's Policy's. He has been major disappointment to all that voted for him! The democrats are showing they can punish as much as they can elect.
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