text:
50th Anniversary Of The Beatles' Arrival in America
This is FRESH AIR. I'm David Bianculli, editor of the website TV Worth Watching, sitting in for Terry Gross.
THE BEATLES: (Singing) Oh yeah, I tell you something I think you'll understand. When I say that something, I want to hold your hand, I want to hold your hand, I want to hold your hand. Oh, please say to me...
Believe it or not, and if you're around my age it's not easy to believe, it was 50 years ago today that The Beatles touched down at JFK Airport. Only two days later, they broke TV viewing records and changed music and fashion and history and basically an entire generation by appearing live on "The Ed Sullivan Show."
Today, we'll listen back to Terry's interviews with the two surviving Beatles, Paul McCartney and Ringo Starr. And we'll start with a quick salute to the weekend when The Beatles invaded America. The golden anniversary of The Beatles on "The Ed Sullivan Show," for me really is TV gold. It was back in 1964, when people gathered in their living rooms to watch one of only three networks on their family's only TV set. Ed Sullivan's CBS variety show was one of the hit shows then because he offered true variety - comics, singers, even jugglers and magicians.
If you didn't like what was on, wait a few minutes, and something completely different would show up. Why change channels? It was like vaudeville transmitted through the small screen. Sullivan offered a weekly menu of the hottest show-biz acts, veteran performers, new up-and-coming ones and some flat-out strange acts.
"The Ed Sullivan Show" of February 9, 1964 had all of the above. First of all, and last of all, since The Beatles closed the show as well as opened it, you had the Fab Four themselves. The Beatles performed live on "The Ed Sullivan Show" for three successive weeks that February. "I Want to Hold Your Hand" had just hit number one on the U.S. charts the week before, and The Beatles played that song on all three shows, keeping it in the top spot the entire month.
GROSS: The Beatles were a blast of fresh energy from overseas, and America was eager to embrace them. An estimated 73 million people saw that first Sullivan show appearance. But also on that same show, they saw other acts, which are far less memorable 50 years later. The poor guy who had to follow The Beatles that night was a Dutch magician named Fred Kaps in a pre-recorded bit doing card tricks.
FRED KAPS: Oh thank you very much ladies and gentlemen. Now especially for this show tonight, I made an entirely new trick. I've never done this trick in public before. So this will be the first time I do this trick. I hope it won't be the last time. Now this trick is done with five...
BIANCULLI: Impressionist Frank Gorshin was there, too, prefacing his act of celebrity impersonations by posing what turned out to be a very prescient hypothetical.
ED SULLIVAN: Now from Hollywood the brilliant impressionist Frank Gorshin. So let's have a very nice welcome, shall we?
FRANK GORSHIN: Thank you very much. Thank you. Thank you. Well, it's election year, and once again a lot of the Hollywood stars will be out campaigning for the candidates of both parties because of their interest in politics. Well, a funny thing occurred to me. What if these stars should suddenly decide to run for these offices themselves? They'd have no trouble getting votes because of their popularity. In just a short time, the stars will be running the country.
BIANCULLI: And the cast of the Broadway "Oliver" performed two numbers, one of which featured a young actor and singer named Davy Jones. Two years later he'd be starring in NBC's "The Monkees," a rock group intentionally designed to emulate and imitate The Beatles.
DAVY JONES: (Singing) I'd do anything for you, dear, anything for you mean everything to me. I know that I'd go anywhere...
BIANCULLI: This weekend, the 50th anniversary of The Beatles on Ed Sullivan will be covered extensively by the media. CBS has a new primetime special scheduled to be shown 50 years to the minute after that Sullivan show from 1964. But I don't expect any of these tributes to play selections from Fred Kaps, Frank Gorshin or Davy Jones. What you will hear all this weekend is the sound of The Beatles themselves, whipping the teen girls in the studio audience into a frightening frenzy.
Surprisingly, Sullivan's staff didn't get the sound of The Beatles right until the third show. In the first show, John Lennon's mic was off most of the time, and in the second show, John's was on, but Paul's was off. But CBS sure captured the sound and the sight of those wild teenage girls, and in that one night America was infected by Beatlemania.
Terry spoke with Ringo Starr in 1995 and asked him about his memories of appearing on that first "Ed Sullivan Show."
RINGO STARR: I thought we'd come to America, and it was fabulous, and there was millions of people at the airport, and they were lying in the streets, and it was yeah, yeah, yeah, yeah all over the place. And just my impression was Ed Sullivan, you know, I'm waiting for Ed to say there they are, they're all the way from England, and I know it's great, and they're going to be fabulous and blah, blah, blah, blah, blah. And it's like Ed said here they are, The Beatles.
GROSS: But you probably couldn't comprehend the whole - yeah.
STARR: It's just - we were just thrown to the lions.
STARR: To this day, I've always thought God, I mean, you could have done better than that, Ed.
GROSS: Well, you probably were unfamiliar with the whole Ed Sullivan phenomenon. I mean, the most low-key, square person.
STARR: We didn't know what it meant. Yeah, we did not know what it meant. You know, this guy just booked us on a show, and we'd go anywhere for a gig.
GROSS: So how did The Beatles ask you to join the band after they asked Pete Best to leave it?
STARR: Well, they didn't do it that way, you see. Pete Best was still in the band, and I was with Rory. And one day Pete couldn't make the session. So they asked me to play. And we'd got to know each other in Germany because we were the two bands playing there, The Beatles and Rory Storm. So, you know, we really became friends there.
Then we get back to Liverpool, and Pete couldn't make it one day, and Brian Epstein came and said would you play the lunchtime session? And I said sure. And that was it. And then we went for a drink, and that was the end of the story. And then a couple of weeks later he asked me again to play a couple of sessions, a couple of gigs. I said sure, you know, because I just happened to have the time.
And then I went away to play with Rory to - it's a holiday camp in England, Bucklands Holiday Camp, where you go for three months, you play the summer there in the rocking Calypso Hall.
STARR: And we were the rock band, and Brian called me on the phone, and he said, you know, would you like to join The Beatles? And I said sure, I'd love to join The Beatles. And I said when? And he said today. And I said, well, I can't join today. That was a Wednesday in 1962, and I said I can't play today because, you know, the band would be out of a job. We'd have to wait until Saturday because by then we could get another drummer.
And that's what happened. And, you know, everybody knows the story from then on.
GROSS: Well, an interesting part of the story is you showed up for the first recording session of The Beatles, and the producer...
STARR: George Martin.
GROSS: Yeah, had another drummer all picked out because I guess he didn't know that you had been chosen to be in the band.
STARR: No, he didn't know it. Well, he listened to the band with Pete Best and didn't think Pete was going to be on the session. And so he didn't know about me at all. And so he'd got this drummer Andy White ready, you know, a professional drummer, a session drummer.
STARR: And I came down, and I was just mortified. And he said oh, we've got this real drummer here. I said, well, what am I? And he didn't want to take a chance because in those days it wasn't like you could go in the studio and just spend your time there. You know, the session was three hours. You were in and out, and that was it.
So Andy played on the single, and of course then we re-recorded it, and I played on the album, and I sort of defy anyone to tell the difference. And that was it. But George Martin has apologized over and over again because I've made him, for doing this to me.
GROSS: Yes, actually I think he continues the apologies in his new book.
STARR: I think he does, and he did on Friday when I was with him.
GROSS: Oh, oh, oh. So when you joined the band, did you have to do, you know, The Beatles haircut and the suit jacket and...
STARR: Well, that's the famous line. You know, John came on the phone saying welcome to the band, but you'll have to get your hair cut and get rid of your beard, and which I did. I didn't have much of a beard then, but I did have my hair swept back. And we had it cut so it fell forward. It was part of the image. And Brian Epstein was moving them into like this image thing to making them wear suits and, you know, not drinking and smoking onstage. It was all part of the deal.
GROSS: Did that come easy for you? Were you comfortable with that, or...
STARR: Oh, yeah because I'd been in a group that had suits. You know, we - Rory Storm and the Hurricane, we were the top band in Liverpool 'cause we had suits.
STARR: And, you know, everyone else was just like they are now, actually, all sort of scruffed up. That's - we were professionals. You know, it's all funny to think about it now, but that red suit meant so much.
GROSS: Red, wow.
STARR: Red, and we had green suits so we could change, big doings in the '60s, I'll tell you, big doings.
GROSS: Now in The Beatles, did you have to, like, figure out who you were going to be in terms of your public personality in the band? Because everybody in the band seemed to get this, you know, public persona.
STARR: Yeah, I think mine just came in naturally as Mr. Dopey. You know, it's sort of like the comic clown, you know. John had (unintelligible), Paul was Mr. Lovable. Well, I was Mr. Lovable, but the young girls loved him. George was the silent type, and, you know, I was hi, what's happening?
And so that image of course, especially through "Hard Day's Night" is, you know, I've had to battle that since that day. Everybody thinks, oh, that's what he's like, and of course he's not like that at all.
GROSS: Could you give a sense of what it was like early on when The Beatles' fame started getting, like, so extraordinary that you couldn't go places without attracting crowds? I mean, what...
STARR: Well, you know, we were young boys, and it was exciting where we'd, you know, we'd sort of conquered England. That was the first job. You know, just to get down to London and get in there was heavy enough. And then we'd do the continent. You know, we used to, as they say, oh well we've done Sweden, we've conquered Sweden. We've done France now, we've done Italy, you know.
STARR: And then of course we were invited to come to America, and at that time we were really worried because we'd had two records out here, or they were coming out, and nobody wanted them. And by chance George came over for a holiday. He was the first one of us to come to America. And of course he was going to record shops, you know, have you got The Beatles? And they were saying excuse me? I've never heard of them.
So, you know, he came back saying, oh, they don't know us over there. And of course, you know, the story goes when Capitol decided to put some money behind us to promote us, and we got off the plane to do Ed Sullivan, we had a number one. I mean, you can't plan things like that. This is just how it is.
GROSS: So when girls started screaming at your performances, did you have - do you have any idea what was going on, like, why, why the screaming as opposed to anything else?
STARR: It started in Liverpool and just...
GROSS: So you actually knew where it started? I mean, I was a...
STARR: Yeah, it caught on like wildfire all over the world.
GROSS: Was it frustrating to perform in concerts where you couldn't hear what you were playing because the audience was screaming so loudly?
STARR: It got frustrating in the end. At the beginning it was just fabulous. I mean, if you can imagine you're 22, 23, and you go onstage, and all those people are just screaming at you, loving you, I mean, you were selling - making and selling a lot of records and making good records. You know, it was everything you dreamed about.
And it just built up and built up, and of course around about '65, you know, it started actually to get a little tiring because, you know, we were starting to make really interesting records, and we couldn't perform them. And it didn't matter what we did. People were screaming anyway. So no one was listening. And because of that, we were becoming, you know, not the best musicians we would become because we could only play, you know, the actual thing.
I mean for me personally, it's very hard to do this on radio, but I could only the downbeat, you know, (makes noises). I couldn't do any fills or anything because they would just disappear into the cosmos. So you found yourself, you know, you're just sitting there playing the track, really.
GROSS: Do you have a favorite phase of The Beatles' recording years?
STARR: You know, making the first record was just a thrill. I mean, it was absolutely thrilling. And listening to it on the radio. You know, we would stop the car when we'd be going to a gig somewhere, and you'd know, you know, because they didn't play them every 10 minutes. Oh, at 7:45 on Wednesday, they're going to play your record.
So wherever we were going, we'd stop the car, we were usually in a car, and listen to it, you know. But then of course - from "Rubber Soul" on, you know, the records started to really get exciting. You know, the sound, we were really getting into making sounds, making good sounds. The writing was getting better. You know, everything was picking up. It was really getting good.
So, you know, it had a natural progression, so, you know, to say this period or that period, they're all different periods. I mean, I like "The White Album," that's one of my favorites just because I felt after "Sergeant Pepper," which was brilliant, but it just doesn't happen to be my favorite, "The White Album," we were getting back to being a band again.
And, you know, that's what The Beatles were. We were a really cool band.
BIANCULLI: Ringo Starr, speaking to Terry Gross in 1995. More after a break. This is FRESH AIR.
BIANCULLI: This is FRESH AIR. Let's get back to Terry's 1995 interview with Ringo Starr. Fifty years ago this weekend, he and Paul McCartney, John Lennon and George Harrison performed on live American TV for the first time on CBS' "The Ed Sullivan Show."
GROSS: Can we talk a little bit about life before The Beatles for you?
STARR: Sure, sure.
GROSS: You grew up in Liverpool. What was your neighborhood like?
STARR: Well, I was born at a very early age.
GROSS: Right.
STARR: Our neighborhood was real working class. I remember being conscious from a very early age that I wanted to get out of there because it was dark.
GROSS: Dark from...
STARR: It was just dark. It was just a dark neighborhood. You know, it was like they needed more streetlights at night. But of course it was my neighborhood as a child, and I have, you know, wonderful memories of it. And the thrilling thing is that, you know, my memory of it, because I'd left it for years, was like, you know, this childhood memory that I had all these big avenues that we used to walk down.
And then I went back, and there's all these really narrow streets.
STARR: The memory plays games. but it was a loving neighborhood. I mean, the school was three minutes' walk away. So, you know, it was a real neighborhood. There was a pub on nearly every corner, which I got to a little later.
STARR: You know, and that - there was a park I used to walk to. I mean, one of my ambitions, which my mother used to tell me often, was I wanted to be a tramp. And so we used to walk everywhere. One of the reasons was, of course, because we couldn't afford to take a car or take a limo in those days - or a bus even. So we used to walk a lot. And I used to love that. And there was parks around us, and so it was - it was a very poor neighborhood, but childhood memories make it quite romantic.
GROSS: I know your father left the family I think when you were 3.
STARR: Yeah, he'd had enough.
GROSS: So did your mother have a way of making money?
STARR: Yeah, she worked any job she could find. You know, I mean, I come from a working-class family, but they call it lower-working-class when you've only got one parent. But my mother, God bless her, she did anything, from scrubbing steps to working in a food shop to working in pubs, anything she could to support us because he forgot that part of the bargain.
GROSS: Right. Now I know when you were young you had two long hospital stays. When you were 6, your appendix burst, and you ended up getting an internal infection.
STARR: I had peritonitis, it's called, yeah. And that was pretty dangerous. It's still dangerous today, but in 1947 it was very dangerous.
GROSS: So you were in the hospital for about a year.
STARR: I was in a year because six months in I was getting rather well, and I got excited, and I fell out the bed and ripped open all these stitches in my stomach. So they had to dive in again and sew me up.
GROSS: Oh, gosh.
STARR: So we're lucky to be here, Terry.
GROSS: Yeah, well and they you got sick again when you were 13, tuberculosis, was it?
STARR: Yeah, but that was from the area I lived in.
GROSS: Industrial stuff?
STARR: Yeah, where I lived, like not every other home, but it was like, you know, six or seven cases in every street where people were just in the living room dying of TB because they didn't have a cure, of course. And again, God, you know, shone his light on me. In 1953 or '54, when they discovered streptomycin, and that's what saved me. So they shipped me off to a greenhouse in the country.
GROSS: A greenhouse, is that like a sanitarium?
STARR: Yeah, just a huge greenhouse where instead of flowers they put all us kids in there and let us breathe some decent air for a change and gave us streptomycin. And a year later I came out of there.
GROSS: So how did you keep busy while you were sick? Had music entered your life yet where you listened to a lot of it?
STARR: Well, that's where it entered my life was because to keep us busy, besides letting us knit - they used to knit dishcloths.
GROSS: Wow.
STARR: It was really exciting. And then so some teacher would come in with musical instruments, being drums, tambourines, maracas, triangles, all percussive stuff. And she'd put this big screen - I'm trying to let you visualize it out there in radioland. Big, big white paper with red notes for the drums and yellow notes for the tambourines and green notes for the triangles.
And so she would point to these different colored symbols, and we would either hit whatever instruments we had. Well, I had a drum the first time, the first session, and I really loved it. And so they came like a couple of weeks later and they tried to give me another instrument, but I only wanted the drum, and that's where I really fell in love with drums.
GROSS: So what was it like of you after you were sick to - or while you were sick, even, to be playing an instrument that's so physically taxing?
STARR: Well, I didn't have an instrument for years later. I made my first kit when I came out of hospital out of biscuit tins and firewood. And then when I was about 16, I got a bass drum. That's all I had was a big bass drum. And then I was 18, I got my first kit. So I'd strengthened up by then.
GROSS: And how old were you when you were actually playing in a band?
STARR: One month later.
GROSS: After you got the kit?
STARR: Yeah, because I was really lucky because in those days if you had the instrument, you were in the band and because it was skiffle, so it was real easy. So that's how I - the guy next door was called Eddie Miles, but we formed the Eddie Clayton Skiffle Group. And he was the guitarist. And my best friend Roy Trafford was the other guitarist. And we got another guy on tea chest bass, and we just out there and played.
BIANCULLI: Ringo Starr, speaking to Terry Gross in 1995. I'm David Bianculli, and this is FRESH AIR.
BIANCULLI: We're celebrating the 50th anniversary this Sunday, of the first live U.S. TV appearance by The Beatles on "The Ed Sullivan Show" in 1964. You just heard Terry's interview with Ringo Starr. Now, we'll listen back to her interview with the other surviving Beatle, Paul McCartney. This Sunday night, Starr and McCartney will reunite and perform on a "CBS" music special.
Terry spoke to Paul McCartney in 2001, when he published a collection of old lyrics and new poetry called "Blackbird Singing: Poems and Lyrics, 1965- 1999." Several of the opponents were about McCartney's late wife, Linda, and were written before and shortly after her death. During their conversation, Terry asked Paul about the early reactions to The Beatles, not from the kids, but from their parents.
GROSS: You know, when The Beatles started performing, the adults were...
SIR PAUL MCCARTNEY: Yeah.
GROSS: Up in arms about them; about your hair and about, you know, the silliness of the lyrics and everything.
MCCARTNEY: Mm-hmm.
GROSS: And, but with "Yesterday," like, the nightclub adult performers started adding it to their acts.
MCCARTNEY: Yeah.
GROSS: Did I feel like a victory to you or did you really not care what the adults were doing in their acts anyways?
MCCARTNEY: No. It was very nice to have that because we thought what we were doing was quite good and we're proud of it. And there was this sort of backlash particularly from the elder generation. People tell me stories now. They say they were watching that first "Ed Sullivan Show" and it's always the dad in the family who sort of says, eh them Beatles, yeah. And he never likes us. And he always says, you know, those are wigs.
MCCARTNEY: They always thought, the dads always swore, you know, the kids say, we knew they weren't. We knew they weren't. So it was always the problem. The dad was always the problem. So I suppose he was a symbol - symbolic of the problem. So when people started to like anything out of our repertoire it was a certain victory and "Yesterday" was a personal victory of mine. I mean for instance, the great clarinetist Benny Goodman, who we had loved and thought was great talent, started for some reason, and maybe it was just a journalistic thing, but he came out against us. He said, oh, you know, I can't remember what he said. But, of course, we hated him from then on and we started saying is a lousy clarinetist. Anyway, what does he know, you know? So there was this sort of group that like us that but we weren't very good. So when "Yesterday" came out, I think a lot of them had to change their tune and it eventually got recorded by way too many of them.
GROSS: Right. So your friend Ivan introduced you to John Lennon. Do you remember what the band was playing the first time you heard John with the band The Quarrymen.
MCCARTNEY: Yeah, they were - they had a repertoire of kind of folksy, sort of bluesy things mixed with early rock 'n' roll. And John and the band were playing a thing called "Come Go With Me," which was a record for a group called the Del Vikings. It was an early rock 'n' roll record. But John obviously didn't have the record, and he'd probably heard it a few times on radio. And being so musical, he'd just picked it up. And so he was doing a version of it.
But what impressed me was, even though he didn't know the words, he would make them up and he'd steal words from sort of blues songs. So instead of the real words, which I don't know, but he was singing: Come go with me down to the penitentiary.
MCCARTNEY: Which was more off Big Bill Broonzy or somebody, you know. But I thought, you know, that's inventive. That's ingenious. So I warmed to him immediately hearing that.
GROSS: And how were you invited to play with the band?
MCCARTNEY: Well, they were doing two sets. And they were sitting around, and with all this time on their hands, John, who was one and half years older than me, had got hold of some beer from somewhere and was having a little drink. We were sitting around and just playing various songs. And even though I was left-handed, I'd kind of learned to turn the guitar upside down and just about play songs, 'cause my friends wouldn't let me retune their guitars, obviously - too inconvenient for them. So I'd had to learn this left-handed method.
So I turned the guitar around - I think it was his guitar - and I played a song - an early Eddie Cochran song, which was called "Twenty Flight Rock." And I must have done it quite well because a couple of days later I was cycling around Walton, which was the area where I met John. One of the friends, a guy called Pete Shotton, cycled up to me and said: Hey, we were talking about you. You know, we enjoyed that "Twenty Flight Rock," and would you like to be in the band, you know?
So I said, well, I'll have to consider this. You know, this is a big move to me. I'd never been in a professional outfit before. I'd never actually even hardly sung on stage before. I think I just did it once at a holiday camp somewhere. A couple of days later I did and said, yeah, you know what, it wouldn't be a bad idea.
GROSS: I understand you missed the first date that you were supposed to play on with The Quarrymen because you were on a scouting, a Scout camping trip and there something I find funny about that.
MCCARTNEY: Yeah.
GROSS: I don't know whether it's because it's a sign of how young you were or the choice between, you know, the proto-band, you know, the band that later kind of became The Beatles versus camping with the Boy Scouts.
MCCARTNEY: Well, I mean you've got to have priorities, haven't you, in life.
GROSS: Right.
MCCARTNEY: Come on. The Scouts what kind of an official thing I took part in. And so if you missed it, you know, there was problems. Whereas, this was a new venture, you know, the band. And let's face it, none of us knew it was going to lead to any of the heights it did lead to. So it was the kind of thing I was likely to pass up the band in favor of an important scouting gig. So I had to go, I'm afraid.
GROSS: Now, your songs were co-credited, you know, in the Beatles era. My understanding, and correct if I'm wrong, that many of the songs were written by one of you or the other, although the other would do some editing on the song, but a few of the songs were actually true collaborations. Is that right? Is that accurate?
MCCARTNEY: Yeah. Well, what happened was, in the early days they were pretty much - the very earliest days were separate. We wrote one or two separately before we actually got together. But when we got together and actually started writing the earliest Beatles stuff, everything was co-written. We hardly ever wrote things separate. But then, after a few years, as we got a bit of success with the Beatles, and didn't actually live together or weren't just always on the road together sharing hotel rooms, then we had the luxury of writing stuff separately.
So John would write something like "Nowhere Man" sort of separately in his house outside London. And I would write something like "Yesterday" quite separately on my own. And as you say, we would come together and check them out against each other. Sometimes we would edit a line of each other's. But more often we'd just sort of say, yeah, that's great. And very often, a line that one of us was going to chuck out we would encourage the other not to chuck out because it was a good line. I had a line in "Hey Jude" much later that said: The movement you need is on your shoulder. And I thought that was me just blocking out the line. And I said I'll change that. He said you won't, you know. That's the best line in it.
And similarly, I would encourage him to keep lines in his songs that he didn't think were very good. And I'd say no, that's a really great line. There was a song of his called "Glass Onion," where he had a line about the walrus, here's another clue for you all, the walrus was Paul. And he wanted to keep it but he needed to check it with me. He said, What do you think about that line? I said it's a great line. You know, it's a spoof on the way everyone was always reading into our songs. I said here we go, you know, we give them another clue to follow. So we would check stuff against each other, and it was obviously very handy for our writing to be able to do that.
GROSS: Were you ever sorry that your songs were co-credited? Did you ever wish that you could get the composing credit for your songs, that was clear?
MCCARTNEY: Well, it was an arrangement we made in the early days - very early days. And, of course, you know, a lot of people don't realize that we, our admiration goes back to people like Rogers and Hammerstein, Rodgers and Hart. We loved a lot of the work of those people, and so we were looking for something similar. So Lennon/McCartney grew up so that we could be a songwriting team in the tradition of those people. For the first few years it was fine and it never bothered us. But more recently I must say, it started to bother me. What happened was the kind of thing that would spark the feeling that it may be should be better credited, the songs, was that Adrian Mitchell, who helped me edit my poetry book, did an anthology of verse where he had my poem, "Blackbird," my song or poem "Blackbird," in it. And, of course, it was credited "Blackbird" by John Lennon and Paul McCartney, which was just not true. John hadn't had anything to do with that. So that kind of started me thinking. And then when we had the Beatles' first anthology record came out I actually did request that on the song "Yesterday," which was solely penned by me, that for the first time in 30 years I'd be allowed actually have my name in front of John's. Not remove John's name, but that we credited "Yesterday" by Paul McCartney and John Lennon. As I say, John actually didn't have anything to do with the song at all. He didn't sing on it or play on it or write it. So I thought that was fair enough. And an actual fact, I wasn't allowed to do that, that was vetoed. I don't want any credit if John stuff gets separately put in something like a poetry anthology, you know, I don't want any credit for "Give Peace A Chance," even though I am credited on that. Some of John's stuff was purely John and I'd rather it be that.
BIANCULLI: Paul McCartney, speaking with Terry Gross in 2001. More after break. this is FRESH AIR.
BEATLES: (Singing) We said our goodbyes the night before. Love was in your eyes the night before. Now today I find you have changed your mind.
BIANCULLI: This is FRESH AIR. Let's get back to Terry's 2001 interview with Paul McCartney. She spoke to him when he was releasing a book named "Blackbird Singing," a collection of old lyrics and new poems.
GROSS: You have a poem for John in there. It's called "Song for John." It's actually a lyric for a song that you recorded in 1982. But I was wondering if you could read it for us.
MCCARTNEY: OK. This poem is called "Here Today." It was originally a song I recorded for John Lennon.
(Reading) And if I said I really knew you well, what would your answer be if you were here today? Well, knowing you, you'd probably laugh and say that we were worlds apart, if you were here today. But as for me, I still remember how it was before and I am holding back the tears no more. I love you. What about the time we met? Well, I suppose you could say that we were playing hard to get. Didn't understand a thing, but we could always sing. What about the night we cried, because there wasn't any reason left to keep it all inside? Never understood a word, but you were always there with a smile. And if I say I really loved you and was glad you came along, then you were here today, for you were in my song, here today.
GROSS: When did you write this?
MCCARTNEY: I wrote that shortly after John died. I wrote it in the upstairs room of what is now my recording studio.
GROSS: What was the night that we cried that you refer to in the poem?
MCCARTNEY: We were supposed to play a gig in Jacksonville and we couldn't get in because of some great hurricane. So we had to spend a night or two in Key West. And at that age, with that much time on our hands, we really didn't know what to do with it except get drunk.
And so that was what we did. And we stayed up all night - talking, talking, talking like it was going out of style. And at some point early in the morning, I think we must have touched on some points that were really emotional, and we ended up crying, which was very unusual for us, because we - members of a band and young guys, we didn't do that kind of thing. So I always remembered it as a sort of important emotional landmark.
GROSS: Do you remember what you were talking about that led to that?
MCCARTNEY: Probably our mothers dying, because John and I shared that experience. My mother died when I was about 14, and his died shortly after -about a year or so after, I think. So this was a great bond John and I always had. We both knew the pain of it, and we both knew that we had to put on a brave face, because we were sort of teenage guys, and you didn't talk about that kind of thing where we came from.
GROSS: Now, that's the kind of thing that John really acted out through his music. I mean he had a couple of songs that were really about that and were...
MCCARTNEY: Mm-hmm.
GROSS: ...were very emotional. It's not the kind of thing you really did, though. None of the songs as far as I know were really about your mother.
MCCARTNEY: Well, no. Mine's veiled. My style is more veiled. And also, at the time the songs were written that you're talking about, like "Mother," John was going through primal scream therapy.
GROSS: Exactly. Right.
MCCARTNEY: And, you know, that's going to get it out of you.
GROSS: Right.
MCCARTNEY: I didn't actually go through any of that. I had my own sort of more private scream therapy. So my stuff tended to be more veiled, or I would tend to talk to friends, relatives, loved ones about it in private. I think probably in songs like "Yesterday" it's been put to me, although it's kind of subconscious, but it's been put tome that the song "Yesterday" was probably about my mother.
Why she had to go, I don't know. She wouldn't say. I did something wrong, now I long for yesterday. That's yesterday, all my troubles were so far away. I'm sure that was to do with my mother dying. But as I said, the kind of age group we were then, it wasn't a done thing to talk about things like that.
GROSS: Well, those two different approaches you had to dealing with your mothers, musically, is an example in a way of how you were different. What do you think you had in common, musically, and were most different about musically?
MCCARTNEY: I think, in common, I think we both loved music. We both loved the same kind of music, and it was a very large spectrum. People often think of John as quite a hard guy. In actual fact, he had a very soft center and I was privileged to see that. So he would love songs like "Little White Lies," which is an old song.
GROSS: Walter Donaldson?
MCCARTNEY: And it's great.
GROSS: Yeah.
MCCARTNEY: Yeah. It's a very beautiful song, with some beautiful chord changes. And it's not the kind of thing you'd associate with John. He was quite a sentimental guy. And I think he had to cover it up more. I was very lucky. I had, and still have, a very large supportive family. I've got relatives who are breeding as we speak.
MCCARTNEY: But John had a very - he had quite a small range. He had a very strange upbringing, actually, which didn't help his emotional profile. He was - he didn't live with his mother. He was brought up by his auntie. And then his uncle, his auntie's wife - his wife - Uncle George died. And John I remember telling me once that he felt he was some sort of jinx on the male side of his family because his father had left home when John was 3.
So I think John always felt somehow guilty about that kind of stuff. So I'd always had the strength of my family. I had been able to - I had people to talk to. So I think I've been more open about that and John wasn't able to talk about that quite so well, I think, until he was much older and therapy helped him.
So what did we have in common? We had a deep love of music, a love of songwriting, which stretched from very early old songs that were beautifully crafted, to much later rock 'n' roll songs, through people like Smokey Robinson and the Miracles, through a lot of Elvis Presley stuff, through Chuck Berry, who to us was a great poet. I think Chuck is a great American poet. Bob Dylan is another who we both loved. So we had a love of music.
As to what our differences were, I don't know really. I don't really think about our differences. I prefer to think about what drew us together.
Copyright © 2014 NPR.


text:
Samsung are set to unveil dual-core hardware when Windows Phone 8 launches, according to documentation acquired by The Verge. The two listed Windows Phones are included in court documents submitted as part of the trial Samsung has against Apple. Both devices are stated to be packing the Qualcomm MSM8960 chipset, which is a dual-core 1.5Ghz CPU that Microsoft has been using for Apollo test devices.
According to the documentation (see above snapshot), the Samsung Odyssey will sport a 4.65" S-AMOLED display (with HD resolution) and an 8MP main rear-shooter. It is also marked as supporting NFC, a feature which is currently being marketed on the Nokia Lumia 610. It would seem that OEMs will attempt to include such functionality to further expand on the possibilities of NFC on the Windows Phone platform.
The Samsung Marco, on the other hand, will pack a 4" S-AMOLED display (with WVGA resolution), accompanied by a 5MP camera. Both Windows Phones will be ready for LTE usage and will be launching in Q4 2012 if the documentation is accurate.
With Apollo just around the corner (which fits into the launch timeframe supplied by this documentation), it's good to see Samsung on-board with Microsoft and preparing to throw high-end hardware into the mix. We'll be attending Nokia World this coming September to see what the Finnish handset maker has to offer to combat these proposed devices.
What do you make of the Odyssey and Marco? Would you purchase one? Let us know in the comments.
Source: The Verge; thanks, ShipWreck, for the tip!

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The James Beard Award winning chef said that every station in his kitchens have some of this spicy vinegar in it, and that this magic potion is used liberally in all kinds of things; rice, dressings, and marinades, just to name a few.
Disclaimer: Like I said in the video, this is an experiment. Try this at your own risk!
View the complete recipe


text:
Vol Nation Comes Back to Earth: Straight Down from Space without a Parachute
Grudenmania crashed and burned on Friday. The only thing that remains are ashes that still smolder.
It didn't begin this past week. It began years ago, this infatuation with an unobtainable shiny object in the sky.
Nonetheless, this unquenchable thirst for Jon Gruden as head dude of Tennessee Vols football reached a crescendo to the point of ear-splitting thunder this past week. And within 24 hours of having done so, it all came crashing down to the lower depths of Fan Hell.
Early this past week, there was a report out of Memphis TV station WREG-TV that Tennessee had offered the job to Gruden — a "contract in hand" — but it didn't stop with a base salary and potential bonus money. The offer reportedly also included a partial ownership stake in the Cleveland Browns, courtesy of boosters.
Notwithstanding the likely legal hang-ups with such a proposed deal, the TV outlet ran with the 'story' anyway. Forget the fact that current NCAA rules would prohibit such nonsense (unless the ownership stake was first donated to the University of Tennessee). Of course, I'm sure there is an element of the Tennessee boosters who think they might be able to do an end-around such particulars.
Soon thereafter, Gruden actually made an appearance addressing all of this Tennessee hysteria (he's been silent up to this point). On the Mike and Mike program broadcast by ESPN radio, the Monday Night Football broadcaster flatly denied the report on the rumors. But, he didn't entirely disparage the idea that he had been contemplating such a move, or that there had been contact.
That was enough to keep Grudenmania fueled for a while longer, despite some additional denials of this and other stories involving a link between Gruden and Tennessee.
The Browns released a statement denying the TV report, saying that Owner Jimmy Haslam was not involved in the head coach search and that there was no ownership deal involving Gruden.
Knoxville radio broadcaster Jimmy Hyams also got into the act when on his Wednesday afternoon program, Hyams reported that a meeting between Gruden and Tennessee had in fact been scheduled, but was subsequently cancelled by Gruden. He further reported that "Contrary to reports, UT has not offered a contract to Gruden nor does Gruden have a contract in hand."
The Grudenites immediately pounced on this. Since a meeting had been arranged, stories began to appear saying that the money was good but that control and autonomy were issues that couldn't be resolved.
You could see it coming: a war between rival fan factions. Or, perhaps more accurately, a war between fans and the administration. There is a not-so-insignificant faction of the Vol Nation that want Gruden at all costs — money, control over football operations, you name it. And if their object of infatuation is not signed, sealed, and delivered to them with appropriate pomp and circumstance, there would be hell to pay. And, Tennessee Athletic Director Dave Hart as well as UT Chancellor Jimmy Cheek would be the object of their vengeance.
So, the fact that final details over salary perceived as minor could not be agreed upon would be viewed by the Grudenites as a complete failure of Dave Hart in his search to replace the recently-fired Derek Dooley. It would constitute an orange treason, punishable by firing, and banishment back to Alabama. It would represent insubordination on the part of Dave Hart by his unwillingness to placate those that were surely in charge of this whole coaching search — the mega-boosters and their financial backing. After all, Hart indicated earlier that money would not be an issue with such an important hire.
But all of this paled in comparison to what was to come.
Wes Rucker, formerly a writer with the Chattanooga Times Free Press and now a senior writer with govols247.com, reported on Thursday afternoon/evening that talks between Tennessee and Jon Gruden were dead.
But late Thursday night, for Friday morning print publication, an article was published in the Chattanooga Times Free Press. The article was listed as being authored by Stephen Hargis whose main beat is not UT football but high school sports in the tri-state area.
The article reported that "sources close to the process" indicated that Gruden has been extended an offer, and that Gruden's decision likely would hinge on the money that UT would be willing to pay for his potential staff. A separate source was said to have reported to the paper that Gruden said the two sides weren't close enough on money for his staff — "He's very interested, but if they don't come up with what they need for the assistants, he's told them he's out."
It was immediately curious to me and some others that the report was written by Hargis, not Patrick Brown, the Tennessee beat writer for the Chattanooga paper.
The Grudenites went on the offensive. The Hargis story was the 'definitive proof' that Gruden wanted to be the savior of Tennessee Volunteer. But there were obstacles to overcome for their chosen one to wear the headset on the sideline of Neyland Stadium. There were widespread insinuations that there were sources within the UT administration that were leaking stories to the Knoxville media — both Hyams and Rucker in particular — to support a Dave Hart campaign not to hire Gruden in spite of the wishes of the fan base and boosters.
But criticisms of the Hargis article rained down from every corner of the ring.
A source that spoke to the Knoxville News Sentinel directly disputed the Chattanooga report. That source indicated Tennessee had in fact reached out to Gruden last week, but after discussing matters with his family, Gruden declined to pursue the job. The KNS further reported that the source indicated that "no financial figures were discussed and no contract was offered."
Rucker issued a tweet responding to the Hargis article: "I feel really good about what we reported… and the sources that it came from, and how fresh the information was." When baited by a follower on Twitter who wrote "How about your sources being incompetent", Rucker replied "My sources speak with Gruden."
Hyams joined in on Twitter: "Jon Gruden is out as UT candidate, Informed UT recently after phone talks last week. UT never offered contract source said."
Volquest.com, the organization headed by Brent Hubbs, reported that Gruden was never presented with any contract or financial details to become the Volunteers' next football coach.
The national media got into the act. Chris Low who covers SEC football for ESPN reported that contrary to the Hargis report, there was no UT offer to Gruden, the two sides had talked during the previous week, but got no further than that. Other members of the national media joined in for criticizing the Hargis report.
And, Gruden's agent, Bob LaMonte of Reno, reported that all of this speculation about Gruden coming to Tennessee "is just a fantasy world." LaMonte also stated that he had been contacted by Dave Hart who said "there had been a lot of rumors and he just wanted to clear the air." LaMonte added that there had been no offers or discussions of money, and no discussions at all that involved him.
Backed into a corner, Hargis chose his own method of self-immolation: he appeared on Tony Basilio's radio program Friday morning on Tennessee Sports Radio. You can find the audio I'm sure on Basilio's web page. It is entertaining and sad at the same time.
Hargis understandably defended his story. I suppose any credible journalist would. But it was his words and the way that he delivered them that destroyed any credibility that Hargis had left after receiving no support from any other media outlets. Goaded on by Basilio, Hargis was angry, defensive, and vulgar. He basically called out all of the Knoxville media and told them to get off their asses and do some reporting. Hargis later appeared on Sports 180, a program on Knoxville's WNML, early Friday afternoon. He basically said the same things, with a somewhat subdued tone of defensiveness.
When asked who his source was, he indicated that it was not a booster or anybody with the University. Then, who was it? Where was any shred of credibility?
Stephen Hargis successfully made the entire story all about himself. All of a sudden, it was a high school sports reporter from Chattanooga against Volquest, the Knoxville News Sentinel, ESPN, and others.
And all of a sudden, the Grudenites had little to hold onto.
Yes, Friday was the death of the Grudenites. For now at least. Smoldering embers remain.
But their fall from the near-heights of ecstasy on Friday was of epic proportions.
It all reminded me of Felix Baumgartner's record-breaking jump from space.
Except without the parachute.
6 responses to "Vol Nation Comes Back to Earth: Straight Down from Space without a Parachute"
Bill Caldwell says :
Back in the early 1970's, Bill Parcells was the Defensive Coordinator at Vanderbilt for 2 years. However, that doesn't mean you should expect to see Parcells being a candidate in a future VU coaching search. Like Jon Gruden, he's moved on from his days of making his living on a college campus. There are numerous good candidates that will WANT to be the Head Coach at Tennessee, and now Dave Hart is free to hire one of them.
Bill Caldwell
bert says :
i never bought the gruden thing…he's an NFL coach waiting for another
opportunity…in the meantime, he has a cush gig doin' MNF…
he's not gonna sit in an 18 year-old's living room trying to convince the kid to become a vol…
i think the "courting" of gruden made us vol fans look silly…glad it's over.
as for the other candidates, i like strong and gundy and could see either wanting to go to knoxville…gundy has to be concerned about the future
of the big 12 and the SEC is, obviously, an upgrade. but, he's spent 99%
of his life in oklahoma so it might not be that easy of a sell.
as for strong, does he wanna dominate in the piddily, piss-poor ACC or run with the big boys in the SEC? i guess we'll find out….


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Wednesday, June 15, 2011
Six years of Nami-Nami food blog
Yep, it's exactly six years since my first post here. Back then I was a carefree PhD student living in Edinburgh, Scotland, cooking in a rented under-equipped kitchen and taking pictures with the tiniest of digital cameras. Now I'm back home in Estonia, and a lot has changed. Amongst other things, I'm a happy mum of two gorgeous kids:
owner of a handy vegetable patch and tomato greenhouse:
keeper of four lovely chicks:
and author of one beautiful cookbook:
and hopefully also a good partner to my lovely K - I wouldn't be still blogging if it weren't for his support and enthusiasm and good appetite :)
I have enjoyed those six years of foodblogging immensely - especially the encouragement from fellow readers and meeting of other foodbloggers - both in Estonia and abroad. I hope you've been enjoying reading Nami-Nami and will be coming back for more..
Previous blog anniversary posts:
2010, 2009, 2008, 2007, 2006
37 comments:
- Saee Koranne-Khandekar said...
Happy anniversary to nami-nami and to you! Your kids are lovely, as are your tomatoes and that beautiful book! Is there an English version?
- 2:48 pm, June 15, 2011
- Mari-Liis said...
Palju õnne! 6 aastat, see juba on midagi. Sinu roll meie toidublogijate pundi innustamisel on arvatavasti suurem, kui ise arvata oskad. Suur aitäh sulle selle eest. Jõudu, inspiratsiooni ja muidugi head isu veel kauaks-kauaks!
- 3:07 pm, June 15, 2011
- Joanna said...
Happy Anniversary Pille. I may have come late in the day to your blog but finding the recipes useful as your season coincides with ours down here in Latvia. Your buckwheat recipes should come in useful later on this year as we are just going to collect 20kg of it to plant in a ploughed section of our land. At least I hope they come in useful and the crop grows
- 3:18 pm, June 15, 2011
- köögivõlur said...
Õnnesoovid,Pille:) 6 aastat on tõesti päris pikk aeg, väga tubli saavutus! Jaksu edaspidiseks!
- 3:23 pm, June 15, 2011
- K and S said...
happy anniversary! I've enjoyed your posts (even if I don't always comment!) here is to many many more years!
- 3:46 pm, June 15, 2011
Palju õnne (ja suur tänu) juubilarile!
- 3:52 pm, June 15, 2011
I just wanted to say how much I enjoy this blog! Thanks so much!
- 3:53 pm, June 15, 2011
- Merit said...
Palju õnne, Pille! Nam-Nami on tõeline inspiratsiooniallikas, mida olen uudistanud kohe päris-päris algusaastatest alates. Aitäh!
- 4:01 pm, June 15, 2011
Palju, palju ônne blogi sünnipäeva puhul! Väga suur saavutus pidada blogi 6 aastat. Jôudu ja inspiratsiooni edaspidiseks. Väga armsad lapsed, tomatid, kanad ja kokaraamat. Palju oled jôudnud korda saata.
- 4:27 pm, June 15, 2011
Congratulations and many years of foodblogging more
- 4:28 pm, June 15, 2011
- minukiisu said...
Palju õnne !!
Jõudu ja jaksu jätkamiseks !
- 4:54 pm, June 15, 2011
- Anne said...
Hooray! I really hope we'll make it to Tallinn this summer - we're definitely considering it! :)
- 5:14 pm, June 15, 2011
- Aniitram said...
Palju, palju õnne, Pille! Just Sina oled see, kes mind (ja usun, et teisigi) innustas kokkama-blogima, nami-nami on lihtsalt parim! Aitäh selle eest.
Ja et neid aastaid tuleks veel palju...
- 5:57 pm, June 15, 2011
- Kalyn said...
Congratulations on six years! I remember when I first discovered your old blog with the black background and something about the blog (and you) just immediately appealed to me! It's been watching from afar as your life has changed. And the kids are adorable!
- 7:42 pm, June 15, 2011
- Koopatibi said...
Palju õnne! Lapsed on nii armsad, kanad ka, raamatust rääkimata! Mina igatahes fännan kõike, mis Sa teed :)
- 7:51 pm, June 15, 2011
- Ülle said...
Õnnitlused Sulle ja kogu meeskonnale! 6 aastat on pikk aeg, aga vähenalt on kõik rahul, sest laud on pidevalt lookas ja üksluisust karta pole:) Nii et häid ideid ja katsetusi edaspidiseks!
- 9:58 pm, June 15, 2011
- Heidi Park said...
you're my favorite food blogger in the world!
- 10:56 pm, June 15, 2011
- Ragne said...
Minu suured õnnesoovid Pille! Edu, maitseideid ning kuuma pliiti.
... ja Mari-Liisiga olen 100 % nõus:)
- 12:12 am, June 16, 2011
- Lydia (The Perfect Pantry) said...
Before I discovered your blog, I knew absolutely nothing about Estonian cooking. Your recipes are always a wonderful adventure through the culture and cuisine of your country, and I love reading them. Congratulations on 6 years of wonderful blogging.
- 3:48 am, June 16, 2011
- Thredahlia said...
Kindel, et ainult 6? :D Palju õnne!!!!
- 9:24 am, June 16, 2011
Hi Pille. Happy anniversary! We enjoy your blog so much ... and your book is also very nice - even if we don´t speak Estonian. Greetings from Germany.
- 10:40 am, June 16, 2011
- lobstersquad said...
wow Pille, six years really is a long time, congrats on having kept it up, and so well. beautiful kids, and tomatoes, and K, too, even though he´s not in the picture. The hens are gorgeous.
- 10:42 am, June 16, 2011
- Pene said...
Congratulations, Pille!!!!
So that was why I had the urge to make my Estonian version of Shortbread - thanks to you I discovered food that I could make using Kama. I'd send you some but I think it would melt in the post (LOL)! Keep on loving life & blogging!
- 11:20 am, June 16, 2011
- Cat Lady said...
Happy anniversary to nami-nami! Can't wait to see you this summer and enjoy nami-nami cooking for real. Thinking of you since the Open Air cinema is on this weekend in Edinburgh. It isn't the same without your beetroot tartlets :)
- 12:44 pm, June 16, 2011
- Piret said...
Palju õnne, Pille! Suurepärane saavutus:)
- 2:13 pm, June 16, 2011
- Sara said...
Happy Anniversary! I remember reading your blog when you were still in Edinburgh (and I was living in London). I have since returned to Boston, and have had two little ones of my own. Yes, a lot can change in 6 years!
- 5:07 pm, June 16, 2011
Happy Anniversary!
- 6:37 pm, June 16, 2011
Südamlikud õnnesoovid! Su fotod selle postituse juures räägivad ju ise. Paljudel meist siis on 6 aasta jooksul selliseid saavutusi ette näidata: 2 last, aed, mis viljakas, mina kui mitte suur kanade fänn pean nentima, et sinu kanad on suisa iludused ja kokaraamat ka veel krooniks! Tavaliselt on see inimestele elutöö, nii et võid täiesti rahulikult nüüd järgnevad aastad puhata, nautida oma elu ja mitte südant valutada, et sa midagi teinud pole :)
- 12:51 pm, June 17, 2011
6 years of blogging is just simply superb. And this will be your special for anniversary day and even I would celebrate the fun.
- 1:51 pm, June 17, 2011
Palju õnne ja aitäh Sulle imeliste retseptide eest! Tervitab Triin
- 8:23 pm, June 17, 2011
- Agnes said...
Happy anniversary! And thank you so much for writing such an inspiring and eye-opening blog. You are the reason i discovered kama and that I was made so curious about trying curd cheese, that i recently began making my own! (and i *love* it). I sincerely appreciate your writing about Northern/Eastern European dishes and culinary traditions, as I find they are a sorely overlooked subject here in Denmark, where we (perhaps because of the iron curtain) have no really conscious connection to that tradition. Because of your blog I am getting ever more curious to get to know it better :-)Thanks!
- 3:56 pm, June 18, 2011
Happy Anniversary!
I've been reading your blog for several years, have tried your recipes (and they work!) and especially like the tidbits of life in Estonia that I get from you.
And the kids are adorable :)
- 4:30 pm, June 18, 2011
Pille, thank you for your blog. My husband and I are in a dinner group where we try to cook the cuisine of different countries. Our next country is Estonia. I am going to read all your posts. And I am going to bake rye bread.
- 8:19 am, June 19, 2011
- ChichaJo said...
Happy blog anniversary Pille! I have so enjoyed reading your blog and I will continue to do so for as long as you grace us with your posts :) Bravo on 6 wonderful years!
Your kids a really absolutely gorgeous!!
- 10:16 am, June 21, 2011
- Jeanne said...
Six years! Congratulations - you are nearly as old as I am :) It's been a pleasure knowing your blog (and YOU!) for most of those six years - you have often inspired me. Congratulations on all your achievements over the past siz years and all the best for the next six :)
- 7:06 pm, June 30, 2011
- Carla said...
Happy 6th Anniversary to you and nami-nami! Your little ones are so precious and I love your blog and trying some of your recipes and love having the connection to my girls Country of Estonia! :)
- 2:21 am, July 02, 2011
- katiez said...
Happy belated Anniversary!
I've been sadly neglectful of my blog reading since our move.... Your babies are gorgeous!!!!
- 9:07 pm, July 09, 2011


text:
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"I wanted to THANK YOU, Hollis, for your workshop. It played a crucial role in being able to complete and submit a successful book proposal." Rachael Brownell, who became a best-selling author after taking the Shocking Real-Life "Develop and Sell Your Memoir" workshop. She's since been featured on the Today Show, Good Morning America and NPR's Weeken Edition as a result of her book, Mommy Doesn't Drink Here Anymore (2009).
"Hollis' workshop gave me the confidence I needed to continue following my dream of becoming a published author. [It] was key to helping me fine-tune my proposal, and her personal involvement in my journey has been invaluable." Lisa Baron, Shocking Real Life graduate and award-winning columnist, who landed a book deal with Citadel for her memoir, My Burning Bush; How One Woman's Career in Christian Politics Went Up in Flames. It's a Chelsea Handler-meets-George Stephanopoulos exploration of the dismantling of the conservative movement — and why young (drinking, chain-smoking, and, well, you get it) political campaign staffers sometimes go rogue.
Warning: This is a retreat for people serious about publishing a book (which is not to say you have to take yourself too seriously) — that said, (seriously) we are not in the business of hyping pipe dreams. The last thing we want to put you through is a litany of anemic sessions in which people sit around and bloviate about the difficulties of getting a book deal. The Shocking Real-Life Atlanta Book-Writing Boot Camp is an active writing retreat spanning THREE days devoted to your book, your idea for your book, formatting your book, writing your book, getting an agent for your book, selling your book to a publisher PLUS a special side workshop on how to write, publish and sell a profitable eBook. If you have an idea for a book — and especially if you have been sitting on your idea for a book — you owe it to yourself to enroll in this Shocking Real life writers boot camp hosted by best selling humor writer Hollis Gillespie.
Reserve Your Spot Now!
The Shocking Real-Life Book Writing Boot Camp with Hollis Gillespie January 7–8
Whether you're at the idea stage or in the home stretch, this weekend will show you how to navigate the competitive world of book publishing and get your project sold.
- In this workshop, you'll learn:
- The marketability of your idea, and how to make it more so
- How to pitch an agent for representation and write the perfect query
- What publishers and agents are really looking for and what they hate
- How to avoid the most common rookie mistakes
- Which pages to send to a literary agent as a sample of your work (hint: It's rarely the very first pages)
- How publishing houses and literary agencies benefit the author
- How to decipher the miasma of advances, royalties, subsidiary rights, foreign rights, and dramatic rights
Hollis Gillespie and a collective of other successful authors will share their secrets to unclogging your creative arteries so you can tell the world what you've been telling your friends all this time; that your book idea is a slam dunk, and now it's time to cash it in. She and the other co-hosts will offer their candid critiques, suggestions for selling your work, and answer all your questions about breaking into book publishing.
Here's some more things you will learn:
- How to pick an eye-grabbing title.
- Which genre best suits your idea (Memoir? Novel? Self-help? Humor?)
- When it's permissible to embroider, improvise, and reorder real-life events.
- Exactly how to format your pitch letter.
- Exactly which agent to pitch (including contact info).
- How and when to contact agents.
- The difference between an illuminating essay and a journal entry.
And that's not all, classes come with complimentary booze and fingerfood, as well as inappropriate conversation and other basic essentials for unleashing creativity and unlocking buried memories. Classes fill up quickly, so sign-up now!
Coming from out of town? CLICK HERE to save up to 67% on another local hotel stay courtesy of HalfOffDepot.com.
The Shocking Real Life Book-Writing Boot Camp Itinerary:
- Morning Workshop: Tips to Follow (and Pitfalls to Avoid!) When Nabbing a New York Super Agent hosted by renowned magazine editor, author and agent-nabber Stephanie Davis. Learn the slew of rookie mistakes that keep your manuscript from the eyes of a literary agent, and the surprisingly simple insider tricks that put your pitch ahead of all the others. Stephanie Davis will recount, with insight and hilarity, her own journey through the process, including the mistakes and the unexpected, culminating in an exercise designed to help rocket your way to the publishing house. Stephanie Davis is the editor in Chief of The Atlantan, Contributing Editor to Jezebel and Men's Book Atlanta and former National Web Editor for skirt.com. She launched Get Married Magazine, a new bridal magazine with a 300,000 circulation started by Get Married TV on Lifetime Television and GetMarried.com in 2009. She was also on staff at GQ and SELF magazines, and has written for Gourmet, Details, Allure and msn.com.
Continental Breakfast — coffee, tea, hot cocoa, etc. (doughnuts will definitely make a showing).
- Introductory discussion with Hollis Gillespie, topics to include finding an agent and publisher for your manuscript, determining the genre of your book, breaking down doors and ass-kicking writing techniques.
- Lunch is served with complimentary mimosas and inappropriate conversation (useful for dislodging buried creativity). Menu to include 5-cheese flatbread, mushroom-and-spinach flatbread, deli spirals, fresh fruit and POT LUCK!. Coffee, tea and snacks will also be available throughout the day during workdshops.
- Initial individual assessment of attendees' manuscripts and ideas for manuscripts. Here is your chance to work on the preliminary format, working title and pointsof an elevator pitch for your manuscipt or manuscript idea. Anytime you pitch to an agent, you need to sum up your book in one sentence. It's harder than it sounds, and believe it or not it often falls to this precise sentence to make or break an agent's decision to take you on as a client.
- Writing exercises. Material assessment. Homework distribution. (Yep. Homework, though we don't make you sit in a corner if you don't turn it in the next day.) (It's fun homework, though, so you will want to do it.)
- After 5 p.m. Happy hour at Elliott St. Pub, a true writer's hangout just steps away. (Catch the pre-Super Bowl hullabaloo here.)
11:00 a.m.–5 p.m.
- Continental breakfast.
- Format your book, pitch an agent, learn to avoid rookie mistakes AS WELL AS learn the secrets that will put you ahead of 80 percent of the competition — it's Hollis Gillespie's sure-fire formula that has helped DOZENS of people get agent representation and/or book deals.
- Material assessment. Choosing the pages to present to the agent. (Hint: It's almost never the very first pages.) How to treat, clean, edit and prepare your pages for presentation to an editor. Writing exercises.
- Lunch with complimentary mimosas and inappropriate conversation (marvelous for unblocking buried creativity)
Afternoon workshop: The Con Game: Keeping Confidence That Your Work Will Work, hosted by Pulitzer Prize nominee Charles McNair, whose first novel, Land O'Goshen (St. Martin's Press) received a Pulitzer Prize nomination for fiction and critical acclaim from the New York Times Book Review, Washington Post, and other venerated publications . This workshop is a personal approach to helping writers who haven't broken through to keep believing they will. Charles will discuss the little ways you can build and nourish confidence along the way, until the novel is ready to be born, or the big work. "This is a topic that really deeply matters to me, since I struggled 10 years before a first book was ready," says Charles. His novel, Land O' Goshen (St. Martin's Press, 1994) received a Pulitzer Prize nomination for fiction and was critically acclaimed by The New York Times and Washington Post.
- Each attendee will be assigned the contact info of a literary agent who is in the market for their type of material, and by the end of the weekend they will have a pitch letter formulated to attract that agent, a workable format for their manuscript plus 10 sample pages to include with their agent pitch.
- Your goal, by the end of this book-writers boot camp, is to have completed a professionally written query package to pitch your book, which includes a surmountable and creative format for your manuscript or book idea, a researched, completed pitch letter to a literary agent, and 10 professionally edited and treated sample pages to include with your query. Just give us this one weekend! Your life will change.
Reserve Your Spot Now! to attend the Shocking Real-Life Book Writing Boot Camp with Hollis Gillespie on January 7–8
The Shocking Real Life Academy is located in the historic Castleberry Artist district in Atlanta! Click HERE for directions from your location to our space at 313 Nelson Ave., Atlanta, GA 30313. (It's a large shopfront facing the street. Free covered parking is available, just turn into the covered parking garage next to J.R. Crickets.)


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A lot has been going on for me lately in the real world. A couple weeks ago I realized rather abruptly but very decisively that Brooklyn was the wrong place for me to live. There were loads of reasons and I just don't feel like enumerating them right now. But they all came crashing together at once and it was clear that the only appropriate action was to move. I was utterly unprepared to move. I was about to embark on a six-week tour of the Midwest and Florida (this is what happens when you schedule your own tours and you're kind of stupid). I'd only just moved a carload of stuff out of storage into my Brooklyn place making it so that I now had more things in there than could possibly fit in my PT Cruiser. I had a whole line-up of stuff planned that was based upon my being in New York. But the situation dictated action and I had to do what was necessary. So I did.
The rest of the world paid no attention to my need for it to slow down while I took care of all this. So I was madly scrambling to find a place to live, rehearse and play a Zero Defex gig, be in a documentary about my life, act in a film a friend was making and which I'd agreed to appear in, re-arrange my tour to accommodate traveling from Akron rather than from New York, make arrangements so I could get to each of the places on the tour in time with places to stay and such like, write a new book, write a couple articles I'd been asked to do (unpaid, of course, grumble)… You get the picture, I hope. In short, I was "hell busy" as my Chinese co-worker at Tsuburaya Productions used to say.
Just to make life more interesting, as I was traveling to my first engagement in Lawrence, Kansas, I noticed my radiator was leaking like a sieve and the power steering fluid was disappearing as well. I spent a couple hours in the town of Plainfield, Indiana waiting for a tow truck from Triple-A. When the truck I arrived I chatted with the driver about what to do next and decided that I might just be able to make it to the Missouri Zen Center in St Louis if I stopped frequently to refill the radiator. This would be more economical than spending the weekend in a Motel 6 in Plainfield waiting for a repair shop to open on Monday morning, and then staying in Plainfield for however long it took them to get around to my car.
I made it to St Louis well after midnight without over-heating the engine, though I came close toward the end. Sunday morning I was up at dawn to sit with the group here, who were very kind and accommodating. They even took me out to Vintage Vinyl Records, the local hip record shop and provided delicious home-made curry.
With all of this massive turmoil going on in the real world, I kept finding myself descending into cyberspace. So in addition to the dozens of real life relationships, problems and joys I was juggling, I was also juggling a number of virtual things, some related to this blog and some not. The difference between the real world stuff I was dealing with and the virtual stuff was that there was an illusion of control involved in the virtual stuff. While I had no choice, or not much choice, of what I could deal with in my actual life, I appeared to have some choice of what to attend to in the virtual universe of on line interactions. That is to say, it felt like I could dip into that world (this world!) when I wanted to and also leave when I pleased. That felt like kind of a relief compared to the rest of the stuff I could not control so easily.
I found myself getting uncharacteristically drawn into certain aspects of virtual world communications and miscommunications. This is not the first time something like this has happened. In fact it's a pattern that has persisted pretty much ever since I started getting involved in on-line stuff. It took a while to notice it, and it seems a bit subtle (or perhaps I'm a little slow) so that I often find myself lured into this pattern before I see what's happening.
When my mom was dying of Huntington's Disease, my dad spent a lot of time on his computer chatting, arguing, playing games and otherwise interacting with a host of people he had never seen in the flesh. Whenever I'd visit I made it my mission to get him away from the computer. He was following exactly the same pattern as I'd seen in myself many times. He was escaping from a painful, uncontrollable real world situation into a more seemingly controllable virtual realm.
The real tip-off that I was currently being drawn too deeply into cyberspace came this morning during another crack-of-dawn zazen here at the Missouri Zen Center. My mind kept drifting off, as one might expect given the number of real world things I've been dealing with. But it wasn't any of the real world stuff that my brain kept coughing up at me this morning. It wasn't about my car repair, or whether I'd make it to my first talk tomorrow, or the apartment I'm trying to rent in Akron, or the various interactions I needed to work out to make this stuff happen. Instead, it was all a bunch of virtual world interactions that, frankly, are not really very necessary.
Sometimes when one is at a loss as to what one should do, one can speak to friends about it and see what they think. Sometimes your friends are dead wrong. But even that can be useful to hear. But interactions with people are very dependent upon the situations in which you have those interactions. People who you interact with only or primarily in cyberspace want to keep you there. They are depending on you to provide them with an escape from their real worlds as you depend on them for an escape from yours.
I've noticed that these days a lot of people use the word "talk" to refer to on-line interactions. When they say they talked to someone, what it often means is that they emailed, texted or chatted on-line with that person. That isn't really the same as talking. There is a lot missing when conversations are conducted exclusively with words.
People who know each other only from on line interactions will tend to reinforce a set of values derived from on line communications with others who spend far too much time on line. In other words, these people will never, ever, in a million years tell you that maybe part of what's wrong is you're spending too much time on line. They are probably unaware of the problem themselves. Also, someone who has seldom or perhaps never seen you in the flesh doesn't really know you no matter how skillful they may be at making it appear that they do when they interact with you on line. In my own case, a lot of people read me a little too closely and invent an imaginary world in which I am their very close friend. Yet I don't know them at all.
When I see someone getting far more emotional than is necessary over something on-line my first guess is that there is something unpleasant happening in their actual lives. When I see two or more people engaging in some kind of heated banter on-line I assume they are both using it as an escape from a painful reality into a more seemingly manageable on-line world. After all, to escape an on-line conflict all you need to do is flip a switch. The real world does not operate that way. Conflicts on-line then become a form of "escapist entertainment" -- to create a new meaning for that tired phrase. A juicier type of video game.
Whenever I say anything about the matter of people spending too much time in cyberspace the comments section of this blog goes apeshit with people defending their own desires to escape into virtual reality. Because most of these people are very clever and good with words, they are quite creative in arguing their cases. If you're interested in seeing some of this at work I suggest clicking on the comments button below this piece (for those reading on Facebook, go to the original blog at hardcorezen.blogspot.com). I can almost guarantee you'll find a number of people who have worked hard at coming up with quite eloquent and skilled defenses of spending too much time in the on line realm. I've added this very paragraph you're reading right now just to set up a fun challenge for those people. I'm sure they'll find impressive ways to rise to it. (Stay away from badly paraphrasing me, though. That's really getting old. Thanks.)
But me, I'm going to step back from the on line world for a little while. I'm just stepping back, not stepping out. I'll still keep posting my usual piece here every three days or so, as I have been. But I won't be looking in on the comments section or responding to what's said there for a time. If you have something you really feel you must say to me, you can reach me via email at firstname.lastname@example.com. Eventually, once things settle out a little, I'll be back there. I'm sure the spammers and trolls will get a little rambunctious. Just remember, they're probably dealing with some heavy shit at home. So play nice.
I think it's really important to watch this kind of thing carefully. Remember that human beings lived for a long time with absolutely no interaction over the Internets. There is nothing really urgent in any chat room, or blog comments section, or on Facebook, or in Second Life, or in any of those places (which aren't really places at all) that truly needs your attention. It's just a sophisticated form of entertainment. It may be interactive, but it's not real interaction. Nothing said there actually matters much. You can live without it. Anybody who absolutely needs to communicate with you will find some means other than on the comments section of some blog or via an on-line chat service.
The car is in the shop right now. The estimated bill is $400 and the repair time is three hours. So I'll make it to the talk in Lawrence tomorrow. Since that gig and most of the others on this your are for donations without a guarantee, I'm hoping that I end up coming out slightly ahead even with the repair bill. I probably will. But then again maybe I really should look into selling enlightenment experiences for $50,000 each.


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#MV12609 - Maverick Strada MT Evo S Brushless 1/10 RTR Electric Monster Truck
The Maverick Strada range has been updated to the all-new EVO standard! With an all-new and exclusive chassis design and brand new 'no crystal' Maverick 2.4GHz radio system, the Strada Evo models are now tougher, more reliable and more fun than ever! Get your thrills with Strada Evo cars, trucks and buggies!All New Maverick Strada Evo S kits feature:
- Maverick 3215Kv brushless motor
- Maverick 80 Amp brushless forward/reverse speedo with cooling fan
- New, more durable chassis design
- Aluminium upper deck
- New colour scheme
- Maverick 2.4GHz radio system
- Completely Ready-To-Run with battery and charger
All-new Maverick 2.4GHz radio system!The updated Maverick Strada Evo line-up of cars, backed by industry-leading support from HPI Racing UK, is the best way to get into RC and get more for your money! Designed and refined by long time RC enthusiasts, every Maverick Strada Evo model is easy to maintain and repair, with a full range of spares available. Now you can have some serious fun with out spending serious money! Get more fun and value with Maverick, exclusively from HPI UK!
Brand new paint scheme!You get real performance and great RTR functionality with every Maverick Strada Evo car and truck. Professionally designed moulded tub chassis provide durability and provide a stable and tough platform for a strong 4WD shaft drivetrain. Pre-built oil-filled shock absorbers and fully independent double wishbone suspension give you supreme confidence on all driving surfaces, and the installed electronics include powerful motors and long life battery packs for plenty of fun! The Strada Evo family of 1:10th scale cars, buggies, trucks and truggies are based around the extremely tough and refined Strada Evo moulded tub chassis. The 4WD shaft drivetrain gives full power and amazing traction in all conditions, and the sealed bevel gear diffs let you have maintenance free fun! Maverick Strada kits bring you all the stability, performance and ease of use that you could ask for!
All-new chassis design!Maverick Strada MT Evo S Kit Features:
- MM-22BL 3215KV Brushless Motor with 4mm gold-plated plugs
- MSC-22BL 80AMP Brushless FWD/Brake/Reverse ESC (2S Lipo or 7 Cell Nimh Max)
- MBP-26 3000mAh Ni-MH battery with low-loss HXT connector using 4mm gold-plated plugs
- MS-22 high-strength steering servo
- Crystal-free 2.4GHz transmitter and receiver with built-in failsafe
- Moulded tub chassis with optimised weight distribution
- Fully adjustable racing suspension
- Battery strap will accept both stick packs and side-by-side cells
- 8 oil-fi lled rebuildable shocks with progressive springs
- Special titanium anodised shock tops
- Fully independent double A-arm wishbone suspension
- Tough C-hub front steering knuckles
- Tough effi cient 4wd shaft drive train
- Fully ballraced drive train
- Aluminium titanium anodised lightweight centre shaft
- 4 large all-terrain 'paddle block' tyres
- Attractive multi-spoke wheels
- Pre-cut body factory-fi nished
- Fully adjustable turnbuckles all round
- Front and rear moulded bumpers
- Twin-point steering with integrated servo saver
- Moulded protective gear cover


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Megan Conroy and Travis Taggart, both of Slippery Rock, were united in marriage July 21 at St. Peter's Catholic Church in Slippery Rock. The Deacon Edwin Christmann officiated. A reception followed at the Legacy Banquet Center.
The bride is the daughter of Mike and Kim Conroy of Slippery Rock. Parents of the bridegroom are Ron and Cindy Taggart of Slippery Rock.
The honor attendant was Kelly Hogg. Bridesmaids included Breanna Huntington, Heather Agostino, Kristin Rummel and Erin Doran.
The flower girls were Maggie and Mollie Massella.
Performing the duties of best man was Ben Campbell. Ushers included Kyle Gercken, A.J. Durso, Dan Sommers and Michael Conroy.
The ring bearer was Andrew Massella.
The bride is a 2007 graduate of Slippery Rock High School and a 2011 graduate of Slippery Rock University.
She is employed by Grove City School District as a special-education teacher.
The bridegroom is a 2004 graduate of Slippery Rock High School and a 2008 graduate of Slippery Rock University.
He is employed by Natural Sand as a safety manager.
Following a honeymoon trip to Punta Cana, the couple is making their home in Slippery Rock.


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- Description
The classic stationery range from France - quality 90gsm paper and the distinctive covers.
Sold by us since 1995
The classic Clairefontaine range of notebooks features their famous 90gsm brushed vellum paper and the very recognisable coloured covers. We offer the full range of Clairefontaine notebooks and pads as a special import from France.
Key features:
- A5 size - 148 x 210mm
- Plain paper
- 180 pages / 90 sheets
- Wirebound for easy opening - lies flat
- Laminated covers
- 90gsm brushed vellum paper
- Sold in pack quantities - not sold singly
- Cover colours are assorted colours only
- Colours may vary in packs
What we like about this item:
- We've sold Clairefontaine since the first day Bureau opened in 1995
- A classic in the range
- Great quality, excellent value - recommended for fountain pens
- Lead Times
This item is a special import. The process is that all orders in by 8.30am Tuesday are ordered from the factory in France and will be ready for despatch by the end of the week. Please note that the delivery method you choose will not shorten this lead time. Please contact us for more details if needed.
- Delivery Info
We offer free UK delivery over £20 - please choose the SAVER delivery option at the checkout. Below £20 this delivery option will cost £2.50.
Within the UK we offer a range of delivery options including guaranteed next-working-day services if you order before 1pm. Please click here to see all our UK delivery options.
For overseas orders we use Airmail postage to a range of countries. The price is calculated according to the weight of your order. International delivery is available to about 50 countries - these will be listed at checkout and also in the shipping estimater in the shopping basket. Please click here to see about our international deliveries.
- Returns Info
We offer a 'no quibble' returns policy. If you are not happy with your product then you can return it for a full refund. Please click here to see our full returns policy and how to return something for a refund.
- Reviews
- Product Questions


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Organic U.S.A. family farm black eyed peas soaked overnight and thoroughly cooked at Eden's certified organic and kosher cannery with purified water and zero chemical additives. A Southern favorite and the centerpiece of the classic dish Hoppin' John. Folklore has it they bring good luck. For soups and salads, greens, grain, and vegetables. "Rice for riches, peas for peace." Very high in thiamin B1 with 45 percent daily value. A good source of healthy fiber, protein, iron, magnesium, and zinc. No salt added. Packed in bisphenol-A (BPA) free can linings since April 1999. pareve
Eden Organic Black Eyed Peas are U.S.A. family organically grown by those dedicated to cleansing the environment and producing the best tasting, most nutritious food. Decades organic vital soil gives us much more vital beans that contain more minerals and allows us to cook them without, what we consider toxic, 'processing' chemicals.
Thoroughly Cooked
Eden Black Eyed Peas are expertly prepared at our certified organic, kosher cannery in east central Indiana. They are washed, soaked overnight, and thoroughly cooked with a bit of kombu sea vegetable. You don't taste the kombu, but its natural glutamic acid softens and enhances the flavor of beans. All water that contacts Eden for washing, soaking, and cooking is purified water.
Bisphenol-A (BPA) Free Lined Cans Since April 1999
Eden Beans are in custom made steel cans lined with baked on oleoresinous c-enamel that does not contain the endocrine disrupter chemical bisphenol-A (BPA). Oleoresin is a natural mixture of an oil and a resin extracted from plants such as pine or balsam fir. These cans cost 14% more than industry standard cans that do contain BPA. The can maker, Ball Corporation, tells us that Eden is the only U.S. food maker to date to use these BPA free cans. Eden Foods was acknowledged with a "Green Packy Award" in 2010 by Whole Foods Market Green Mission's Responsible Packaging Forum. The responsible packaging award was given Eden for the use of BPA-free cans in all 39 of its organic beans, chilies, rice & beans, refried, and seasoned beans.
More Honors
Eden Beans received high praise in the January-February 2009 Nutrition Action Healthletter, the third time Eden have been complimented by this respected Healthletter. Twelve varieties of Eden No Salt Added Beans were acclaimed for being naturally low in sodium without the refined salt added to most commercial canned beans. Nutrition Action Healthletter noted that Eden are firm, not too soft, and that all Eden bean cans are bisphenol-A free.
Nutritional Information
According to the FDA, "Low fat diets rich in fruits and vegetables (foods that are low in fat and may contain dietary fiber, Vitamin A, or Vitamin C) may reduce the risk of some types of cancer, a disease associated with many factors," and "Diets low in sodium may reduce the risk of high blood pressure, a disease associated with many factors." Eden Black Eyed Peas are very low sodium with no salt added, low fat, and a good source of dietary fiber, protein, iron, magnesium, and zinc. They are especially rich in thiamin B1, providing 45 percent daily value (DV) per serving.
Studies show beans contain a wealth of antioxidants similar to those in fruits and berries. "Beans are really loaded with antioxidant compounds," said Clifford Beninger, Ph.D., an environmental biologist and former researcher for the USDA's Bean Research Unit. "We didn't know how potent they were until now. In general darker colored seed coats were associated with higher levels of flavonoids, and therefore higher antioxidant activity." Researchers tested the antioxidant activity of flavonoids found in 12 common varieties of dry beans. They found one class of compounds in particular, anthocyanins, were the most active antioxidants in beans. These findings add antioxidant activity to a growing list of healthy compounds found in beans and legumes. The study was published in the Journal of Agricultural and Food Chemistry.
"Beans are probably the best human plant food there is," plant geneticist George L. Hosfield, Ph.D., told Reuters Health. He explained that beans are full of protein and fiber and low in fat. They also contain important vitamins and minerals such as folic acid, iron, potassium, and zinc. "With the additional bonus of their antioxidants, you have almost the perfect food," he said. Beans are loaded with soluble fiber and are also an important source of two essential amino acids not found in cereals, lysine and threonine. In turn, whole grains complement beans and together deliver complete protein. Enjoying a variety of beans in combination with whole grain is a good step toward healthy living.
Black Eyed Peas Vigna unguiculata are medium round and beige with a distinctive dark 'eye.' They likely originated in China and came to the American South via Africa and the West Indies. They're referred to in the old saying "Rice for riches, peas for peace," and folklore has it they bring good luck. Black Eyed Peas are one of the most popular legumes in traditional Southern cooking. They are a must-have ingredient for the dish Hoppin' John and many also consider them a must for New Year's and Kwanzaa celebrations. Eden Black Eyed Peas are delicious as a simple side dish and in soups, salads and casseroles, and great in vegetarian Hoppin' John. Search under Black Eyed Peas in our free recipe section for this and other tasty recipes.
|Black Eyed Peas, Organic
|Item Number
|Organic Black Eyed Peas, Water, Kombu Seaweed
|Case Quantity
|Package Size
|15 oz
|Package Size Metric
|425 g
|UPC Code Each
|UPC Code Case
|Eligible for Flat Rate Shipping
|Very Low Sodium
|Yes, 35mg or less per serving
|Good Source of Fiber
|Yes, 2.5 g to 4.9 g per serving (10% to 19% DV)
|BPA, BPS, and PVC Free Canned Foods
|Low Fat
|Yes, 3 g or less per serving
|Gluten Free
|Wheat Free
|Non GMO


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MetroTalk for Windows Phone v2.5
If you use Google Voice because like us, you have multiple phone numbers or you just like the free data-driven SMS feature, then you should check out MetroTalk for Windows Phone.
The app started off decent enough when it was first launched months ago but it has quickly ramped up to be one of the best, most fully featured Google Talk clients for Windows Phone—that's specially good since Google doesn't seem interested in supporting their own services.
Now, the developer has made the normally $1.49 app free for the next 48 hours. That's a heck of a good deal especially since the app was just updated on October 13th to a version that will work with Windows Phone 8 and will be updated for WP8 features in the coming weeks.
We've used MetroTalk for quite some time and we think it's a solid app with some great developer support behind it. While you could use the free, ad-supported version, why not head to the Store and grab yourself the full paid iteration for $0? The app does have push notifications done through a simple setup procedure on the device to ensure timely updates and the UI is quite sharp.
Go grab MetroTalk here in the Windows Phone Store before the price goes back up. And if you like it, remember to leave a positive review for it in the Store.


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William Stafford
William Stafford (January 17, 1914 – August 28, 1993 / Kansas)
» Click to list general statistics » OR, select a date :
- Hits: Number of visitors who read the poem on the given date.
- Posts: Number of visitors who posted the poem to a friend (via e-mail) on the given date.
- Poems submitted after Sep 17, 2011 are not shown on the list.
- Dates, poems and poets that have "0" hits may not be shown on the list. Statistics are generated daily.


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Miami Springs Farmer's Market Every Saturday
July 5, 2014 @ 9:00 am - 1:00 pm
|Recurring Event (See all)
Weekly on Saturdays
Event Navigation
The free Miami Springs Farmer's Market takes place very Saturday from 9 a.m. to 1 p.m.
The farmer's market includes more than 30 booths with fruits, vegetables, homemade baked goods and much more. Kid and pet-friendly.


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This game is intended to be used at the end of a unit on weather, providing a review of cloud and weather-related concepts. A student worksheet and a list of questions for teacher use, as well as student notes and suggestions for assessment are... (View More) included. The Student Cloud Observations On-Line (S'COOL) project encourages students of all ages to participate in real science by reporting ground truth observations of clouds, helping to assist in the validation of NASA's CERES satellite instruments. (View Less)
Materials Cost: 1 cent - $1 per group of students
In this activity, students play the familiar BINGO board game, using predetermined vocabulary terms. Includes detailed procedure and materials, a vocabulary section linked to an on-line glossary. This activity is related to NASA CERES Students'... (View More) Cloud Observations Online (S'COOL) project. (View Less)
Materials Cost: Free


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#744 - SPRINT 2 RTR AV. CARR. STILETTO V12 (PEINTE/200mm/emp.255mm)
Modele 1/10 electrique 4x4 premonte avec systeme radio et carrosserie peinte. Batterie et chargeur inclus.
Optional Parts
HPI's most popular electric club racer, the Sprint 2 is now available RTR in different versions! This means you have even more choice when selecting the perfect Sprint 2 version to meet your needs - from a fully equipped RTR version with radio gear, to the pre assembled chassis only version... The choice is yours!
The Sprint 2 is the perfect club racer and is the ideal entry into RC racing fun! It's chassis is almost indestructible and easy to drive, but also has all the racing features you need for a perfect set up on almost every racetrack. The "out of the box" settings will give you great handling straight away on almost every surface and with the fully adjustable suspension, you have control over all important settings including camber, toe in, ride height, Ackerman, springs etc. to fine tune your lap times if you wish!
Available with 4 different bodyshells, the Sprint 2 RTR will have something to suit every taste! All bodyshells are made of high quality, impact resistant polycarbonate and come pre-painted, pre-cut and pre-decaled for great looks! For part numbers of all available versions see the bottom of this page.
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