Ronald George Lampitt (1906 ~ 1988) 'Skating by Moonlight' 1959 Christmas card illustration for the Group of Charities. #illustration

Credir: Garden Lover (Facebook) "Simple cold frame by stacking straw bales into a rectangle and placing old window panels on top. The straw acts as natural insulation, keeping the soil warm while the glass helps trap sunlight. It’s perfect for starting early veggies, protecting tender plants, and extending the growing season in a budget-friendly way!"

"When a man no longer confuses himself with the definition of himself that others have given him, he is at once universal and unique. He is universal by virtue of the inseparability of his organism from the cosmos. He is unique in that he is just this organism and not any stereotype of role, class, or identity assumed for the convenience of social communication. This is, of course, a highly peculiar way of looking at oneself, and it is not at all easy to get used to it. But it is the only way to get out of the trap of the social double-bind, the trap in which we are caught when we try to be both separate and connected at the same time." ~ Alan Wilson Watts 1915-1973. The Taboo Against Knowing Who You Are 1966. Image by - Chemical Messiah

"They paid her £30 to "sing about death—without words." She improvised for 2½ minutes, broke down crying, created rock's most powerful vocal—and wasn't credited as a writer for 32 years. Sunday evening, 1972. Abbey Road Studios, London. Clare Torry answered her phone, expecting a quiet night at home. Instead, she got a call from Alan Parsons, a recording engineer: "Can you come to Abbey Road tonight? Pink Floyd needs a vocalist." Clare was a session singer—someone who made her living doing commercial jingles, backup vocals, whatever paid the bills. She wasn't famous. She wasn't a rock star. She was a working musician hustling for rent money. She wasn't even particularly familiar with Pink Floyd's music. But Abbey Road was Abbey Road. And work was work. She had no idea she was about to create one of the most transcendent moments in rock history. When Clare arrived at the studio, Pink Floyd played her an instrumental track—Richard Wright's haunting piano piece, David Gilmour's soaring guitar, a slow build toward something enormous and inevitable. The Dark Side of the Moon was nearly complete. But this track—what would become "The Great Gig in the Sky"—was missing something. They needed a voice. Then they gave her the instructions: "Sing about death. But no words. Just... improvise emotion." Clare stared at them. What does that even mean? She was a trained vocalist. She sang melodies, lyrics, harmonies. She'd never been asked to just... improvise pure emotion without language. "I don't know what you want," she said, confused and increasingly nervous. "Just feel it," they told her. "Whatever comes out." The track rolled. Clare closed her eyes and began. At first, Clare felt awkward. Self-conscious. She tried a few melodic phrases, testing the waters, trying to give them what they wanted. But then something shifted. The music swelled beneath her—Wright's piano cascading, the instrumentation building like an inevitable wave—and Clare stopped thinking about what she was supposed to do. She just felt. What came out wasn't singing in the traditional sense. It was grief. Raw, unfiltered, primal grief. She wailed. She soared. Her voice climbed higher and higher, reaching notes that felt like desperation, like pleading with something unseen, like rage against mortality itself. She wasn't performing anymore. She was channeling every human emotion in the face of death: fear, rage, acceptance, sorrow, transcendence. For 2½ minutes, Clare Torry improvised pure emotional truth—no lyrics, no script, just the sound of a soul confronting eternity. When the track ended, she opened her eyes. She was shaking. Tears were streaming down her face. "I'm so sorry," she said, mortified. "That was too much. That was embarrassing. Let me try again—I'll tone it down." She thought she'd failed. Thought she'd been too vulnerable, too exposed, too raw. The band stared at her in stunned silence. Then someone spoke: "That was perfect. We're done." They recorded a couple more takes—insurance, really. But everyone in that room knew: the first take was magic. Clare Torry had done in one improvised performance what most singers couldn't do with a lifetime of preparation. She'd captured death itself—the terror, the beauty, the surrender—in her voice. Pink Floyd paid Clare Torry £30 for the session. Standard rate for a session vocalist in 1972. She went home thinking it was just another gig. Another Sunday night, another paycheck. She had no idea what she'd just created. The Dark Side of the Moon was released on March 1, 1973. It became one of the best-selling albums in history—over 45 million copies worldwide. It stayed on the Billboard 200 chart for 950 consecutive weeks. That's over 18 years. "The Great Gig in the Sky" became one of the album's most beloved tracks—the song people played at funerals, at memorials, in moments of profound grief and transcendence. Clare Torry's voice became iconic. People around the world knew every note of her performance. They cried to it. They mourned to it. They found catharsis in it. Millions of dollars in royalties flowed to Pink Floyd from the song. But when you looked at the album credits? Clare Torry was listed only as "vocalist"—like she'd just shown up and sung someone else's melody. The songwriting credit went to Richard Wright alone. Clare received nothing beyond that initial £30. For decades, Clare said nothing. She'd been paid for a session. That was the deal. She was a professional. That's how the music industry worked—session musicians got paid once, and the songwriters got royalties forever. But as the years passed—as "The Great Gig in the Sky" became more legendary, as Pink Floyd's wealth grew exponentially—something shifted inside her. What she'd done that night wasn't just "session work." She hadn't sung someone else's melody. She'd CREATED the melody. Every note, every phrase, every emotional arc—that was her composition, improvised in the moment but no less authored. Richard Wright had written a beautiful instrumental. But Clare Torry had written the soul of the song. Without her voice, "The Great Gig in the Sky" didn't exist. Not really. In 2004, after more than 30 years of silence, Clare Torry sued Pink Floyd. She wasn't asking for millions in back royalties (though she had a claim to them). She was asking for something simpler and more profound: recognition. She wanted to be credited as a co-writer of the song she'd created. The case went to court. Music experts testified. Audio engineers analyzed the recording. The evidence was overwhelming: Clare Torry had composed the vocal melody through improvisation. That's composition, not just performance. In 2005, Pink Floyd settled. Clare Torry was officially credited as co-composer of "The Great Gig in the Sky" alongside Richard Wright. She began receiving songwriting royalties—three decades after the fact. Here's what makes this story so powerful: Clare Torry didn't want revenge. She didn't want to destroy Pink Floyd's legacy. She just wanted the truth to be told. "I improvised that melody," she said. "I created those notes. That's composition, not just performance." And she was absolutely right. The law recognizes a distinction: If you sing a melody someone else wrote, you're a performer. If you create the melody—even through improvisation—you're a composer. Clare Torry composed "The Great Gig in the Sky" in the moment, spontaneously, through pure emotional improvisation. It took 32 years for anyone to officially recognize that. Listen to "The Great Gig in the Sky" today, and you'll hear something that almost didn't happen. A last-minute session on a Sunday night. A nervous vocalist who almost declined the job. An impossible instruction: "Sing about death without words." And a performance so raw, so vulnerable, so true that it became one of the most powerful moments in rock history. Clare Torry's voice doesn't sing lyrics, but it says everything: The fear of dying. The rage against mortality. The desperate grasping for life. The final surrender. The transcendence on the other side. She captured the entire human experience of death in 2½ minutes of improvised wordless vocals. And for 32 years, the music industry acted like she'd just been a microphone stand—present for the recording, but not really creating anything. Today, when you listen to The Dark Side of the Moon, Clare Torry's name appears in the credits as co-writer of "The Great Gig in the Sky." It took three decades and a lawsuit to get there. But it's there. Because the truth eventually surfaces—even when powerful institutions try to bury it. Clare Torry's story matters because it's not unique. Session musicians—especially women—have been creating iconic musical moments for decades while songwriting credits and royalties flow to more famous (often male) artists. But Clare fought back. And she won. Sometimes the most powerful art comes from the most vulnerable places. Sometimes a session vocalist paid £30 creates something worth millions. Sometimes the greatest performances happen when you stop thinking and just feel. And sometimes, justice takes 32 years—but it comes. Pink Floyd asked Clare Torry to sing about death without words. She gave them something nobody expected: the sound of a soul confronting eternity. She broke down. She cried. She thought she'd failed. Instead, she created one of rock's most transcendent moments. And thirty-two years later, she finally got the credit she deserved. £30. One Sunday night. No lyrics. Just a voice, a piano, and instructions to "sing about death." That's all it took to create immortality. Listen to "The Great Gig in the Sky." Listen to Clare Torry's voice soaring, breaking, surrendering, transcending. That's not just performance. That's composition. That's creation. That's art. And now, finally, her name is on it." #ClareTorry #PinkFloyd ~Unusual Tales

Credit: Ancient World (Facebook) Once, men and women did not sleep as we do now. The notion of “eight hours straight” was foreign. In the Middle Ages, the night unfolded in two distinct breaths: the first sleep and the second sleep. As the sun dipped below the horizon and the sky turned to dark velvet, people would retire early, surrendering to the hush of night. After four or five hours, their eyes would open—not from anxiety or disruption, but from rhythm. This pause in the night was a quiet, secret world. By candlelight, they prayed, leafed through worn books, or sipped spiced wine. Some crossed the street to knock on a neighbor’s door, while others lingered in the kitchen, telling stories to their children, hands wrapped around warm cups. It was the heart of the night, and yet life moved gently—intimate, unhurried, profound. When the invisible clock of darkness signaled, they returned to bed. The second sleep carried them to dawn, when the rooster’s crow marked the beginning of the day. For centuries, this was the rhythm of rest—recorded in diaries, stories, even medical manuals. But the 19th century arrived with streetlamps, factories, and the clamor of urban life. The middle hours of the night lost their enchantment, and people began to sleep “all in one go.” By the 20th century, the memory of segmented sleep had faded. What was once a natural rhythm became misunderstood. Today, we might call it insomnia. Then… it was simply the most human way to live in harmony with the night. See less — in New York.

Credit : Motorland (Facebook) Sakichi Toyoda, the founder of Toyota, often used what he called the “Five Whys” rule. Whenever he faced confusion or a difficult decision, he would ask himself “why?”—five times in a row. By the fifth answer, the real truth always came out. Let’s say you suddenly decide you need a luxury coat. First “Why?” — Why do I want this coat? Answer: Because I want to impress people. Second “Why?” — Why do I want to impress people? Answer: Because I want them to notice me. Third “Why?” — Why do I need people to notice me? Answer: Because I feel insecure. Fourth “Why?” — Why do I feel insecure? Answer: Because I haven’t achieved what I want yet — I feel stuck. Fifth “Why?” — Why haven’t I achieved what I want? Answer: Because I’m doing something I don’t actually love. So tell me — what does that coat really have to do with it? Sakichi Toyoda said that the answer to the fifth why usually reveals the root cause — something deeper and often hidden from the surface. That fifth “because” shines a light on what’s buried inside. It exposes the real you — the one behind all the excuses and distractions. It’s a powerful tool to discover what you truly want, what scares you to admit, and what, in the end, doesn’t really matter at all.

Just now-two crows came to my leafless fig tree and ate a dried fig--then this comes through my feed on FB. --had to share!

From Shakespeare's As You Like It: "I do desire we may be better strangers."

"If while washing dishes, we think only of the cup of tea that awaits us, thus hurrying to get the dishes out of the way as if they were a nuisance, then we are not “washing the dishes to wash the dishes.” What’s more, we are not alive during the time we are washing the dishes. In fact we are completely incapable of realizing the miracle of life while standing at the sink. If we can’t wash the dishes, the chances are we won’t be able to drink our tea either. While drinking the cup of tea, we will only be thinking of other things, barely aware of the cup in our hands. Thus we are sucked away into the future—and we are incapable of actually living one minute of life." ~Thich Nhat Hanh (Book: The Miracle of Mindfulness (Art: Painting by Anna Ancher)

"Take a moment to notice which nostril feels more open right now. One side will usually be clearer while the other might feel a bit blocked. When your left nostril is more open, your body is in a calmer, rest and digest state. When your right nostril is more open, you’re in a more alert or active state. This naturally shifts every couple of hours in what’s called the nasal cycle, where we tend to breathe about 75% through one nostril and 25% through the other. This cycle is controlled by your autonomic nervous system, helping your body stay balanced without you even realizing it." -Anthony Goldsmith #bodywisdom

"Beneath the root and rib of the world, where worms write scripture in loam and stones remember the sea, there is a hum older than language. I have heard it in the bone-dark, a low hymn rising through my body, the chthonic breath woven through the underbody of the world, moving through soil, shadow and the soft rot of becoming. The gods there, wear mud for skin, their breath the rhythm of life and death, their hands braiding beginnings and endings together beneath us; turning dark to bloom, silence to breath, rot to womb. I’m drawn to that darkness, to the tender mouths of fungi translating the dead into nourishment, to the roots whispering in green tongues through the damp corridors of decay. This underworld is not hell, but humus: the warm, breathing dark from which all things rise. And somewhere in that dark, I feel myself, made of its chthonic under-song, a creature stitched from seed and compost, learning again and again how to belong to the dark that midwives the seed." #potry #art ——— • WORDS Brigit Anna McNeill • • ART Ruth Evans •

Credit: Gardening Hacks (Facebook)

Vegetable Garden Blog

Try Simmering 10 Sprigs of Rosemary and Enjoy the Amazing Benefits That Follow

In a world filled with synthetic scents and store-bought wellness products, the humble herb rosemary offers an astonishing array of natural health ...