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giovedì 24 dicembre 2009

Kudu - "Bar Star"

Kudu is a great and interesting band from Brooklyn, NYC. In 2005 they released Bar Star, toghether with the amazing following super8 videoclip...

This song can be considered as a tribute to Sheila E, best known for her collaboration with Prince.
Kudu's singer says the phrase "Love Bizarre" in the first bridge which is also a Sheila E song, and the video reminds me "The Glamorous Life" Sheila E.'s video, from which I think they sampled the intro synth part...

mercoledì 23 dicembre 2009

Uffie - "Pop the glock"

She's young, she's sooooo sexy.... she's Uffie!
She said she was Ready to f*ck and, sooooooon got pregnant! WoOoOoOoOoW!

Let's talk about her first single Pop the glock.

It was first released in 2006 on Ed Banger Records, produced by Mr.Oizo and Feadz, her boyfriend at that time.

On october 2009 it was re-released as an EP, as a promotional release for her upcoming album Sex Dreams and Denim Jeans that will be out in early 2010.
A music video was released on October 3, 2009 and was directed by Nathalie Canguilhem.

This song samples the intro drum riff and quote most part of lyrics and flow of Top Billin' by Audio Two

Her latest single, "MC's Can Kiss" was leaked onto the internet on December 12, 2009 and will be officially released on February 1, 2010.

L-VIS 1990 - "Come Togheter"

"L-Vis 1990, a.k.a. James Connolly, is a Brighton-based renaissance man who turns his hand to graphic design and music videos for Riton and Van Helden as well as his thumping beats. Despite leaving behind his breaks background, L-Vis 1990 has come full circle and nods in that direction on more than one occasion.

Influenced by pretty much everything with a beat in club land, from Europe to the US and drum & bass to electro, L-Vis 1990 has coaxed together the best bits to create some wicked dance music: in the true sense of the word.

Rather cheekily, L-Vis 1990 held the official funeral of “new rave” at his Brighton club night, So Loud, last summer when it was still riding high in the mainstream press. As he recalls: "We painted a giant banner with the words "New Rave R.I.P" written in blood. I think that was the turning point for me, the return of bass". He has brought his self-titled “hyper bass” to save us all from suffocating in the all-consuming attack from the Ed Banger mafia."

(via DataTransmission)

In 2009 he released different white labels and EPs, such as United Groove, published on Mad Decent label.

United Groove Ep contains "Come together":

This song is a re-work of "Come together" by B.A.R. feat. Roxy a big 90s italodance project.

If you liked the "hyper bass sound" check out the L-Vis Dubplates Mix 09 and also the "Compass/Zahonda" EP.

It was released in October 2009 on Sound Pellegrino, a brand new house and techno label run by Orgasmic and Tekilatex.

venerdì 18 dicembre 2009

Bombaman - "Exia"

Matt Carl aka Bombaman is a Canadian Dubstep producer and one half of dubstep duo Loetech.

On June he released the Face Down EP on ESP Records, an italian record label dedicated to electronic dance music, based in Milan.

This Ep contains Exia a samshing hit featured also on Crookers WMIG mix.

This is the new school Techstep madness!

This song contains a sample taken from "Face Down Ass Up" by 2 Live Crew.

martedì 1 dicembre 2009

3 is a Crowd - " What Is A DJ? "

3 is a Crowd are a dj and producers trio from Milan. They belong to the new electro italian scene, and together with Crookers, Congorock and His Majesty Andre they're burning down dancefloors all over the world!

What's is a DJ? has been around since 2008 and we found it in different podcasts and live sets. The official release was signed on March 2009 with Mental Groove Records.

The intro part contains a vocal sample of What Is a D.J. If He Can't Scratch by Egyptian Lover (1984)

We also enjoy the jazz part at 1:22 but we searched a looooooooooot on blogs and forum without answers...
Now we got it! We use Logic for mixes and music production, and, scrolling the loop library, we found a loop called: 44th Street Long (into the jazz loop section). That's it!

3 is a Crowd did also a lot of remixes such as:
- Congorock - "Exodus (3IAC Back To Home Mix)"
- Useless Wooden Toys - "Fuckin' Business (3 Is A Crowd Columbia Mix)"
- Stereoheroes - "Washout (3 Is A Crowd Rmx) [Crux]"

Meanwhile they released different tracks, and they've signed a brand new EP that will be out on La Valigetta records label.

Stay tuned!

venerdì 20 novembre 2009

Titan - "Bruxism Groove"

It's the return of the fat electro funk sound!
Italy strikes again, thanks to Titan and La Valigetta, an indie-label that has been producing some of the greatest italian artists this year!

Titan is a young and talented artist from the italian region of Abruzzo.
About a year ago, he released his first track, working on an old electro italo-disco song, chopping and rearranging the samples on his laptop. He then started to promote his track on web, music blogs and music labels.

La Valigetta, is one of the most interesting italian indie-label of the year. It was started two years ago by Allo and Coojo, two guys with an hip hop/electro/indie/funk background. Today they're producing artists like Useless Wooden Toys, Blatta & Inesha, 3 is a Crowd, and in 2010 they will distribute the italian release of Rifoki project (Bob Rifo & Steve Aoki) .

Titan's met Allo and his label; they listened and enjoyed the track, then edited, remastered the song and released it as "Bruxism Groove".

And that's what it sound like:

This song contains a long music sample taken from Go Away Little Girl by Easy Going, an 80's electro funk italian gay duo, named after a famous club in Rome and produced by Claudio Simonetti e Giancarlo Meo.

Check out this interview, in which Allo talks about his personal experience as a producer within a so called new electro scene.

In the beginning there was Titan, then A-trak and Van Helden try to release the Duck Sauce project...and the rest is history!

sabato 14 novembre 2009

Lady Gaga - "Bad Romance"

This is a super crappy post about a new song. Let's see what happen if I'll sing:

Rah-rah-ah-ah-ah-ah! Roma-roma-mamaa! Ga-ga-ooh-la-la! Want your bad romance..."

Ok, I think you know it, because it's an heavy rotation on every radio in these days. This song is "Bad Romance" by Lady Gaga.

You know what? It's a pop song sample based!
In fact, if you listen it you can for sure recognize pieces from one of the most sampled dutch song: Dominator by Human Resource.

This song overruled the dutch clubs in 1991 and even made the top-10 of the dutch chart . In 1992 it was a massive worldwide club hit. Written, produced, arranged and programmed by Johan van Beek and Robert Mahu.

Warp by The Bloody Beetroots ft. Steve Aoki, can be considered a tribute to that amazing screaming synth! Love the way they use it and reverse it through the end of the song.

giovedì 29 ottobre 2009

Fake Blood - "I Think I Like It"

"I think I like I think I like I think I like it like it Liiiiiiiiiii...of you of you of you all my life...."

Fake Blood did it again! I Think I like it! This song is amazing! Crookers used it to open their 2nd "animals" micromix...check it!
Of course it's a sample-based track!

Sersjee, a dutch user, identified and posted the original track sampled and re-worked by Fake Blood in his "I Think I Like it" version, appeared on Fix Your Accent EP, relased in August 2009!

It's a 1979 classic disco track, called "In the heat of a disco night" by Arabesque.

Please, show some love!

venerdì 16 ottobre 2009

Duck Sauce - "aNYway"

I got some brothers for you who are gonna put a hoogie in your boogie, the hunk in your funk, they are fingerlickin' good ya all about it...for Duck Sauce!...

Hey men! What's up! Duck Sauce is the brand new project of A-Trak and Armand Van Helden, two of the most amazing dj masterz. aNYway is their new single: it's soooooo funky and it's going to be out on october the 26th on Fool's Gold label!

Check it out!

Well ok, this song has a great funk - style, and of course, it's all about sample! it's a sort of Final Edition - No Limit / I Can Do It (Anyway You Want) re-edit.

This is a another video with A-Trak and Armand talking about their project!

mercoledì 30 settembre 2009

Pon De Floor - BigBamboo RMX

Hello everyone!
Working late at night I've just produced my second attempt to be a kind of dj!

Pon De Floor has been a Major Lazer massive club hit all over the world this summer.
I've tried to make it a little more fat and naughty!
This is all about vocals and squealin' synth sound! Check it out!
And What about the BigBamboo? Well, can't you feel the amazing carribean power through your ears? lol

You can DOWNLOAD PonDaFloor_BigBambooRMX from here! (right click and save)

And don't foget to vote my remix on Major Lazer Contest Page

lunedì 21 settembre 2009

L'ormai noto, e anche un pò vecchiotto primo Minimix di Smple It's a Sample, parteciperà al concorso invernale di Pacemaker!
Vota GiveMeSomeNewS*Hit MiniMix

giovedì 3 settembre 2009

Calvin Harris - "Colours"

Calvin Harris is at the top of charts with his new album Ready for the weekend, and all its singles such as Dance wiv Me, I'm not alone and the latest Flashback.

So let's step back in 2007, with his debut album I created Disco, a gold-selling and must have record, with such good hit singles like Acceptable in the 80's.
This album contains also a song called Colours.

For this song Calvin Harris sampled the synth part of Fade to Grey by Visage.

Sorry for the video version, but the official video couldn't be embedded!

Alessandro Parisi - Jorden

Hello everyone!

Alessandro Parisi a.k.a. Dr.Nash from the italian electro duo DMT Synth released his brand new personal project few days ago.

It's called Jorden and it's a concept album, an amazing 30 minutes non stop track, ranging over space-synth, italo-disco, acid and downtempo. It's the italian answer to long epic tracks as the four part of Planisphere by Justice.

It's in free download on his page and you can also download it from here!

giovedì 6 agosto 2009

BUGGEDOut! presenta Erol Alkan @ Circolo Magnolia

It's summertime, let's party, then!

BUGGEDOut! it's proud to present Erol Alkan dj set live tomorrow night at Circolo Magnolia (Milan)!

On the same stage:
VICTEAM (dj set)

Don't miss it!

lunedì 13 luglio 2009

Cassius - "Youth, Speed, Trouble, Cigarettes"

These are the last 24 hours countdown to a brand new Cassius release!

On July the 14th is going to comin' out Youth, Speed, Trouble, Cigarette the new sigle of the french duo Zdar/Boombass.

This is the new song used togheter with images taken from Gummo movie.

On B-Side we can find a rave version of Almost Cut my Hair by David Crosby.

You can listen to a preview of Cassius version here

sabato 4 luglio 2009

Die Verboten - "Live in Eivissa"

'Live In Eivissa' is the world-wide debut release by Die Verboten, an audio-visual side-project that can best be described as ‘space music’, bringing together the musical and visual talents of Soulwax, Riton and Fergadelic.

Die Verboten is a project that uses the studio as a compositional machine & a sound laboratory; a project that integrates sound & image.

This hand-numbered and stamped first edition includes an exclusive, 12" vinyl-only release of 'Live In Eivissa', an 18-minute epic recorded in Ibiza, on the A-side, and a unique laser-etched artwork on the B-side.

Also included is a unique 'pop-up' pyramid artwork whose geometric configuration is designed to focus the deep cosmic powers of the vinyl housed inside.

Created by artist Fergadelic, the folding pyramid features tapestry artwork and treated photographs taken at the Die Verboten recording sessions in Ibiza.

Inner sleeve also features exclusive artwork, and a list of all the analogue synthesizers and studio kit used in the sessions.

'Live In Eivissa' pressed on super-heavyweight 200-gram 12" vinyl crafted on the legendary EMI 1400.

via The Vinyl Factory

giovedì 2 luglio 2009

Club Dogo - "Notte Killer"

Club Dogo is an italian hip-hop band: in 2003 started with their first album MI FIST (i think this is their best album, 'cause after MI FIST they became a bit too gangsta...ah ah, ok we live in Italy but you can't always rap about bitches, parties, cocaine and mafia!)

There are different great songs in MI FIST album, such as Cronache di resistenza or Indecifrabili (feat. Lamaislam) and of course Notte Killer:

A friend of mine send me this great sample ID from Rotterdam!
(Thank you Ema)

In this song, Club Dogo used a sample taken from It's a Shame by Alton Ellis, the king of rocksteady !

mercoledì 1 luglio 2009

D.I.D. - Time for Shopping E.P.

Hello everyone!
This is our first post of Listen Up a new blog section where we are going to talk about brand new sounds and bands that we are listening to!

We'd like to start with D.I.D., an interesting italian band from Turin, with goooood Hot Chip and James Murphy influences!

They released a couple of EP:
- Ask U2 (free downloadable_click on it!)
- Time for Shopping E.P. (released on Foolica Records)

They promoted a "Time for Shopping - Remix Contest" that eneded yesterday June the 30th, and so we are waiting for the winner!
Meanwhile check out the submitted tracks!

BUGGEDOut! presenta Ed Banger Night @ Circolo Magnolia

No matter if you are an hypster, a clubber or you just want to hang out and get booze!
BUGGEDOut! together with PVC Agency present an amazing one night party with Dj Mehdi and Feadz from the Ed Banger crew, on July the 3rd at Circolo Magnolia (Milan)!

Feadz is promoting his brand new P*N*M*B EP, comin' out on July the 6th!

We will party hard at Big Frog Stage with:
DJ MEHDI (dj set)
FEADZ (dj set)
PLUGS (live)
VICTEAM (dj set)

Out Frog stage:

It's all about People, Numbers, Money and Business!

domenica 28 giugno 2009

Creature Festival 2009

Creature Festival this year is at its third edition, and it's going to take palce on 10th, 11th, 12th, 13th of July in Lodi (Italy) @ Parco Belgiardino, near the Adda river.

Visualizzazione ingrandita della mappa

This Festival is promoted by CLAM (Associazione Culturale) and Rebelkidmusic togheter with Comune di Lodi (Informagiovani e Assessorato alle Politiche Giovanili) and Provincia di Lodi.

Let's take a look to the Line Up:

A lot of new bands will perform at Creature Festival, a no-profit event that is born as a big meeting of musical and cultural movements that works in the self-production and distribution market, in order to share their own expereinces and new ideas, with the aim of enlarging the communication process that is not always easy these days.

During the festival is possible to skate on a brand new 12 meters Minidumb Pipe powered by Dumb Skateboards, so you'd better bring your decks with you!

Creature Festival is completely FREE!
See you there!

giovedì 25 giugno 2009

Jazz:Re:Found is an interesting jazz and avant-garde music festival that starts tomorrow evening @ Piazzale Ex Cash'n'Carry (Mundiriso) -Vercelli, Italy

Let's take a look at the program:

Friday June 26th :::
20.00 Pixelorchestra + ESP
21.00 Josè James (Live)
22.00 Giorgio Valletta (Xplosiva)
22.45 Sweet Vandals (Live)
23.45 Dj Fede
00.30 JAZZANOVA feat. Paul Randolph (Live)

02.00 Deda aka Katzuma (Indoor Party)

Saturday June 27th :::
16.00 Writing Contest ”Write the Beat”
18.00 Liveband Contest
21.00 Painè Djset
22.30 Flowriders feat. Colonel Red (Live)
23.30 Dj Pandaj DjSet
00.30 LAMB (Live)

02.00 Garage Paradise (Indoor Party)

Sunday June 28th :::
16.00 ”DAI OR DIE” Miniramp Skate Contest
17.00 Superfly Soundsystem
19.00 Dj Contest
20.00 Suz (Live)
21.00 Stephanie McKay (Live)
22.30 Hot 8 Brass Band (Live)

I whish I could be there for Jazzanova that are touring all over the world promoting thier last album "Of all the things" , which is one of my favorites:

And of course for the acid-downbeat-trip-hop melodies of Lamb:

Army of Dustinn Live - Estatek

Dustinn is a mysterious electro post proto punk duo from Milan.

Togheter with Tekno Motive Sound System they are proud to present Estatek, an amazing one night electro party, that will take place on Saturday July the 4th, 2009 in an amazing secret place!

Don't miss it!

Let's join them on thier facebook event page!

Ol' Dirty Bastard - "Got Your Money"

Hey, what's up men?
Ah ah ah, today we are going back to the 90's and meet one of the craziest guys ever. His name was ODB (Ol' Dirty Bastard), he was part of Wu Tang Clan and after a couple of great album he passed away because of drugs overdose.
One of his greatest single is of course "Got your Money" published on 1999 on Nigga Please album.
This song was produced by The Neptunes and featured Kelis voice on chorus.

This song sampled the piano and bass part of 1988 Children's Story by Slick Rick.

It also sample a musical part and video from 1975 blaxploitation Dolemite movie.

"I'm gonna let 'em know that Dolemite is back on the scene! I'm gonna let 'em know that Dolemite is my name, and fuckin' up motha fuckas is my game! "

martedì 9 giugno 2009

Tomas Andersson - "Washing Up (Tiga Remix)"

Hello everyone!

What's up then? We are in love with all Tiga's production and we are enjoy his last album release Ciao!.
This guy, togheter with Soulwax, seems to have a special magic touch with all the musical stuff they handle.
Now let's focus on a special Tiga remix: we are talking about his Tomas Andersson - Washing Up rmx.

For this production Tiga chopped and sampled a drum beat intro part of a great piece of music: Patrick Cowley & Sylvester - Do You Wanna Funk
It's a sort of 80's electro music sound tribute.

martedì 19 maggio 2009

Simple It's a sample wants you!

Simple it's a sample wants you!
Preparate le vostre palette Pantone, temperate le matite, la competition sta per iniziare!

Simple it's a sample wants you!
Prepare your Pantone palette, sharpen your pencils, the funniest competition is coming!

lunedì 18 maggio 2009

Mr. Oizo - "Two takes it"

Welcome back!
Reading one of the best "samples finding" blog I was quite exciting to discover that:

Last Mr. Oizo album Lamb's anger contains al lot of smashing songs, one of this is Two Takes It feat. Carmen Castro

The vocal part is a sample taken from It Takes Two by Rob Base & DJ E-Z Rock

Of course, the father of all this beats and samples is 1972 track: Think (About it) by Lyn Collins

Listen at 1:37

Now let's go back to Mr. Oizo; the brass riff part is sampled from You Know How To Love Me by Phyllis Hyman

Flo Rida feat. Kesha - "Right Round"

Hello guys! We are starting a brand new week and this is our new sample found.

Today we are talking about a big commercial hit that is spinning on radio these days: he's Flo Rida and the song is Right Round (feat. Kesha) from his new album R.o.o.t.s.

In this Mtv interview he says that when he was young he's been inspired by 80's music, thanks to his 7 sisters. And so, here it is!

Listen to this song, and find where all the Flo Rida ideas come from...
This is Dead or Alive , it was 1989 , and the song was called You Spin Me Round (Like a Record)

I prefer the original version, though. 80s sounds rules!

venerdì 15 maggio 2009

Audio Bullys - "We Don't Care"

Hello everybody!
Today we are talking about a 2003 smashing hit!
Do you remember the amazing face of the bully boy in this video?

Of course, they're Audio Bullys and the song's We don't Care !

This songs contains a sample taken from Big Bad Wolf by Bunny and the Wolf Sisters included in the original soundtrack of the cult movie TeenWolf
(Michael J. Fox rules)

In this song we can hear a guitar riff at 0:10 and a Vocoded voice at 0:25, directly sampled by Audio Bullys for thier track!

What da f*ck!

giovedì 14 maggio 2009

Breakbot - "Penelope Pitstop"

I remeber a couple of years ago, I was wandering on MySpace, searching for great music, and founded Tvyks, a Czech Republic dj and producer.
I listened to How much is the milk?, show some love to this track, and Tvyks himself mail me this song.
That's amazing.

Today, I found a video of Penelope Pitstop by Breakbot on Youtube.

I think Breakbot has been inspired by Tvyks song for the bassline of this track!
And now I even love it more!

lunedì 11 maggio 2009

Death in Vegas - "Hands around my throat"

I know this song because of a TV commercial ad!

They're Death in Vegas and the song's called Hands around my Throat taken from their 2002 album Scorpio Rising.

The instrumental intro part is sampled from Whitewater by Tortoise, taken from A Digest Compendium Of The Tortoise's World 1996 album.

You can listen to a preview of this song here!

domenica 10 maggio 2009

Mr. Flash - "Disco Dynamite"

Hello guys!
I've just got a sample ID!

Do you remember the crazy groove build up by Mr. Flash in his smashing club hit Disco Dynamite?

The intro part contains a sample taken from Bamalama by Belle Epoque.

sabato 9 maggio 2009

Busy P - Rainbow Man

Hello guys!
Searching for Italo Disco tracks on YouTube we can find a lot of amazing and inspirational sounds.
We can say that Italian "B Movie" is to Quentin Tarantino as Italo Disco is to New French Electro Scene, right?

This morning I'm in love with a 1984 track:"Music Colours" by Cellophane, an 80's italian duo formed by Alessandro Novaga and Giorgio Paganini.

I think that Busy P took a lot of inspiration from this Cellophane song, for his "Rainbow Man", both for the intro part and for the album artwork in which we can find the color spectrum of the rainbow!

Italians do it better! lol

Royksopp - Happy Up Here

Hello my friends!
Welcome back on Simple it's a sample after a long time of stand-by...
Starting from now, we are going to post down al the past entries to this blog.

Our norwegian friends Royksopp has good news: Happy Up Here, the first single to be taken from Junior will be out on 16th March 2009.

This song is based on a 1976 Parliament track called Do that Stuff.
The Parliament-Funkadelic is a funk music collective headed by George Clinton. Please, check out their Wiki page.


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We are looking for the following positions:
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Monday, December 31, 2012

Free Motion Challenge: The End of the Beginning

With the end of 2012 comes the end of the yearlong Free Motion Challenge by SewCalGal.  It has been interesting, educational, fun and well, challenging.  I was able to complete 11 of the monthly challenges and one of the bonus tutorials.   Each of the experts has her/his own special approach to FMQ, so I felt as though I had private instruction on free motion quilting in all its variations.

The list of things I learned doing this Challenge would be quite long indeed, but several things stand out:  how to let the sound of the sewing machine help me regulate my speed, how to follow a marked design, how to use different motifs in adjacent areas and most importantly, that frequent practice really makes a difference.

I enjoyed doing all of the challenges and will certainly return to the tutorials to improve and reinforce the skills I learned.  This is not the end of my personal free motion challenge;  it's the end of the beginning.

Thank you to all of the free motion experts who contributed to the challenge and especially to SewCalGal who organized this year-long adventure.  It has been a wonderful experience!

Here's my album of samples, my free motion journey of 2012.

Bonus #3

 Happy quilting!  Happy New Year!

December: A Gift and a Bonus Tutorial

 The Free Motion Challenge teacher for December was Patsy Thompson who provided a wonderful lesson on quilting borders in text, pictures and video.  The lesson and challenge had several parts, and while I started the month with good intentions, I did not complete the challenge to my satisfaction.  I'm going to spend some time in January doing the December challenge.  Patsy is a wonderful teacher who has made lots of instructional DVDs that are now on my wish list.

 I did, however, bake hundreds of cookies, decorate the house and the tree, make some Christmas gifts and do all other things Christmas-y.

And I completed one of the Bonus Tutorials that SewCalGal added to the Free Motion Challenge.  The one I did was by Diane Loomis who taught us to do machine trapunto.  This is something I have always wanted to try, and the tutorial was very clear and easy to follow.  I am really pleased with the results and am certainly going to incorporate trapunto into some projects in the future.  Diane suggested we use silk thread for our sample.  The thread I used was a #50, so it is more obvious than the #100 she suggested.  I used off-white fabric on the top and a pale gold and white rose print on the back.  I followed her directions to the letter and marked the cross-hatching lines for the background.
I am really happy with the top.

I'm even happier with the back because the gold thread works so well on the fabric.  I have more of the backing fabric left and I'm going to try this again using it as the top.

Thank you, Diane Loomis! And thank you, SewCalGal!

One of the Christmas-y sewing projects was this little Christmas quilt I made for friends.  I machine quilted garlands on the trees with metallic thread and hearts on the hearts with red thread.

I love how the red striped binding and the gifty backing.

We had a wonderful Christmas and hope you did too.

Friday, November 30, 2012

November, Part 2

Just under the deadline, here's my Free Motion Challenge samples for November.  Our teacher was Sarah Vedeler whose lesson was making rows of spirals.   We started by tracing them on a pdf:

And then moved to the sewing machine.  I started with thread that was already in the machine (white #50) and did a little echo quilting between the rows.

I moved on to one of my favorite quilting threads, Superior's King Tut, did some rows of spirals and then did some freehand.   Obviously I need more practice, and I'm going to try something I learned from one of the other participants in the Challenge, Cheri of Under Quilted Covers, who wrote that each time she sat down to sew or changed thread in her machine, she quilted a row of spirals.  What a great way to fit in daily practice!

My pile of practice squares is growing.  This is a great way to use up some of my stash!

Two days before Thanksgiving, Emily announced she was attending a birthday party on Thanksgiving Saturday.

Whose birthday?  A friend's daughter who was turning two.

Did I have any quilts lying around?  Oh, yeah.  Several.  Ha.

But like the good quilter I am, I had a bunch of whirligig blocks left over from a previous baby gift.  So I added a few more, sewed them together, backed it with some starry fabric from my stash and used this opportunity to practice some free motion quilting.

 I quilted loops and hearts with some King Tut variegated thread.

I used some of the striped binding I blogged about here.

Emily said it was a big hit!  One of the guests was another friend whose daughter is celebrating her first birthday next month.  Uh oh.

November: Part 1

We began the month of November in a darkened, cold house, thanks to Big Storm Sandy.  But the month got better, day by day.  Our power and heat returned after only 5 days and we felt so lucky that the only trees down on our property were nowhere near our house.

I have 3 cousins with whom we have celebrated Thanksgiving for many years.  This year Linda hosted, and my assignment was dessert (read pies.)  I love making pies, and despite the fact that I was going to make an apple pie and a pumpkin pie, both of which I have made many many times, as usual, I started the process with a little research into recipes old and new. (You can take the librarian out of the library......) I have lot of baking books, so I consult them all as well as the bakers in cyberspace.

And, as usual, I end up combining and tweaking recipes I've used before: Nick Magieri's pastry, Richard Sax's pumpkin pie (the filling) and Susan Purdy's apple pie filling.

We brought home about a fifth of the pumpkin pie which was all that was left.  I guess they were a success!

My pies get transported in this beautiful basket that my Aunt Evelyn painted for my mother.

My aunt also made one of these for each of her siblings.  This one hung in my mother's house.

We had a special reason to celebrate Thanksgiving this year.  Emily was able to be with us, turning our duet back into a trio.

No sewing, you say?  That's coming in the next post!

Friday, November 2, 2012

Powerless Finish for October

Hurricane Sandy paid us a visit this week.  Here in Northern New Jersey many people have been without power, telephone and cell phone service since Monday when the storm landed in New Jersey near Atlantic City.  Although we have been powerless, we consider ourselves lucky.  Everyone in our family is fine.  We were especially worried about my sister and brother-in-law who live on their catamaran.  They have been moored in Annapolis which was right in the predicted path of the storm.  Fortunately, they are fine, their boat is fine, and all of their cruising friends are okay.   Our friends and neighbors are okay, too;  our house was not touched; and the only tree that came down was a pine in the back of our yard.  It flattened our swing set, but our daughter is 25, so she doesn't use it any more!

I had worked on October's Free Motion Challenge sporadically throughout the month, but I had put off posting pictures until this week.  But oops! No internet! No cell phone!  Our public library opened on Thursday and provided Wifi and power strips, but there were too many people on the network and I was unable to upload my photos.
Fortunately, our friend Marge got power back this morning (Friday) and called to invite us to spend some time at her house getting warm and charging our devices.  So here, finally, are my samples from October's Challenge.  Our teacher was Teri Lucas; our challenge was to quilt our names and use echo quilting and other motifs to fill a square.

 I really liked this lesson.  Teri suggested we change threads for each different quilting motif.  I did that for one sample (upper right) and then decided to stick with my favorite quilting thread, Superior's King Tut.  Thank you, Teri! And thank you, SewCalGal for providing your readers with this wonderful challenge!

Sunday, October 7, 2012

Baking with Uncle Bob

I subscribe to the Baker's Banter blog from King Arthur Flour.  It is a never-ending source of baking deliciousness and many of our favorite recipes are from the blog or the KA baking books I own.  The King Arthur store in Norwich, Vermont is always our last stop on the way home whenever we are in the Upper Valley of New Hampshire and Vermont.   The store is a baker's paradise with every kind of ingredient or piece of equipment a baker could ever need want.   They also have a bakery, so after we do our shopping for nonedibles, we load up with bread, sticky buns and cookies to take home and freeze.  (Much of this booty never makes it home, let alone into the freezer.)   We always say that if we lived nearby, we would each weigh considerably more than we do now!

The newest blog entry was a recipe for Fresh Appe Cinnamon Scones, and since our trip last week to an orchard to get apples (and apple cider donuts!) I have several quarts of homemade applesauce and a bin of apples.  This recipe arrived at the perfect time.  The scones were delicious and this recipe is certainly a keeper.

But a great recipe wasn't the only thing I learned from the author and KA Baker Par Excellence PJ Hamel.   Here's a quote:
 Make and shape them the night before, stick in the freezer, bake early the next morning, and Bob’s your uncle – by the time your house guests emerge from their respective beds, breakfast is ready.

Bob's your uncle?  I have never heard or read that expression before, but I love it!  It's clear from the context that it means "there you are" or even--en Francais--"voila"  but it is so much more colorful.  I went so far as to look it up on Michael Quinion's wonderful site World Wide Words where Mr. Quinion writes about the English language from a British perspective.  I won't recount his research into the origin of "Bob's your uncle"--you can read it here--except to say that it may have come from an expression "all is bob" that is documented in the Dicionary of the Vulgar Tongue of 1785.  What fun.

So forget "voila" and "there you have it," and all those other similar idioms.  From now on, for me, Bob's (my) uncle!

Thanks, PJ, for your recipes and for your colorful writing!

Tuesday, October 2, 2012

My Country, 'tis of Thee

When I was in high school a friend's mother gave my friend and me each an embroidery kit.  The kit was a map of the United States and even though this was a few years after Alaska and Hawaii had been admitted to the Union, neither was on the stamped linen.  Anyway, my friend and I stitched away at home and on the beach in Avalon, NJ, but when we went off to college and our adult lives, the little project got packed away and forgotten.
I have been on a mission lately, to try and finish some projects that have languished in my (figurative) workbasket.  (I'm not organized enough to have a real workbasket, so UFO's are in my sewing area, in cabinets in the basement, really in nooks and crannies all over the house.  Don't tell Dave.)  So recently, I dug out the USA map kit and took it with me to my Guild's Quilt As You Like afternoons.

Reader, I finished it!  I was tempted to add Alaska and Hawaii in some way, but I decided to leave it just the way Bucilla manufactured it. (Whenever that was.  There was no copyright date on the direction sheet.)

This was before the US Postal Service instituted the two-letter abbreviations for the states, so they appear the old fashioned way with a period.  And each state has a little symbol of its industry or history, too: the Liberty Bell for my home state of Pennsylvania and Edison's light bulb for my adopted state of New Jersey.  (Today, we'd call them icons!)

I'm going to get another embroidery project out and put it with my hand sewing.  Who knows what other UFOs are just waiting for a few more stitches?


text:
Saturday, July 30, 2011

Empathy, Curiosity and the Ecstasy of Discovery in the Poetry of David Meltzer

Show description for Sunday 7/24/2011 @ 4:00 PM - 6:00 PM

Our guest this afternoon, on the the 5 o'clock hour, is poet David Meltzer, talking about his most recent book, When I Was A Poet, new from City Lights. Born in 1937, David Meltzer is a poet associated with both the Beat Generation and the San Francisco Renaissance. He was also included in Don Allen's seminal anthology, The New American Poetry. A child prodigy, Meltzer performed on the radio and TV in New York beginning in the late '40s. In 1957, after a few years in Los Angeles, where he was a part of the circle around Wallace Berman's Semina magazine, Meltzer moved to San Francisco, where he associated with such poets as Allen Ginsberg and Jack Spicer. One of the pioneers of jazz poetry readings, Meltzer formed a psychedelic folk-rock group, Serpent Power, with his late wife Tina and poet Clark Coolidge, recording for Vanguard records in the late '60's. He continues to perform with the music and poetry review, Rockpile. In addition to his many books of poetry, Meltzer published 10 erotic novels in the late '60s and early '70s, including the critically acclaimed Agency Trilogy, revisiting the genre in 1995 with Under. He has edited many anthologies, including San Francisco Beat: Talking with the Poets (City Lights, 2001).

A newly published report shows that the number of homeless children in Sacramento public schools has more than doubled in recent years, yet Mayor Kevin Johnson has issued no response whatsoever to this issue or the report itself. We must demand answers and accountability! Contact Mayor Johnson, and let him know he cannot ignore the homeless children of this city!
Demand answers and accountability!

Dizzy Gillespie & Don ByasA Night In TunisiaThe QuintessentialRCA - France

Thelonious Monk TrioRuby My DearGenius on Modern MusicBlue Note

Bud Powell TrioReets & IThe Amazing Bud PowellBlue Note

Dizzy Gillespie OrchestraTwo Bass HitThe QuintessentialRCA - France

Miles Davis SextetTwo Bass Hit (live)At Newport 1958Columbia

Miles Davis & John ColtraneFran-Dance (live)Live In Stockholm 1960Dragon

Betty CarterI Don't Want To Set The World On FireOut There with Betty CarterABC

Betty CarterAll I've GotThe Modern SoundABC

Shirley HornAnd I Love HimTravelin' LightABC
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Anita O'DayThe Way You Look TonightCool HeatVerve

Johnny GriffinThe Way You Look TonightPresenting Johnny GriffinBlue Note

Ella FitzgeraldMy Melancholy BabyTeddy Wilson & His OrchestraColumbia

Sarah VaughnNice Work If You Can Get ItAfter HoursColumbia

Thelonious Monk TrioNice Work If You Can Get ItGenius on Modern MusicBlue Note

Herbie NicholsRiff PrimatifThe Third WorldBlue Note
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Sonny Rollins featuring Thelonious MonkMisterioso (excerpt)Sonny Rollins Volume 2Blue Note

Interview With David Meltzer By Justin DesmanglesInterview With David Meltzer By Justin DesmanglesInterview With David Meltzer By Justin DesmanglesInterview With David Meltzer By Justin Desmangles

Sonny Rollins featuring Thelonious Monk

Wednesday, July 20, 2011

Speech to Congress of Black African Writers 1959 By Frantz Fanon

Colonial domination, because it is total and tends to over-simplify, very soon manages to disrupt in spectacular fashion the cultural life of a conquered people. This cultural obliteration is made possible by the negation of national reality, by new legal relations introduced by the occupying power, by the banishment of the natives and their customs to outlying districts by colonial society, by expropriation, and by the systematic enslaving of men and women.

Three years ago at our first congress I showed that, in the colonial situation, dynamism is replaced fairly quickly by a substantification of the attitudes of the colonising power. The area of culture is then marked off by fences and signposts. These are in fact so many defence mechanisms of the most elementary type, comparable for more than one good reason to the simple instinct for preservation. The interest of this period for us is that the oppressor does not manage to convince himself of the objective non-existence of the oppressed nation and its culture. Every effort is made to bring the colonised person to admit the inferiority of his culture which has been transformed into instinctive patterns of behaviour, to recognise the unreality of his 'nation', and, in the last extreme, the confused and imperfect character of his own biological structure.

Vis-à-vis this state of affairs, the native's reactions are not unanimous While the mass of the people maintain intact traditions which are completely different from those of the colonial situation, and the artisan style solidifies into a formalism which is more and more stereotyped, the intellectual throws himself in frenzied fashion into the frantic acquisition of the culture of the occupying power and takes every opportunity of unfavourably criticising his own national culture, or else takes refuge in setting out and substantiating the claims of that culture in a way that is passionate but rapidly becomes unproductive.

The common nature of these two reactions lies in the fact that they both lead to impossible contradictions. Whether a turncoat or a substantialist the native is ineffectual precisely because the analysis of the colonial situation is not carried out on strict lines. The colonial situation calls a halt to national culture in almost every field. Within the framework of colonial domination there is not and there will never be such phenomena as new cultural departures or changes in the national culture. Here and there valiant attempts are sometimes made to reanimate the cultural dynamic and to give fresh impulses to its themes, its forms and its tonalities. The immediate, palpable and obvious interest of such leaps ahead is nil. But if we follow up the consequences to the very end we see that preparations are being thus made to brush the cobwebs off national consciousness to question oppression and to open up the struggle for freedom.

A national culture under colonial domination is a contested culture whose destruction is sought in systematic fashion. It very quickly becomes a culture condemned to secrecy. This idea of clandestine culture is immediately seen in the reactions of the occupying power which interprets attachment to traditions as faithfulness to the spirit of the nation and as a refusal to submit. This persistence in following forms of culture which are already condemned to extinction is already a demonstration of nationality; but it is a demonstration which is a throw-back to the laws of inertia. There is no taking of the offensive and no redefining of relationships. There is simply a concentration on a hard core of culture which is becoming more and more shrivelled up, inert and empty.

By the time a century or two of exploitation has passed there comes about a veritable emaciation of the stock of national culture. It becomes a set of automatic habits, some traditions of dress and a few broken-down institutions. Little movement can be discerned in such remnants of culture; there is no real creativity and no overflowing life. The poverty of the people, national oppression and the inhibition of culture are one and the same thing. After a century of colonial domination we find a culture which is rigid in the extreme, or rather what we find are the dregs of culture, its mineral strata. The withering away of the reality of the nation and the death-pangs of the national culture are linked to each other in mutual dependences. This is why it is of capital importance to follow the evolution of these relations during the struggle for national freedom. The negation of the native's culture, the contempt for any manifestation of culture whether active or emotional and the placing outside the pale of all specialised branches of organisation contribute to breed aggressive patterns of conduct in the native. But these patterns of conduct are of the reflexive type; they are poorly differentiated, anarchic and ineffective. Colonial exploitation, poverty and endemic famine drive the native more and more to open, organised revolt. The necessity for an open and decisive breach is formed progressively and imperceptibly, and comes to be felt by the great majority of the people. Those tensions which hitherto were non-existent come into being. International events, the collapse of whole sections of colonial empires and the contradictions inherent in the colonial system strengthen and uphold the native's combativity while promoting and giving support to national consciousness.

These new-found tensions which are present at all stages in the real nature of colonialism have their repercussions on the cultural plane. In literature, for example, there is relative over-production. From being a reply on a minor scale to the dominating power, the literature produced by natives becomes differentiated and makes itself into a will to particularism. The intelligentsia, which during the period of repression was essentially a consuming public, now themselves become producers. This literature at first chooses to confine itself to the tragic and poetic style; but later on novels, short stories and essays are attempted. It is as if a kind of internal organisation or law of expression existed which wills that poetic expression become less frequent in proportion as the objectives and the methods of the struggle for liberation become more precise. Themes are completely altered; in fact, we find less and less of bitter, hopeless recrimination and less also of that violent, resounding, florid writing which on the whole serves to reassure the occupying power. The colonialists have in former times encouraged these modes of expression and made their existence possible. Stinging denunciations, the exposing of distressing conditions and passions which find their outlet in expression are in fact assimilated by the occupying power in a cathartic process. To aid such processes is in a certain sense to avoid their dramatisation and to clear the atmosphere. But such a situation can only be transitory. In fact, the progress of national consciousness among the people modifies and gives precision to the literary utterances of the native intellectual. The continued cohesion of the people constitutes for the intellectual an invitation to go farther than his cry of protest. The lament first makes the indictment; then it makes an appeal. In the period that follows, the words of command are heard. The crystallisation of the national consciousness will both disrupt literary styles and themes, and also create a completely new public. While at the beginning the native intellectual used to produce his work to be read exclusively by the oppressor, whether with the intention of charming him or of denouncing him through ethnical or subjectivist means, now the native writer progressively takes on the habit of addressing his own people.

It is only from that moment that we can speak of a national literature. Here there is, at the level of literary creation, the taking up and clarification of themes which are typically nationalist. This may be properly called a literature of combat, in the sense that it calls on the whole people to fight for their existence as a nation. It is a literature of combat, because it moulds the national consciousness, giving it form and contours and flinging open before it new and boundless horizons; it is a literature of combat because it assumes responsibility, and because it is the will to liberty expressed in terms of time and space.

On another level, the oral tradition - stories, epics and songs of the people - which formerly were filed away as set pieces are now beginning to change. The storytellers who used to relate inert episodes now bring them alive and introduce into them modifications which are increasingly fundamental. There is a tendency to bring conflicts up to date and to modernise the kinds of struggle which the stories evoke, together with the names of heroes and the types of weapons. The method of allusion is more and more widely used. The formula 'This all happened long ago' is substituted by that of 'What we are going to speak of happened somewhere else, but it might well have happened here today, and it might happen tomorrow'. The example of Algeria is significant in this context. From 1952-3 on, the storytellers, who were before that time stereotyped and tedious to listen to, completely overturned their traditional methods of storytelling and the contents of their tales. Their public, which was formerly scattered, became compact. The epic, with its typified categories, reappeared; it became an authentic form of entertainment which took on once more a cultural value. Colonialism made no mistake when from 1955 on it proceeded to arrest these storytellers systematically.

The contact of the people with the new movement gives rise to a new rhythm of life and to forgotten muscular tensions, and develops the imagination. Every time the storyteller relates a fresh episode to his public, he presides over a real invocation. The existence of a new type of man is revealed to the public. The present is no longer turned in upon itself but spread out for all to see. The storyteller once more gives free rein to his imagination; he makes innovations and he creates a work of art. It even happens that the characters, which are barely ready for such a transformation - highway robbers or more or less antisocial vagabonds - are taken up and remodelled. The emergence of the imagination and of the creative urge in the songs and epic stories of a colonised country is worth following. The storyteller replies to the expectant people by successive approximations, and makes his way, apparently alone but in fact helped on by his public, towards the seeking out of new patterns, that is to say national patterns. Comedy and farce disappear, or lose their attraction. As for dramatisation, it is no longer placed on the plane of the troubled intellectual and his tormented conscience. By losing its characteristics of despair and revolt, the drama becomes part of the common lot of the people and forms part of an action in preparation or already in progress.

Where handicrafts are concerned, the forms of expression which formerly were the dregs of art, surviving as if in a daze, now begin to reach out. Woodwork, for .example, which formerly turned out certain faces and attitudes by the million, begins to be differentiated. The inexpressive or overwrought mask comes to life and the arms tend to be raised from the body as if to sketch an action. Compositions containing two, three or five figures appear. The traditional schools are led on to creative efforts by the rising avalanche of amateurs or of critics. This new vigour in this sector of cultural life very often passes unseen; and yet its contribution to the national effort is of capital importance. By carving figures and faces which are full of life, and by taking as his theme a group fixed on the same pedestal, the artist invites participation in an organised movement.

If we study the repercussions of the awakening of national consciousness in the domains of ceramics and pottery-making, the same observations may be drawn. Formalism is abandoned in the craftsman's work. Jugs, jars and trays are modified, at first imperceptibly, then almost savagely. The colours, of which formerly there were but few and which obeyed the traditional rules of harmony, increase in number and are influenced by the repercussion of the rising revolution. Certain ochres and blues, which seemed forbidden to all eternity in a given cultural area, now assert themselves without giving rise to scandal. In the same way the stylisation of the human face, which according to sociologists is typical of very clearly defined regions, becomes suddenly completely relative. The specialist coming from the home country and the ethnologist are quick to note these changes. On the whole such changes are condemned in the name of a rigid code of artistic style and of a cultural life which grows up at the heart of the colonial system. The colonialist specialists do not recognise these new forms and rush to the help of the traditions of the indigenous society. It is the colonialists who become the defenders of the native style. We remember perfectly, and the example took on a certain measure of importance since the real nature of colonialism was not involved, the reactions of the white jazz specialists when after the Second World War new styles such as the be-bop took definite shape. The fact is that in their eyes jazz should only be the despairing, broken-down nostalgia of an old Negro who is trapped between five glasses of whisky, the curse of his race, and the racial hatred of the white men. As soon as the Negro comes to an understanding of himself, and understands the rest of the world differently, when he gives birth to hope and forces back the racist universe, it is clear that his trumpet sounds more clearly and his voice less hoarsely. The new fashions in jazz are not simply born of economic competition. We must without any doubt see in them one of the consequences of the defeat, slow but sure, of the southern world of the United States. And it is not utopian to suppose that in fifty years' time the type of jazz howl hiccupped by a poor misfortunate Negro will be upheld only by the whites who believe in it as an expression of nigger-hood, and who are faithful to this arrested image of a type of relationship.

We might in the same way seek and find in dancing, singing, and traditional rites and ceremonies the same upward-springing trend, and make out the same changes and the same impatience in this field. Well before the political or fighting phase of the national movement an attentive spectator can thus feel and see the manifestation of new vigour and feel the approaching conflict. He will note unusual forms of expression and themes which are fresh and imbued with a power which is no longer that of invocation but rather of the assembling of the people, a summoning together for a precise purpose. Everything works together to awaken the native's sensibility and to make unreal and inacceptable the contemplative attitude, or the acceptance of defeat. The native rebuilds his perceptions because he renews the purpose and dynamism of the craftsmen, of dancing and music and of literature and the oral tradition. His world comes to lose its accursed character. The conditions necessary for the inevitable conflict are brought together.

We have noted the appearance of the movement in cultural forms and we have seen that this movement and these new forms are linked to the state of maturity of the national consciousness. Now, this movement tends more and more to express itself objectively, in institutions. From thence comes the need for a national existence, whatever the cost.

A frequent mistake, and one which is moreover hardly justifiable is to try to find cultural expressions for and to give new values to native culture within the framework of colonial domination. This is why we arrive at a proposition which at first sight seems paradoxical: the fact that in a colonised country the most elementary, most savage and the most undifferentiated nationalism is the most fervent and efficient means of defending national culture. For culture is first the expression of a nation, the expression of its preferences, of its taboos and of its patterns. It is at every stage of the whole of society that other taboos, values and patterns are formed. A national culture is the sum total of all these appraisals; it is the result of internal and external extensions exerted over society as a whole and also at every level of that society. In the colonial situation, culture, which is doubly deprived of the support of the nation and of the state, falls away and dies. The condition for its existence is therefore national liberation and the renaissance of the state.

The nation is not only the condition of culture, its fruitfulness, its continuous renewal, and its deepening. It is also a necessity. It is the fight for national existence which sets culture moving and opens to it the doors of creation. Later on it is the nation which will ensure the conditions and framework necessary to culture. The nation gathers together the various indispensable elements necessary for the creation of a culture, those elements which alone can give it credibility, validity, life and creative power. In the same way it is its national character that will make such a culture open to other cultures and which will enable it to influence and permeate other cultures. A non-existent culture can hardly be expected to have bearing on reality, or to influence reality. The first necessity is the re-establishment of the nation in order to give life to national culture in the strictly biological sense of the phrase.

Thus we have followed the break-up of the old strata of culture, a shattering which becomes increasingly fundamental; and we have noticed, on the eve of the decisive conflict for national freedom, the renewing of forms of expression and the rebirth of the imagination. There remains one essential question: what are the relations between the struggle - whether political or military - and culture? Is there a suspension of culture during the conflict? Is the national struggle an expression of a culture? Finally, ought one to say that the battle for freedom, however fertile a posteriori with regard to culture, is in itself a negation of culture? In short is the struggle for liberation a cultural phenomenon or not?

We believe that the conscious and organised undertaking by a colonised people to re-establish the sovereignty of that nation constitutes the most complete and obvious cultural manifestation that exists. It is not alone the success of the struggle which afterwards gives validity and vigour to culture; culture is not put into cold storage during the conflict. The struggle itself in its development and in its internal progression sends culture along different paths and traces out entirely new ones for it. The struggle for freedom does not give back to the national culture its former value and shapes; this struggle which aims at a fundamentally different set of relations between men cannot leave intact either the form or the content of the people's culture. After the conflict there is not only the disappearance of colonialism but also the disappearance of the colonised man.

This new humanity cannot do otherwise than define a new humanism both for itself and for others. It is prefigured in the objectives and methods of the conflict. A struggle which mobilises all classes of the people and which expresses their aims and their impatience, which is not afraid to count almost exclusively on the people's support, will of necessity triumph. The value of this type of conflict is that it supplies the maximum of conditions necessary for the development and aims of culture. After national freedom has been obtained in these conditions, there is no such painful cultural indecision which is found in certain countries which are newly independent, because the nation by its manner of coming into being and in the terms of its existence exerts a fundamental influence over culture. A nation which is born of the people's concerted action and which embodies the real aspirations of the people while changing the state cannot exist save in the expression of exceptionally rich forms of culture.

The natives who are anxious for the culture of their country and who wish to give to it a universal dimension ought not therefore to place their confidence in the single principle of inevitable, undifferentiated independence written into the consciousness of the people in order to achieve their task. The liberation of the nation is one thing; the methods and popular content of the fight are another. It seems to me that the future of national culture and its riches are equally also part and parcel of the values which have ordained the struggle for freedom.

And now it is time to denounce certain pharisees. National claims, it is here and there stated, are a phase that humanity has left behind. It is the day of great concerted actions, and retarded nationalists ought in consequence to set their mistakes aright. We, however, consider that the mistake, which may have very serious consequences, lies in wishing to skip the national period. If culture is the expression of national consciousness, I will not hesitate to affirm that in the case with which we are dealing it is the national consciousness which is the most elaborate form of culture.

The consciousness of self is not the closing of a door to communication. Philosophic thought teaches us, on the contrary, that it is its guarantee. National consciousness, which is not nationalism, is the only thing that will give us an international dimension. This problem of national consciousness and of national culture takes on in Africa a special dimension. The birth of national consciousness in Africa has a strictly contemporaneous connexion with the African consciousness. The responsibility of the African as regards national culture is also a responsibility with regard to African-Negro culture. This joint responsibility is not the fact of a metaphysical principle but the awareness of a simple rule which wills that every independent nation in an Africa where colonialism is still entrenched is an encircled nation, a nation which is fragile and in permanent danger.

If man is known by his acts, then we will say that the most urgent thing today for the intellectual is to build up his nation. If this building up is true, that is to say if it interprets the manifest will of the people and reveals the eager African peoples, then the building of a nation is of necessity accompanied by the discovery and encouragement of universalising values. Far from keeping aloof from other nations, therefore, it is national liberation which leads the nation to play its part on the stage of history. It is at the heart of national consciousness that international consciousness lives and grows. And this two-fold emerging is ultimately the source of all culture.

Reproduced from The Wretched of the Earth, translated by Constance Farrington, Grove Press

Sunday, July 17, 2011

I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion

Show description for Sunday 7/17/2011 @ 4:00 PM - 6:00 PM

All those ships that never sailed
The ones with their seacocks open
That were scuttled in their stalls...
Today I bring them back
Huge and transitory
And let them sail

All those flowers that you never grew-
that you wanted to grow
The ones that were plowed under
ground in the mud-
Today I bring them back
And let you grow them

All those wars and truces
Dancing down these years-
All in three flag swept days
Rejected meaning of God-

My body once covered with beauty
Is now a museum of betrayal.
This part remembered because of that one's touch
This part remembered for that one's kiss-
Today I bring it back
And let you live forever.

I breath a breathless I love you
And move you

Remove the snake from Moses' arm...
And someday the Jewish queen will dance
Down the street with the dogs
And make every Jew
Her lover.

Bob Kaufman, poet. (from, The Ancient Rain)

Betye Saar, Ragtime, 2005, mixed media box assemblage, 19" x 20" x 2" Pictured above

Tennessee Williams (read by Montgomery Clift)Opening SoliloquyThe Glass MenagerieCaedmon

Art TatumOut Of NowhereJazz Piano 2RCA - France

Teddy WilsonSomeday SweetheartJazz Piano 2RCA - France

Billy KyleNight WhispersJazz Piano 2RCA - France

Count BasieI Never KnewJazz Piano 2RCA - France

Count BasieLittle PonyFrom King Oliver To Ornette ColemanCBS - France

Charles BrownDrifitn' BluesDriftin' BluesAladdin
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Ella FitzgeraldThis Time's The Dream's On MeSings The Harold Arlen SongbookVerve

Kenneth Patchen23rd St. Runs Into HeavenReads His PoetryFolkways

Kenneth PatchenThe Lions Of FireReads His PoetryFolkways

Willie "The Lion" SmithRelaxin'Jazz Piano 2RCA - France

Fat's WallerCarolina ShoutJazz Piano 2RCA - France

Hampton HawesDiablo's DanceJazz Piano 2RCA - France

Sylvia PlathOuijaSylvia Plath Reads Her PoetryCaedmon

Miles DavisSweet Sue, Just YouWhat Is Jazz?Columbia

Kenny Dorham Lotus Blossom2 Horns 2 RhythmRiverside
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Claude McKayTropics In New YorkAnthology Of Negro PoetsFolkways

Tommy FlanaganBalladJazz Piano 2RCA - France

Oscar PetersonFine & DandyJazz Piano 2RCA - France

Tennessee Williams (read by Montgonery Clift & Jessica Tandy)excerpt for Scene 3The Glass MenagerieCaedmon

Ella FitzgeraldLet's Take A Walk Around The BlockSings The Harold Arlen SongbookVerve

Ella FitzgeraldIll WindSings The Harold Arlen SongbookVerve

Gwendolyn BrooksSong Of The Front YardAnthology Of Negro PoetsAnthology Of Negro Poets

Charles BrownRolling Like A Pebble In The SandDriftin' BluesAladdin

Avery ParrishAfter HoursJazz Piano 2RCA - France

Sterling BrownLong GoneAnthology Of Negro PoetsAnthology Of Negro Poets

Thelonious MonkRound MidnightThelonious Monk SoloVogue

Bud Powell TheloniousJazz Piano 2RCA - France
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Ishmael ReedJudasConjurePangaea

Bud PowellTopsy TurvyJazz Piano 2RCA - France

John LewisPromenade In ParisJazz Piano 2RCA - France

Langston HughesBorderlineReads and Talks About His PoemsSpoken Arts Records

Langston HughesGenius ChildReads and Talks About His PoemsSpoken Arts Records

Langston HughesSuicide's NoteReads and Talks About His PoemsSpoken Arts Records

Langston HughesLittle Lyric ( Of Great Importance)Reads and Talks About His PoemsSpoken Arts Records

Langston HughesMottoReads and Talks About His PoemsSpoken Arts Records

Langston HughesFlatted FifthsReads and Talks About His PoemsSpoken Arts Records

Charlie ParkerThe BirdThe Charlie Parker StoryWarner Brothers
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Richard PryorGodAre You Serious?Laff

Tuesday, July 12, 2011

Margaret Walker, Lee Morgan, and those blues in the night . . .

Paulene Myers, actress (with back to camera), Raymond Patterson, poet, Margaret Walker, Paula Giddings's afro towering over Margaret Walker, Herbert Martin (center), Gwendolyn Etter-Lewis, critic, unidentified woman,Lorenzo Thomas, poet.

Show description for Sunday 7/10/2011 @ 4:00 PM - 6:00 PM

Lee Morgan , one of the greatest trumpet players in the history of jazz, is celebrated today on New Day Jazz, along with the life and poetry of Margaret Walker.

"Margaret Walker is of the great creators and teachers of literature." - Amiri Baraka

Margaret WalkerKissie LeeAnthology Of Negro PoetsFolkways

Ella FitzgeraldBlues In The NightSings The Harold Arlen SongbookVerve

Ella FitzgeraldLet's Fall In LoveSings The Harold Arlen SongbookVerve

Ella FitzgeraldStormy WeatherSings The Harold Arlen SongbookVerve

Margaret Walker (read by Gloria Foster)We Have Been BelieversA Hand Is On The GateVerve-Folkways

Art Blakey & The Jazz Messengers Roots & HerbsRoots & HerbsBlue Note

Lee MorganShort CountThe Sixth SenseBlue Note
========================== Airbreak ==========================

Shirley HornTravelin' LightTravelin' LightABC-Paramount

Shirley HornSunday In New YorkTravelin' LightABC-Paramount

Shirley HornI Could Have Told YouTravelin' LightABC-Paramount

Lee MorganYou're Mine YouCity LightsBlue Note

Lee MorganCity LightsCity LightsBlue Note

Margaret Walker Old Molly MeansAnthology Of Negro PoetsFolkways

Grachan Moncur IIIMonk In WonderlandEvolutionBlue Note
========================== Airbreak ==========================

Margaret Walker For My PeopleAnthology Of Negro PoetsFolkways

Art Blakey & The Jazz MessengersSakeena's VisionThe Big BeatBlue Note

Art Blakey & The Jazz MessengersCalling Miss KhadijaIndestructible!Blue Note

Margaret Walker StackaleeAnthology Of Negro PoetsFolkways

Lee MorganSince I Fell For YouCandy Blue Note

Louis ArmstrongStardustLouis Armstrong Favorites Vol. 4Columbia
========================== Airbreak ==========================

Lee KonitzI Remember YouMotionVerve

Sunday, July 3, 2011

New Music, New Poetry: Odean Pope, Farmers By Nature, Al Young, Ishmael Reed, Matthew Shipp, William Parker

Patrice Lumumba, pictured above, (July 2, 1925 – January 17, 1961) Know your history, know your culture. Your independence depends on your remembrance. Each one, teach one.

Show description for Sunday 7/3/2011 @ 4:00 PM - 6:00 PM

This week, on the 5 o'clock hour, poet, playwright, essayist, and activist, Amiri Baraka, returns to New Day Jazz to discuss the recent biography, Malcolm X: A Life of Reinvention, by the late Manning Marable.

Odean PopeCustody Of The American SpiritUniversal SoundsPorter

Odean PopeMwalimuUniversal SoundsPorter

Odean PopeThe BinderUniversal SoundsPorter

Ishmael Reed If I Am A Welfare Queen Where Are My Jewels And Furs?For All We KnowKonch Records

Al YoungSundays In DemocraciesSomething About The BluesSourcebooks
========================== Airbreak ==========================

Farmers By NatureMud, MappedOut Of This Worlds DistortionsAUM-Fidelity

William Parker Organ QuartetThe StruggleUncle Joe's Spirit HouseCentering Records
========================== Airbreak ==========================

Matthew Shipp The New FactArt Of The ImproviserThirsty Ear

Matthew Shipp 3 In 1Art Of The ImproviserThirsty Ear

Al YoungStraight, No ChaserSomething About The BluesSourcebooks
========================== Airbreak ==========================

Odean PopeBluesUniversal SoundsPorter

William Parker Organ QuartetJacques GrooveUncle Joe's Spirit HouseCentering Records

William Parker Organ QuartetEnnio's TagUncle Joe's Spirit HouseCentering Records

Al YoungConjugal VisitsSomething About The BluesSourcebooks

Ishmael Reed Army NurseFor All We KnowKonch Records

Farmers By NatureFor Fred AndersonOut Of This Worlds DistortionsAUM-Fidelity
========================== Airbreak ==========================

Art Ensemble of ChicagoDreaming Of The Master Thelonious Sphere Monk: Dreaming Of The Masters Vol. 2

Friday, July 1, 2011

"What, to the American slave, is your 4th of July?" - Frederick Douglass

Fellow Citizens, I am not wanting in respect for the fathers of this republic. The signers of the Declaration of Independence were brave men. They were great men, too great enough to give frame to a great age. It does not often happen to a nation to raise, at one time, such a number of truly great men. The point from which I am compelled to view them is not, certainly, the most favorable; and yet I cannot contemplate their great deeds with less than admiration. They were statesmen, patriots and heroes, and for the good they did, and the principles they contended for, I will unite with you to honor their memory....

...Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?

Would to God, both for your sakes and ours, that an affirmative answer could be truthfully returned to these questions! Then would my task be light, and my burden easy and delightful. For who is there so cold, that a nation's sympathy could not warm him? Who so obdurate and dead to the claims of gratitude, that would not thankfully acknowledge such priceless benefits? Who so stolid and selfish, that would not give his voice to swell the hallelujahs of a nation's jubilee, when the chains of servitude had been torn from his limbs? I am not that man. In a case like that, the dumb might eloquently speak, and the "lame man leap as an hart."

But such is not the state of the case. I say it with a sad sense of the disparity between us. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak to-day? If so, there is a parallel to your conduct. And let me warn you that it is dangerous to copy the example of a nation whose crimes, towering up to heaven, were thrown down by the breath of the Almighty, burying that nation in irrevocable ruin! I can to-day take up the plaintive lament of a peeled and woe-smitten people!

"By the rivers of Babylon, there we sat down. Yea! we wept when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there, they that carried us away captive, required of us a song; and they who wasted us required of us mirth, saying, Sing us one of the songs of Zion. How can we sing the Lord's song in a strange land? If I forget thee, 0 Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth."

Fellow-citizens, above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, "may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth!" To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then, fellow-citizens, is American slavery. I shall see this day and its popular characteristics from the slave's point of view. Standing there identified with the American bondman, making his wrongs mine, I do not hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America is false to the past, false to the present, and solemnly binds herself to be false to the future. Standing with God and the crushed and bleeding slave on this occasion, I will, in the name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the Bible which are disregarded and trampled upon, dare to call in question and to denounce, with all the emphasis I can command, everything that serves to perpetuate slavery, the great sin and shame of America! "I will not equivocate; I will not excuse"; I will use the severest language I can command; and yet not one word shall escape me that any man, whose judgment is not blinded by prejudice, or who is not at heart a slaveholder, shall not confess to be right and just.

But I fancy I hear some one of my audience say, "It is just in this circumstance that you and your brother abolitionists fail to make a favorable impression on the public mind. Would you argue more, an denounce less; would you persuade more, and rebuke less; your cause would be much more likely to succeed." But, I submit, where all is plain there is nothing to be argued. What point in the anti-slavery creed would you have me argue? On what branch of the subject do the people of this country need light? Must I undertake to prove that the slave is a man? That point is conceded already. Nobody doubts it. The slaveholders themselves acknowledge it in the enactment of laws for their government. They acknowledge it when they punish disobedience on the part of the slave. There are seventy-two crimes in the State of Virginia which, if committed by a black man (no matter how ignorant he be), subject him to the punishment of death; while only two of the same crimes will subject a white man to the like punishment. What is this but the acknowledgment that the slave is a moral, intellectual, and responsible being? The manhood of the slave is conceded. It is admitted in the fact that Southern statute books are covered with enactments forbidding, under severe fines and penalties, the teaching of the slave to read or to write. When you can point to any such laws in reference to the beasts of the field, then I may consent to argue the manhood of the slave. When the dogs in your streets, when the fowls of the air, when the cattle on your hills, when the fish of the sea, and the reptiles that crawl, shall be unable to distinguish the slave from a brute, then will I argue with you that the slave is a man!

For the present, it is enough to affirm the equal manhood of the Negro race. Is it not astonishing that, while we are ploughing, planting, and reaping, using all kinds of mechanical tools, erecting houses, constructing bridges, building ships, working in metals of brass, iron, copper, silver and gold; that, while we are reading, writing and ciphering, acting as clerks, merchants and secretaries, having among us lawyers, doctors, ministers, poets, authors, editors, orators and teachers; that, while we are engaged in all manner of enterprises common to other men, digging gold in California, capturing the whale in the Pacific, feeding sheep and cattle on the hill-side, living, moving, acting, thinking, planning, living in families as husbands, wives and children, and, above all, confessing and worshipping the Christian's God, and looking hopefully for life and immortality beyond the grave, we are called upon to prove that we are men!

Would you have me argue that man is entitled to liberty? that he is the rightful owner of his own body? You have already declared it. Must I argue the wrongfulness of slavery? Is that a question for Republicans? Is it to be settled by the rules of logic and argumentation, as a matter beset with great difficulty, involving a doubtful application of the principle of justice, hard to be understood? How should I look to-day, in the presence of Amercans, dividing, and subdividing a discourse, to show that men have a natural right to freedom? speaking of it relatively and positively, negatively and affirmatively. To do so, would be to make myself ridiculous, and to offer an insult to your understanding. There is not a man beneath the canopy of heaven that does not know that slavery is wrong for him.

What, am I to argue that it is wrong to make men brutes, to rob them of their liberty, to work them without wages, to keep them ignorant of their relations to their fellow men, to beat them with sticks, to flay their flesh with the lash, to load their limbs with irons, to hunt them with dogs, to sell them at auction, to sunder their families, to knock out their teeth, to burn their flesh, to starve them into obedience and submission to their mastcrs? Must I argue that a system thus marked with blood, and stained with pollution, is wrong? No! I will not. I have better employment for my time and strength than such arguments would imply.

What, then, remains to be argued? Is it that slavery is not divine; that God did not establish it; that our doctors of divinity are mistaken? There is blasphemy in the thought. That which is inhuman, cannot be divine! Who can reason on such a proposition? They that can, may; I cannot. The time for such argument is passed.

At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation's ear, I would, to-day, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy -- a thin veil to cover up crimes which would disgrace a nation of savages.There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour.

Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival....

...Allow me to say, in conclusion, notwithstanding the dark picture I have this day presented, of the state of the nation, I do not despair of this country. There are forces in operation which must inevitably work the downfall of slavery. "The arm of the Lord is not shortened," and the doom of slavery is certain. I, therefore, leave off where I began, with hope. While drawing encouragement from "the Declaration of Independence," the great principles it contains, and the genius of American Institutions, my spirit is also cheered by the obvious tendencies of the age. Nations do not now stand in the same relation to each other that they did ages ago. No nation can now shut itself up from the surrounding world and trot round in the same old path of its fathers without interference. The time was when such could be done. Long established customs of hurtful character could formerly fence themselves in, and do their evil work with social impunity. Knowledge was then confined and enjoyed by the privileged few, and the multitude walked on in mental darkness. But a change has now come over the affairs of mankind. Walled cities and empires have become unfashionable. The arm of commerce has borne away the gates of the strong city. Intelligence is penetrating the darkest corners of the globe. It makes its pathway over and under the sea, as well as on the earth. Wind, steam, and lightning are its chartered agents. Oceans no longer divide, but link nations together. From Boston to London is now a holiday excursion. Space is comparatively annihilated. -- Thoughts expressed on one side of the Atlantic are distinctly heard on the other.

The far off and almost fabulous Pacific rolls in grandeur at our feet. The Celestial Empire, the mystery of ages, is being solved. The fiat of the Almighty, "Let there be Light," has not yet spent its force. No abuse, no outrage whether in taste, sport or avarice, can now hide itself from the all-pervading light. The iron shoe, and crippled foot of China must be seen in contrast with nature. Africa must rise and put on her yet unwoven garment. 'Ethiopia, shall, stretch. out her hand unto Ood." In the fervent aspirations of William Lloyd Garrison, I say, and let every heart join in saying it:

God speed the year of jubilee
The wide world o'er!
When from their galling chains set free,
Th' oppress'd shall vilely bend the knee,
And wear the yoke of tyranny
Like brutes no more.
That year will come, and freedom's reign,
To man his plundered rights again

God speed the day when human blood
Shall cease to flow!
In every clime be understood,
The claims of human brotherhood,
And each return for evil, good,
Not blow for blow;
That day will come all feuds to end,
And change into a faithful friend
Each foe.

God speed the hour, the glorious hour,
When none on earth
Shall exercise a lordly power,
Nor in a tyrant's presence cower;
But to all manhood's stature tower,
By equal birth!
That hour will come, to each, to all,
And from his Prison-house, to thrall
Go forth.

Until that year, day, hour, arrive,
With head, and heart, and hand I'll strive,
To break the rod, and rend the gyve,
The spoiler of his prey deprive --
So witness Heaven!
And never from my chosen post,
Whate'er the peril or the cost,
Be driven.

The Life and Writings of Frederick Douglass, Volume II
Pre-Civil War Decade 1850-1860
Philip S. Foner
International Publishers Co., Inc., New York, 1950


WARC-Truncated: length

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Browsing Category Personal

10 Best Natural Skin Care Products To Try

by Thursday, June 9, 2016

Origins skin care, Josie Maran, Boscia, and Caudalie. These are few of the best natural skin care brands in the market. Spending and investing in a reliable skin care product to achieve a youthful looking skin is important. However, with all the choices made available, it's hard to know which one will work for you. ...


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Skoogfit Blog

Nov 26

Finding Greener Grass

I’ve had a 10-year romance with NYC’s “sexiest gym.” When the city’s lights went out or my building’s hot water turned off, I fled into the trusty arms of Equinox for comfort. But lately, I’ve had less-than-sizzling feelings for the “hottest gym.” Perhaps it’s because my years-old routine… read more
Nov 24

Countdown to T-Day: Hosting Tips!

When I host, by the time Thanksgiving dinner is being served, I’m no longer hungry. Ugh-I hate that! The problem is, throughout the day, I snitch at my various projects, like the crumb topping on my apple crisp. Or somehow the nut bowl needs constant refilling (is that ME??). Does this green bean casserole need more Parmesan? Ooh, nibble nibble. Sound… read more
Nov 22

Surviving A Food Desert

Gross. We’ve all had un-memorable meals at America’s chain restaurants and certainly, all meals are not created equal. When you find yourself in a healthy food desert, here are the best and worst decisions you can make – I chose just 10 food establishments in this country as an example of how wrong or right you can get! 1. Dunkin’ Donuts:… read more
Nov 21

The Hannah Project

#gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ …I’m not Jenny Skoog… I’m Hannah. Jenny and I are working… read more
Nov 20

Countdown to T-Day: Gracious Guesting

Hosting is my thing. Having friends over is my way of sharing love and affection. Not only do I pour my heart and soul into my cooking, but I get to choose the menu, the guestlist and get to stay home! It’s perfection. Though, GOING to dinner parties is just as fun: Simply show up and enjoy yourself. Sometimes, however, being a dinner guest can be somewhat awkward,… read more
Nov 19

Recipe Makeover: Potato Latkes

Here’s the YouTube video for this recipe!  This year, Hanukkah falls on Thanksgiving Day. Many of my Jewish friends will be celebrating with some additions to their turkey dinner, like jelly donuts and potato latkes. Sounds like a calorie bomb to me! In this recipe makeover, I modified traditional oily, greasy, carb-y potato latkes into a nutty, crispy… read more
Nov 18

Peer Pressure Doesn’t Die

Peer pressure and social norms are powerful influences on behavior and they are classic excuses. -Andrew Lansley I love to cook and Stanley loves to eat. Well, we both do. If he brings home a sweet treat, you can bet it calls my name in the cupboards until I cave in. We don’t buy many treats…after all, we’re trainers with a passion for what we do.… read more
Nov 15

Happy Birthday, Poppers!

Today is my dad’s 86th birthday. For as long as I can remember, Poppers has always been a steadfast rock in my life. He’s raised 9 of us with hard work and discipline and in his retirement years, my dad makes things with his bare hands: things like rocking chairs, wooden mirrors, benches, desks and cribs. (My office is furnished with his handiwork.)… read more
Nov 13

The Flu, Exercise & You!

*cough* “Jenny, I have a fever & sore throat. But I didn’t want to cancel-I think a workout will make me feel better…and I wanna sweat it out.” *wheeze* Let’s analyze this whole ‘sweat it out’ theory: Does exercise actually make you feel better? Or worse? It’s a fact that 30 minutes of daily, regular exercise… read more
Nov 12

Wedding Day Workout!

Every bride wants to look fantastic on her wedding day – after all, it’s the photos that last forever. So when you wake up that morning, should you go for a run or hit the weights? Since you’ll be spending many hours on your feet dancing the night away, march your booty straight to the weight room and get your pump on for pictures! Here’s… read more


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Steve Brown (Chair), Moz Baker, Lionel Bird, Roger Ellis, Andy Turbitt, John Fletcher, Jan Mokrzycki, Mark Franklin
Rachael Brown, CJ Joiner, Gary Stubbs
The minutes of the meeting on 17 March 2014 were approved as a correct record.
It was agreed that Moz will liaise with Kev K over items for sale at the Earlsdon Festival. The Board agreed an initial merchandising budget of £250. Moz and John to work together on planning the use of that.
Trust Discount Card
Jan to progress this.
Young Supporters
Moz will write a report on the success of the Peterborough event. John will use that to draft a promotional piece for the website.
Lobby of Parliament
John outlined arrangements made with Jim Cunningham MP, it is hoped to coincide with the second reading of Damien Collins’ Bill on 6 June 2014
It was agreed to plan a Summer March, on either Saturday 21 or 28 June. Moz, Jan and Kev will lead the arrangements.
Jan will draft and circulate an “Affiliate of the Month” piece.
FOIs and Questions
Roger outlined the latest position and the next steps were discussed and agreed.
Steve and Jan to attend.
Open Meetings
Jan to arrange next meeting with either Former Players or a film show.  Date to be moved to 12 May to avoid Bank Holiday - John to announce that on website.
Roger reported on steps needing to be taken on the Trust Constitution. Roger will send a note to Board members outlining the process.
Agreed to conduct a survey of Supporters. Roger to let John have previous draft.
Jim Cunningham MP
Agreed that John will arrange a meeting for Board and Jim C.
Supporters’ Team
Agreed to arrange and subsidise a coach to the forthcoming final
Supporters Direct
Agreed to support John as proposed SD Board member.
Reported membership funds at £2917.97 and the fighting fund at £1896.41.
Next Meeting
Monday 19 May 2014 @ 7.30pm

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Tuesday, May 15, 2012

Saving Sophia

Over the last week or so, my lovely 13-year-old dog Sophia has been affected by alarming health problems, and I'm trying desperately to save her.

For ages, she has has been afflicted with a "running nose": that's to say, a daily effusion of greenish mucus from her nostrils, which has never seemed to worry Sophia and which I simply wipe away with absorbent paper. The veterinarian has explained to me that this mucus is no doubt an external symptom of some kind of serious internal problem. Unfortunately, this superficial symptom doesn't indicate automatically any kind of effective medication. And it's a fact that none of the several products suggested by the veterinarian have succeeded in stopping the mucus effusion.

A week or so ago, things became more dramatic when Sophia started to lose her appetite. The veterinarian put her on cortisone tablets, and this seemed to produce a positive reaction. Since yesterday, though, Sophia has refused all food, no matter what appetizing products I've offered her. Worse still, she refuses to eat additional cortisone tablets. So, this evening, I'm terribly anguished...

It's all very well to say that she's an old dog, and that her time is up. Fair enough. But I'll be devastated if and when she goes. Sophia is Gamone, and Gamone is Sophia.

  1. If it's her time, you have to let her go.

    Am thinking of you and Sophia. She will never fully leave you until you have no more memories of her.

    Take heart! Be strong!

  2. Annie
    Thanks for your compassionate words. For the moment, I've succeeded in getting Sophia to swallow her tablets, crushed into powder and washed down with warm water. And she has suddenly reacted positively by eating raw eggs and pieces of apple. Last night, she even devoured a pork bone. She's quite alert and capable of following Fitzroy and me up the road and back. She has even stopped coughing up stuff. But she refuses to eat any of the meat-based dog products I put in front of her. Tomorrow morning, I intend to see how she'll react to raw minced steak and eggs. Above all, there are no apparent signs of suffering, and she dozes off deeply from time to time. So, we'll see how the situation evolves...