The greens from two kohlrabi
4 slices of bacon
1 shallot
salt and pepper
a squeeze (one wedge) of lemon
Cut ribs out of kohlrabi, stack leaves, and slices into ribbons (like you would basil). Cut bacon into small pieces. In a skillet over medium heat, cook bacon and onions until bacon is cooked and onions begin to brown. Add kohlrabi ribbons to skillet, saute until wilty like spinach. Add a squeeze of lemon to reduce bitterness and season your greens with salt and pepper. Use as a base for your shrimp skewers.
Prepare pound cake as recipe dictates. Grease and four your pan. Fill pan with batter 2/3 full, then spoon blobs of jam onto cake. Top with remaining 1/3 batter. Use a spatula to make swirls like you would with marble cake. Bake. Once cool, top with powdered sugar frosting tinted in three fun colors. Top with sprinkles.
My dendrobium peguanum was doing well enough, I separated a little cluster and am growing it in a fairy sized hanging planter with a pinch of my living sphagnum moss. We will see how he does over the next week.
Yodeling is the voice being used as a musical instrument, whereby singers are able to change from the vocal register to the head register. A singer voices a pitch in the falsetto register on releasing a note. These songs are not similar to their Alpine counterparts, but they are charming all the same.
Over time beards, mustaches, and sideburns have gone in and out of style, been grown to new extremes, and taken on larger-than-life personas that have even overshadowed the men to whose faces they’re attached. And in this current era where business wants a clean face, it’s only fitting that I run through 50 years of some of the finest, most iconic facial fur I can remember.
Harmony is the blending of simultaneous sounds of different pitch or quality, making chords. Melody is the rhythmical combination of successive sounds of various pitch, making up the tune. With four members each, these perfectly balanced bands are able to use the variety of vocal qualities to create some beautiful music together.
1 cup flour
1 ½ tsp. baking powder
¼ tsp. kosher salt
6 Tbsp. butter, room temperature
¼ cup sugar
1 egg
1 tsp. lemon zest
1 tsp. vanilla
1/3 cup milk
2 apricots, halved, pitted and cut in ¼ inch slices
2 Tbsp. raw sugar recipe
The Mamas & the Papas continued to record to meet the terms of their record contract. Their final album was released in 1971. After the breakup of The Mamas & the Papas, Cass Elliot embarked on a solo singing career. Her most successful recording during this period was 1968's "Dream a Little Dream of Me" from her solo album of the same name, released by Dunhill Records, though it had originally been released earlier that year on the album The Papas & the Mamas Presented By The Mamas and the Papas.In October 1968, Elliot made her live solo debut headlining in Las Vegas at Caesars Palace, scheduled for a three-week engagement at $40,000 per week, with two shows per night. Elliot went on a six-month long crash diet before the show, losing 100 of her 300 pounds. According to Elliot, the weight loss led to a stomach ulcer and throat problems, which she treated by drinking milk and cream (and regaining 50 pounds in the process). A nervous Elliot was confined to her bed for three weeks before the first performance, as the musical director, band, and production supervisor attempted to put together a show in her absence. She was scheduled to rehearse for a full three days before the show opened, but she managed to get through only part of one run-through with the band before saying that she was losing her voice. She skipped the remainder of rehearsals and drank tea and lemon, hoping to recover and pull herself together for opening night. An audience of 950 people filled the Circus Maximus theatre at Caesars Palace. Sick and having barely rehearsed, Elliot began to fall apart during the course of her first performance: her voice was weak and barely audible, and the large crowd was unsympathetic, despite the celebrity well-wishers. Reviews were harsh. Esquire magazine called the show "a disaster" that was "heroic in proportion, epic in scope". The Los Angeles Free Press called the show "an embarrassing drag." Newsweek compared the show to the Titanic disaster: "Like some great ocean liner embarking on an ill-fated maiden voyage, Mama Cass slid down the ways and sank to the bottom." The show closed after only one night. Within hours of the end of Elliot's Las Vegas concert, rumors began to spread that she had been taking drugs during the weeks leading up to it. Eddi Fiegel wrote in the biography Dream a Little Dream of Me that Elliot later admitted to a boyfriend that she had shot heroin immediately before going on stage. Embarrassed by the debacle, Elliot plunged into a deep depression. She was a regular guest on TV talk shows and variety shows in the early 1970s, including The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, The Johnny Cash Show, The Smothers Brothers Comedy Hour, and The Carol Burnett Show. She performed the title song "The Good Times Are Coming" during the opening sequence of the 1970 film Monte Walsh. I find this ironic that the good times are coming to an end. On April 22, 1974, Elliot collapsed before an appearance on the The Tonight Show with Johnny Carson. Elliot played it off in interviews as nothing more than exhaustion. Elliot performed two weeks of concerts at the London Palladium later that summer, at the height of her solo career. Many claimed that all of these shows sold out, but she was often playing to a less than full house after the earliest dates. She called Michelle Phillips after the final concert on July 28, elated that she had received standing ovations each night. She then retired for the evening and died in her sleep, at age 32, 2 months before her 33rd birthday. Sources show her death was due to a heart attack.
“In the end, we will remember not the words of our enemies, but the silence of our friends.” ----Martin Luther King.
This is the sound of silence: the quiet undercurrent of a revolution, the calm before the storm. To me, this song also represents the improper communication with our mind. People get a majority of their thoughts from screens i.e. neon gods. If we do not listen to our hearts, and we have no ideas of our own, we will run after things as dictated by screens our whole life. Because we have no idea what we really want and where our happiness lies, we feel hollow inside. This hollowness (cancer) grows bigger, but still nobody wants to touch that sound of silence (mind) and we look outward of ourselves for a solution even though the solution is inside of us. The darkness is not literal but spiritual: it is the darkness of oppression. However the oppression is so entrenched it is almost like a blanket. It is being accepted not fought. It is a shared belief that enables enlightened people to see what others can't. The last verse of Bob Dylan's “Blowing in the Wind” has a kind of osmosis with "The Sound of Silence".
In the dime stores and bus stations
People talk of situations
Read books, repeat quotations
Draw conclusions on the wall ----Bob Dylan. (Love minus Zero)
In the end the silence defeated us all. By refusing to fight the silence we had become deaf, not just to each other but to ourselves. This is not loneliness but isolation. Silence has a sound. It is the sound of oppression.
According to National Rock Review: The original acoustic version of The Sound of Silence made its appearance during the rise of folk rock (1964). The gentle harmonies and acoustic guitar easily captured the attention of a nation during a time of growing social tension (Vietnam). The song’s deep emotion draws in the listener taking them on a journey of deep contemplation. The Disturbed remake offers everything the original did and more. The remake is haunting, slower, and darker. Disturbed vocalist David Draiman, typically known for his raspy, power metal voice, sings beautifully; his voice is crisp and clear. The first verse opens with light piano and gentle vocals. Draiman sings softly almost to the point of being a whisper, his vocals floating over the simple piano notes. Strings join in, almost hesitantly, towards the end. As the track progresses, it builds upon itself. The second and third verses raise the profile of the song. The strings increase in both volume and depth. Light percussion eases into the background. The acoustic guitar and piano feature more prominently. Draiman maintains clean vocals, easily striking the familiar notes as the power of his voice begins to make itself known. The fourth verse is where Draiman’s vocal power becomes evident, the raspy edge creeping in; he builds tension adding a sense of urgency as if restrained only by the pace of the song. The Sound of Silence closes with a crescendo of instrument and voice. The listener stirred by the somber anthem is left hanging on wistful yearning. The visual canvas of the music video matches the feel of the song. Dark, grayscale images of a bleak landscape are punctuated by closeups of Draiman’s face as he sings. The imagery is surreal suggesting a return of music to a forlorn society. While it may seem over the top to some, it is a fitting backdrop for this moving hymn.
