text:
First published in Doctor Who Magazine 258 in November 1997
This is ground control to Major Tom…
He's a spaced-out oddity who inhabits a world of Dickens, dingy bars and the dead . . . He's Tom Baker, the fourth and most popular Doctor, and he's busy publicising his forthcoming autobiography. Seizing the opportunity, Gary Gillatt tried to get the measure of the man – only to come away more confused than ever . . .
Sorry, but there is no-one of that name in the hotel," chimes the receptionist, oozing condescension.
"But. . . but. . . Excuse me?"
"There is no-one called Tom Baker at this hotel."
I look down at the page of my diary and there it still is: September 17, 12 noon, the Langham Hilton Hotel, Portland Street – Tom. Just 'Tom' mind; no surnames are necessary for this one.
Damn, damn, damn. Have I got the wrong day? It's taken far too long to get even this close and I'm too wound up to deal with the situation in a mature or competent way. For a moment I feel that one of two things might happen. If this is my fault, I'll collapse in an exhausted and sobbing heap on the marble, or, if it's not, I'll vent my frustration on this smug receptionist with a stream of vitriol that would make a Paratroop sergeant wince and look away in discomfort.
I'm in complete denial. I hear myself saying "OK, I'll wait over here" and take two steps back until I bang up against a pillar. I smile thinly at the receptionist who smiles thinly back. He obviously feels I'm not improving the aesthetics of his hotel.
Until the middle of last year, I'd never imagined that I'd be able to get a new – or at least a worthwhile – interview with Tom Baker for Doctor Who Magazine. But then Tom announced that he was writing his autobiography and all bets were off.
Books need publicity and publicity means interviews. At Panini Mansions we planned and plotted, and came up with what we thought was the perfect hook for a new piece with Tom Baker. The deal was to be this. He, I, and a photographer would head off into the darkest dens of Soho for an evening, as the man himself took us on a guided tour of his old haunts from the double life that was his last years in Doctor Who – the pubs, the bars, the private drinking dubs. He, in principle, would be amused and entertained by the prospect of spinning stories of those times (we were concerned about failing to limbo under Tom's famously low boredom threshold) and we would get an entertaining photo-led feature; one in which we'd find out exactly where you escape to play when you are the most popular man on TV. We thought it was a pitch he couldn't refuse.
And with crushing inevitability, we were wrong.
Tom wrote back: I have applied what passes for my mind to your proposition. Now my feelings are as follows. My love of low life in the Who years was of course expressed in clubs and pubs and dreadful dumps where lonely people and frightened actors gathered together in the hope that the party would never be over. Now while it is possible to talk and write about these people and places, they are (with the passing of time) about as emotive as a blue plaque on a wall. And all this for the simple reason that, as Gertrude Stein said of roses, "a bar is a bar is a bar." So, without Francis Bacon (dead) or Jeff Bernard (legless) or Dan Fasson (in Devon) or Mick Tobin (dead) or Gaston B (dead) or Tony Harris (dead) – Christ, will the line stretch out to the crack of doom?
Without the above cast list, where will there be anything except the loneliness and emptiness of rooms where we murmur; "Francis sat there, Jeff fell through that window" etc?
But you are so full of energy and good ideas – and it is a one-off – that I think it would be so good to look at another angle. Such as? Well I won't pretend that I know one right off, but there must surely be one. I hope you have heard or believe that I seriously admire the fans. I adore them. I worry that, your enthusiasm aside, they are not always served well. So whatever you decide I shall do my best. I want your readers to feel good, real good, and not ripped off. Think on it – Tom B.
So, with the Tom's initial interest and support not in question, we made our formal approaches to the publicity department of HarperColIins, Tom's publisher. We cajoled, then hassled, then pleaded, and at first we were offered various forms of special access and unique insights. But as the months passed, all that seemed to evaporate as HarperCollins became aware that they had a possible mainstream smash hit on their hands, not just – as they might have seen it – an eccentric memoir for 30,000 Doctor Who loyalists. We continued to bleat. "But we're the official Doctor Who magazine," I would listen to myself whine (always the last and sorriest resort) only to hear the indulgent 'Uh-huh' of a publicist who is busy negotiating a serialisation with the Daily Mail. Finally, they shut me up with the offer of an hour-and-a-half of the man's time on his first main interview day. Later I become aware that either side of my slot are further sessions (shorter, I observe smugly) with other sci-fi genre magazines. So much for special access. I realise I will have to rely on Tom's memory of his own promises of indulgence.
"Excuse me?" It's the oleaginous receptionist again.
"Yes? Is he here?"
"He is indeed, Mr Gillatt – he deliberately mispronounces my name, I was quite clear – "Room 423"
"So he is in this hotel then."
"He is now."
Regular DWM photographer Robin Prichard joins me and we creep up to 423. It claims to be the Re-Raphaelite Suite, and a hope that some sense of occasion will be returned to the interview – is it to be conducted in some darkly-panelled chamber bedecked with the work of Rossetti and Millais? – is half-formed before being cruelly dashed when the door opens onto a candy-striped, but very ordinary hotel room with dingy watercolours of haystacks. Opening the door for me is the Doctor, er, Tom Baker.
He's not smiling and already looks bored. Oh dear.
We introduce ourselves and Tom offers the encouraging "Of course I remember you." I perch on the edge of a sofa and Tom sprawls in an armchair; one arm draped over the back, a foot on the coffee table. Last issue, we previewed this interview as a TARDIS tin affair; our plan was that through the purported randomness of the questions, I would be able to get away with stronger, edgier stuff and still keep an innocent smile on my face. As soon as I sit down, however, I knew that Tom will scorn the triviality of such a performance and I head straight for my notes instead.
Small talk first. I wonder how the publicity drive is going. "Well next week I do all the down-the-line television and radio interviews, and then on the fourth of October I start on the 50-date tour of the country – my lap of honour."
And how do you feel about that?
"It'll be alright. Well, it will be great to meet the fans because this time I'll have something new to offer. It's nice to have something new to offer. The fans get anxious when I haven't got anything new to offer, which makes them very timid" A phone rings shrilly; Tom's eyes narrow. "It's like when I meet another actor and . . ' Another ring. Tom glances across, irritated. "And I say 'Are you working?" and they say "No, Tom" and.. . Christ! Is there no peace?"
He covers the room in two steps and snatches up the receiver. We expect a bellowed response, but he sheepishly murmurs "Yes?" Then again, with Tom, what you don't expect is exactly what you come to expect.
He's having fun. "No, I'm terribly sorry, I'm not Mr Harper. Would you like me to be?" We can't hear the confused response, but I hope it's Johnson on Reception who's suffering. Tom continues, "I could try to be Mr Harper for you, but I expect you'll only be disappointed to the end…"
Tom is performing for us. I become faintly concerned, perhaps a performance is all we're going to get today. He puts the phone down, sighs, and spreadeagles himself once more.
"So in the same way that two actors become nervous when one suspects the other isn't doing anything," he resumes, "the fans become timid when they feel that you have nothing new to bring. So this time the fans will be excited because at last I have something to offer. That's why I am pleased that the book contains stories that we can't tell at conventions because there isn't the time. It's selected pictures of my background, actually."
He looks into the air, obviously rolling his next phrase around his mind. "Selected confessions," he adds in his most conspiratorial voice. The one he saves for radio advertisements.
So was the book a challenge?
"No, I wouldn't say it was. It was certainly very interesting and sometimes. . . yes, it was certainly interesting. You see, I was out of work and I learned how to use a word processor so I tapped it up and it was nice seeing one's life, all those people from my past – from this production called Tom Baker – up on the screen, and I was looking at them going, Yes, that's my Auntie Louie!'
"I found it quite interesting – because I've never written on a word processor before – looking slightly objectively at the words on the screen straight ahead; as opposed to down here with a pen or a typewriter, which is so boring because one keeps making mistakes.
"Having done it and now – I haven't met anyone other than you who has read it all yet – the publishers are enthusiastic. But we'll see anyway. Ha ha!"
One of the things that strikes me about the book, particularly reading the early chapters covering your life as a boy, is that the voice you offer as yourself seems identical to what I may hear from you now or on a convention stage – that suggestion that you are in a state of continual surprise. You appear quite emotionally detached, as if even your own parents are seen as just the source of a series of anecdotes.
"Phew, well. . . aaah. Well I think the state of childhood is a state of surprise, isn't it, because children don't know anything. So I am being true to who I was then. That's a nice observation really, but I deliberately didn't add an adult commentary to that time because I wanted to remain true to that feeling of surprise of the young Tom Baker. As you grow older, if you stay in one place nothing will happen that is surprising. This is what leads people into mischief, or leads them into fiction, or leads them into religion – they are constantly looking for new surprises. That's why people change clothes or change brands of drinks or change partners; we need new surprises. People find it very difficult – I know I find it difficult – to cope with the monotony of an unsurprising life. So you ask a fellow down the pub at night what kind of a day he's had, he rolls his eyes and goes, "Wooah, bleedin' tell me about it!" and you go, "Oh dear" – because obviously nothing much has happened to him. So the whole point of banter or badinage between people is in painting and inventing the picture of your life in a surprising way."
Inventing? How many of your stories are invention?
"Well, say that identical things happen to two people during the same half-hour period, and in telling you about it later you find that one person's story convulses you and the other guy has got nothing to say about that half-hour.
"I don't know really how much you can say about life that is actually true – apart from the date and the certainty of death – it just depends how you are looking at it. So a child's perspective is always looking up, very different to an adult's perspective, showing that life is all about how you look at it really. So I've tried to paint a picture. I mean I could have just drawn it up as a list, as I would for an insurance claim, but I had to try and recall not only the facts, but to find a way to paint and decorate the facts to compel the reader. That's the way I see it. I mean, if I met any of those people from childhood – Tommy Fitzgerald or Brian Jones – then they wouldn't remember it being like that, of course they wouldn't. You know, people argue about a football match, don't they? They see the same pass but remember it entirely differently.
"In the book I don't mean to seem detached in the sense that I didn't feel anything for those times. I really felt that as one examines oneself anew, then it's almost like examining a different person. I was a child, then a young monk, then an actor or a father; and all these things, all these influences around me, gave me a different skin. It was the same Tom Baker, but with many skins."
Do you feel there is an essential Tom Baker who has remained reasonably unchanged then, whatever the skins or masks you've worn? Have you always reacted to things in a generally consistent way?
"No, no, no . . . Well, I don't think so. I just respond. Most of the time I've misunderstood things. I mean, my life has just been a continual stream of misunderstandings. I don't have a very analytical mind, I can't prepare, I just react to things, and most of it's been rather confused. There have been some happy confusions. Doctor Who was a happy confusion, I didn't know what I was going to do with that – but in that confusion I managed to find a particular mode for this benevolent alien that struck a chord with the fans. It wasn't because I knew what I was doing, I didn't, I was just responding. Essentially the character of the Doctor can't develop so that can be a real problem."
So your performance was based on raw instinct?
"Well yes. When you are playing heroes you have this problem, because heroes, unlike the villains, are predictable. How can you be surprising and interesting when everyone knows you are going to win?"
Did you find a hero within yourself?
"Oh no. Objectively I don't believe in heroes and villains. An actor just plays someone from that point of view. Even the villain doesn't think of himself as a villain, he just feels misunderstood."
Back to the book. Is there anyone from your past who may see a copy and find their name within who you would actually like to re-establish contact?
"No-one of my contemporaries as a child, not really. You see, people forget. I can't really imagine that that might happen really, though I suppose the majority of them will still be alive. Occasionally you do have coincidental meetings. I go into this little shop locally, and the woman who runs it told me that her husband was at school with me. And I remember him quite well – and his brothers and sisters – but I don't feel an intense desire to see him as if in some way it might spoil the memory. It's like when someone rings you up and says, "Do you remember that we were lovers once" or "Do you remember, we used to be married" and it turns out they are staying in the same hotel and they are suggesting that we meet up. And you think, mmmm, nah. Because that might be dangerous. Something will have happened to change them – they'll be older or they wouldn't remember things in quite the same way. So there isn't anyone from my past I would like to come and find me for that reason."
Would you be concerned about being a disappointment to them?
"Of course, but it's more likely – if they haven't become actors or big businessmen or something – it's more likely, simply because of the publicity I get, that they will think my life has been more interesting than theirs. People are constantly saying to actors, "Compared to you I lead a very drab life." People are always saying that because they think of actors, and people who dash around having their pictures in the papers, as having a hell of a good time. Well some of us do have a hell of a good time – it's quite nice to play someone else and get paid for it, it's quite nice to receive nice notices, it's quite nice to be approved of and applauded – which most people don't get as much of as actors do. I mean there are certain professions that are inherently glamorous aren't there? Journalism, for example … People must say to you, "Did you really get to meet so-and-so?" and they think that's marvellous. And you don't want to say, 'Well actually he's quite tedious" – it's your duty also to paint an interesting picture. Sometimes you have to do people a favour, and sometimes – if they are offensive – you have to do some kind of hatchet job on them and cut them down to size. But you have to make it interesting. As an editor, Dickens used to say to his writers, "Brighten it up, brighten it up!"
In the book, you talk a lot about your Catholic upbringing. What are your feelings toward religion now?
"The Catholic viewpoint in my day – I don't know what the received view is now, nor do I care – was that you looked forward, pell-mell, to death. Whether in religion, academe or politics, people hand on the prejudices of a system as it was. So you read, for example, the work of Doctor Spock, who was the genius, the great ghost for mothers on the subject of rearing a child, who 30 years later will suddenly say, "I got it all wrong! I didn't know nothing! It was all just a theory!" As it was with us. Children wanting to die? Children leaving their parents to be with God? It was all confusion. But that's the way it is, it was all just another science fantasy script. Religion, philosophy and all those things can't be separated, they're areas where people are preoccupied with unquantifiable and undemonstrable beliefs. Aren't they? Aren't they? Whether it's the Old Testament – or the New Testament or the Koran or anything, people don't come back from the dead, we don't know what paradise is like. We believe in these things without them being verifiable. So when people knock the Doctor Who or the Star Trek fans they may as well knock the born-again Christians or the Methodists, who are just focusing on another fantasy. We need to believe in miracles and be amazed, but religion is probably in a decline these days because it's not so interesting as the other miracles we see around us: the miracle of pop music, the miracle of noisy, well-done big-screen sci-fi stuff, the miracle of photography, the miracle of strong lager …"
So do you like noisy big-screen sci-fi stuff?
"As long as it's well done. I recall going to see Jurassic Park at the cinema in Tunbridge Wells, near where I live. And I watched this film and for the hour and a half all the children were bored out of their brains – it was like being in an aviary. They used to be like that with Doctor Who when I had long dialogue sequences and all they wanted was the action. And then when the action came and the first dinosaur appeared, the amazing thing was that everyone in the cinema thought how wonderful it was except Sam Neill, who at that point was the most important man in the world. So I thought the film was terribly boring and completely relied on its amazing optical effects. What was Men in Black about? It was a piss-take on almost every genre of movie, it was even taking the piss out of itself. There were a few good jokes but of course it had these spectacular model effects. But it was finally all just jokes. You couldn't interact with it or have any argument with it, it was just a piss-take. There was nothing heroic, nothing lasting. There is nothing profound there – but it's fine to eat your popcorn to."
Do you feel the same way about Doctor Who?
"With Doctor Who it was very different, very gentle. And it was heroic and lasting. Of course it couldn't be particularly profound because everything had to be resolved by violence, simply because everything has ultimately to be resolved by violence – the violence of death generally. That was as true for Doctor Who as it was for God, because God committed the first genocide in chapter seven of Genesis when he flooded the world except for Noah and his pals. Aaah . . . so everything is resolved through death, by an explosion, by annihilation – very few things are resolved by wit. But in between times in Doctor Who there was this benevolent alien quality I mentioned before. And its strength was that it remained, essentially, unique on television. There was nothing else like it. And it hadn't really, it seemed to me, copied anyone else. Almost everything else in life, be it a success in business or a clever idea for a novel, is copied from something else – and the more people copy each other the less individualism we have. You can only be an individual by being slightly egregious. And at that time Doctor Who remained without competition. It remained unique."
Yes, but there are a lot of things on television that are unique and don't have 14 million viewers. Doctor Who must have had something more than that?
"Well, yes, but they can be uniquely boring can't they? I like arguments, I like viewpoints, I'm desperate for those surprises we talked about earlier. . . We learn from each other. But TV is all sarcasm, and I don't know why. Shakespeare isn't full of sarcasm, Doctor Who wasn't full of sarcasm – just childlike enthusiasm and good arguments. Indeed, I hope the same goes for my book – enthusiasm and good arguments. Someone told me today that he'd read a bit of it and found it quite sad. Sad! My bloody heart skidded! Did you think it was sad?"
Not sad, no. I mean there are some incidents that are sad or bad in themselves, but you seem to have such a good time telling me about them that I laugh, or at worst smile at the consciously bittersweet or ironic stories.
"Well thank God for that."
Back on the subject of television. You must receive a steady flow of scripts . . .
"No, no, no, it's by no means a steady flow! I haven't been offered a job for more than a year, unless you count an appearance in crap".
But have you been courted? Sounded out?
"Oh, people put out feelers briefly before they hear my venomous rejection of why I don't want to go on tour as Professor Higgins or even Colonel Pickering, when really I'd like to go on tour as Eliza. The scripts I'm offered every single day are voice-overs and narrations. I'm doing a fascinating American documentary series at the moment, and I'm very big in the North East at the moment with second hand car dealers. There's something compulsively disgusting about my voice when I do that, so they like it. That's how I'm earning my living – not on the stage or on TV."
How do you feel about that?
"It's a matter of regret tor me, but I have to feel – because I'm not completely stupid – that it's probably a matter of great relief for millions of other people, and certainly, obviously, a great relief to the countless producers I've worked for. The other night I had to go to a party – there was no escape – at London Weekend Television with some people who once employed me. And I met some directors there, who were shaking hands almost with tears in their eyes – because most directors have tears in their eyes after they've worked with me. Indeed some of them die in agony not long afterwards. And there I was with all these fellows who were all busy. One of them is doing Our Mutual Friend and I thought, this is incredible, what about me? I remember him shaking hands once before and saying, "Tom, dear, you'll be in my next thing." Incredible, the whole business. Funnily enough, outside of Doctor Who I really don't think I've ever worked for a director twice, and even then that's because they were stuck with me. If they wanted the job there was no way they were going to dodge me. I would have thought I'd be more popular because I'm a fast worker. In fact, I'm a very fast worker because I'm so superficial. If you're superficial then you have to go bloody quick so people don't spot it. You've got to produce the effect quick and get out. That's what is so good about voice-over work. I can be instantly sincere – people can be in tears – and then I'm out through the door and I've only been there 20 minutes. Sometimes I give the runner a tip."
Other actors have commented that you're quite a driven man to work with. Is that because you are, as you say, covering your own superficiality, or are you also trying to maintain your enthusiasm in material that you feel isn't as sophisticated as it might be?
"When you're an actor and you're discovering a script, such as it is, you open it and say "Christ, it's the same as last week's whippet-shit. It's about as surprising as a Big Mac" or, "My god, it's a Spud-u-Like with dog vomit." But the director says, "Don't say that Tom, please don't say that." And you reply, "But it is! It's dog vomit, isn't it George?" Then he says, "Well yeah, but we've got to do something with it." And so you all gather round and you do the alchemy. It's like people looking in a cupboard when they come back from the pub and there's next to nothing in. But you're bloody starving so you say, "Well there's some rice here, some ham here and this and that," and you work a miracle on it, you pull together something you really enjoy."
That must bring you into friction with other performers who aren't willing to try so hard, who can't be bothered with alchemy?
"When you're doing something, of course they'll be that collision of egos and personalities. I like to work flat out, but I love being with actors most of the time. I like to think that the actors who worked with me on Doctor Who enjoyed it . . . Not many of them said that when I look back . . . Hmmn, not many actors ring me up, come to think of it. . ."
I think it would be fair to say that people who have spoken to DWM on the subject of working with you on Doctor Who fall into one of two camps: those who would celebrate you for how much you excited them and opened up the possibilities of a script, and those who thought you were a monomaniacal egotist who was all over the place, making the job harder all the time. Were you both of those people?
"Well I'm sure I was both of those – and more, I hope. I can't have only been two people, I'm more complicated than that! I do quite like creative tension but not just as a chance to indulge myself. I don't like something to be as if we are just making jam or something like that – I was always very aware of how little time there was. But at the same time you've got to get in there haven't you? You can't be taking too many prisoners if you've only got a day and a half to get the job done. A thing that actors do, generally because they're so sodding timid, is that they keep their bloody heads down and cry "Don't make waves!" As if there is some terrible danger from drawing attention to yourself. An actor can ask the director, "Where am I to be placed, Ian?" and Ian will say, 'You stand there and deliver your line towards there," and so on. But if someone says to Tom Baker, "You stand there" then Tom will say, "Why?" And if Ian's response is, "Well, that's the best place to light you," I'll say, "Well what a good reason!" But if someone says, "I walked through it in my hotel room last night and that's the best place for you," then I'll say, "Sod your bloody room – let's play the situation shall we? Let's play the situation! Someone is coming into this scene through that door, and you say that you did it all last night in your room! What do you think us actors are for?" That's a reasonable kind of conflict on a set, and I'll take time to put forward my view. But if the director can say, "I don't think that's right because this has just happened or such-and-such is about to happen" than I might stop, look at my feet, look up and say "That was a terrible idea of mine just, now. I think we should do it your way!" That strikes me as a very interesting approach to work, and it's the only way you are going to make it good and tight and dramatic and strange. Of course if you are just a small-part actor in a big television production or film then you've got no power to do that. You ask the director where your camera is and he'll say, "Never mind where the bloody camera is, just shut your mouth and stand there." But if you are the leading man – or the director likes you – then you can challenge things more. I don't mean you challenge them there and then – obviously the best thing to do is to have dinner the night before, or grab him in the pub and say, "Listen when we do that scene tomorrow, how about trying this?" You can't do that on set because if you haven't sorted it all out by the time you're rolling then you're not going to sort it out. I just tried to make it exciting because it was my life. I had fans! I don't have any more fans now, I have the same fans.
"This is important, this is vital! Fans are crucial, you can't live without fans! Unless you are some kind of Carthusian monk then you must have one fan and that's your partner. Then you have a little family and you've got four fans. Some nice neighbours and you've got 11 fans. But if you're a star footballer or big actor then you might have thousands of fans. If you were Doctor Who in 1976 then you'd have millions of fans!"
Proceedings are halted briefly as Tom lets loose a huge laugh at the absurdity of his life. He grins broadly. I don't think I've ever interviewed someone who has tried quite so hard to be liked. Is it genuine or is just part of the sales pitch? Does it turn off and on? I'd like to be able to offer some insight, but Tom Baker isn't like you and me – or anyone I've ever met. You can't read him any more than you a can read the expression on the Mona Lisa. From moment to moment he seems variously terrifying, endearing, superficial and hilarious. Yes, superficial, because the feelings he displays seem entirely linked to the needs of the story he's telling. Moods are employed to heighten the dramatic value of a tale.
Further, I'm never quite sure whether he's answered my question. Often he seems to drop sideways into the most amusing tried-and-tested anecdote that's in easy reach of my offered theme. Sometimes you seem to get a glimpse of true feelings and emotions, but then a new anecdote is identified, his eyes light up, and we're off on another circuit.
Tom just can't seem to stop performing.
Did your length of time as Doctor Who change you as an actor in that approach to directors or producers? You've admitted becoming more proprietorial.
"Oh, I certainly became more proprietorial about Doctor Who. But when I became insufferable, I went. I didn't go after any big scene or any unhappiness. I just went because it was getting very difficult. It wasn't changing, the scripts weren't getting any better and there were lots of juveniles coming in. But I thought, that's fine, we had a new producer, which was John [Nathan-Turner] and I thought that perhaps my day was over and I'd better go. Maybe I'd stayed too long, I don't know. Some people think that Philip Hinchcliffe's days were the best days. He was fresh and I was fresh, so maybe that is why it appears that those serials were better. Eventually it got very repetitive about how these things would be shot – especially in the TARDIS or in corridors – so after a while it was very difficult to maintain that sense of wonder or excitement, that surprise again. I mean I tried not to just walk through it, because I was supposed to be from somewhere else. Of course, for years I've been mocked by certain people about how seriously I took the part . . . but I was an alien, I had fans to be responsible to. Ha ha! Fans again! You know this, you yourself have got readers to be responsible to, fans of your own – and you must consciously try to be excited by your work or your subject or else you'll lose them! And you can't live without fans."
But did you believe you could live without them in 1980?
"No, no, no. I thought that I would go on to new things, I thought I could beat typecasting. Obviously I didn't, since my professional life has gone down since Doctor Who. It's only the repeats of Doctor Who that have sustained me. I don't mean financially – although I do earn some money from royalties – I mean in the sense that it has kept me in the public eye. People say, "Christ! Tom Baker! Is he still alive?' and I get little jobs. Particularly it has sustained me in commercials because a lot of people who make them are quite young, and they are fans of Doctor Who themselves."
But you're associative of a certain time for them. You're more than just Doctor Who, you're the football results and Basil Brush, you're jam sandwiches and indulgent parents.. .
"Absolutely. Nothing's ever in isolation. I was a figure in a whole series of contrasts. I was lucky to feature in that amazing scheduling of Brian whatsisname for BBC1 at that time. Amazing! It was irresistible. They were glorious days! Days of my own glory! Thank you for reminding me of them."
When you were the Doctor, did you feel taller when walking down the street?
"The thing is, I was leading several lives at the time. Most people do but they don't go on about it like I do. I was ten people in a day. Sometimes I was ten people in an hour! So I was the great children's hero – I was known all over the world. I didn't need credit cards, I was welcomed in everybody's house and that kind of thing. But in the afternoon, there I was in the bloody stewpots of Soho, absolutely raving it up, pissing it up like a good 'un. That was an amazing other life I had. I also had, from time to time, some sort of fragmentary domestic life – but domestic life can't possibly admit a comparison with being a children's hero throughout half the bloody world, or even to access to Soho and all that fun! I didn't want sodding domesticity! All that getting up in the morning in the same bloody place, saying hello and having three meals a day with the same bloody person. Get off! Let's get down to Soho and crack some champagne and listen to tall stories from those guys. In low life, you can't be boring, you can't whine. If you go in and say, "I'm a bit tired," you'll be told to piss off home to bed! You come in and say "Hello Jeff" and you've got to be amusing, you've got to give a performance – because if you're not funny then everyone will sod off to the next cabaret. And that's what it was, this amazing pub crawl-cum-cabaret."
So why did you leave it?
"Because nothing can go on forever! It's like a footballer giving up before his legs go. The casualty rate was pretty high in Soho as people fell down steps onto their heads or simply dropped dead in front of you. Sometimes their noses exploded if their liver didn't go that way first! There was a lot of exploding going on. Things changed when I was in Ireland in a marvellous failure as both Sherlock Holrnes and Moriarty in the same play. It must be some sort of record to cock them both up in the same production, which depressed me because I knew I should have been better. While I was there, the girl who was my partner, and now my wife, saw this wonderful house in Kent. I came over, looked at it and instantly said "Let's buy that." I was frantic to make a change. Even whooping it up in Soho was getting repetitive . . . So we moved to the countryside with lots of cats, and gradually I found a lot to distract me there. It wasn't really that difficult to leave the Soho life behind, because I wasn't in many plays so I wasn't up there nearly as much. Then I was doing 30-odd episodes of Medics up in Manchester. So I slowly drifted away."
Was the role in Medics one that you connected with?
"Well it didn't take much out of me. I was just a latterday James Robertson Justice. I just went up there, said the lines and tried to be interesting about it. Then that finished. But then most of the things I've been in, except Doctor Who, have stopped. Oh, actually that's stopped as well now! Ha ha! Well at least they can't pin that on me! There were four of the buggers after me, so no-one can say that's my fault!"
Would you consider playing Doctor Who again?
"Ha ha ha ha ha!"
Sorry, but it's my job to ask! It's in my contract!
"Yes. Well, it's extremely unlikely, but it would have to be different and exciting again.
For example, I can't see why the Doctor shouldn't come back with a fragmented personality, so he's constantly reinventing himself as he goes along – so in certain situations he becomes whatever is necessary – so the part is constantly entertaining and interesting. Or maybe I could play a Doctor Who villain – that would be fun!
Oh yes! Ha ha ha ha ha!"


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- Samsung
- S Series
- J Series
- A Series
- Note Series
- Iphone
- Huawei
- Game Consoles
we specialises in offering an express repair service for smartphones, tablets and computers along with a wide range of mobile accessories and refurbished devices.read more +
The smartphone repairing services for iPhone, Samsung, Nokia, HTC, Nexus & Sony.
The smartphone unlocking service for iPhone, Samsung, Nokia, HTC, Nexus & Sony.
Looking after at your business requirements through ITIL and keeping in control of your IT.
Looking to shop quality products feel free to browse the latest product and accessories for your mobile

subset: commoncrawl


text:
P1BC.COM website is no longer active.
My brother and I started p1bc.com in Maine back in the late 90's (Priority One Business Communications, Inc)
Things changed over the years. As demand for telephone repair slowed, I went to work or Refurb Supplies, LLC in R&D developing products to repair telephone equipment. My brother kept running the phone repair business but the slow decline remained a reality. Three years ago I changed my focus to cordless phone repair and moved to Florida. While there is still a demand for cordless phones, desk phones have become obsolete and too easy to find cheap on the used market.
My brother decided to close shop and discontinue p1bc.com in October 2018
For now he is still receiving emails and may take on some projects if there is a need.


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As we saw, Eucalyptus essential oil, like many pure essential oils, is a panacea for humans and animals alike. It promotes healing and wellness in several body systems.
Let's explore the many methods of use of this amazing oil.
1. Respiratory Wellness Steam Inhalation
Using eucalyptus can help open and clear occasional stuffiness associated with seasonal or environmental threats. It is very active also on occasional sinus complaints.
- 2-4 cups of water
- 2-3 drops eucalyptus
Bring the water to boil in a pot, and turn the heat to simmer. Add the eucalyptus to the simmered water.
Make a tent over your head with a towel, and with eyes tightly closed, place your head over the simmer pot-at least 12 inches from the steaming water-and inhale deeply.
Make sure to take breaks every minute, and do not steam for more than 10 minutes overall. You can repeat this process a few times a day as needed.
2. Eucalyptus vapor rubs
Another excellent way to access this oil's health promoting powers.
- 3 drops eucalyptus
- 1 teaspoon coconut oil
Add the eucalyptus to the coconut oil, or another carrier oil of your choice. Start with 1 drop oil per teaspoon of carrier oil for a child.
Combine the ingredients well. Double or triple the recipe as needed. Rub the mixture onto throat, chest and beneath the nostrils, and on the insides of wrists. Children especially may also benefit from having the mixture rubbed into the soles of their feet using gentle massage.
Children and sensitive people may want to try E. citriodora or E. radiata here as they are gentler.
3. Eucalyptus and Lavender Tea Bath
- ¼ cup dried eucalyptus leaves
- ¼ cup dried lavender blossoms
- a muslin bag
- 5 drops eucalyptus
- 1 Tablespoon honey
Combine eucalyptus leaves with dried lavender blossoms in a muslin bag, or in a clean pouch made from old nylons. Combine the eucalyptus oil and honey, add to the leaves.
Tie the bundle, and either brew up a pot of fragrant bath tea to pour into your bath or place the preparation directly into the bath as you soak in the aroma.
If you wish, add up to 3 drops of another essential oil. Lavender and Geranium compliment both the aromatic and wellness benefits of Eucalyptus in this preparation.
4. Eucalyptus Infused Massage Oil
- ¼ cup of carrier oil of your choice. (Some suggestions include: Coconut Oil, Jojoba Oil, Almond Oil, Apricot Kernel Oil)
- 4-8 drops eucalyptus
Combine ingredients, massage the oil into the affected area several times a day.
5. Fever Cooling Blends
Cool down a hot body
- 3-4 drops eucalyptus
- 1 tablespoon whole milk or honey
Eucalyptus essential oil has a cooling effect on our skin. Thus, a person suffering from a fever can take a tepid bath infused with this blend. The bath will have a cooling effect on the body
Eucalyptus essential oil is an excellent oil to use in a diffuser. It will lift spirits and clear negative energy, all the while "destroying" the microbes that cause environmental and seasonal threats to immunity and wellness.
6. Eucalyptus Essential Oil Cleansing Home Spray
- ½ cup white vinegar
- water
- 1 tablespoon rubbing alcohol or witch hazel extract
- 12 drops Eucalyptus Essential Oil
- Up to 12 drops of another essential oil of your choice. Some suggestions to include on their own or in combination are:
- Up to 2 drops of peppermint
- Up to 2 drops of rosemary
- Up to 4 drops of thyme
- Up to 12 drops lavender
- Up to 12 drops of tea tree
Combine all ingredients. Place the blend in a spray bottle and use this solution as a spray cleaner on surfaces around the home, and to clean door knobs and handles.
7. Skin Cooling After Sun Mist
For sunburned or steaming hot skin:
- ¼ cup cool water or witch hazel extract
- 4-8 drops of eucalyptus
Combine ingredients, and pour the mixture in a spray bottle. Mist on as needed, be sure to avoid contact with eyes.
Use the mist AFTER exposure to sun. It is best to not use this mist before going into the sunshine.
8. Herbal Insect Repellent Spray
The best thing about this spray is its versatility. This spray can be used as an environmental spray-around the house or outdoors. It can also be used on our skin. In addition to repelling insects, it will bring soothing and healing components to skin that has suffered the effects of insect bites.
- 1 cup of base liquid of your choice:
- Catnip tea (directions below)
- Distilled water
- Witch hazel extract
- 10 drops eucalyptus
- 10-30 drops of any blend as explained below:
Use anywhere from 20-40 drops of essential oils in total. You may want to start with 20, experiment with the blend's effects, and add more as desired and tolerated from there.
Include combinations of any of the following for your insect repellent spray.
Some of these essential oils require more caution due to their potency, and thus should not be used more than the suggested amounts:
- Up to 10 drops of geranium
- Up to 10 drops of citronella
- Up to 10 drops of tea tree
- Up to 10 drops of lavender
- Up to 4 drops of patchouli
- Up to 2 drops of peppermint
Place the mixture in a spray bottle and use it liberally to fight off insects.
Catnip Tea Base
- ¼ cup of the dried or fresh leaves
- 2 cups of boiling water
Make a strong tea, steeping the leaves for no less than 5 minutes. Once the water cools, it can be the base for your insect spray
Bottom Line
In this article you will find natural recipes for making the best of your eucalyptus essential oils, including:
- Methods for respiratory wellness, by diffusion or vapor rub
- Relaxing and soothing recipes to support joint and muscle health
- Methods to keep your environment fresh and clean
- Beautiful skin care blends that will cool and refresh
Read more:


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Friday was a night of mixed signals for me.
The last time I watched a pro hockey game at the Glens Falls Civic Center, the home team was the Adirondack Red Wings, as it had been for 20 seasons, until 1999.
The first thing that caught your eye to the right as you crossed the bridge over the Hudson River on Route 9 was the huge telltale plume of steam coming off the Finch Pruyn paper factory. Then you saw the solid red-brick Civic Center, synonymous with the Red Wings and the symbol of the city's fervent hockey fans.
It remains so, even though the team jerseys, in all their various incarnations designed for max merchandise sales by a team that was never going to stay, ever, are orange and black.
Are . . . were . . . never to be again.
It was a foreign sight for these eyes, all these shiny, happy people in Adirondack Phantoms gear modeled after the parent club Philadelphia Flyers. Their identity as hockey fans, above all, stood out, though.
The Phantoms played their final home game on Friday, losing in overtime to Bridgeport, and played their final game of the season at Hershey on Saturday. The Phantoms' legacy in Glens Falls will be this — four seasons without making the playoffs and one more thrown in for good measure because the new building in Allentown, Pa., wasn't quite ready.
Five lame ducks on a frozen pond.
What they leave behind are true fans who deserve better than they got, who ignored the temporary status of this relocated AHL team and supported it because, well, they just like to buy tickets to watch good hockey, a quality ingrained in them when the Red Wings came to town in 1979.
The Phantoms went through all the motions to bid farewell and thanks to the fans, but, really, whatever investment they had in Glens Falls will boil down to those shirts and tickets. To be fair, everyone knew up front that the Phantoms were just making a pit stop.
"It's a bittersweet feeling, but it's a celebration," Phantoms co-president Rob Brooks said. "Five years went fast. It seems like yesterday that the community welcomed us.
"They're hockey fans. They're fun. They know their hockey, they get loud and it's a great hockey community."
It wasn't always such.
I called my friend Mike Kane, the dean of the Adirondack Red Wings history department, to check on a detail about the 1989 Calder Cup champion team, and over the course of the conversation, he brought up an aspect of hockey in Glens Falls that I never knew.
You could expect that a cold-weather industrial upstate New York city on the periphery of the Adirondack Mountains would be a hockey hotbed, but not so. It took Ned Harkness to build the arena and bring an AHL team here, and when he did, the Red Wings built their fan base by, literally, introducing them to the sport.
"They held clinics to teach people what icing was, how a power play works," Mike said.
The lessons took.
And so did the team, which won four Calder Cup championships from 1981 to 1992.
I had the privilege of covering one of them with Mike, in 1989, when we typed our Cup-clinching game stories through eyes reduced to slits by the sting of champagne poured over our heads during lockerroom interviews.
The fans adopted the octopus-on-ice tradition of the parent club in Detroit, and Adirondack's Robbie Nichols gained possession of it and draped it over the neck of TV reporter Paul Palmer while he was in the middle of an on-camera interview.
Later, we sipped bubbly from what was likely a facsimile of the Cup that was being passed around a throng of fans and players at Dango's on Maple Street. Lou Crawford showed up at the bar still in full sweat-crusted uniform. Yeah, skates, too.
I'd bet a lot of money that some of the people in that crowd were also at the Civic Center on Friday night.
I pulled into the lot on Oakland Avenue just across the bridge two hours before the game and was offered a hot dog by a group of six fans tailgating. They had Phantoms stuff on, but said they were Red Wings fans from way back.
They cheerfully expressed hope that the Calgary Flames affiliate in Abbotsford, British Columbia, the Heat, will move here, as does the city and arena, but there are doubts.
For one thing, the Civic Center is 35 years old. While Glens Falls, which had a UHL team from 1999-2006, has been discarded and left behind by the AHL, the 4,794-seat arena has dropped below AHL standards, particularly with regard to the lockerrooms and workout facilities.
Funding for such projects doesn't appear to be readily available.
In the opening minutes of the game against Bridgeport, a chant from the standing-room crowd of "We want hock-ey" started up.
Later, it turned into "We want Abbots-ford." In the closing minutes, it was "We want the Heat, we want the Heat," but because there was still a game going on and the home team was tied, 2-2, that one dissolved and seamlessly turned into "Let's-go, Phan-toms."
Mixed signals.
This wasn't AHL hockey in Glens Falls as I had come to know it.
Until you saw the people.
One thing stood out with the purity of a jet-black vulcanized puck fresh out of the box — hockey fans live here.
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Donating Stocks & Securities to East Side Learning Center, Inc.
Thank you for your donation of stock securities or mutual funds. As a 501 (c) 3 nonprofit, East Side Learning Center (ESLC) accepts donations of mutual funds and securities. Our securities vendor is UBS Financial Services, Inc.
- You will need ESLC's EIN: 04-3699678
- East Side Learning Center UBS Account Number: 7C 26098
Download ESLC's Stock and Securities Donation form.
Securities Donations
- Contact the Mutual Fund Company or Firm that is holding the Mutual Fund and tell them they want to gift mutual funds to a client at UBS.
- If it's a Financial Institution and not a Mutual Fund company, you can send shares out as a partial Account Transfer to UBS.
- Provide the above UBS DTC and East Side Learning Center UBS Account number.
- Provide the following information with the firm or Mutual Fund Company.
- Name of Security being donated
- Security Symbol
- Quantity of Security Shares being donated
Mutual Fund Securities Donations
- Contact UBS to open a BIN Account for the Mutual Fund Company to pull the shares in.
Julie A Heidenreich, UBS Sr. Registered Client Service Associate
(651) 298-1674 or (800) 444-0582
Email: firstname.lastname@example.com
- If the shares are held directly at the Mutual Fund Company, contact your Mutual Fund Company and tell them what shares they are gifting.
- Tell the Mutual Fund Company that UBS will open a BIN Account with the company to pull the shares in for East Side Learning Center.
- Provide them and UBS with the following information:
- Security Name
- Security Symbo
- Security Quantity number of shares
- Your Account Number at the Mutual Fund Company


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An introduction to a classic play
Iphigenia at Aulis (the title is sometimes rendered as Iphigenia in Aulis) has been criticised for its melodrama, but its portrayal of the central character's decision to agree to renounce her life for the 'greater good', and Agamemnon's ambivalence about sacrificing his own daughter, make it a curious and satisfying play which repays close analysis and discussion. The play is largely (more on that later) by the Greek tragedian Euripides, and was first performed in 405 BC. In the mid-1550s, Iphigenia at Aulis even provided an unlikely claim to fame in English literature: it became the first piece of dramatic writing to be 'composed' by an Englishwoman, when Joanna Lumley (alternatively Jane Lumley) translated Euripides' play into English, thus becoming effectively the first female dramatist in the English language. (We discuss Lumley in our book of literary curiosities, The Secret Library: A Book-Lovers' Journey Through Curiosities of History.)
Before we go any further, though, a brief summary of the plot of Iphigenia at Aulis. At the port of Aulis (an ancient port in central Greece), the Greek fleet is all ready to sail off to the Trojan War. But Agamemnon, who will lead the fleet, has been told that in order to get calm winds for the journey, he must make a terrible sacrifice to the goddess Artemis: he must kill his own daughter, Iphigenia. Agamemnon agrees, sending a message to his wife Clytemnestra asking her to come to Aulis with their daughter on the pretext that he wishes to marry her to his friend Achilles. However, no sooner had he sent this first message than Agamemnon has a change of heart, and sends a second message, telling Clytemnestra to disregard the first message. However, she never receives this message, as it is intercepted and destroyed by Menelaus, brother to Agamemnon and husband of the abducted Helen of Troy, who is impatient to set sail for Troy so that he can retrieve his wife.
When Iphigenia arrives at Aulis with her brother Orestes and her mother Clytemnestra, she realises she's been duped. But Agamemnon and most of his crew (with the notable exception of Achilles, who is very nearly stoned to death by his own men for objecting to the sacrifice) insist on carrying out the sacrifice (although for a short while, Menelaus and Agamemnon had actually succeeded in changing the other's mind, with Menelaus becoming convinced that they should not sacrifice Iphigenia). Iphigenia reluctantly consents to sacrifice herself – given she has no real choice, she decides she may as well agree to give up her life for the glory of Greece than become a passive victim.
How does the play end? Here we have something of a conundrum. One of the odd things about Euripides' play is that he probably wasn't the sole author, and Iphigenia at Aulis was actually a collaboration of sorts. This is because Euripides died before he could complete the play – it was only first performed a year after his death – and Iphigenia at Aulis was almost certainly finished by another writer. But many readers and scholars dislike the sleight-of-hand of this tacked-on ending, which sees Iphigenia miraculously saved: as she is preparing to go to her death, the goddess Artemis has mercy on her and switches her for a deer, which is sacrificed in her place. Iphigenia is then taken away to Tauris, safely out of harm's way. But this raises a number of problems, not least the significance of Clytemnestra's later revenge on Agamemnon while in the bath (memorably told in Aeschylus' Oresteia trilogy) for his murder of their daughter.
Like many great Greek tragedies, Iphigenia at Aulis presents us with characters confronting difficult moral dilemmas, being asked to choose between their nation and their family, the fate of their army and the fate of their own children. One of the most remarkable things about the play's characterisation is the extent to which Euripides is prepared to show Agamemnon, the tough-minded general and heroic man of action, having second thoughts about what to do and being prepared to go back on what he's said. He may be a hero, but he becomes a monster – but a reluctant one.
Image: Francesco Fontebasso, The Sacrifice of Iphigenia (c. 1749), via Wikimedia Commons.


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Grayson vol 2: We all Die at Dawn by Tom King
I was very lucky to be able to read this book for an honest review thanks to DC Comics and Edelweiss. I have been a huge fan of Dick Grayson since I was a kid and I have loved the Nightwing comics from the very beginning. I was crushed when Dick was outed in Forever Evil and he was then "Killed". When the Grayson series started I was glad to be able to keep up with what Dick Grayson is doing with his new life.
I have to be honest, I'm really disappointed in this whole series. I get it, this is an espionage series but there is basically no action. I'm so used to the amazing writing and action that was always in the Nightwing books. In this book, in this series Dick seems not himself. I know a character's personality can vary from writer to writer, and they are trying to show that with out the mask and the night Dick can't be happy but this just feel awkward when I read it.
This story really had a hard time keeping my attention. Dick is trying to stop an organ collector who we have no idea why they want these specific organs. It was a slow read and really didn't pick up all that much. The only reason I keep reading this series is because I am hopeful that some day they will find away to bring Dick Grayson back to what he is supposed to be doing and that is picking his suit back up Nightwing suit and rejoining the Bat-Family. DC keeps advertising their newest Big event called Rebirth. No one knows exactly what this is going to entail but I hope it at least brings back Nightwing. New 52 did a lot of great things for some books and for others the heroes I have loved were not as interesting as they once were. I am anxious to see what happens in the future so I guess I will keep going with this series. Who knows maybe the next volume will be amazing.
Sadly I must give this one 2 out of 5 stars and that is where I will leave you. I hate rating a Dick Grayson story so low but I just didn't care for this all that much.


text: Twenty-one years ago today the Scottish Court at Camp Zeist convicted Abdelbaset al-Megrahi of the murder of 270 people in the Lockerbie disaster (and acquitted Lamin Fhimah). The unjustness of the Megrahi conviction was demonstrated in two of the earliest postings on this blog: see Lockerbie: A satisfactory process but a flawed result and The SCCRC Decision. The conviction has also since then been fatally undermined by John Ashton's Megrahi: You are my Jury and Dr Morag Kerr's Adequately Explained by Stupidity? Just how much longer are we going to have to wait until this shameful blot on the Scottish criminal justice system is expunged?


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Bodrum Museum of Underwater Archaeology
The Bodrum Museum of Underwater Archaeology, which received a special commendation in 1995 as a European Museum of the Year, was established in the Bodrum Castle in 1964. Initially, the restoration of the castle was the priority; later, exhibition halls were created in the available space.
The 14 departments in the museum :
- Carian Princess Hall
- Amphoras Exhibition
- The Dungeon
- British Tower
- German Tower
- Snake Tower (secret museum)
- Turkish Bath Exhibition
- Glass Wreck Hall
- Glass Hall
- Tektaş shipwreck
- LateRoman shipwreck
- Kaş-Ulu Burun shipwreck
- Commander Tower
- Coins and Jewellery Hall
The biggest group of artifacts on display in the museum are the amphoras, two-handled and portable jugs with a pointed bottom which were used in the commerce of ancient times to carry and store wine, olive oil and dry foodstuff. The world's biggest Eastern Mediterranean Amphora collection can be found in Bodrum Underwater Archaeology Museum.
The Bronze Age Shipwrecks exhibit displays interesting findings recovered from sunken trading vessels discovered by local sponge divers. The artifacts, from the 13th and 16th century B.C., are indispensable for understanding the late Bronze Age. Also on display is the world's oldest known shipwreck, also one of the richest finds, discovered at Ulu Burun in 1982. The explorations took 10 years due to the depth of the wreck, the stern being at 147 feet (45 meters) and the bow at 170 feet (52 meters), although it was only 207 feet (63 meters) from the shore. Many of the artifacts needed to be chiseled out by hand due to the layer of concretion that covered the site. The boat used Greco-Roman techniques of building the shell first and then fitting the frame to it. The Ulu Burun shipwreck contained a cargo of treasures, including precious gems, exotic wooden logs, hippopotamus ivory and more than 150 pure-thin, resin, cobalt blue, turquoise and lavender-colored flat, round glass ingots. In addition to Canaanite gold jewelry, one amazing find was a solid gold scarab (these scarabs were carried by sailors for good luck) attributed in hieroglyphics to one-time owner Nefertiti, the Egyptian Queen.
The Museum of Underwater Archaeology is perhaps Bodrum's finest attraction. With the added mystique of the Knights of St. John who built the castle housing the museum, visitors to Bodrum seldom – if ever – fail to pay it a highly rewarding visit. The combined efforts of the Turkish ministry of Culture, local Bodrum sponge divers and the Institute of Nautical Archaeology have created and continually support the ongoing efforts to present and preserve the past treasures of the deep blue sea.
Admission 10 TL – Opening hours of the Bodrum Museum of Underwater Archaeology :
between 09:00 am 12:00 am and 02:00 pm and 07:00 pm – closed on Mondays. Phone : 0252-316 2516


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We've been spray tanning in Orange County and Los Angeles since 2005, and the question we hear most often is, "HOW DOES AIRBRUSH TANNING WORK?"
The active ingredient in virtually all sunless tanning formulas is DHA (dihydroxyacetone), a carbohydrate (monosaccharide sugar) compound approved by the FDA for use in externally applied sunless tanning solutions. DHA is usually derived from a vegetable source like beets or sugar cane. When DHA is applied to the skin, it causes a harmless chemical reaction with the existing amino acids in the skin to produce a tan, much like the sun does, but without UVA and UVB damage. The tanning solution is manually airbrushed in a fine mist all over the body or desired areas.
There are absolutely no tanning beds or spray tanning booths at Kona Tanning Company. The airbrush spray tanning process takes about 20-30 minutes, including drying time.
In other words, your skin can be beach-ready in less than an hour if you're near our Costa Mesa studio! And if you aren't, check out our online boutique of sunless tanning products HERE. Our award-winning Gradual Tanner allows you to build a natural-looking color in just a few short days! The Kona Spritzers are individually packaged bottles of your own Kona Tanning House Blend tanning solution, for touch-ups on the go; ideal for travelers and busy moms. Both men and women love how easy the Spritzers are to use for a quick face spray – the perfect way to brighten even the most dull-looking complexion!
Looking for the best spray tanning in Orange County for Spring Break? Click HERE
Like us on Facebook to stay on top of Kona Tanning news and special Facebook friend promotions! OrangeCountyAirbrushTanning.com | MobileTanningDirectory.com


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Resources for students and educators
Resources for students and educators
About Japan: A Teacher's Resource provides a variety of resources about Japan to educators for use in the K-12 classroom. Resources are organized around the themes of culture, environment, globalization, history, Japanese language, and social issues and consist of lesson plans, articles by leading scholars and primary source images and video. Through these classroom ready resources, educators are able to expand and deepen their teaching on Japan.
Explore the Denver Art Museum's comprehensive collection of lesson plans and resources for educators. Lessons range from 30 to 50 minutes, and are based on objects from the Denver Museum's Japanese collection. Resources available for all ages and learning levels.
Search, download, and create resources for your classroom using the Freer Sackler digital collection. With more than forty thousand works available for high-resolution download—expanding regularly with new acquisitions—you can explore the Smithsonian's museums of Asian art from anywhere in the world, whenever you like.
Students will examine the guiding principles of a tea gathering, simulate a thick tea (koicha) gathering; and demonstrate how the host and guests show respect to one another.
Discover the rich history of the Japanese tea gathering.
In Japanese, the word for bowl is chawan, and most Japanese people use chawan every day to eat rice. The word chawan, however, does not mean "rice bowl," but "teabowl." This is because such bowls were originally used, not for rice, but for tea! Learn what qualities make a teabowl.
Learn about the way of tea by exploring a variety of tea implements and practices dating back to the Kamakura period (1185-1333).
This lesson introduces students to the Japanese tea ceremony to consider the art and the tradition of the tea ceremony and study the serving pieces used in the ceremony by participating in a tea ceremony. Students will learn the importance of the performance of tea ceremony through the history of how it became what it is today.
Introduce students to Japanese art and culture as they explore works in the Philadelphia Art Museum's collection. Each art image is accompanied by background information, a set of looking questions, and related classroom activity suggestions that students can use individually, in small groups, or as a whole class.
From simple, Zen-like tea bowls to ornate lacquer boxes the objects in this presentation illustrate Japanese aesthetics and demonstrate both ways of making art particular to Japan, and techniques pioneered elsewhere and perfected in Japan. Functional objects introduce daily life during different time periods. Connections are made between Japanese and Chinese culture and art.
Find out more about TeachJapan.
Lead funding for the Asian Art Museum's TeachJapan is generously provided by The Japan Foundation Center for Global Partnership.
Additional support is provided by Susan and Kevin McCabe.
Teach Japan was created in collaboration with the following arts organizations:


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Help our local partners realise their vision of hope for their communities
13 January 2017
News from HART
- HART is currently looking for a new Finance and Admin Intern. More details can be found here. Application closes Sunday 15th January (midnight).
- 65,000 Rohingya Muslims have fled to Bangladesh since the Burmese army launched a crackdown in north of Rakhine state. Out of these 65,000, a third of them have fled over the past week, bringing the crisis to a new all-time high.
- 4,000 Rohingya, including 800 children, have been denied entry into China and have had to return to their camps within Burma.
- The governments of Burma and Bangladesh have agreed to talks over an estimated 65,000 Rohingya Muslims that have into Bangladesh.
- Clashes have been reported between the between the MNLA and the KNLA, the Mon and Karen ethnic armed groups. Whilst the eight armed groups who signed the nationwide ceasefire agreement (NCA) have requested a meeting with Aung San Suu Kyi and the army chief to find solutions to the ongoing armed conflict.
- Earlier this week marked 1,000 days since the abduction of over 200 schoolgirls by Boko Haram, that sparked the #bringbackourgirls campaign, leading to renewed calls for rescue.
- Violence was once again sparked between Fulani herdsman and local farmers, leading to ever rising tensions between the two communities.
- The Nigerian government has trimmed ties with Taiwan by moving the Taiwanese representative office out of Abuja, stating Taiwan "is not a country that is recognised under international law and under the position we have taken internationally we recognise the people of China."
South Sudan
- South Sudanese economists have warned of economic collapse if peace and stability cannot be achieved.
- The South Sudan government has rejected the deployment of a further 4,000 UN peacekeepers, insisting that the situation in the country is improving, despite continued conflict and draught.
Timor Leste


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2014 Inductees
1999 Berwick Bantam Girls Hockey
In the late 1990s, girls throughout the country were turning to hockey, and Berwick was no exception. By 1997, a handful of Berwick girls were travelling to Wolfville to play for an all-girls team called the Nova Blues.
With numbers anticipated to grow for the following season, Peter Connell and Mike Trinacty decided to organize a team out of Berwick. With Peter's daughter Amanda and the Best, Kinsman, Bent and Trinacty girls, three-quarters of a team was already in place.
With interest throughout the province, it didn't take long to create a girls-only league consisting of Pictou, West Hants, Liverpool, Middleton and Berwick. Wit the exception of Pictou, the league was made up of all first-year teams.
1999 Berwick Eassons
A third-place finish at provincials and a third-place showing at Eastern Canadians the previous year had the Berwick Eassons fastball team optimistic of greater successes in 1999. When all was said and done, the 1999 Eassons had captured Berwick's first provincial men's fastball championship in 36 years.
Playing in the Oland's Fastball League with East Hants Midgets, Halifax Lion's Head, Guysborough Transfer, Shubenacadie, Enfield, Dartmouth Blues and Oland's 67s, the Eassons finished with a 39-16 record, including three tournaments, the league playoffs, provincials and Eastern Canadians.
The team started the season by sweeping a pair of exhibition games with Guysborough May 23, then went 8-1 in league play before hosting a tournament on the June 12 weekend in Berwick.
Boyd Lutz
Boyd Laverne Lutz was born in Berwick Nov. 18, 1937. During an active and busy life, he was well-known as an athlete, coach, builder, professional scout and even team owner.
As an athlete, 'Boydie' played for the Berwick Apple Kings the year they won the Maritime championship, and was one of two Berwick-born players on the team.
George Moody
Born August 3, 1942 in Kentville, George Moody grew up in Grafton and became involved in sports at an early age. While attending Central Kings, he participated in track and field, representing the Valley in the 100 and 220 yard dash at the provincial level.
George played softball for Grafton and Waterville in a Valley league. He coached the Waterville Mohawks, then became the first coach of the Berwick Eassons fastball team. That year, the Eassons represented the Valley in the Canada Games tournament held in Brookfield, and in the provincial playdowns, reached the semifinals.
After coaching the Eassons, George became president of the Valley fastball league for several years.
Mike Trinacty
A fine career in athletics in his youth, which saw him twice chosen his high school's Male Athlete of the Year, proved to be only the start for Windsor native Mike Trinacty.
Mike's dad, a coach, baseball and softball umpire and hockey referee, was his mentor and inspiration as a youth, and started Mike refereeing and umpiring at age 14.
He started his coaching career at age 15, when he had a summer job teaching minor baseball four nights a week. That same year, he helped coach a minor hockey team.
Waterville Mohawks
In the years after the Second World War, softball was played at a tremendously competitive and skilled level in Kings County.
Teams representing the area from Aylesford to Cambridge captured provincial titles and suffered some near-misses during those years.
During the summer of 1956, the Waterville Mohawks, guided by general manager Dr. Ron Thorpe of Berwick, enjoyed an exciting and successful season that culminated in the Nova Scotia-Prince Edward Island softball championship.


text: What if women (and some men) had the power to shrink others for short periods of time? The person might know when it was coming on, after having it happen to them. Say like they may feel a strange tingle, or lightheaded. It would sure help in training guys to act like we want <wink>.So he forgot to put gas back in your car? Well then he doesn't need to be able to drive the whole weekend, how about just being totally dependant on you for those forty-eight hours? Doesn't sound like a bad idea to me.


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Tuesday, October 7, 2014
Show Your Shoes TablescapeJacqueline October 07, 2014
Chocolat - French for Chocolate. I adored chocolate from a young age when I had to sneak in the cupboard to find where my mother had hidden the Nestle's Chocolate Chips. Having read about the famous chocolat shoppes in Paris, when I finally got there I was determined to try a chocolate from every Paris shoppe. I invite you to share my adventures in creating, in travel, and in life.
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18 comments:
I noticed the polka dot napkins right away Jacqueline and love the curvy orange plates! Your colorful table is a lot of fun and speaking of fun, have a blast in Disney:@)ReplyDelete
So cute. You have the most fun tables! I am so happy for Joni.ReplyDelete
Oh, a trip to Disney! Have a terrific time, Jacqueline.ReplyDelete
Funny, every time I see anything ceramics with shoes, I immediately think of you. I remember the cute cake plates. So glad you rounded up those cute bowl too.
Darling table in every detail!
Every time I see one of your posts I say OMG that is her best one yet. this one blows my mind. where do you come up not only with the ideas but all the stuff you use?Like Halloween cake plates? I am an avds collector of cake plates and diligently search on line all the time and I have never seen Halloween ones like these.want to sell them to me? seriously. fabulouspostSusieReplyDelete
Love it! Very family friendly and fun.ReplyDelete
I always look forward to your Halloween posts and I'm never disappointed!ReplyDelete
So very fun, especially for women who adore shoes. Love the polka dots theme. Your bowls, plates and napkins are darling. I hope you have a terrific time at Mickeys' Halloween party. Take lots of pictures.ReplyDelete
So many wonderful witch shoes. That's a bewitching table and so much fun. I love that little salt and pepper set. You'll be the prettiest witch at Mickey's party. Have fun! laurieReplyDelete
Oh my! You are going to have so much fun when you wear those shoes! Love your fun decorations, too! Lots of color! Hugs, DianeReplyDelete
You're Shrek, Jacqueline!ReplyDelete
A person of layers (have you seen Shrek? There's a scene Shrek explains Donkey that people are like Onions. To which the donkey asks "they smell?" (or something like that ahahah) and Shrek says "no, they have layers").
How can a person - YOU! - create the amazing Black and White Party and then this and not look a contradiction?
The fact is that it doesn't and this setting is as elegant and funny inspiring as the first one.
You are a person of layers; and they're all unique and wonderful.
I love your image in your banner. Girl, you do enjoy and have fun in this holiday ahahaah
Thank you for sharing,
This is all just so much FUN!ReplyDelete
Oh, wow...Joni's on the move, huh? I'm sorry. I know that wasn't a lightly made decision, and I hope you guys are able to adjust. Thank goodness for airplanes and Skype!ReplyDelete
This is a really fun table, and I admire the way you stuck with it until you were able to scrounge up enough of those cute bowls. It's a shame how HG makes us work so hard to get all we need!!! But you showed 'em!
I DO love the mercury glass items that are available now for more select times of the year! It ain't just a Christmas thang anymore! :-)
Really, really cute and colorful and fun, Jacqueline! Have a great weekend, and strut those sexy witch boots!!!
Me too! I just love fun and cute witch shoes and boots! Your collection is adorable!! I made a similar door decoration too, great minds think alike and all that! Your wreaths are adorable! Love the orange mercury glass bottle too~ You will have a blast at Disney in those flashy witchy boots!ReplyDelete
I can't even describe in how many adjectives your table is ,amazing whimsical, bright ,wonderful, awesome wantful wish I could find those bowls too but it's the cake plates that leave me drooling.And you look spectacular in your header have fun at Disneyland.SusieReplyDelete
Love your purple and orange, and I do believe we have some of the same fun things from HomeGoods. Isn't that a wonderful place to find treasures? It would be great fun to shop with you for tablescape pieces!ReplyDelete
This is so fun! Love all of it- especially the little bowls! I love all these colors too and they Halloween to me the most! Those boots your hubby gave you are awesome! How fun to go to Disneyland for Halloween! Have a great time :-)ReplyDelete
Oh my, I laughed out loud when I saw all the shoes on your table. They are FABULOUS!! I can see why you hunted them down. I can't say enough about this table, Jacqueline. Every detail is true to the theme and the final colorful, fun outcome of dishes, accents, linens and glassware is a feast for the eyes. Bravo!! Rosie @ The Magic HutchReplyDelete
- AnonymousOctober 16, 2014 at 7:25 PM
Adorable, fun, whimsical...can't think of enough adjectives. Love it!ReplyDelete
Your comments are the highlight of my day! Leave a comment and then I can come and visit your blog. Have a wonderful day! Unfortunately I have had to block anonymous comments, hope you understand.
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Question: I have often heard Spiritual gurus say that we should not get attached to the drama of world politics, that we should individually aim for evolutionary change but that politics can draw us into unhelpful dramas. Could you advise on whether you agree with this stance, especially with reference to the sweeping evolutionary changes in the Middle East at this time?
Serge: This used to be typical 'guru advice' half a century ago, i.e., focus on your own development and let the world 'out there' look after itself. Change yourself and the world will change. Spirituality and politics shouldn't mix. Well, times today have changed. With most of us, I don't believe we can be effectively 'spiritual' without also involving ourselves in some way with the betterment of our society, and what this means is that a lot of the time we can't avoid being political, which I define very broadly as being willing to live as our stance for the kind of world we want to see emerge.
In other words, we don't have to be a politician in order to be political! In fact today, many of the more important societal changes are being brought about by those who operate outside the system. Here, I think of the re/evolutionary work of many artists, poets, dissidents and activists who are not afraid of being themselves.
Certainly, if we look at what has been going on in the Middle East over the last couple of months, we see that vast changes are occurring and they aren't happening as a result of those at the top (who are trying to thwart them!) but rather are being initiated by those at the bottom.
Look at all the incredibly brave, 'Green' young people in Iran who have been risking their lives to take to the streets to protest against the totally corrupt, evil and barbarous theocracy of old men governing them. They are making strong political statements, as are the anti-government 'freedom fighters' in Libya, who currently are doing their best to rid their country of a pathological tyrant. All are saying 'We want freedom,' and are willing to give up their lives for a greater life. And if that isn't spiritual, I don't know what is! *
Today, we are entering a new phase of our evolution. We are now on a collective journey. We have to 'do it together' and I believe all of us ( whether we know it or not) are, as it were, being 'called' on a very special mission, which is to join up with our fellow human beings and commit to trying to get our planet out of the terrible mess which we have got her into.
Yes, it is good to meditate on the mountain top and do regular yoga, and I would never discourage this, so long, that is, that we use the 'good vibes' generated not to bliss out as an end in itself, but rather to strengthen our hearts and minds so we can be more effective at making a difference in that area or in those areas where we feel especially drawn.
Put simply, we all have a 'larger spiritual duty' to perform and if we wish to accelerate our awakening, then we need to find what that larger duty is. Albert Schweitzer once said. 'I don't know how you will find out how to be happy, but the best way I know is to learn how to be of service!'
I hardly need remind you that we are living in very precarious times.
Gorbachev understood this. If change is to happen, he told us, it will be much more on account of what those at a grass route level do about it. Look at what People Power achieved in the 1980's. It brought down the whole Iron Curtain. And today in our world, we have all sorts of other 'iron evils' to contend with.
By profession, I am a Psychotherapist, which means that I see people on a one-on-one level. But I do not confine my work to this. Hopefully, it helps one or two people and enables me to earn a bob or two. But I feel that by far the most important part of what I try (however inadequately) to do, is to write, lecture, teach seminars, annoy rich people to give money to what I see as important causes, and help organise conferences to explore how a new world can emerge on the planet.
I coined the term Spiritual Activist of the Heart (SAH)and I say that today, all of us are challenged to become an SAH and that choosing to do so – it must be a conscious choice – will speed up our spiritual growth more than anything else.
Why? Because we will be becoming what our planet requires of us and therefore we will have 'the Force' behind us!
So, for example, if we believe war is unethical, then we can spend time meditating on peace and go on peace marches – even arrange them. We can lecture on the evils of war.** If we believe that economic policies favour the rich at the expense of the poor, then we find a way to make our views known, write an article, give a lecture,etc. If we believe 'Small is Beautiful' then we live out of that space and encourage others to, etc, etc. All of these are important political statements.
And we have a lot of great SAHs who, if we study them, can teach us a lot. Look at Gandhi; look at Aung San Suu Kyi, the great Burmese activist; look at Nelson Mandela. For all these people, their spiritual path and the extraordinary things which they achieved, evolved around showing extraordinary courage and having Hearts big enough to hold the soul of their nation inside them.
The key thing is that we put our efforts not just to speaking our truth but also into trying to live it. It was Gandhi who told us that 'We need to be the change which we wish to see emerge in the world.' Yup, it's tough, and we'll fall down a lot (I speak from much experience here!) but we might as well try to give it a go!
*See Serge's March Newsletter which explored the spiritual dimensions of the 'Arab Spring'.
**His next newsletter is entitled 'Steps for Making War history'.
Essay: Looking to the Future
This essay looks at: a) the state of the world today b) what I see happening on the planet over the next eighty years and c) the new society that I see rising, phoenix like, out of the ashes. It is a hopeful essay but suggests that to get to the light, humanity may need to go through some more dark times… OK, it is time now to look forward and say a few words about what I think might…


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Peggy, better known as Bit to those of us in South Carolina's Catawba Sail & Power Squadron/27, was so much fun to watch especially when she was showing her beloved canines. She will be missed by us all.
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