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toyahinterviews · 5 years ago

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TOYAH AND SIMON DARLOW ON THE SuperDeluxeEdition SOFA WITH PAUL SINCLAIR MARCH 2019

PAUL SINCLAIR: First of all thanks for coming. I guess the first place to start is you relationship and your collaboration because I know it goes back quite a long way, doesn't it? TOYAH: 42 years PAUL: OK, so how did you first get together and how did you start working together? SIMON: I had a manager at the time, which was the same as Toyah's. This is in the 70s it has to be said and he said "I'm managing this girl who's going to be huge, you should come along and meet her" so he put us together TOYAH: I went along to Richmond Road in Putney to this flat above a piano shop. We instantly got on. The thing about Simon - not only is he very talented, he's actually a really decent human being - SIMON: Ha ha TOYAH: And in the music business that can be quite an unusual experience. So we became friends, we wrote our first song together - SIMON: “Sky Lullaby” - TOYAH: Truly appalling - SIMON: It was rubbish, yeah - TOYAH: (laughs) But then time took us apart from each other and we got together again for "The Changeling" (Toyah in the studio during "The Changeling" sessions, below) We needed a keyboard player on "The Changeling", which was produced by Steve Lillywhite in '82 Simon walked in again and we've never been apart since because you were involved with "Love Is The Law" (1983) We've just been writing together – solidly – for about 35 years

SIMON: And it's always dead easy, just happens instantly. It's always just fun. The whole thing is kind of vaguely funny. We just walk in, sit down and do something

TOYAH: It's like a psychic connection and it always has been. Simon can just hit D on the keyboard and I'm singing away and then we've got the song. Sometimes it comes in two minutes, sometimes we allow it to take six months -

SIMON: And then we chip away at it -

TOYAH: How many years? (laughs) It's 35 years -

SIMON:

Quite a long time actually, yeah. We were both fairly busy doing other things, it has to be said but it was worth it. We just trust each other is the bottom line, I think

PAUL: Simon, are you a multi-intrumentalist?

SIMON: Yeah, I play keyboards, guitars, cello. A bit of drums although I'm not really a drummer but with modern technology you can get away with playing a bar and make it sound like you can play drums. It's quite OK. Anything that's plugged I can basically make a noise with

PAUL: And one of the things my audience will be very interested in – you worked with Trevor Horn, didn't you?

SIMON: I did. I was very fortunate. I met Trevor Horn when I was 18 in a keyboard store in Denmark Street and he'd just split up with Geoff Downes and The Buggles. He said "what keyboards to you use?" and I explained and he said "have you got any songs?"

I played him my little demo tape and his wife at the time, Jill Sinclair, who's sadly no longer with us, phoned and said we think you've got something and we'd like you to join The Buggles, briefly, which I did, for the 2nd album. They gave me a publishing deal with perfect songs and it just turned my life upside down, basically, in an instant

PAUL: And you ended up co-writing "Slave To The Rhythm", which obviously became that crazy album?

SIMON:

Yeah, that's right. Bruce Woolley and I wrote the original song, which was because Trevor phoned and said "we need a follow up to Frankie Goes To Hollywood to “Relax” ". So we wrote that and Holly (Johnson, the singer of Frankie Goes To Hollywood) came down and said he wanted to change the words but we didn't fancy it at the time (chuckles) So Bruce and I started to record it and then after that Trevor rang up and said "I want Grace to do it". Grace Jones seemed to fit as a concept ...

PAUL: Getting onto the album then. That title – obviously it's got the King Crimson reference but was that your idea?

SIMON: It was. I kind of said it as joke, really. I just thought it would be very funny and Robert thought so too so …

TOYAH: Well, it just massages his ego, doesn't it? (Simon laughs)

SIMON: It seems highly appropriate really. She is "The Queen"

TOYAH: I have nothing to say about it really. The title doesn't bother me. I'm an incredibly independent female and I'm incredibly feminist so it took a bit of wedging the door open to get that one through. But it's fine PAUL: And of course this album came out in 2008 originally? TOYAH: Yeah, the original format of the album. We've since remastered, added seven new songs PAUL: When you originally wrote those songs what was the inspiration? What was going on in your life, how did the album come about? Because it had been a while since you'd actually - TOYAH: No, it hadn't been a while. I have a band called The Humans in America with Bill Rieflin from R.E.M. I'd already started "We Are The Humans" and "Sugar Rush" with him. That's experimental music but Simon and I were always drawn to each other because we just have this of rock style. And we live so close to each other that it became ridiculous that we weren't writing all the time. We're literally 30 miles apart So it started with a song called "Latex Messiah" and that came really quickly. At that period I was touring a show called "Vampires Rock", which was about classic rock and me having to wear a lot of PVC and have vampire teeth. So it was ingrained that we should be using that kind of cultural reference of these rock backgrounds that we both have It came so easily. I remember taking "Latex Messiah" back home and Robert heard it and he said "that's the best song I've ever heard". And he became so passionate about the whole project - SIMON: He did, yeah - TOYAH: But after that the rest of the songs happened really quickly. We had a lot fun over one summer and they just kind of ... bang bang bang bang PAUL: There's quite a lot of variety. It's not all rock because you've got some acoustic ballads like "Heal Ourselves" etc. Was it important to have a bit of variety in terms of the songs? SIMON: I thought if you're going to do an album then try and make it into a shape rather than just a random collection of songs. We did think about the way the tempos went and what lead into the next. It became quite a story lyrically from your point of view and it told lots of aspects of your life. Which makes sense so it gave it a shape - TOYAH: We sit a room and we see what happens and the room never lets us down. So usually you go to the piano or to the guitar and I say keep that, keep that, move onto this, move onto this and we cut and paste biologically, organically within the room. Then I take the track away, do the first draft of the lyric, come back and sing it to Simon and then we chip away at it That whole thing about light and shade within the style of the songs . . . Once you've done a rock song you don't really want to backtrack and do another rock song. You want to push forward and try moving it into a different genre so that's how those different elements and those cultural influences keep coming back into the music SIMON: The albums we grew up listening to - there were many more journeys originally and the creativity of the 70s artists was just fantastic. You'd sit and listen to a whole album as opposed to listening to half a stream for 12 seconds on an iPhone. It was a very different world. I used to love lying on the floor and just listening to these little journeys and taking in the songs TOYAH: The 70s was just amazing! Lyrically I'm always trying to invert things as well. "Heal Ourselves" came at a time when there was so much hatred. With all the stories - we're always fed bad news the whole time. No one ever prints good news. It doesn't make money, it doesn't terrify people Then "Bad Man" came out of the extraordinary amount of men I know who were demonised by divorce. I thought well, these aren't bad men and they're being crippled through the divorce laws. When we wrote "Bad Man" both Simon and I agreed that we wanted to write something that gave the man the pedestal back A lot of the time when we're writing these things we're both in tears because we're quite passionate about the subject matter. But I'm always trying to invert the lyric and tip it

PAUL: How much do you think about commerciality and whether you might have a hit or radio play of a certain song? Is that in your mind at all when you're - TOYAH: Commerciality! I go to sleep with commerciality in my mind! But what does a hit mean? I think as long as you're creative that's all that matters SIMON: Trevor Horn taught me a lot. He was all about focus and getting things as clean and clear as possible. I like the idea that people would like it. You write because you want to write and stuff comes out but once it's out then I subscribe to the school of trying to make it as focused and accessible as possible. If that's commerciality I guess that's commerciality TOYAH: And also, it's my energy as well, isn't it? I'm not a ballad singer, I'm never ever going to be like Mariah Carey or Celine Dion. What I do is high energy rock. I think the commerciality sits very well within the persona of Toyah and that's what we end up with. We've never really tried to subdue that. There's no point trying to make me super mature SIMON: The clothes have to fit the artist (Toyah laughs) PAUL: When you first released the album did it get a full release or did it struggle to find an audience? TOYAH: (amused) What do you mean? I play to sellout audiences! My audience are a live audience. I do four shows a week right through the year. We've had pop-up record shops at every venue so I've been performing these songs since 2007. My audiences just lap them up but my audience is like a club. It's an exclusive club I'm not mainstream, I'm not accepted mainstream. I manage myself, I don't have a mainstream manager. I don't have a mainstream promoter. I do absolutely everything and I do non-stop sellout shows I actually think the ethos of my life is the perfection of punk because I've done it all on my own. It's back-breaking and the fans just keep coming, keep coming and keep coming. Last week I did Halifax. I didn't realise I was doing a student union venue. People were begging to get in! Just queues round the block. So these are the people who made the album possible This is why we got together and we were writing. Because the audiences are there and they're big and they're coming all the time. I'm just dealing with non-stop gig bookings. We would just love someone to scoop us up and say "right, Toyah, you can just get on and sing the songs, I'll do the business for you". So you ask what was the audience in 2007? Exactly the same audience as today. The people that are just outside the venue queuing to get in SIMON: I think what's different though is the moment because ten years ago to be an older artist you still couldn't get arrested (?) at radio but now it's a completely different story. I think Toyah as an independent woman really hits the zeitgeist now. There's people that are 60 and 50, whatever, (they) are still young and thinking "hang on a minute, I don't want to be old" and they still listen to the same music and that's just come out It's in everything, it's in the culture now. So I think timing wise it's a better time to be listened to. You've interviewed loads of bands. There's a moment and it's very interesting - TOYAH: I think age is concept. OK yeah, physically we get older but this whole concept of everything ebbing away it's just not real to us. I feel just as connected now as I did 40 years ago. There's so much to do and when I'm not doing this with Simon I'm co-producing movies, I have to write things for books all the time It's not slowing down at all. I think the whole message within this album is you are still you. You don't just fade away. I think that whole concept of just fading away isn't real any more

PAUL: Can you explain a little bit about the approach to the new edition. It's two CD's, there's some new tracks on there. You've gone back to every track on the album and you've done some work on it - SIMON: Yeah, essentially when we did the original album I programmed all the drums so we've got real drums on this, which made a huge difference. Clive Edwards, who's off UFO, played the drums. It's just given the whole thing an energy that it needed that we didn't have the first time around. Lot of the performances are still the same. We've added some keyboards and stuff that weren't there just to widen things out a bit What was quite amazing to me is when you put the real drums on and a real rhythm section on all those performances game up even more energetically than they did in the originals. The new songs are a collection of various things we've done in the last couple of years "Dance In The Hurricane", a track we really love is brand new this year. It all sounds fresh to me. In the intervening years I used to listen to it and think this album is still alive and we're just thrilled that we get an opportunity to put it out now TOYAH: Things like "Our Hearts Still Beat" – I was in a movie called "In Extremis" and they needed an outro song and "I said I can do it, I can do it!" Simon and I both recently lost our parents - well, you've still got your mum - SIMON: Yeah, she's still around - TOYAH: The whole premise of "In Extremis" is losing a child. We went to the studio . . . How many weeks did we spent crying? SIMON: It was pretty moving, actually - TOYAH: We could not get a vocal down because we sang it together . . . We were just sobbing for about four weeks - SIMON: Not because it was that bad you understand? (chuckles) TOYAH: No, it was just so raw. "Who Let The Beast Out" . . . I was involved with a musical in London with Scoop Theatre based on "Crime and Punishment" and they used 13 of our songs. They needed an extra song within a week's notice so "Who Let The Beast Out" was for that musical. Everything has come about through request . . . PAUL: "Dance In The Hurricane" leads the new version of the album. I was very interested in that track, because lyrically, Toyah, you pay tribute to your parents - TOYAH: That's another song that took a month to record because we're just crying all the way through it. In fact Simon, you kept the very first vocal when I burst into tears on “I held your little soul” . . . I couldn't do it without falling on the floor My relationship with my parents was not . . . normal. My mother was particularly brutal but I wanted to pay respect to her. That whole thing of her calling from the ether saying it's all going to be OK was really important to me but boy it was hard, wasn't it? (laughs) SIMON: Yeah. But these are very real things around this age, you start losing your folks. It's something your child self thinks is never going to happen. But it happens and it's moving - TOYAH: And they're still with you - SIMON: Yeah, they are - TOYAH: They're very much with you - SIMON: You hear them. You do hear their voices. Oh, must give dad a ring and you think oh, you can't actually . . .

PAUL: And lyrically it celebrates an idea of being an individual, be the person you want to be and don't let someone else write your rules. I don't get the sense of people wanting to be individuals any more. People want to be the same TOYAH: (sighs) We're in the world of impersonators. It's terrifying. Individuality is so important. If we don't have individuality we don't have culture to a certain extent. I think one of the most important messages in the album and in the song "Sensational" is that you have a right to be individual. You are beautiful no matter what age, what body shape, whether you are an ideal of beauty or the ideal of what the world calls ugly – you're still absolutely effing sensational! The whole idea of this album is we are unique! We are miraculous! We're floating on a rock in the middle of universe we don't know. We are utterly miraculous. And that individuality is so important in the album. Of giving of voice to those who feel they're voiceless and invisible PAUL: How hard was it work out a new running order because you've got these new songs (Simon and Toyah laugh) "Our Hearts Still Beat" is an obvious one to end with. It must've been tricky to slot everything in – SIMON: It was but once it was decided that "Hurricane" should be the thing that opens the first act of "In The Court Of The Crimson Queen" and it made sense. Keep the energy up but don't put all the slow ones at the end was what I had in my head so . . . TOYAH: It's also difficult because we've got a song called "Legacy", which we both really love and it's so un-Toyah. We wanted to place it further forward and we thought no, we can't do it - SIMON: But it's definitely an ending of a side - TOYAH: It's an phenomenal song! So we had a few problems like that . . . PAUL: Are you quite excited to be releasing it on vinyl, Toyah? TOYAH: Yeah. Very excited. I love the fact that we're doing vinyl. It's what I fell in love with music as a child but also the whole imagery. We've been working on really specific imagery that's tied together right through the whole of the project. So we're excited that people are going to get a piece of vinyl that is spectacularly good looking. So that's very exciting Vinyl sounds deeper, it's richer, it's got so much more to it. And knowing then that that the double CD is coming and that's going to be quite a fantasy journey. I think we've got a 23 page booklet in it so passionately involved with that. We're very happy SIMON: It's great PAUL: And the artwork has been updated, hasn't it? TOYAH: More than updated. It's completely new. We shot the video yesterday SIMON: Yeah, it's looking good TOYAH: And it's surprisingly beautiful coming from two old farts SIMON: Make-up took a long time though TOYAH: I think people are going to be pleasantly surprised PAUL: Will this be the last Toyah album because there's a lot of conversation about do albums even have a place in the world? Sheryl Crow came out recently and said she's probably not going to bother making another album because she can't find the people who've got the attention span to sit and listen to a whole album -

TOYAH: That's such an intelligent comment. Because she's right. We've tried taking on board younger people. Our attention span is really good and it's challenging. It's very challenging. I think it's cruel to give up on (albums) that people no longer have that . . . SIMON: I think these things are cyclical. I think we are dealing with a generation who are engorged with stuff so they stop thinking and there will be a reaction to that. There will be some sort of new punk Something will happen to them and some of them will wake up and say "I'm not having this any more. I want to do something, start making noise" or renouncing technology so I'm sure it will come back TOYAH: You ask if this is the last Toyah album? I think you and I will keep writing - SIMON: I'm sure, yeah TOYAH: We do an album because we want to do an album. Not because it's financially rewarding. It's an act of communicating with the world. It's something we feel driven to do. Will it be the last album? That I don't know. I think that's a really really poignant question. Thanks to technology there's an awful lot of stuff to do these days so are albums going to become something quaint and antiquated? Let's see PAUL: Did you consider doing a new album because you had four tracks. You were probably half way to creating a whole new record. Did you consider doing that at any point? TOYAH: The turning point was on my birthday last year. I was 60 on the May the 18th and the fans put a track called "Telepathic Lover" at number one in the Amazon download chart. We were contacted and told that could not have radio play without an album deal. We now have the album deal and we're giving it back to the fans and we're very happy to do that. We're already itching to write the next album - SIMON: Yeah, absolutely. But because these songs never got the exposure I felt they should've had those years ago, to actually have a chance to get them out there. They still sound so alive to me that it made sense to do that and add the bits that we got since. It can take rather a long time to make records (laughs) By the time you've got twelve or ten good new songs - TOYAH: I think it also takes a long time - SIMON: When you're 70 - TOYAH: When you're virtually the head of PRS (rights management for musical works) as well - SIMON: There are other distractions - TOYAH: There's huge distractions, yeah . . . PAUL: What are your plans for the next year? You've got the new record coming out, you're always touring. Are you doing anything special? TOYAH: Yeah, I've got two tours this year. The first tour kicks off in Scotland in April. I think we have almost 130 dates in this year so it's very busy. Then we round it off with the autumn dates at the end of October. And then I think there might be quite a big announcement for December but that's jumping the gun a bit PAUL: I'm fascinated by your career because you always have two things on the go. You've had he acting and the music. How has that worked for you? TOYAH: I have four movies about to be green-lit and if they all happen together I'm up shit creek. I'm also co-producing a movie about the albino community in Africa so that's taking up quite a lot of time connecting things together. It's going to be an interesting year PAUL: Where does all this energy come from because you always seem to be involved in so many things. What stops you from putting your feet up?

TOYAH: I'm not interested in putting my feet up. I love my work. I've always loved my work and I've been very much married to the work. I feel passionate as a woman. The kind of thing of saying "hello, I'm still here". I mean it's unbelievable working as a woman in this industry. It's still happily sexist and misogynist It's still going on. But it's what I do, it's what I've always intended to do. I am a performer and I love doing it. If I put my foot up I'd see that as not only as failure but as rejection as well. It's just not what I'm going to do PAUL: It's interesting you're saying about the industry. Film, music, TV and all the rest of it. Have they been any different in terms of how you're treated as a woman? TOYAH: Hugely different! I can give you two examples and they're both extreme. I was sent by my first agent, who was slightly dodgy, a male agent, to audition for Russ Meyer's "Vixens 2". I was 18 years old and had no idea that it was a soft porn movie. I turned up for the meeting and wondered why I was asked to take my top off. I walked out of that one So that was the beginning of my career and I stuck by those principles. I didn't sleep with directors, I didn't sleep on the casting couch. I just thought no! This is wrong. Within two years I was working with Katharine Hepburn. A Hollywood icon who loved me as a woman and I loved her as a woman. And no one had to do anything that we didn't want to do Then after that I ended up in "Quadrophenia". Let's just jump forward 40 years to today where actually I'm embraced by an industry that sees me as someone of quality, someone of talent and understands that I have a burning will to make films I love and to make music I love That is the difference 40 years makes. But it also really helps being older today. I actually think it's beneficial because no one treats you the way that an 18 year old girl was treated 40 years ago in auditions PAUL: I read a comment where you said you had a desire for fame, you wanted to be famous. What advice would you give to young women today? It isn't looked upon as a positive thing anymore, wanting fame for fame's sake - TOYAH: It's about celebrity now. I would say to young people be true to yourself because we all have something utterly unique in ourselves. Don't be an imitator or an impersonator. Find your uniqueness Also live a creative life and realise when you're picking that phone up and pouting at it and tweeting it . . . you're an imitator. We have to create a culture of the future and that can only be done by knowing who you are as an individual. Would you agree? SIMON: I think I would actually. It's all about having something to say. Not everybody has something to say and a lot of people are quite happy to just ago along with the ebb and flow of life. But the sort of false celebrity has created this state which is vacuous and it's meaningless and that's why so many people are freaking out online because they don't really have anything to say You see them on the tube, people pouting . . . I'm on the tube and you think God! With the eye brows and all that stuff . . . anyway. Don't get me started about that! But in real terms, you have to have something to say - TOYAH: When you look at the rise of bands like 1975. What they're doing is phenomenal. Their videos are staggering! And then you go back to the grunge period of the 90s . . . No one would dream of being vacuous! So I think the talent and the brilliance is out there and you just have to search for it. If you look at it through celebrity it's quite hard to find but there are astonishing things going on out there. The talent is there and it's not necessarily about commercialism PAUL: What do you think of the way the music industry is now because on the face of it there's more opportunity, it's easier to publish your own -

TOYAH: There's huge opportunity! PAUL: But on the other hand it's harder to make a career selling albums. Is that a bit depressing - TOYAH: No! This is what we've been doing for decades! SIMON: I think it's still evolving. Music industry is traditionally very slow to change. Streaming started and they tried to force you to buy CD's. If everyone just got with it everyone would still be paying four or five quid for CD and it would be economically impossible. It had to go through that whole period of change and streaming is just starting to pay - a bit. It's coming up, it's not all the way there but it's certainly up And again it just comes down to boredom. I think it will be possible to make albums because it will go back to wanting to be a part of something, to listen to a journey rather than just snippets. Hamburgers get boring after a while. It's a quick fix and as I said it's a cyclical thing. So I do think there's great hope for the music business. It just has to adapt and it's slowly starting to get it together But it has to realise the models have got to be different. You have to include the artist more. The artists can't just be employees which is what they were before. It's a different thing. People are more clued-up these days. They understand what they're doing so they don't want to give 90% of their royalties away. They'd like to keep a bit more, please. It's fair enough so everybody's got to find a new way of doing (it) . . . It's coming. There's some great independents TOYAH: And it's immense fun - SIMON: It is, yeah. It can be - TOYAH: I think you have to stay on top of the business side. I was saying to Simon driving here that I played Halifax the other day, which was a blinding gig, drove home, worked in the office til 7 in the morning, then drove to Heathrow It takes dedication and focus and as well as making the albums and selling the albums. You book the shows, you get the musicians to the shows, you feed the musicians, you get them hotels. It's an industry and it's not surface at all There's incredible depth to this industry. I have never learned so much as working with the really big stars from Katharine Hepburn to Laurence Olivier to Roger Daltrey . . . You see how hard they work and that's the level you don't see. So your social media is up there and then as you go lower down there's this incredible industry of dedication. And it's fun. It's absolutely precious and brilliant and that's why we do it PAUL: What ambitions do you have left, Toyah? I saw online that you're learning piano at the moment - TOYAH: I love it! In my rucksack down there is my music theory books (laughs) PAUL: Tell me why you've started doing that? TOYAH: I think I have to start of by saying that not only am I severely dyslexic but I'm dyspraxic, which means that as a musician I've never been able to separate my hands. Even getting a message to one hand has been quite remarkably difficult So I started my piano lessons this year because the one thing I left school with, 45 years ago, was music theory. I have astonishing memory. I'm almost savant with my memory. I can tell you what I wore on this day ten years ago I have that kind of memory but controlling everything is very difficult. I am now able to play piano, read the music, split my hands and it almost means more to me than all the hit singles! Because every day I sit down at the piano and play and that to me is my greatest achievement to date I know it sounds really stupid but I wasn't allowed to have piano lessons as a child. I believe that everyone in school should have piano lessons because there is just something about the way you place your thoughts that helps you deal with the every day PAUL: And just finally to finish off . . . You've got this great back catalogue of music. Do you plan to re-issue the old albums? Create box sets? TOYAH: Yeah, there's box sets planned for this year. I own half the catalogue now and Simon and I own our stuff so that makes it possible. I think for the early stuff . . . I haven't mentioned this to you but (jokingly) we're going to have to go to the studio and re-record the first four albums SIMON: OK, we can do that on Tuesday TOYAH: Which is not a bad thing. Yeah, we'll do it on Tuesday. But yes, there's a lot of plans. Because there's a huge audience out there that want our stuff. Right from 78' to today. I'm very very grateful for that and it makes our lives very fulfilled and fun Watch the interview HERE In The Court Of The Crimson Queen: SDE Official Toyah STREAM/BUY the album Apple Music Amazon Spotify BUY the CD Amazon

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nettypetty · 7 years ago

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🎤...he knows if you've been bad or good... Hey guys n dolls, it's almost here and I've been really, really good😇...I can't wait!

But do you know what will make me extra happy? Not to be asked if I'm ready for Christmas😕 Ready? For what? It's no wonder some get stressed about it. It's just another day but with decorations or brightly lit houses, when we don't feel guilty about having that extra piece of cake😃.

So I'm thinking, forget the witches n evil of halloween, and start putting up our lights and decorations by end of October. YESSS! Oh I wish it could be Christmas everyday😁.

O-k, moving on...

So am I ready? Of course, I'm ready for the nice chocolates I know I'll get...didn't see them go in town yet, have they🤔. I'm ready for large, cold glasses of sorrell. I'm ready for the games with yours truly as games mistress hehee. I'm ready for long hours under my blanket, wearing woolley socks and warm, comfy clothes, in front of my tv catching up on my recordings with loads of tasty treats to eat (🙊 am going to complain in new year that my training programme isn't working and that my bodycon dress doesn't fit very well hehee).

Yes, I'm ready cos I went to The Mall (or mal as they say but shopping centre to us clever folks) recently to pick up a few things. I paid for parking when I was done and got chip coin to use at exit barrier. Fast forward...in that split second when the barrier didn't lift, I found and tried to press an imaginary button😯, I thought of the hassle to reverse with the line of traffic behind me and at that same time, I realised that I hadn't inserted the chip coin cos it was still in my pocket 🙈 .

That made me chuckle all the way home and I imagined my daughter shaking her head and laughing at me, something my family does all the time and I have no choice but to join in!

So, yes, I'm ready... ready for laughter and more family time.

And that's what Christmas means to me (I feel a song coming on😀). It's not about the decorations (that only creates atmosphere/ ambience) or gifts, it's about another chance to spend time with people I care about, the family and friends with whom I sometimes disagree, my cheerleaders who accept the difficult and stubborn me, the irrational me with all my quirks and moods, people who accept me in spite of and are always there for me.

Of course, I recognise that I'm among the fortunate to have such support because I read recently that loneliness is deadlier than obesity😱 This actually makes me think of a young woman whom I see from time to time if I pop into one of the 'uppity' supermarkets/food shops. She also makes me wonder why people should try to talk to me when I think I'm so busy!

After my first encounter, I decided to give her some space. Uh oh, here I am, again, at her til a couple trips after...that wouldn't have happened if I was paying attention!

I responded "hi" to her "hi" but why didn't I stop there and put a scowl on my face! Nooo, not little Miss Chatterbox! I had to ask, not one but, two questions and off she went😰. And even with my shopping paid for and packed, I didn't know how to cut her short😢.

Her voice is so lonely, she seems sad and appears to not have any personality at all.

I left feeling thankful but couldn't help but wonder about her circumstances and if she were truly lonely. And I thought of others in similar situations for whatever reason at this time of year.

I think that while this time of year can be festive and full of merriment, it can sometimes be anxious and stressful with all its obligations, a horrible and lonely time for others.

Christmas can also be a time to heal rifts, mend fences, reunite us with those we care about or a time to find or rekindle your Christmas spirit.

How ever you choose to spend it, I wish for you a season filled with peace and lots of happiness.

🎤....the little gift you give on Christmas day will not bring back the ones you've turned away...the secret of Christmas is not the things you do at Christmastime but the Christmas things you do all year through.

#favouritetimeofyear #ChristmasTime #happytime #familytime #christmaspudding #eatandbemerry

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hammondcast · 8 years ago

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Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up At The Rainiest NAMM Show Since 1992!

#WATCHMOVIE HERE: Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up At The Rainiest NAMM Show Since 1992! Jon's archive https://archive.org/details/JonHammondShowPublicAccessTVBroadcast0211NAMMShowWrapUpAtTheRainiestNAMMShowSince1992 Anaheim California -- Wrapped up now at the rainiest NAMM Show I can remember since 1992, when Katella Avenue turned in to a little river - in those days we stayed 5 guys to a room in a 'suite' at the Heidi Inn motel which was located directly across the street from the original round Anaheim Convention Center before the posh new digs were built - good times and of course we had the best parking spot, all we had to do was cross Katella and we were there! - Jon Hammond https://vimeo.com/202617378 Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up Photo by Lawrence Gay - Drummer Heinz Lichius from Hamburg Germany and Jon Hammond seated on the rained out CenterStage presented by Pioneer DJ Jon Hammond reminiscing about past NAMM Shows in the NAMM Oral History Program Anaheim Caifornia -- Jon Hammond Show Public Access TV Broadcast 02 11 NAMM Show Wrap Up at the rainiest NAMM Show since 1992! - This week's show for MNN TV opens up with the annual NAMM Industry Tribute 2017 Memoriam Event from Jon Hammond's camera - annual event and archive from NAMM Show Historian Dan Del Fiorentino - this year many personal friends honored - this clip includes additional music from Jon Hammond "Jennifer's Song" for rights reasons, keep the Spirit! R.I.P. Lutz Büchner, Gregg Gregory Gronowski, Keith Emerson, Dan Hicks, Paul Kantner, Toots Thielemans, Rob Wasserman, Prince, Maurice White, Buckwheat Zydeco and many more "The NAMM Community will never forget you." *actual clip LINK: https://www.namm.org/library/oral-history/namm-memoriam-industry-tribute-2017 *Note: This always happens on the first evening of the Winter NAMM Show - this year it was on Thursday January 19th at 5:30PM - moved inside due to heavy weather! LIST ACCORDING TO JON HAMMOND: John Bellone, Leo Beranek, Bruce Bergh, Paul Bierley, Bobby Blackford, Dick Bridgeman, Ernie Briefel, Jim Broadus, Don Buchla, Lutz Büchner, Prince Buster, Al Caiola, Toby Capalbo, Nicki Carano, Rob Carey, Phil Chess, Gary Christensen, Buddy Church, Barrett Clark, Guy Clark, Tim Coffman, Leonard Cohen, Rosemarie and Ed Coles, Bob Cranshaw, Johnny Craviotto, William Dettman, Dick DiCenso, John Edmondson, Sam Eisenman, Keith Emerson, Frank Fendorf, Chuck Flores, Orrin Foslien, Peter Fountain, Cassie Frantz, Carla Frederick, Glenn Frey, Bob Furst, Juan Gabriel, Ben Germain, James Glanville, Roberta Gottschalk, Buddy Greco, Christina Grimmie, Gregg Gronowski, Merle Haggard, Joe Halloran, Bill Harris, Nicholas Harris, Yasuji Hayashi, Glenn Hefner, Mary Henkin, Mark Herman, Hoot Hester, Randy Hewiston, Joe Hibbs, Dan Hicks, Charles Hill, Bobby Hutcherson, Bill Irwin, Wayne Jackson, James Jamerson Jr., OJB Jezreel, Steven Johnson, Luke Johnston, Ziggy Kanstul, Paul Kantner, Dick Knaub, Gladys Krenek, Rick Kylan, Greg Lake, Larry Larson, Francois LeDuc, William Locke, John D. Loudermilk, George Lukas, Lonnie Mack, Sir George Martin, Jack Maxson, John McCrea, Henry Cullough, Owen McPeek, Mo Meloy-Pameteer, Nick Menza, Al Moffatt, Chips Woman, Paul Monachino, Scotty Moore, Alphonse Mouzon, Jerry Muenchow, Robert Nagel, Richard Norris, Milt Okun, Pauline Oliveros, Harvey Olsen, George Opperman, John O’Sullivan, John Otte, Robert Paiste, Bob Parker, Sylvia Perry, Csaba Petocz, Richie Pidanick, Bill Price, Prince, Anthony Pulcini, Curtis Purdy, Cora Rather, Al Realo, Jack Ripperger, Vale Robinson, Leon Russell, Helen Saied, Stanley Schireson, Zenon Schoepe, Hugo Schreiber, Dorothy Schwartz, William Scotti, Dan Sheehan, Shinichi Shimada, Rose Shure, Tom Size, Dan Smith, Vern Smith, Sid Smither, Jerry Snyder, Ralph Stanley, Chris Stone, Rod Temperton, Toots Thielemans, Victor Tibaldeo Sr., Isao Tomita, Dana Tracy, Martin Travis, Ed Uribe, Rudy Van Gelder, Vincent van Haaff, Bobby Vee, Maxine Volley, Cathy Wagner, Saul Walker, Nannette Ward, Rob Wasserman, Christopher Waters, Bob Wegher, Bobby Wellins, Maurice White, Monty Lee Wilkes, Tom Wilson, Duane “Pudgy” Wong, James Woolley, Bernie Worrell, Dolores Yaeger, Don Young, Buckwheat Zydeco (156) - according to Jon Hammond Producer Jon Hammond Audio/Visual sound, color Language English -- Next segment, the traditional NAMM Show Sunday Blues and Jazz Session with Jon Hammond and Friends in Hammond Organs stand 5104 and Suzuki Musical Instruments 5100 "Lydia's Tune" and Jon's Theme Song: "Late Rent" Musicians: Koei Tanaka chromatic harmonica, Joe Berger guitar, Chuggy Carter percussion, Jon Hammond at the Sk1 Hammond organ + bass - camera credit: Jesse Gay -- 3rd segment, very special Jon Hammond with the late great Joe Franklin at the microphone - Joe Franklin the legendary broadcaster wraps up this show from his offices on West 43rd Street kown as "Memory Lane" with Jon Hammond's long time theme song "Late Rent" - Jon Hammond Show is now in it's 34th year broadcasting on Manhattan Neighborhood Network MNN TV Community Channel 1, air time: 01:30 AM every late Friday night or early Saturday mornings EST and streaming worldwide aka HammondCast ©JON HAMMOND International http://www.HammondCast.com Photo by Lawrence Gay: John Riddle NAMM Trade Show Floor Manager and Jon Hammond LINK: https://www.namm.org/library/oral-history/john-riddle "John Riddle plays a vital role in the NAMM Trade Show and has for decades. His strong relationships with exhibiting companies is proof of his dedication for customer service when providing care for NAMM members, all the while ensuring that they adhere to the rules and regulations. Walking the show floor with John is an education of its own. He has been dedicated to the core values of NAMM in such a way and for so long it is hard to know which services NAMM always had and which ones John created for us to follow. " Attribution-Noncommercial-No Derivative Works 3.0 Jon Hammond Show, Public Access TV, NAMM Show Wrap Up, Anaheim California, Jazz, Blues, Soft News, Hammond Organ, Chromatic Harmonica, #NAMMShow #HammondOrgan

#reminiscing #1992 #rained #namm show #chromatic harmonica #hammond organ #blues #jazz #soft news

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ihearthillary · 8 years ago

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VEDANTAM: Fishbach and her colleague, Kaitlin Woolley, ran a series of experiments. They tested the effects of eating together and what happens when people either eat the same food, or when they eat different foods. In one of their experiments, they had volunteers play the role of a manager and a union representative.

The two had to agree on the hourly wage that management was willing to pay and that union members were to receive. Pairs of volunteers were sometimes given candy to eat together or sometimes given salty snacks. And sometimes, one of the volunteers was given one kind of food and the other was given the other kind of food. When the volunteers ate the same kinds of food, they reached agreement much more quickly than when one person ate the candy and the other person ate the salty food.

FISHBACH: It took them 3.6 rounds to reach an agreement when they're both eating sweets. When one person is eating salty food, like potato chips and pretzels and so on, while the other person is eating sweets, then it takes them on average 7.3 rounds of the game until they finally settle on their hourly wage.

GREENE: Shankar, I'm just feeling badly for, like, a vegetarian...

...VEDANTAM: ... The process might be largely unconscious. As Fishbach says, it might have to do with the role that food plays in shaping trust and cooperation. In another part of the study, David, the researchers had volunteers listen to someone offering a product testimonial. The person offering the testimonial was also eating something.When volunteers were given the same kind of food to eat, they were more likely to trust the information in the testimonial. So the bottom line is if you want to use food to build trust, if you want to cater food for a company event or a community meeting, don't just aim to eat together with other people, try to ensure you're eating the same food that everyone else is eating.

GREENE: So interesting. What's your favorite food, Shankar?

VEDANTAM: Unfortunately, I am a vegetarian.

GREENE: Oh, you - OK.

#food #social science #vegetarians

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lindseymcdonaldseyelashes · 3 months ago

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50 to 1 (2014)

#christian kane #50 to 1 #mark allen #skeet ulrich #chip woolley #leonard doc blach #william devane #calvin borel #the fact they got the real calvin borel is one of my favorite things about this movie #his joy and energy are the real deal

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uwmspeccoll · 8 years ago

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It’s Fine Press Friday!

Keeping with our recent Minnesota Center for Book Arts (MCBA) theme, today we present a collaborative production on Minnesota writer Bill Holm’s text, Playing Haydn for the Angel of Death, published in 1997. Limited to an edition of 171 copies, this publication includes a chapbook designed by Michael Lizama, a bi-fold list of artists with a pop-up Angel of Death designed and printed by Mary Jo Pauly, and a suite of visual interpretations by fifteen book artists/printers, all housed in a drop-spine box made by Wilber “Chip” Schilling. The text consists of fifteen paragraphs, and each paragraph is interpreted in a printed broadside designed, printed, signed, and numbered by different artists (view each image separately for the names of the contributing artists shown here).

The chapbook was designed under the direction of former MCBA Artistic Director Mary Jo Pauly, and was printed by Paulette Myers-Rich, Artist-in-Residence at the time, in hand-set Centaur and Arrighi types on Mohawk Vellum paper with the assistance of interns Yuri Arajs, Randy Johnson, and Regula Russelle. Myers-Rich and the interns bound the chapbooks in covers of Neenah Paper-GMUND Bier Papier.

#Fine Press Fridays #Minnesota Center for Book Arts #letterpress #Bill Holm #Mary Jo Pauly #Paulette Myers-Rich #Michael Lizama #Wilber “Chip” Schilling

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juniperandmagpie · 8 years ago

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HIKE+BREW July: Ho Chi Minh Trail + Karl Strauss Brewing

In honor of summertime and San Diego's fabulous beaches, we organized a group of 25 of San Diego's finest adventurers to head down Ho Chi Minh Trail to the infamous clothing-optional Black's Beach for this month's HIKE+BREW event.

We began the trail from Torrey Pine's Glider Port parking lot which is the main entrance down to Black's Beach, as well as the spot where gliders set off to descend the cliffs down to the beach.

After intros were exchanged, we headed south to a secret surfer's trail that connects to Ho Chi Minh. The "secret" trail is quite visible from the lot, but it isn't an official trail that you can find on the map. The actual trail head for Ho Chi Minh is also a viable starting point option, but it is set in a residential area without a lot of parking and is kinda hidden between homes.

The trail leading up to Ho Chi Minh is super dicey (which is what makes it fun). It winds through eroded cliff walls, creating neat little nooks and crannies to maneuver yourself through. Once you "butt-slide" down an eroded slope and cross a wooden plank jerry-rigged to serve as a bridge, you are then set on Ho Chi Minh trail and headed beach-ward.

Because of the erosion of sand stone (the reason for how most of San Diego's beaches drop off from cliffs), the Ho Chi Minh trail is an adventurer's mecca...

A sub-group of ours decided to up their adventure ante and navigate a deep narrow tunnel next to the main trail. Although it was a cool explorer's route, it unfortunately becomes impossible to continue as it drops off into the depths of the earth and narrows to a slim closure. Alas, they had to join us back on the beaten path.

Kids, don't try this at home unless you have spiderman strength and agility.

With a big group, this trail ends up taking a long time. Because it is so dicey and you have to be careful not to slip due to the erosion, long lines end up forming in the spots that require extra attention. There are 4 distinct area like this: the first "butt-slide" slope to narrow plank, the narrow eroded "cave," the round-about cliff shuffle, and lastly the descending rope climb to the beach:

The eroded sand stone "cave."

The round-about cliff shuffle traffic jam.

The descending rope climb down to the beach.

Once we all reconvened by the beach, we headed southward to the Mushroom House. Designed and built by Dale Naegle in the 60s, the Mushroom House was more or less a guest house on the ocean as an extension of a large beach-view property owned by Sam Bell (heir to General Mills-Bell Potato Chips). In order to transport his guests down to the house, a nifty tram was built to carry people from the cliff 300 feet above. The main property was demolished in the 90s, but the Mushroom House lives on, accessible only during low tide. Lucky for us, the tide was timed just long enough for us to gather by it.

The gang learning the Mushroom House history

The Mushroom House was designed to withstand high tides, earthquakes, rockslides and storms along the isolated portion of the beach. Because of how secluded the area is, the Mushroom House remains a secret to most San Diegans to this day. Although access is closed, it remains in good care by San Diego's old money entrepreneur Buzz Woolley.

From the mushroom house, we headed northward towards the nudist portion of the beach. We could have gone back up the Ho Chi Minh trail, but instead we took the super steep steps at the main entrance to Black's Beach 314 feet back up to the parking lot. The steep stair-climb was the most physically strenuous part of the hike (this trail is more about traversing the dicey trail than it is about climbing or elevation gain). Beat red from the stair master, we headed to Karl Strauss Brewery in La Jolla for our much deserved beers.

The brewery is more of a sit-down restaurant vibe and less of a communal bar feel. They have a full food menu in addition to their house brews. $7 flights curated from a set created for hops lovers, to a set of their best sellers, are the way to go. I think there was a general consensus for the love of the Follow the Sun Kolch for how light and refreshing it was. The Red Trolley Ale was also a favorite, and one of the beers Karl Strauss is most known for. The bartender was very generous making sure we got extra samples of some of their other unique beers, including the Wreck Alley Imperial Stout that was very rich in chocolate, coffee, and a bit of coconut.

TRAIL TIPS:

Trail is a little over 4 miles round trip starting from the Torrey Pines Glider Port Parking lot, headed down Ho Chi Minh trail, over to Mushroom House, and looping back down the beach back up the main stairs to the lot. We recommend this route especially because of the parking accessibility.

The trail is not physically challenging from the standpoint of climbing and elevation gain, but it is challenging traversing the erosion.

Since you are headed down to the beach 300 feet below the cliffs, be prepared to make the steep stair climb back up (which is about 30 floors).

Wear proper shoes. Make sure they are grippy since the trail is constantly eroding and you don't want to slip.

Don't be afraid to get dirty on this trail. Parts of it are just easier if you slide down on your butt low and slow.

Try to go in smaller groups to avoid creating traffic jams on the trail.

Time your trail with the tide so you can make it to the Mushroom House when tide is low.

Be prepared to see nudity when you head back north on the beach. Black's Beach is actually one of the oldest and largest clothing-optional beaches in the country and was one of the very first nudist beaches in America in the 70s.

Don't bring Rover unless you plan to only stay on the south end of the beach (dogs aren't allowed on the north end of the beach where the parking lot is).

There are porta-johns at the parking lot. Bring tons of sunscreen and water, be safe and have fun!

Thanks for joining us for HIKE+BREW and we hope to see you all out there with us next month!

#hikeandbrew #hike and brew #hike #hiking #nature hikes #beach hike #san diego #hikers

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