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This is a difficult subject to write about not only for the subject matter (infidelity in a marriage with children that is now heading for divorce) but also because it's not really my story to tell, so I have to tell it without too many details. Know that it is not about me, but about people I'm close to and because of this affair, my relationship with all involved with be forever changed.
Someone I love made some very bad choices and did something really stupid and hurt a lot of other people I love. This person knew better. In fact, this person had this done to them a long long time ago so knew deep down what an unforgivable hurt it would cause.
And yet.
They did it anyway. Instead of talking to the multiple someones, myself included, they should have talked to when things in the marriage were rocky, they instead plunged into an illicit relationship with an outsider.
So maybe that's what I'm really angry about. I felt blindsided. Why didn't this person come to me and let me know what was happening before causing irrevocable damage?
When the guilty party called to tell me what was going on, their relationship was already beyond salvage. And I was shocked, then numb, extremely pissed off, sad and pissed off again. Because of my relationship with this person, I have chosen to support them through this mess. I don't really have a choice, there are just certain things you do for family. But part of me wants to throttle this person. Yell at them. Maybe even throw something. I want to reach out to the other person involved and say I'm so sorry, I'm so sorry, I didn't know, I'm as shocked, pissed and sad as you are. I want to scoop the child in my arms and shelter them from all of it. Kiss it and make it all better. But this other person wants nothing to do with me or my family because of this. I didn't even know it was going on, but this mistake by another has reverberated far and wide. And that pisses me off too.
I can't make it better. This didn't happen directly to me. I'm part of the inner circle but I wasn't there. I didn't know until it was too late. And I cannot fix it.
What I can do is listen, be there, offer support and hope that one day my relationship with everyone involved, while forever changed, will somehow mend to the point that we can begin again.


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The shortest of Paul's extant letters; it is an appeal to Philemon, written while Paul was in prison, begging Philemon to be merciful to the runaway slave Onesimus, who had been converted to Christianity (verse 16) and sought refuge with Paul. Onesimus had come with stolen property (verse 18) and the prospect of returning was appalling. The penalties for slaves who absconded were severe and Paul not only pleads for gentle treatment by Philemon but also seems to hint that Onesimus might be spared for service to himself (verse 13)! Philemon is urged to go the extra mile (verse 21, cf. Matt. 5: 41), and not to exact the penalties (which might include death), which under Roman law he was fully within his rights to impose. (An alternative explanation is that Onesimus had been enslaved by reason of bankruptcy, and had been sent by Philemon to serve the incarcerated Paul, during which time he was converted to Christianity.) A bishop of Ephesus of the name Onesimus (which means 'useful', hence Paul's paronomasia in verse 11) is mentioned by Ignatius (107 CE), and the theory has been proposed, but not generally accepted, that Onesimus was responsible for making a collection of Paul's epistles.
Philemon lived at Colossae, and some have held that this is so much nearer to Ephesus than Rome that it was more likely that the letter was sent together with the epistle to the Colossians (with which it is closely associated) from Ephesus; but the only evidence for Paul's imprisonment in Ephesus are the vague generalizations in 1 Cor. 15: 32 and 2 Cor. 11: 23. It has also been suggested that the slave owner was actually Archippus (verse 2), rather than Philemon. In this case, the letter's purpose was different: possibly it was the very 'letter from Laodicea' (Col. 4: 16); and if Philemon was a prominent member of that Church, he is being urged by Paul to use his influence in the Church with Archippus. Could the Church allow Onesimus to remain in Rome and care for Paul? The prisoner seems able to pay the legal fee to secure the slave's freedom (18). Thus, it was not a matter of Onesimus being sent back to his master. What is, however, perfectly clear from the letter is that Paul is trying to involve the whole local Church (verses 1 and 23); it is not a private matter; for the risks being taken by Onesimus and urged on Philemon, and indeed accepted by Paul, were very considerable. It is also clear that the institution of slavery as such is not condemned, though the common Christian faith of slave and owner requires a totally transformed relationship.

subset: commoncrawl


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Roofing systems are some of the most important components for our homes and businesses. They keep us protected from cold weather and ensure we are safe against severe storms and other inclement weather. Because of this, it's important that when you want to update your roof or get repairs, you have a roofing company that you can count on. At Mullins General Construction, we have the best roofing contractors in Dallas County, TX. From offering high-quality services to helping our customers pick the perfect roofing system, we are there each step of the way. We are invested in guaranteeing our customers get the very best service, and we do this by hiring roofers who are certified and trained in all roofing services and procedures, as well as using material and tools that are the best in the industry. We are your all-in-one for all things roofing, so if you want better roofing for your residential or commercial property, call our roofing contractors at (972) 535-8065.
Our Roofing Services and Cities We Service
Finding the best roofing company for your roofing services can be tough. There are companies who will promise certain things and never follow through, but we are here to tell you that our roofing contractors will always go the extra mile to give you what you want. We believe that relationships with our customers are of the utmost importance. They help us to find the best roofing for them, as well as get a sense of what type of roofing they are looking for. The needs and opinions of our customers is vital, so we always take it into account. Our roofers will also give professional and honest advice about what type of service or material will work best for a customer's particular needs and structure. Not only that, we are always upfront with our costs and will work with you to get services within your budget. Here are some of the services we offer our residential and commercial clients.
- Commercial Roofing
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We provide roofing services in Dallas County, and these are the cities within your county that we are able to deliver services to.
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If you want to speak to one of our roofing contractors in Dallas County, TX, call Mullins General Construction today at (972) 535-8065 to set up an appointment.


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I want to focus on a serious issue that is being ignored in favor of all kinds of fake news and grandstanding. In college, I took a course on demography. That means we were looking at the explosion of population in parts of the world, which then leveled off, but at much higher levels than before. Everything we are struggling with in this twenty-first century is related to that explosion of population.
The most significant advances in our longevity were the result of public health advances, precisely the things that people don't want to spend on right now, on our water and sewer systems. I remember my dad asking every owner of places where we stopped for the night whether the water was potable, meaning it was drinking water from which we would not get sick. That was new in his lifetime. And by the way, my dad grew up in Brooklyn, in New York City, using an outhouse. Sure many of us have used outhouses at one time or another but they are not the best protection for public health in large communities – septic systems take lots of space.
After water and sewer systems, penicillin probably made the biggest difference – it's probably why I'm talking with you today but never met my sister who died at the age of three before the discovery of penicillin. Those advances added decades to our lives by comparison to very short advances from modern medicine and surgery.
And they are a large part of the problem of global warming. There are lots more of us burning things, driving cars, using electricity, getting what we need for business or pleasure from the furthest corners of the world. That takes energy. Energy has been produced by burning things. And so the world gets hotter, the oceans expand, tropical diseases proliferate, and life threatens to get nasty, brutish and short once again. And efforts to mitigate that will be overtaken if population continues to expand – worldwide it's doubled in my lifetime.
So when I hear about advances in medical science, like the possible elimination of malaria, I think how wonderful for the likely victims, and then I wonder about the global impact. There is no free lunch. We can make lots of advances. But the world has its limits. More people will put more stress on the environment. And stress on the environment is already heading us toward the next major extinction – us, human beings, our children and grandchildren.
And so I think there is a trade-off between our health and our numbers. There is no human life after we are extinguished – only death and tears. So let's be clear, I am very pro-life, but to be pro-life demands support for birth control, especially the kinds that prevent conception.
There is no so-called pro-life position that is not also a position about death. It seems to me that The Church and all houses of worship, must rethink their positions about death and destruction along with their positions about conception. The two are intertwined by laws well-beyond our ability to control. Yes the Bible says choose life, all our bibles say that in some form. But are we choosing life if we ignore the reality of death, destruction, and extinction?
— This commentary was broadcast on WAMC Northeast Report, Feb. 28, 2017.


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Fish oil and krill oil differentially modify the liver and brain lipidome when fed to mice
(BioMed Central, 2015-08-11)
Background: Marine food is an important source of omega-3 fatty acids with beneficial health effects. Oils from marine organisms have different fatty acid composition and differ in their molecular composition. Fish oil ...


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Haha, I feel like a dick for even mentioning it in the midst of all this awesome.Haha Talon i will apologize to Pete right away for mis spelling something and get right on that! I almost got away without a spelling mistake
felipefrango: got any advice on set dressing and lighitng? ;(


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koala baby 3 pack canvas bins
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- Home
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- Miller's Landing
Miller's Landing
Council approves financial agreement
A new development is proposed near the intersection of Interstate 25 and Plum Creek Parkway. Town Council in 2016 voted 5-2 to approve a finance agreement with the project's developer to help remediate the old landfill on the property and fund necessary public infrastructure.
Fact sheets and study
View a fact sheet about the proposed development and the finance agreement Town Council approved. Additionally, a fact sheet is available about the landfill remediation, which is occurring from September through December 2018. Also available is a study by Economic & Planning Systems Inc., which the Town commissioned to determine the need for the proposed financial agreement.
About the proposed development
Citadel Development LLC proposes a new 65-acre development on an area known as Miller's Landing – located on the northwest corner of I-25 and Plum Creek Parkway, near Philip S. Miller Park. Citadel's development plan includes office, retail, a hotel and more.
Blighted conditions
While zoned for commercial use, the land area has traditionally been undesirable to developers due to the necessary remediation of the old dump. Castle Rock Urban Renewal Authority – an entity that exists to facilitate investment and redevelopment in challenging areas within Town – recently deemed this areas as blighted, which allows for additional tax-sharing to clean up the property and foster economic development.
Town Council approved a financial agreement that includes sharing back 60 percent of the sales and 100 percent of the property tax generated from new amenities on the property. The agreement does not include allocation of any current Town funds. Instead, the Town would be sharing future revenue generated by a new project.
Key aspects of the financial agreement include:
- Issuing bonds: The Miller's Landing Business Improvement District will be allowed to issue bonds to finance the remediation of the existing landfill, along with construction of necessary public infrastructure on the site
- Bond repayment: Bonds will be repaid with various incremental revenue the project will generate
- Property tax: The Town will share 100 percent of property tax generated on the property for 23 years, which will help repay the bonds
- Sales tax: The Town will share 60 percent of sales tax generated on the property, once developed, for 25 years, which will help repay the bonds. However, sales tax will not be shared on any grocery store larger than 27,000 square feet nor any large retailer currently in business in Town
- Development limits: The agreement will limit the amount of retail development to 100,000 square feet until a minimum 250-room full-service hotel with 10,000 square feet of meeting space opens. The agreement will further limit retail development to a total 250,000 square feet until at least 150,000 square feet of office space is constructed
Benefits for the Town
- No existing Town revenues nor funds are committed to the project – only sales tax earned on the new development. Currently, the Town earns no sales tax on that property, because it is not developed
- Old landfill will get remediated by private investor at an estimated cost of $12 million
- Relocation is discouraged, because the agreement states credits may not be collected on re-locations of large businesses that already exist in Town
Detailed documents and additional information
View the April 18 Town Council agenda item.
View a video of the proposed project, produced by the developer.
View the Miller's Landing Business Improvement District 2018 Operating Plan and Budget.


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| 6.9°C Dublin
DEMBA BA could not have asked for more from his Chelsea debut after what has been a whirlwind week.
The 27-year-old completed his move from Newcastle to west London on Friday and made his Blues debut a day later in their FA Cup third-round tie at Southampton.
Ba quickly went about making an impact at his new club, drawing Chelsea level with a goal that proved the catalyst to a 5-1 win.
The Senegal international had not been sure if the first one was his after hitting home a Juan Mata effort on the line, although his second was far more clear-cut.
Ba slotted home impressively under pressure but was not going to try and wrestle Chelsea's late penalty off Frank Lampard in the search of a hat-trick.
"I'm not that crazy," Ba said, after Lampard fired home to put him joint second in Chelsea's all-time scorers list with Kerry Dixon.
"I don't think I have made a debut like that before. That's a great one and I'm pleased, I'm going to enjoy it a little bit.
"It's great, when you see the fans they show you they're happy for you, and the team-mates, when they come and congratulate you it's a good feeling.
"The three behind me make football look easy. I just try to run in behind and try to create space as well for them.
"I know when they have some space they will be very dangerous."
The brace at Southampton was the ideal end to what has been a whirlwind week for Ba.
"I woke up on Wednesday and I prepared myself to play (for Newcastle) against Everton," he said.
"I got a text from the manager that said I needed to come and see him.
"From that moment I knew that everything was fixed and I'd go.
"I travelled down as quickly as possible to London to watch the (Chelsea) game against QPR, and the next day I had a medical, so it was very busy.
"Now I'm just going to have one day off chilling with my kids and just relax."


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How to adopt a garden
The pioneer archetype looms large in the West. Strong and largely fictional, this heroic frontiersman delivered a calf at midnight in the blowing snow, mended fence all day and still had time to ride home into the sunset.
Yet while one pioneer tended the herd, you can bet another was tending the garden, making applesauce, shelling peas, and raising hens, activities just as gritty and heroic. Indeed, the garden is every inch the elemental battleground as a cattle range. You're out there, exposed to the elements, growing enough food to survive the winter.
In my romanticized version of this myth, vertical integration is key. Building your house is good, but even better if you felled the trees and peeled the logs. In this spirit, I've always made it a point to grow my garden from seed.
My wintertime seed-ordering ritual involves getting cozy with a cup of tea and a stack of catalogs. I read the descriptions of the various plants, plan my garden and dream of summer. But things get serious when raising seedlings, because it's not enough to be pretty good; even a B+ amounts to a failing grade.
Any number of factors can cause the little plants to get stressed, which will set them back days, weeks, months or forever. Too wet, too dry, too hot, too cold, too bright, too dim -- any of these circumstances can hurt plants. Once they lose their momentum, it's nearly impossible to catch up. A plant, a tomato, say, that's behind the eight ball when you put it in the ground might be too small to bear much fruit when summer hits. Maybe you'll get a few tomatoes, but not what you need to survive the winter. A well-developed plant will hit the dirt running.
Clearly, if you want a fantastic August, you need a perfect March. And if you don't have a perfect March, you're better off buying starts from someone who did. Last year my seedlings lived like orphans bouncing around foster homes. They started in the basement under grow lights, moved in front of a big window when the days were long enough, and once in a while the trays spent an afternoon outside for some fresh air. Finally, they went to the greenhouse, where cold nights, hot days and erratic watering slammed the starts into survival mode. They survived but they did not thrive -- a condition exacerbated by store-bought potting soil. But it's a poor workman who blames his tools. A real pioneer, of course, or a real farmer, would have made his own potting soil.
Every spring when the farmers' market opens, I come face-to-face with plants raised in stable homes by growers who really know what they're doing. It's humiliating, and it's instructive.
On paper, it makes questionable financial sense to buy starts at the market, where one plant might cost more than a whole packet of seeds. I've fallen prey to this logic for years. I've even clung to this failed logic to the point where I've put my sorry plants in the ground anyway, just about dooming my garden.
So this year I'm going to restrain my pioneer impulses and buy my starts from the experts. Instead of wasting time and money what could be a romantic exercise in futility, I'm going to make my garden into the best home possible for the starts I bring home from the market.
In plugging into my local economy this way, I'm embracing my community, with warm and fuzzy paybacks like the relationship that can develop between the gardener and the greenhouse whiz. Imagine knowing that all across town, people have planted the starts you raised. It's like they're raising your children. "You get updates all summer long," says one farmer friend. "They'll say things like, 'That Sungold tomato plant you sold us; the tomatoes taste like candy!'"
So, while being a go-it-alone pioneer is a cool concept, being a player in a vital community is even cooler. And instead of studying seed catalogs, I'll be scheming about the drip irrigation system I'm installing this spring. I want it to be water-wise, easy to manage and ready to go when I bring home my adopted garden.
Ari LeVaux is a contributor to Writers on the Range, a service of High Country News (hcn.org). He is a syndicated food columnist who lives in Missoula, Montana.


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CEC has recently unveiled a series of 8 issue briefs on the most timely special/gifted education policy topics under discussion in Congress:
- Improving Outcomes for Children with Disabilities Through High-Quality Early Learning Program
- Promoting Access & Achievement for Children and Youth with Exceptionalities in PK-12 Education
- Advancing Higher Education & Employment Opportunities for Individuals with Disabilities
- Preparing Future Educators to Meet the Needs of Children with Disabilities
- Special Education Research & Development: Supporting Educational Excellence for Children & Youth with Disabilities
- Expanding the Federal Role in Gifted Education
- Investing in Special & Gifted Education: Impacting 10 Million Children & Families
- United Nations Convention on the Rights of Persons with Disabilities
Last month, advocates from across the country attended CEC's National Legislative Conference and shared these issue briefs with their elected officials. We hope you'll do the same! Visit CEC's Legislative Action Center to write to your Senators or Representative today!


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Neil Patrick Harris will return as host for the 2013 Tony Awards.
"I'm very excited to be back hosting the Tony Awards at the legendary Radio City Music Hall. It'll be more impressive than ever - if my math is correct, it will be 267 times bigger than last year," Harris said in a statement. "Oh, wait. No, that can't... hold on... carry the one... I'm awful at math. But rest assured, the show will rock!"
Get the scoop on 39 must-watch finalesThis will be the How I Met Your Mother star's fourth time hosting the ceremony and third in a row. Harris has appeared in multiple Broadway shows in his career, including Cabaret and Proof opposite Anne Heche.The 67th Annual Tony Awards airs Sunday, June 9 at 8/7c on CBS.


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Welcome to Shelton Veterinary Clinic - Interlachen!
Shelton Veterinary Clinic provides quality veterinary care for dogs, cats, birds, exotics, equines and large animals in Interlachen, Florida and the surrounding communities. Our warm and inviting hospital boasts superb veterinarians and caring support staff that are dedicated to our patients, clients, and community.
As a full-service animal hospital, we offer the following:
- Preventive & Wellness Care (including vaccinations)
- Internal Medicine
- Veterinary Dental Care
- Soft Tissue & Orthopedic Surgery (such as spays and neuters)
- Advanced Diagnostic Procedures (digital x-rays, ultrasounds)
- Treatment for Sick & Injured Animals (chemotherapy)
- Pet Boarding
We serve the Interlachen, Florida area including (but not limited to): Melrose, Hawthorne, Keystone Heights, Florahome, Hollister, Palatka, East Palatka, Satsuma, Pomona Park, Crescent City, Orange Springs and Fort McCoy. Please call 386-684-4077 to schedule an appointment or request an appointment online.
Visit One of Our Three Convenient Locations
|Interlachen Office
Putnam County
|Elkton Office
St Johns County
|Bunnell Office
Flagler County


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Lessons from Schon -- the worst physics fraudster?
How did a 31-year-old physicist working at Bell Labs in New Jersey, US, get away with possibly the worst case of physics research fraud known? From claims to have made the world's first organic electrical laser to the fictional construction of the smallest ever transistor, the repercussions of Jan Hendrik Schön's fraud are still felt today, seven years after he was found guilty of scientific misconduct and fired by his employer.
Writing in the May issue of Physics World, Eugenie Samuel Reich chronicles how his fraud shook the scientific world, in abridged and edited extracts from her new book 'Plastic Fantastic'. Reich, a science journalist in the US, describes how Schön's research developed from colleague-pleasing fibs into world-class deception and asks why the much-celebrated self-correcting nature of science did not bring the fraud to light sooner.
In 2000 alone, Schön published eight papers in Science and Nature and became known for his ability to coax materials into superconductors, leading scientists in at least a dozen labs to chase research rainbows, wasting millions of dollars of US government research money.
It was Schön's journal paper describing the construction of molecular transistors that tripped the first domino when two fellow physicists attempted to patent research that showed that soft lithography could be used to make softer and gentle contact with organic molecules.
Julia Hsu and Lynn Loo were using Schön's paper to show how novel their experimental progress was when they accidentally stumbled across duplicated data and raised an alarm bell that led eventually to Schön's dismissal.
As Reich writes, "Science was corrected in the Schön case, but not by itself - only because individual scientists made corrections. From would-be replicators in dozens of labs to many sceptics, only a couple of researchers were transformed into whistle-blowers by the unlikely pattern of [duplicated] evidence."
Reich continues, "Fraud was able to stifle questions about Schön's lab technique that would otherwise have been asked, and to turn review processes at journals into opportunities for additional fabrication. Other scientists' support of the fraud was unwitting, but the decision to place so much trust in a colleague was a conscious rationalisation that continues to be defended in science to this day."
Source: Institute of Physics (news : web)
Explore further


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Merino Fine Rib Pullover
Knitted minimalism: Roll-neck pullover made from fine, soft Merino wool. The ribbed look and slim-fit make this item a timeless classic.
- Classic 2:2 ribbing
- 18-gauge knit
- Fully fashioned knit
A stylish addition to many outfits.
Order Today: Estimated Delivery Date 09/29/2020
- main material 100% virgin wool


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Even if you're a Microsoft Office hater, sometimes it's extremely useful to have access to its features. Well, here's a quick way to achieve that on OS X, for free, using OnLive's Desktop service.
OnLive offers a free service through which iOS and Android users can access an install of Office running from its servers. Now, thanks to the Bluestacks app which lets you run Android apps on OS X, you can also achieve it on your Mac. First demonstrated by Snowleo on the OnLiveFans forum, 9to5mac gives a rundown of the incredibly straightforward process:
First, you will need to download the Bluestacks application, and then register for a OnLive account on its website. Now comes the only tricky part: Bluestacks does not have a built-in browser, so you will need to open the Twitter app, and then open a link from within. From there, Bluestack's hidden browser will launch with the link you clicked. Navigate to the XDA Forums, where you will download the OnLive Desktop .apk that installs just like a normal Android app. Sign-in to OnLive, and then you are off to the races.
Voila! A working copy of Office, running remotely from OnLive's server, on your Mac. (One smaller pointer: it only works if you install the Bluestacks alpha 2 update, but you can do that from in the app.)
You might notice that the frame rate runs slightly slower than a native install, but this is a great trick for times when you just need quick access to Office for some reason or another. Let us know how you get on! [9to5mac]
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Notice to Readers
WANT TO BETTER UNDERSTAND YOUR CHILDREN OR GRANDCHILDREN? Let me read their chart. 38 years exp. 1.5 hr reading w/21-year forecast. $295. Local. See testimonials at www. mountshastaastrologer.com. 707-539-7827.
Take your foot care seriously! I do! Soak in a disposable-lined foot bath, nails expertly cut, gently filed, cleaned. $15. Lori's Nails at Cut & Curl near Oliver's. 544-6245.
B. Slatkin Bookkeeping, AP, AR, PR, Financial Statements, etc. Quickbooks Pro and other software expertise. 25+ years experience. Your office or my Kenwood office. Bookkeeping services tailored to your needs. Call Barbara, (707) 696-1229.
B&B Contractor Services, LLC. We are sorry for your loss. We're here to help o Free consultation o Fire damage/county compliant co. o Hazard material trained o At a discount rate whether you opt in or opt out o Assistance with rebuilding your home o Non government-related co. CALL LINDA: (415) 816-1594 email@example.com.
Estrella Housecleaning Services. Experienced, reliable house cleaning. Residential and commercial. Great references. Free estimates, low prices, licensed. Quality work. Call Margarita at 707-494-4412. You won't regret it!
A complete cleaning service for your home. Local references available. Window cleaning, carpet and upholstery cleaning, gutter cleaning. Pressure washing (decks-fences-house). Painting, tree trimming, floor strip and wax. Insured. John Isola, 762-4539.
Elsie's Clothing Alterations. Trained in Europe. Worked at I. Magnin & Rosenbergs. Own business for 20 years. Located in Rincon Valley near St. Francis shopping center. Call 539-4535.
A clean, well-lighted mind for computers and technology of any kind. Personalized service, competitive rates, servicing all systems and makes. Since 1986. Make the call that solves it all: Steve, 526-4324.
Want to learn more about your iPhone, iPad, Droid? Having trouble using your TV, stereo or other tech product? The iTechTutor can help. I Make Technology Easy! www.iTechTutor.com. Call 981-4409.
Rod Mahoney builder and remodel specialist with 30 years of local references. Very detail oriented. Lic. # 429641. Call (707) 843-4155.
B & J CONSTRUCTION, Bruce Johnson General Contractor. Remodeling, additions, kitchen & baths. Reasonable rates, free estimates. Small jobs welcome. Lic. #428073. (707) 996-1454.
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Full service general contractor specializing in complete home remodels and custom design. Architectural design, custom cabinetry, furniture, doors, windows, decks, construction management. Clower & Associates: 538-5538. Clowerandassociates.com. Lic.# B-1 & C-6 596641.
Curious, Creative and Connected. Questions to help you clarify what you want, and help you get it. 90-minute introductory session: $60. Mae Lucas, Practitioner of Neuro-Linguistic Programming (707) 508-8781.
Drive to/from appointments and errands. Retired nurse. $20/hour. Melora at 707-546-0455.
Christo Limo based in Oakmont is your transportation service. PUC Commercial Lic. # 32055, fully insured! Eight years touring experience with all airports and cruise lines, too. Call Chris at 707-206-5018.
Providing you services with care. Driving to appointments, errands, shopping, outings and companionship. Excellent references. Local resident. Call Claudia (707) 494-5490.
You Point-We Haul. Dump runs. Call for pricing. Sonoma County. Call (707) 363-3230.
$3,750 Month / One Year Lease - 3 BR/2 BA, 1,700 SF. Fully furnished Vineyard House on 2.5 acres. Back deck runs the length of the house, offering vineyard and mountain views. Very private but near everything and walking distance to Kenwood. Will consider cat or small dog. Gardner, trash, & water included. Call David 760.898.1848.
Oriental dining room table and 6 chairs. 42 table, walnut top, black legs, 2 leafs, includes covers. $850. 707-996-7129.
Paz Landscape Design and Maintenance. Tree pruning and trimming, lawn care, weed eating, rototilling, sprinkler installation, and repair. Tree and brush removal, hauling. Brick and stone. Walls and walkways. Log splitting. Since 1990. Free estimates. Lic: #918381. Call Omar Paz. 833-4010, Cell: 321-4350.
Star Landscaping, lawncare, weed eating, sprinkler installation and repair. Handyman: hauling, gutter cleaning, window cleaning, pressure washing, anything you need. Excellent references, free estimates. Call Juan at (707) 494-7655. License #9997059423.
CARLOS GARDEN SERVICES. Weeding, lawn mowing, cleanups, pressure washing, maintenance, dump runs, free estimates. Call 343-5230.
Rose Creek Landscaping Design, installation and irrigation. Deer proof, native and perennial gardens. Custom gardening. Free estimates. Lic# 437767. Call 707-538-5730. www. rosecreeklandscaping.net.
A. Barragan Landscaping Design, Maintenance, Installation, masonry. Irrigation, weed-eating, gutters, fencing, full tree service. Also serving Marin and San Francisco. Free Estimates (Insured) Lic.# 010066. Alex: 707-363-9290, Pedro: 707-363-9291.
Cool Cuts hair salon. Coloring, perms, styling. No appointment hair cuts. Great people, great prices. Open 7 days at 140 Calistoga Rd., Santa Rosa.
HANDYMAN - Call Michael. Basic carpentry, electrical, plumbing, painting, deck repair & refinishing. Curtain and picture hanging. 26 years experience. Furniture assembly and repair. Free estimates. 707-953-3636 or email@example.com. Ref. available.
30 yrs. experience. Fencing, grass cutting, concrete, concrete walkways, deck/carpentry work, grading / excavation, Versa-Lok / Keystone walls, water line & sewer repairs, plumbing. Call Vincent. 583-3949. No License.
HANDIPERSON - Painting, repairs, pressure wash, fix/install fences, decks, gutters, clean up COMPUTER set up and training. No job too small, only a few too big. Reasonable rates. Rodger. 537-9005.
Good Riddance Hauling. We are a full service hauling company. We remove yard debris, junk debris, junk and unwanted items. Call for pricing and details. www.goodriddancehauling.com. 935-0530.
Grip-it Grab Bars. Bathroom & showers made safe. All installations are ADA compliant. Call Today 707-539-4747. Helping you stay on your feet. SAFETY IS NO ACCIDENT.
Long Term Housekeeper. Quality Thorough House Cleaning, Weekly - Biweekly - Monthly. 20 years experience. Hard working and honest. Top references available. Satisfaction Guaranteed. Call me for a Free Estimate. Sabrina, (707) 396-9349.
Need a Notary? Visit www.4anotary.com or call me at 707-537-8114. All notary services-at your home or office. Local, Professional, Accurate, Reliable. John Clarke Fortner firstname.lastname@example.com.
ORGANIZING IS MY PASSION. I Create Order. I love a Challenge! Chaos Control, Downsizing, Moving, Filing Systems, Kitchen, Bath, Closets, Garage. 33 Years Experience. Confidential. Homes, Offices. Teresa, 707-823-5150.
Quality painting by Precision Painting - License #724253. Interior/exterior; Residential and commercial; Faux finishing; Drywall and stucco repairs. References available. Call Frank at 833-4461.
MIKKELSEN PAINTING. Sonoma Valley's go-to professional painting team. Exterior/Interior. Make your home look fantastic, and get it done right the first time. License #645552, call 415-382-3300.
Reasonable rates, free estimates, Oakmont references. License #573530. Gary Luurs at 528-8489.
Feet Hurt? From simple cut and clean services to the most decadent professional pedicure. Always sanitary, always caring. Lori's Nails, Cut & Curl Beauty Shop, Montecito Shopping Center near Oliver's. 544-6245.
THE PET WHISPERER - satisfying pets and their owners in Sonoma since 2001. Call Phoenix. More references than you can wag a tail at. (House sitting too!) (707) 933-9559.
A MOTHER'S LOVE PET CARE AND HOME SECURITY. Travel worry free while we care for your pets, property and plants. Special needs senior pets and fussy owners welcome. Day and overnight visits Special 24/7 Home Stay for maximum coverage. Member of NAPPS, licensed, insured and bonded. Sonoma County resident. See our YELP reviews. Rosanne, (707) 775-7520.
NOSE TO NOSE PET SITTING. The Best Care For Your Best Fiends. 25+ years experience. Dog and cat care. Daily visits. Overnight companionship. Insured and bonded. Member of Pet Sitters International, the world's largest educational association for professional pet sitters. See profile and testimonials at petsit.com. enter 95476. Alix Moline (707) 637-6267.
WALK/PLAY YOUR DOG, $15 Half Hour/$25 Hour. Let me help you walk, talk, and play with your dog. Call for free meeting. Terri (707) 480-0786. Local References.
New openings for Fall enrollment in my Glen Ellen studio or your home. Various methods and styles. All ages, reasonable rates. First lesson FREE! Call Christa at 938-0878 or mobile 707-483-7429.
Expert, affordable piano tuning. Repair. Sales. Call Richard Neiss at 996-3134.
TUNING, REBUILDING, CLEANING, APPRAISALS. Ask about my Winter Special Discount. Over 25 years experience. Robert Yambert, Master Piano Technician. (707) 637-6923.
PLUMBING - Affordable, Free Estimates. Repairs, remodels, new construction, water heater (tank & tankless), drains, toilets, faucets, disposals, water, waste, & gas piping, total home repipes, irrigation pumps. Kenwood. 707-396-3673. Joel Bergeron.
Lane's Plumbing Reasonable Rates Commercial Residential License #698166. Service, Repair, New, Remodels, Water Heaters (Tank and Tankless), Water, Gas, Piping, Repiping, Toilet / Faucet / Sink / Garbage Disposal, Installation, Replacement, Repair. Drains. Earthquake valves. Ph/fx: 833-2930.
Professional Power Washing can easily clean the most difficult projects in a quick and environmentally safe manner. We tackle buildings, wineries, decks, driveways, roofs, fences, patios, sidewalks, concrete, brick, stucco, and more. Lic: #918381. 833-4010, cell 321-4350.
Psychic John - Palms - Cards - Healings. Tells Past, Present, & Future. Help & Advice in All Problems. Readings in Person or Phone. 45 Years Experience - VISA/MC. 50% off with ad. 446 College Ave., Santa Rosa. 579-5123.
Ztaxlady Tax Prep & Bookkeeping. Need help with your taxes? Organization? Back taxes? Over 25 years experience; licensed & bonded. Free tutoring from checkbook to QuickBooks. Reasonable. Mobile! Renée L. Cohen. (707) 539-6004.
Paz Landscape with over 15 years experience, offers backhoe & tractor services: flail field mowing, grading, disc, roto-tilling, excavator and more. Quick and professional. Call 833-4010, cell: 321-4350 for free estimates. Lic: #918381.
Buying military antiques. Swords, knives, medals, helmets, flags & uniforms, aviation items. Cash paid. 30-year collector. Call Jeff, 483-7904, or email firstname.lastname@example.com.
Rick Garibaldi, Family Owned and Operated. Specializing in residential windows. Enjoy the outside again with clean windows. Call Rick at 707-938-3440. We are AFFORDABLE AND GREEN.


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Intel has launched it's Xeon E5 processors, just in time – perhaps – for Apple to launch new Mac Pros tonight alongside the iPad 3.
It's been 18 months since Apple last updated its Mac Pro workstation for creative pros working on high-end projects. While rumours of its demise have dogged it for the last six months or so, the release of Intel's Xeon E5 chips marks the point where Apple needs to brings it up to date or drop the line an concentrate on those with more modest demands (or innovate and do something new for creative pros, which would be great).
Here's what the Mac Pro would get from the Xeon E5. First off, access to the Sandy Bridge architecture underpinning the current generation of iMacs and MacBook Pros with smaller components than the previous generation (using a 32nm production process rather than 45nm). Intel's E5 uses this to get up to eight processor cores on a chip rather than six – so that would make for a 16-core Mac Pro, rather than the 12-core current flagship model.
There's more cache, four memory channels instead of three for faster memory access, and support for faster memory to boot. There's also support for soon-to-appear graphics cards that use the PCI Express 3.0 bus, plus other innovations, but the bottom line is more power for your creative applications. The new chips come at quite a price, though, so they're best suited to high-end CG/VFX projects.
To see how the chips measure up, read our review of the first two workstations to offer Intel Xeon E5 chips.


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Monthly Archives: December 2010
Clinical Team Experience registration open
Registration for the Clinical Team Experience (CTE), an interdisciplinary project that demonstrates the importance of a team approach to health care delivery, is now open.
More compact shelving going up
Installation and assembly of the final section of compact shelving section has begun. Hopefully we will have all of the books moved downstairs by mid-January.
InfoFair 2010 – Archive Available
The InfoFair 2010 program archive is now available. The Snyder keynote address by Dr. Kenneth Mandl, the Meet the Experts panel discussion and MedlinePlus Connect program sessions can be viewed by clicking here. The archive is also linked on the InfoFair 2010 home page.
Recapping today's InfoFair 2010
Today we hosted our annual InfoFair on the topic "Personal Health Record – Possible, Portable, Private?" The event was held here on the medical campus of the University of Utah, and broadcast live via the Web. Attendance for various portions of the day ranged from 55-70 people, and participation in the Q&A sessions showed thoughtful …Read More »


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In our last episode, we learned that Republicans want to change the rules so that corporations and empty land count as people, but actual voters are only 3/5ths of a person.
Today the New York Times editorial page is getting downright shrill, and not just because of the vote rigging thing (Charles Blow, "Rig the Vote"). Get a load of the lead editorial:
For most of President Obama's first term, Republicans used legislative trickery to try to prevent the functioning of two federal agencies they hate, the National Labor Relations Board and the Consumer Financial Protection Bureau. First they would filibuster the president's nominees to the agencies, knowing that neither agency could operate without board members or a director. Then they would create fake legislative sessions for the Senate during its recess, intended solely to prevent Mr. Obama from making recess appointments as an end run.
Astonishingly, a federal appeals court upheld this strategy on Friday. Mr. Obama had declared that Congress was not really open for business during its one-minute, lights-on-lights-off sessions intended only to thwart him, and he made recess appointments. A three-judge panel of the United States Court of Appeals for the District of Columbia Circuit said his N.L.R.B. appointments were unconstitutional, buying the argument of Republicans that the Senate was really in session.
The court even broke with the presidential practice of 150 years by ruling that only vacancies arising during a narrow recess period qualify for recess appointments.
See also "Yet More GOP Obstruction."
Steve M notes the SCOTUS will review the Voting Rights Act this year, also — "I think it's safe to say that the fix is in." Nice republic you had there, while it lasted.
Meanwhile, Jennifer Rubin snarks about Democratic Party totalitarianism; Peggy Noonan warns that President Obama is out to crush the Republican Party; the Ace of Spades thinks "we must do something about the media" because its been allowed to say nice things about Hillary Clinton; and some guy at World Nut Daily asks, "Is Obama Biblical Lord of the Flies?" You can't make that up. Well, WND can, but I couldn't.


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TORONTO - Jurors at the inquest into the death of a teenaged inmate were given a theoretical tour of Canada's prison system Tuesday that included why segregation is used and the rules around strip searches.
Andrea Markowski, warden of the Edmonton Institution for Women, provided the inquest with the overview ahead of the jurors' visit to the prison in which Ashley Smith choked to death more than five years ago.
The panel heard that inmates can only be placed in segregation if there is "no reasonable alternative."
Keeping prisoners isolated is usually done because they pose an "undue risk" to staff or other inmates or to themselves, Markowski testified.
Segregated inmates are allowed out of their cell for at least an hour a day of fresh air, she said, but can be out longer for showers or to use the telephone.
Periodic reviews are required by law to see if segregation remains warranted, said Markowski, who never had any dealings with Smith.
The goal is always to facilitate reintegration in the general population at the "earliest possible date," she said.
Asked by one lawyer whether prolonged segregation makes reintegration more difficult, Markowski said: "It's possible but it depends."
Smith, 19, of Moncton, N.B., spent much of her life behind bars in isolation — at times at her own request. She died at the Grand Valley Institution in Kitchener, Ont. — one of Canada's five federal prisons for women — in October 2007.
Court heard how segregation triggers regular reviews, including getting an opinion from a psychiatrist or psychologist every 30 days on whether an inmate can withstand ongoing isolation.
However, court heard the review clock would restart with a transfer, a policy that changed after Smith's death.
Still, Julian Falconer, the Smith's family lawyer, said nothing had changed in the oversight structure when it comes to segregation.
"Ashley Smith was shunted from isolation cell to isolation cell," Falconer said to Markowski.
"The correctional investigator subsequently found that her administrative segregation was not in compliance with the law."
Markowski said she was not familiar with details of the Smith case.
The presiding coroner, Dr. John Carlisle, said he wants the impact of prolonged segregation on Smith's mental health explored.
Coroner's court also heard how policy bars the transfer of suicidal or self-harming inmates to another prison unless a psychologist deems it useful to minimize the potential for self-injury or suicide.
Smith was moved from prison to prison across the country, even though she increasingly engaged in self-harming behaviour. She frequently hid ligatures in her body cavities.
"Under the law, a body cavity search could take place by a medical practitioner, if the woman consented," Markowski said.
"I've never authorized a body cavity search. I've always found a way to work it out."
On Monday, at the first day of hearings, the five-women jury heard how Smith choked while guards at Grand Valley, ordered not to intervene, looked on.
Jurors will get a first-hand look at the facility on Thursday.
Markowski said segregated inmates usually wear prison-issued tracksuits, while general population prisoners have the choice to wear regular clothes.
"On Thursday, we won't see women walking around in orange jumpsuits?" asked Jocelyn Speyer, coroner's counsel.
"No, we will not," Markowski said.
As of last October, about 575 women were in federal custody and more than 13,000 men, court heard.
The inquest continues Wednesday with a witness expected to offer a psychiatry overview.


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The biggest news story about comics last week was that Disney would be moving the license to produce Star Wars comic books from Dark Horse, the license holder for over 22 years, to Marvel Comics, which is part of the Disney Empire. This was certainly big news but it was something we had all expected since Disney bought Lucasfilm.
What was more surprising and for me more exciting was that Jim Starlin will be producing new Marvel comics featuring his creations. Jim Starlin is one of my favorite creators, his work isn't always perfect but it's interesting and usually inventive. He's a creator that Marvel owes a debt they can/will never be able to repay (with Jack Kirby, Joe Simon, Steve Ditko, Chris Claremont, Len Wein, Steve Gerber, Bill Mantlo…).
What was particularly fun about this story was that it kept developing throughout the week.
On Monday, Marvel Comics selected Newsarama to announce that in 2014 they would be releasing a new 100 page original graphic novel writen and drawn by Jim Starlin featuring his creations Thanos and Drax and a character, my favorite, who he redefined Adam Warlock.
Later that day, Newsarama published an interview with Starlin where he mentioned that "Thanos: The Infinity Revelation" was just one of three interconnected projects he was doing for Marvel.
On Friday, Comic Book Resources published its own interview with Starlin and he specified that the three projects would all star Thanos.
That same day, Heidi MacDonald published Starlin's response to her Annual Year End Survey where Starlin named the remaining projects. The two remaining projects, yet to be officially announced, are a four-issue story arc on "Savage Hulk" (no such title currently exists) that he will write and pencil and a 30-page story for a "Thanos Annual" that he will write.
There's still no announcement as to when we can expect to see these comic books but the Guardians of the Galaxy movie (featuring many of Starlin's characters and concepts) opens August 1st, so I expect these to come out before then. I also expect that Marvel will announce it's April solicitations next week, so I expect the Infinity Revelation will be included in those and available in April.
The Savage Hulk, if that title is correct, is probably a new series like the Avenging Spider-Man and Savage Wolverine. Two titles with rotating creators telling stories that may or may not be in continuity. Starlin is a great creator to launch the title with since I'm already excited for it.


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The site of Sagalassos is well labelled, with illustrations that show the buildings in their original state. The 96m-wide theatre, right of the entrance, remains much as the 244 AD earthquake left it, with seating mostly in place, but the stage building rather more wrecked. Two restored nymphaea (fountain-houses) here have retained their floor mosaic almost intact, along with the alcoves and a major inscription. Walking west you come to the upper agora, of which the second, huge nymphaeum formed one side. Two ceremonial arches opened off, and a pagoda-like monument stood in the centre.
Just above, north of the upper agora, a Doric temple of the second century BC is incorporated into the city walls. As you walk down from the upper agora, you'll see fragments of beautiful Roman friezes laid out like a giant jigsaw. Below the main track is the lower agora and adjacent baths; earthenware pipes and hypocausts reveal how water was distributed and heated. A temple with Corinthian columns dedicated to Antonius Pius stands beyond this area, while straight ahead down the steps are the necropolis and a hill that locals say is the site of an Alexander monument – they believe a gold statue dedicated to Alexander is waiting to be discovered.
South Central Anatolia
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image from top40db.net
In 1989, rap group 2 Live Crew released their album As Nasty As They Wanna Be. Propelled by top 40 hit "Me So Horny," the album went platinum. However, the American Family Association didn't think the parental advisory sticker on the album adequately warned listeners of what they deemed obsence content. The case was presented to Florida Governor Bob Martinez to see if the album met the legal definition of obsence. At the local level, County Circuit Court judge Mel Grossman ruled there was probable cause for obsenity violations and local sherriff Nick Navarro warned record stores that selling the album might be a prosecutable offense.
Then federal district judge Jose Gonzalez ruled that the album was obsence and therefore illegal to sell. Local retailer Charles Freeman was arrested two days later after he sold a copy of the album to an undercover officer. On June 10, the group itself was arrested for performing some of the material at Club Futura after two police officers brought a tape recorder in to catch the band.
Lawyers for 2 Live Crew essentially presented a case that the first amendment protected the group's free speech and that even though people might see the lyrics might be lewd, they were meant in jest. It didn't help that the officers who arrested the group in the club had taped the performance but it was of such poor quality that most of it was indecipherable.
That October, a jury in Fort Lauderdale, Florida, acquitted 2 Live Crew's Luther Campbell, Chris "Fresh Kid Ice" Wong Won, and Mark "Brother Marquis" Ross after only two hours of deliberation. They faced a year in prison. Freeman had been convicted earlier in the month but his case was overturned on appeal. It wasn't until May 1992 that a court finally overruled the original finding that Nasty was obscene.
Banned in the U.S.A, written in response to the ordeal
Resources and Related Links:
- History.com: 2 Live Crew members are acquitted of obscenity charges (20 October 1990)
- LaTimes.com: Jurors Acquit 2 Live Crew in Obscenity Case (21 October 1990)
- Wikipedia.org: 2 Live Crew: As Nasty As They Wanna Be


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The Banff Mountain Film Festival, the largest mountain film festival in the world, is stopping in Maine in February on its world tour. Those seeking adventure in the depth of winter can enjoy five screenings of award-winning short films on distant lands, adrenalin-packed outdoor sports and eye-opening cultural and environmental documentaries.
Dates of the show:
- Friday, Feb. 3 at 7 p.m. at The Grand Theater in Ellsworth
- Saturday, Feb. 4 at 7 p.m. at The Grand Theater in Ellsworth
- Sunday, Feb. 5 at 2 p.m. at The Grand Theater in Ellsworth
- Tuesday, Feb. 7 at 7 p.m. at Gracie Theatre in Bangor
- Wednesday, Feb. 8 at 7 p.m. at Gracie Theatre in Bangor
Though the film line-up hasn't been released, the "World Tour Menu" includes films about two inventive tree climbers traversing a forest canopy over five days; a crew scuba diving beneath the North Pole; photographers in British Columbia's Great Bear Rainforest; and two top ice climbers as they dodge exploding icicle bombs.
Two Maine outfitters have hosted the Banff festival since the late '90s. Cadillac Mountain Sports was the first to bring the tour to Maine, at The Grand in Ellsworth, and a few years later, Epic Sports brought the festival to Bangor.
"For us, it's about doing something for the community," said Mia Dupuy, Cadillac Mountain Sports training manager and event coordinator. "It's kind of our thank you to the community. People enjoy it, and we enjoy hosting it for them."
"Based on the huge success in Ellsworth, I knew that it would be really popular in this area as well," said Brad Ryder, owner of Epic Sports.
The Banff Mountain Film Festival is held every fall in the beautiful town of Banff, Alberta, nestled in the Rockies, surrounded by Mount Rundle, Sulphur Mountain, Mount Norquay and Cascade Mountain. The festival then hits the road, with stops planned in about 390 communities and 35 countries across the globe.
From about 300 films entered into the annual festival, only a select line-up of award-winning films and audience favorites are chosen to travel the globe.
In Ellsworth, the shows are split into categories. Friday films are on mountain culture, Saturday films are on mountain sports and Sunday films are "Best of Banff." In Bangor, the two shows are a mixture of both culture and sport films.
"We don't intend to duplicate the films between two nights," said Ryder. "So that should be a help if people want to come to both nights."
The long screenings, usually two and a half hours of film, are broken up by an intermission, including refreshments and door prizes from the outfitters and show sponsors.
Typically, the shows sell out, so buy your tickets in advance.
Tickets for the Ellsworth screenings are available at Cadillac Mountain Sports in Ellsworth and at The Grand. And tickets for the Bangor screenings are available at Epic Sports in Bangor.
The event seems to be growing in popularity over the years. Three years ago, Cadillac Mountain Sports added a third show to their Banff schedule, and Epic Sports added a second show. Then last year, Epic Sports moved the festival from the Penobscot Theatre to the larger Gracie Theatre to cater to a larger audience.
"Ticket sales this year are really strong," said Ryder. "So I'm hopeful they will all sell. It's quite a jump to go from a 300-seat theater to a 500-seat theater."
The festival world tour is supported by a number of companies known to outdoor enthusiasts. Screenings in Canada and the United States are presented by National Geographic, The North Face and Parks Canada; and sponsored by Deuter, Outdoor Research, PrimaLoft, Central Asia Institute, Tom's of Maine, and Therma-Rest; with support from MSR, Fernie Alpine Resort, Petzl, Kicking Horse Coffee and World Expedition.
Tickets are $12 per night at both venues, but if you buy tickets for both nights at the Gracie Theatre, tickets are just $10 per night. For information about the festival, visit www.banffmountainfestivals.ca. For tickets and information, contact Epic Sports at 941-5670 or purchase tickets online at www.gracietheartre.com.


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if your words only rang in mick's ears . . .
Too bad I hadn't seen this, it could have been interesting, has anyone watched it?
Watch Mick Fleetwood to Talk Fleetwood Mac History, New Book in Live Stream Chat
Drummer's discussion with 'Rolling Stone' contributing editor Anthony DeCurtis about 'A Chronicle of Fleetwood Mac, Volume One: 19671974' to air Tuesday night
Mick Fleetwood is joining Rolling Stone contributing editor Anthony DeCurtis for a wide-ranging conversation about early Fleetwood Mac history including the unique talents of original guitarist Peter Green, the band's first international tours, their wildest onstage moments and the friendships that propelled the pre-Rumours line-up to international fame.
Fans can livestream the discussion, currently taking place at New york City's 92nd Street Y, above. The chat promotes Fleetwood's upcoming book, Love that Burns A Chronicle of Fleetwood Mac Volume One: 1967-1974, which is available for pre-order via Genesis Publications in two formats: a deluxe edition (numbered one to 350) and collector edition (numbered 351 to 2,000).
Both versions include a seven-inch picture disc featuring "Love That Burns" and rare instrumental track "Fleetwood Mac," along with 400-plus rare photos, memorabilia and illustrations. The deluxe edition includes two prints, one signed by blues legend John Mayall and another by graphic designer Günther Kieser.
Previous pre-orders of Love That Burns included a free ticket to today's discussion, along with a commemorative bookplate signed by Fleetwood in person before he took the stage.
Fleetwood Mac recently headlined the all-star, bi-coastal Classic East and Classic West festivals. Two of the band's songwriters, Lindsey Buckingham and Christine McVie issued their first collaborative LP, in June.
Wow, all these blurbs that Mick Fleetwood keeps posting on his Facebook page really make me want to plunk down $400+ on his book....NOT!!!
Mick Fleetwood Looks Back on Fleetwood Mac's Early Days
With release of new band history 'Love That Burns,' drummer reflects on group's blues origins and why he owes everything to Peter Green
Ahead of 'Love That Burns,' a new book on Fleetwood Mac's early history, Mick Fleetwood discusses his relationship with Peter Green and more. Michael Putland
This Sunday, August 13th, marks the 50th anniversary of Fleetwood Mac. On that date in 1967, the band played their first ever show, alongside artists like Cream and Jeff Beck, at the Windsor Jazz & Blues Festival. But according to drummer Mick Fleetwood, even with their massive success in the years since, much of Fleetwood Mac's early history remains unknown to everyday fans, many of whom quite likely believe the band to have begun life in the mid-Seventies, with Lindsey Buckingham and Stevie Nicks at the helm. The drummer intends to shine a light on his band's oft-ignored formative years as a crack British blues outfit with a new book, Love That Burns: A Chronicle of Fleetwood Mac, Volume One 19671974, due September 19th from Genesis Publications. "It's about giving kudos to the founding fathers of a very strange journey that Fleetwood Mac ended up taking over the course of all these years," he tells Rolling Stone.
Those founding fathers include the founding father of Fleetwood Mac, guitarist and vocalist Peter Green, who formed the band with Fleetwood (the initial lineup was rounded out by guitarist Jeremy Spencer and bassist Bob Brunning; John McVie, the "Mac" in Fleetwood Mac, replaced Brunning not long after the Windsor gig) following a stint in John Mayall's Bluesbreakers. They soon welcomed a third guitarist, Danny Kirwan, and achieved success in the U.K. with Green-penned songs like "Black Magic Woman," "Albatross" and "Oh Well." Over the next few years, the band cycled through members and musical styles; Green, Spencer and Kirwan each exited under unusual circumstances, among them psychological and emotional struggles exacerbated by drug and alcohol abuse, while later members like guitarists Bob Welch and Bob Weston and keyboardist and vocalist Christine McVie who remains with Mac to this day came in and helped to lead the band down new sonic paths. In late 1974, Fleetwood and the McVies were joined by Buckingham and Nicks, which is the point at which Love That Burns concludes. "That's why it's called Volume One," Fleetwood says. "And hopefully there will be a Volume Two that will pick up from there. But I wanted this to be a separate story, because it is an important story in its own right."
In Love That Burns, this story is afforded a gorgeous presentation. Fleetwood's insightful and sometimes humorous first-person account of the band's origins is fleshed out by more than 400 stunning (and in some cases never-before-published) images, as well as intimate archival material and rare memorabilia. There are also additional recollections from those close to the band at the time, including John Mayall and early Mac members Jeremy Spencer, Christine McVie, John McVie and the rarely-heard-from Peter Green himself. It's all gathered together in an exquisitely produced large-format tome that is limited to just 2,000 copies, each one signed by Fleetwood himself. "A lot of care and a lot of love went into this, and I give kudos to Genesis for that," Fleetwood says. "They don't do it unless it's done right. And there aren't hundreds of thousands of these books that are going to be made. So it really is a labor of love that something like this gets to exist, and it also is great to know that this story can be told, and anybody who has an interest in it can now know about it.
"To me, selfishly, that was an important thing," Fleetwood continues. "Because you know, at some point in the next few years Fleetwood Mac will bonk it on the head. We probably won't be active. So there is some relevance to starting to tell this story. And this book, as with any type of chronicle, contains all of those potions of magic moments, of sad moments, all the moments that unfold when you're doing something like this. It's like going through an old family album. It's been a trip, and I'm so glad we've done it. And I hope we've done it beautifully."
With Love That Burns you clearly want to bring attention to the early history of Fleetwood Mac, a period that, at least in America, isn't very well known.
No doubt. I'm hoping this tells exactly that story, and that's why the book is dedicated to Peter Green, who started the band with me in 1967. He is the reason I'm here and the reason there is a band called Fleetwood Mac. So all of that is pregnant with having put this book together. And the hope is that someone who doesn't know that story will read about it here and they'll find it quite intriguing. And Genesis Publications, you know, they're certainly up there in that special area where there are only a few publishers that do books like this. In this day and age, it's sort of refreshing, to be quite candid. I almost don't know how any of that type of approach is even surviving anywhere on this planet right now, where it's all this "here today, gone tomorrow" mentality. What we've done is an art book, really.
There are so many spectacular photos in the book. Tracking down and sorting through all the images, and likely coming across many that you hadn't seen in a long time, if ever, must have been pretty intense.
Absolutely, 100 percent. And it was revealing. We tried to tell the story with pictures that mean a **** to the story of Fleetwood Mac, and I had to rein myself in so that I wasn't overloading the book with stuff that was only relevant to me. There are pictures in there that selfishly do tell a story to me, because I am sort of the maître d' of putting it together. And that makes it personal to an extent. But I had to watch out that I wasn't being too reactive on a personal level. But, yes, it was an extraordinary experience. There are things like the [1969] Chess recording sessions, where we found all these photographs that I hadn't seen before. I knew there was a few on our album, Blues Jam at Chess, but to get a hold of the original photographer and have him spew out all these images ...
Fleetwood Mac recording 'Blues Jam at Chess Records' with Buddy Guy, David "Honeyboy" Edwards and Walter "Shakey" Horton, 1969.
Those photos are particularly striking.
We paid quite a lot of attention to that section. Because at the very beginning we were a bunch of kids that just loved playing blues, and we were blessed with being able to go to Chess. And that strongly resonates in those pictures. You know, I don't think about it every day, but to realize, there we were, Peter [Green], Jeremy [Spencer], Danny [Kirwan], John [McVie] and myself, with Willie Dixon and Buddy Guy and Shakey Horton and a bunch of other great dudes, that's a powerful ... that's probably the most powerful part of what I think this book is. For someone who knows nothing about this band it tells you a lot. It's like, "Wow, I never knew that!" But we were a blues band. This is what started Fleetwood Mac.
"Love That Burns" is a Fleetwood Mac song from the Peter Green era. Why did you choose to use it as the title of the book?
We came with different ideas for titles and I suddenly went, "'Love That Burns.' ..." It seemed so relevant to the whole story of Fleetwood Mac. It's a beautiful song that Peter sang and played and has always been one of my favorites. And when I spoke to Peter, I will never forget what he said to me. I don't talk to him every day, and his life took a turn that in a way took him out of my life, sadly. He's not the Peter that I originally knew. He's OK ... but he's not OK, you know? A bit of both. But we got on the phone, and one part of our conversation, I said to him, "We knew each other, we played with John Mayall, we played in a band before that. But, Peter, why did you ask me to be at your side playing drums [in what became Fleetwood Mac]?" Because after John Mayall, Peter was almost forced to put a band together by a bunch of agent thugs. He was sort of told, "You're like the new Eric Clapton," or whatever all those corny phrases were. But he just wanted to go to Morocco and hang out like Brian Jones, you know? And of course that didn't happen. So he asked me to join him.
And probably somewhere in there I was thinking to myself, "Well, you had the chops and you could play the blues ... you were the man!" And it was nothing of the sort. After I'd asked the question, Peter said, "Yeah, you were really unhappy, Mick." He said, "Think about it. You'd just broken up with Jenny" my first love, who I later married and had two lovely children with "and you were so sad, Mick. And lost. I just thought you needed to do something." And of course, it was true! That, to me, is "Love That Burns," you know? It wasn't about the music. It was about, he was my friend. I thought that was really powerful and extremely moving.
Peter Green, 1969.
In addition to all the photos, there are some great first-person interviews and recollections in the book.
Absolutely. Think of me sitting with John Mayall. If it hadn't been for John Mayall, you go, "Wow, maybe none of this would have happened." You know, John [McVie], Peter and myself were all in John Mayall's Bluesbreakers. And, by the way, people always assume that we all sort of left John Mayall to form Fleetwood Mac. It was nothing of the sort. I got fired from John Mayall's band for being too drunk and all that. John [McVie] stayed with John Mayall, and Peter formed with me the beginnings of Fleetwood Mac. Then John came with us, and Jeremy [Spencer] and later on Danny [Kirwan] came in. It's a fascinating story. And to sit there talking with John Mayall, and get his slant on what was happening ... it was like sitting with an old college mate or a childhood friend. When you get together you go, "Oh, my God! Of course! That's what happened!"
As the book touches on, Peter, Jeremy and Danny each exited Fleetwood Mac while dealing with mental and emotional issues. It must give you pause to have witnessed this happen with three vital band members. Do you ever wonder what might have caused this, or do you chalk it up to coincidence?
Well, I hope to God it is coincidence, or me and John [McVie] need to go to a church and get down on our knees and pray for forgiveness! But if you look at what happened later [with Stevie Nicks and Lindsey Buckingham], which is not part of this book, that's pretty bizarre too, you know? The latter-day stories of Fleetwood Mac, that in truth continue to this day, you look at that and you think, "How the hell can any of this survive?" So I don't know how to address that other than that it's heartbreaking and you have to get over it. You have to let go of it. And so this book is about paying kudos to who these people are and not getting into the drama of what we're talking about now. I did not want that to be in there. And it's not in there. Rather, it's all about the special part of what everyone had to offer. But you're right, it has been a reminder of what happened. Talking to Danny [Kirwan]'s ex-wife ... you know, it's not a happy story for Danny. And there's nothing one can do about it. But I think it's even more of a reminder to pick your trousers up, brush yourself off and say, "But look at the amazing music Danny put together. Look at what he put into Fleetwood Mac." This guy was extraordinarily talented. So the hope was to celebrate all these players that have come through Fleetwood Mac. These are the founding fathers of this band.
Peter and Jeremy were both interviewed for the book, but Danny's voice is absent. Was there an attempt to reach out to him?
There was. And he ... his wife did it. Claire did it.
There has been talk over the years of a reunion of the original Fleetwood Mac. Is that something you still hold out hope might happen one day?
It's actually not. Mainly because I went there many years ago. We got into it and we were going to put a whole thing together at the [Royal] Albert Hall. This is years and years and years ago. Probably about 15 years ago. And right at the last minute, Peter, in the world that he lives in, just suddenly pulled out. "I don't wanna do it. ..." Suddenly it was not a good idea. And we had put a whole bunch of things together, I had even booked the venue. So I would never do that again. Because I don't want it to be a pressure, you know? Having said that, my dream with this book coming out, and I'm working really hard, is that there will be a lovely show where a few people that mean a damn can come out and pay quiet kudos and tribute to Peter. Maybe we could pull off a short tour in England, or something like that. That would be my dream.
As much as Love That Burns is a tribute to Peter, one thing that also comes across in the pages is how much reverence you have for another of your bandmates, John McVie. Which is illuminating, as we don't hear much from him or about him. He tends to stay in the shadows.
That's how he likes it [laughs].
John McVie, 1970
You're giving him the recognition he doesn't seem to be so concerned with garnering for himself.
Very much so. He's my dearest friend. He's ... he's Johnny Mac. And you're right. He's very understated. But my hope is that John would celebrate all the things this book represents. Because it's his story, too. We've been there the whole time, for 50 years. John is my partner. And we huff and puff and do our thing, but I hope when he opens this book that he's really pleased with it. If this ends up on his desk in his office, not relegated to the dustbin, I'll be happy [laughs].
It's been 50 years since Fleetwood Mac began. Is it amazing to you to look back and realize it's lasted this long?
It is. And this book has become like an old friend, really, where it's triggered all sorts of things. I just turned 70, and during this process, it gave me huge pause about from whence I have come. It must, unless you're completely insensitive. And in truth I'm probably, as John would say, too much of a drama queen. Indulging in too much sort of Irish bursting into tears and stuff [laughs]. But I'm happy to be that person. And certainly, this book, I don't like to live in the past, but it's been really useful for me, and I am proud of the fact that there has been and is a band called Fleetwood Mac. Because at the beginning we were this funny bunch of English kids, amongst many others, that ostensibly had a love for a genre of music that really no one gave a **** about. And we were part of this group of bands that really had such a huge effect certainly, at that point in time, a way bigger effect than us bunch. Bands like Eric [Clapton] and Cream, Led Zeppelin, the Yardbirds, the Rolling Stones.
But this is our story. And the band changed so much. If you look at the Rolling Stones and it's just a "for instance," no comparison they're always the Rolling Stones. But if you look at Fleetwood Mac, it's like, "Wow, they did that? And then they became this?" It's a pretty unique story. It's not like the band stayed the same. The style changed. The people changed. Me and John have hung in there since the beginning, but it's a lot different. And Bob Welch, Bob Weston, all the others that were there, they're all mentioned in this book. And rightly so. They're all part of this story right up to when Stevie and Lindsey joined. And that's where the book cuts off. Because it's about what came before.
And you know, the ups and downs of any band, the good and the bad of it, that is not unique property for really anyone, when it comes down to it. But the actual variety of what happened to Fleetwood Mac? That is quite unique. That is powerfully unique. And to know how that funny story started is what Love That Burns is all about.
Thanks for posting the Mick Fleetwood interview, SisterNightroad.
I just wish that Mick would make his book available to more than a relative handful of folks wealthy enough to pay the $400+ for a copy. I have a few beautifully-produced photo books that cost in the $50-60 range - for something like this, that's a price I'd certainly pay. I'm sure that to bring down the cost to a more reasonable amount would involve some compromises in the book production/format from the limited edition being put on sale next month, but it would have the potential to reach far more people.
Mick stated in his interview "it also is great to know that this story can be told, and anybody who has an interest in it can now know about it" but that's not true, is it? Only that select 2,000 people who can afford this super-expensive book will know the full story that he's now telling. I still don't get it...
The fact is that Fleetwood Mac, unlike many other of their peers, still lack a definitive biography official and Mick's books may be the closest we'll ever have to it.
Mick Fleetwood on band's origin story and how they stayed together for 50 years
They've sold more than 100 million records since they first took the stage in Windsor, England, 50 years ago. Their sound has changed and so have the band members, but the chain has never been broken.
The iconic band, Fleetwood Mac, will celebrate its 50th anniversary Sunday.
"I always look at it - and look at that date, and that it's been worth a damn," said Mick Fleetwood, the band's drummer.
He's been there from the very beginning and recounts the early days of the band in his new book, "Love That Burns: A Chronicle of Fleetwood Mac," reports "CBS This Morning: Saturday" co-host Anthony Mason.
A story that almost took a very different course. Just two days after joining Fleetwood Mac, he got a phone call from Jeff Beck inviting him to join a band he was putting together.
The Jeff Beck Group would feature a young singer named Rod Stewart but instead, Fleetwood joined another band of blues musicians.
"We had been in a band called John Mayall's Bluesbreakers, John McVie, Peter Green and myself."
The name Fleetwood Mac came about incidentally, in the middle of a recording session.
They'd laid down an instrumental, their first unofficial track together, and the engineer asked, "What are we gonna put on the box?"
"Peter goes, 'Call it Fleetwood Mac. John and Mick are playing on it,'" Fleetwood said.
Green, a guitar god who'd replaced Eric Clapton in the Bluesbreakers, would write the band's first British hit, "Black Magic Woman."
"He had no interest in being a solo creature," Fleetwood said of Green. "He called the band Fleetwood Mac for a reason."
The first album was called "Peter Green's Fleetwood Mac" which, Fleetwood said, made Green furious. "He was asked, they said, 'Why would you call the band Fleetwood Mac? Why did you?' he said, 'Well I pretty much felt that one day I would leave and I wanted Mick and John to have a band,'" Fleetwood said.
In 1970, Green did leave.
"When we survived Peter leaving, in my mind I would always go back to, I said, 'Well, that was the most devastating thing that ever happened to me,'" Fleetwood said. "For better or for worse and the outcome has been this weird survival story."
Their biggest album, 1977's "Rumours", which sold 40 million copies, was the soundtrack of the band's breakups.
Guitarist Lindsey Buckingham splitting with Stevie Nicks, bassist John McVie divorcing his keyboardist wife, Christine. Yet the band endured, reaching for what Fleetwood calls the elusive "It."
Asked why they stayed together, Fleetwood said, "Corny, but because they get a dose of it. They definitely get a mega dose of it, which is challenging, you know to be able to attain that with this gloriously dysfunctional story, which is us bunch."
And when they're together, Fleetwood Mac has always come first.
"And that's the only way to be in a band, you know. Or you gonna have no more."
And Mick keeps going on
Fleetwood Mac at 50: Mick Fleetwood Shares Tales of Blues and Friendship from the Iconic Bands Early Days
For many, the story of Fleetwood Mac begins with the 1974 arrival of Lindsay Buckingham and Stevie Nicks, the talented yet combustible American duo who ignited an explosive string of hits that continue to define the band. But Mick Fleetwood wants to move past those rumors. Fans of the groups pop jewels would hardly recognize their original incarnation as one of the most respected British blues bands of the 60s. Now the founding drummer is telling the tale of those formative years in Love That Burns: A Chronicle of Fleetwood Mac, Volume One 19671974, a lavish new book by Genesis Publications due out Sept. 19. Featuring never-before-scene photos, insightful interviews from band members and intimates, and even a vinyl 7-inch of rare early recordings, it brings this often forgotten chapter of Fleetwood Macs history to life.
The band initially coalesced around Peter Green, a 20-year-old guitarist whose formidable chops had earned him Eric Claptons former slot in the seminal London blues outfit John Mayalls Bluesbreakers. It was while playing with Mayall that he forged a musical alliance with Fleetwood and bassist John McVie. They ultimately splintered off to form a new projectwhich Green named in honor of his rhythm section. After experimenting in the studio, the group made their live debut on Aug. 13, 1967 at the Windsor Jazz & Blues Festival with the lineup of Green, Fleetwood, guitarist Jeremy Spencer, and bassist Bob Brunning. McVie, who was literally watching in the wings, would join for good soon after, as would a third guitarist, Danny Kirwan. From there, they began notching chart entries in the U.K. that include the original version of Santanas Black Magic Woman, and the sublimely soulful instrumental Albatross.
In what would become something of a recurring theme in their career, serious interpersonal problems soon threatened to tear the group apart from within. By the dawn of the 70s, Green and Kirwan departed due to struggles with mental illness exacerbated by drug use, while Spencer parted ways with the group following a religious conversion. With the abdication of their primary creative forces, Fleetwood and McVie soldiered on with guitarists Bob Welch and Bob Weston, as well as the multi-talented Christine McVie, who happened to be married to the bassist. Fittingly, Love That Burns closes with an image of the El Carmen, a Mexican eatery in Los Angeles where Fleetwood and the McVies held an audition over dinner with Buckingham and Nicks.
But thats a different book.
Fleetwood spoke to PEOPLE about those early days in the Swinging Sixties, reconnecting with his past, and the friendship that formed the heart and soul of one of the biggest bands in rock history.
Over the years youve become the unofficial archivist of the band. Was there a point when you made a conscious decision to hold onto things for the sake of history?
I held onto a chunk of stuff, though part of the story is that in truth it wasnt as much as I thought. But the book company, Genesis, is hugely conversant with researching and finding stuff that maybe I had elements of, but not the negatives and all that. So we ended up with, in a way, upping the whole approach. These presentations are really a rarity when you get into the workings of how they come together; its a real piece of art in itself. All the care and attention and research became an education in how to take it a step further. Well, we could do this, what if we do that? What if we find these people
If ever theres a Volume Two, Im very well prepared for that. I used to get ribbed even back in the day with the other band members. What are you taking the pictures for, Fleetwood? Id go, Hang on a sec! They would just be snapshots of stuff, so Ive done that. My father loved taking pictures so to that extent, I had something that was relevant. But weve ended up trying to tell a story about this strange band from whence we have come. And that starts with 1967, 50 years since weve done our first show at the Windsor Jazz Festival.
The book is a perfect way to mark the anniversary. Was that the intent all along?
The fact that we ended up doing it with Genesis is really a story in itself that goes back many, many years when I saw a book they did with George Harrison [1980s I Me Mine] which was gorgeous and stunning and meaningful. It was a fantasy that one day .[laughs] Then it sort of went off the radar. But it came back a couple of years ago when I was in a shop in LA and I saw a book they had done with Jimmy Page from Led Zeppelin [Jimmy Page by Jimmy Page]. We opened it up and said, There it is! Its them guys again! We called the book company up and said, Would you be interested? And weve ended up here two years later.
Its a document that is driven by pictorial images for the most part, with some editorial. Ive done an autobiography and in many ways this gets to the point quicker. There are so many things that came out as images, you had to very selective in the end result. It has to then tell the story. And thats what weve tried to do, and Im really happy and proud. Its a trip. Its appropriate that its 50 years of Fleetwood Mac, but that wasnt part of the plan. It just inadvertently Oh my God! We just took our time doing it and realized, Wow, its coming out when were 50 years old as a band. So it became even more poignant and more relevant as a document.
This book is mostly focused on how we started, as it should be. But in terms of an incredible collage of different moments, and an unbelievable amount of different styles, with Bob Welch and Christine [McVie] joining and Jeremy [Spencer] and Danny [Kirwan] taking over when Peter [Green] left. Its all featured in this book right up to the moment that Lindsay [Buckingham] and Stevie [Nicks] joined. Me and John were always banging away there, which I think helped bring some kind of continuity to it, but it is an unusual story. I hope that someone picking this [book] up will go, Wow, what was that? Kiln House? Never heard of it! Thats an important part of this document, and I do consider it a document that is part of something before it might go off the radar. Theres no doubt, rightly so, that the present day incarnation of Fleetwood Mac is doubtless going to be remembered as, That was Fleetwood Mac. This is understandably never going to be that, but its nice to know that bits and pieces that might find this period interesting. Im glad that Im connecting to this document.
The start of the book reads almost like a Dickens story: you come to London at age 15 and immediately meet David Hockney and the Beatles, and have your hair cut by Vidal Sassoon. Was it as incredible at the time as it seems now?
Well, in a different way. Anyone who was in London then witnessed, and in some ways was involved in, a whole movement in fashion, music, and art that pushed away what the Second World War had done. It was real, and its still here. The tentacles of what happened were that powerful, especially in music. The game has not played out. Those guys like the Beatles and the Rolling Stones are still relevant.
I blundered into being around the Beatles because I was going out with Jenny [Boyd], and of course she was Patties sister who was going out with George. All of that extra stuff became more relevant looking back. Now I go, Wow! At the time I thought, Oh, this is cool . Whatever. I was just a struggling player.
But what was relevant then was this band of players that I was around, ostensibly the original fourand then fivemembers of Fleetwood Mac, with Danny [Kirwan] joining quite soon after we started. We were just ensconced and focused on what we were doing. We had no idea it was going to be attached to what was going on in London. It wasnt very fashionable. It wasnt pop music. We were living out our dream following our blues train down the rails, and then it became part of something very relevant. We were very authentic about what we were doing. You had trailblazers; the Rolling Stones came from that world, and very quickly morphed into skilled songwriters. The Yardbirds were before us bunch, too. We came and really emulated Elmore James and early Delta Blues stuff that reflected in those early recordings. And then we took our journey that was led by Peter Green with Oh Well and Rattlesnake Shake, and Albatross, and all the weird songs that came out of the period were all represented in our story.
Its funny when you think of everything to come, but I understand you werent a big fan when you first heard Peter play.
Thats one of my confessions, considering hes my favorite guitar player and in many ways mentored me and gave me my self-worth as a player. I always say that I was a guy who happened to play drums versus a drummer that found himself. I just lucked out. When I first heard Peter, he auditioned for a band called the Peter Bs Looners with Peter Bardens, who was the guy who knocked on my door and started my journey as a drummer. He said, I heard you playing in the garage! It was like one of those fairy tales. The whole thing has been a bit like that.
It was me and Dave Ambrose, a great bass player who went on to play with Brian Auger. Me and Dave said, Hes good, but he doesnt play very much. But Peter Bardens, to his great credit, said, Youre both wrong. This guy has something unusual. And very quickly we learned that we nearly made a terrible mistake. Anyone who listens to and enjoys Peter Greens approachnot only the tone but also the approach and the power of condensing passion without just pissing it down the drain and over extending those momentsknows he was a master of the adage less is more.
In an interview in the book, John McVie talks of you cementing your friendship on a bumpy flight to London from Dublin during an early gig with John Mayalls Bluesbreakers. What are your memories of that trip?
You are well-informed! Freesias! Thats a longstanding joke. Occasionally John will get a collage of freesias, the sweet-smelling flowers. On that flight, for some reason I turned up at that airport [with them]. I was thanking him for something and I said, I have something for you. And Johns very upright. Very different from me, Im an old drama queen. Hes like, I dont understand how you can wear pink socks! or whatever. I got into that a little bit, but he was very straightforward. So I turn up with the flowers and hes like, Whats all this about? And it became this longstanding joke. So now from time to time hell get some freesias. And he gets it, hence him saying that. It was me reaching out.
He became very much a supportive [force]. When I first joined John Mayalls Bluesbreakers, I took over from a very, very, very talented drummer called Aynsley Dunbar. He was a genius drummer, like John Bonham. And Im going, I dont understand why hes moving on. The reality was that he was so clever, it got to a point where he was too complicated to be playing [the blues] and John Mayall made the decision that he wanted to change. And Peter phoned me up and said, I got you the gig in John Mayalls. I was painting walls at the time, and Im going, Why would you be getting rid of this genius drummer? Aynsley had a huge following. In those days people would come and cheer, Aynsley Dunbar! Mick Taylor! Eric Clapton! Peter Green! It was hero-worshipping at these pubs and clubs where we used to play. It was a whole thing in London. We used to follow people and cheer for them.
So Im suddenly there and not Aynsley. He did this incredible drum solo, and I couldnt cut that sort of mustard at all. At one of my first gigs there were some hecklers in the back of this little theater saying, Wheres Aynsley. And Ill always remember, John McVie came up to the mic, holding his Fender Jazz bass as if to say, Any more of that s and youre going to get this wrapped around your neck! I was always very grateful. Johns very not forward onstage, it was probably one of the few times he would come up to a microphone to say Hello or Goodnight, or anything. John is John. But he went straight up to the mic and said, If you dont give this guy a fing chance and told them all to shut up. And they did! That was my first or second show I ever did with him. I remain gratefulhence he gets the flowers.
You mention Delta Blues and Elmore James forming the bedrock of the music you played with John Mayall and later with Peter Green in early Fleetwood Mac. What was it like having the opportunity to play in the actual Chess studios with people like Willie Dixon and Buddy Guy?
It was extreme. Thats a very powerful moment. Fleetwood Mac was playing with our heroes. It was much to the credit of Mike Vernon, of our little record label, Blue Horizon. He went to see all of these blues shows in England and, I suspect, knew Willie Dixonor at least how to get to himand he arranged that whole thing. You mean were going to Chicago and making an album with all of these guys that Willie Dixon put together? What do you mean?! Oh wow, Chess Records! Wed be like little kids listening to that stuff back in the day, even before Fleetwood Mac, so it was very important.
We paid some real attention to that moment in the book; Im glad you brought that up. It amplifies the very nuts and bolts of what this was all about. We were a blues band, a bunch of kids that played the blues and aspired to as good as we could, and we were blessed as a band with Peter Green and Jeremy Spencer. In the beginning, if you listen to Elmore James and put Jeremy on, he was Elmore James. He became not just a copyist, but he actually lived somehow that style of slide playing.
We didnt get to play with Elmore, because he passed away, but on [sessions for] Blues Jam at Chess, theres pictures in the book of little Jeremy, whos five foot nothing with a huge guitar, with J.T. Brown, who was Elmores sax player. That is powerful stuff to see that. It was huge for the band, and that just amplifies what was going on. We were playing with our heroes. For Jeremy it was: Elmores not here but Im playing with J.T. Brown, doing an Elmore James song! I remember J.T going, God damn, this weird little guy! Im closing my eyes and its like Im back in my band!
I remember Peter went down to a place where, quite frankly, white folks didnt go. Willie Dixon took him down to one of the blues clubs and Peter apparently got up and played, and everyones looking him down. There were no white folks in there, and I was told by one of our road managers who had gone down there that Peter cut the mustard. He was a magical, powerful player who resonated with people who were our heroes. So the whole trip to Chicago was extreme and certainly has a place in this book.
What kept you going when Peter left? Was there ever a point when you wondered if you should pack it in?
The first lesson was abject, extreme sadness. I just thought, God, what are we going to do? We rented a house from a friend of mine, which was Kiln House. It was a form of closing the ranks. We were very frightened. What was the formula for survival? I think, We better close ranks or this is over. Then that whole method of survival was probably repeated many times, which is why were still here. Part of the reason was always wanting to continue having a partnership with John and two or three other band members. So it was, Lets not throw this away. Lets give this a go and see if we can keep going. When youre in a rhythm section and you dont have someone to play with, what do you do? Play in your living room? And Im not making light of it, but Im giving a reason that I think was probably more important: Lets see if theres a way to keep your job. And that became a model that we never gave up.
We were very blessed along the journey with people who were part of the survival, which eventually led to a major, major chapter in Fleetwood Mac that everyone knows about. But they dont know about the period in these pages to that extentand they never will. Some people who arent hereBob Welch isnt here anymorebut there are people and moments that should be accoladed, and this book is part of it. Fifty years down the road, its a few pages that needed to be seen.
The book really gives its due to Peter Green, even down to the name The Love That Burns. How did you arrive at the title?
Its one of Peters loveliest songs that he used to sing and it became very relevant. I see him when we go to England but were not connected. Thats a whole other story. This is about the music and what we were doing, not what happened to the people and all the blood and guts. But there was a moment, I did an interview with him [for the book] that went on about three hours, just so that Peter had a little bit of a voice. But I took license at one point and I asked him, Why did you ask me to play drums? He could have picked anybody. I knew him and wed played together, but it wasnt planned. Everyone thinks that the three of us dumped John Mayall and formed Fleetwood Mac. It was nothing of the sort. He was pressured into putting a band together and said, Would you like to play?
I said, Well, why did you ask me? One would imagine it was something like, Well youre a pretty good drummer but it was totally nothing to do with music at all. He said, Dont you remember? You were really sad. Thats when you broke up with Jenny. I eventually married her later on, but I was devastated. He said, You were so sad. You had nothing to do and you needed to pull your socks up. The point being, that is the power of what is encompassed on and off through the whole history of Fleetwood Mac. Its a mass of fear and loathing and love. [Afterwards] I burst into tears because it was so moving. He said, I was your friend. Later on, in a comedic way I say, S, I thought it was because maybe I was a halfway decent drummer! [laughs] But theres a lot of charm to that, hence the title made even more sense because the truth is, for better or for worse, that is still going on. And thats a whole other story.
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