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Post by the Scribe on Feb 5, 2020 19:04:08 GMT -5
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Post by the Scribe on Feb 5, 2020 3:05:35 GMT -5
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Post by the Scribe on Feb 4, 2020 16:02:08 GMT -5
Hair dyes are not well regulated in this country and can also cause cancer and neurological diseases. They are full of a witches brew of chemicals and can cross that blood brain barrier easily especially when left sitting on the scalp to sink in.
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Post by the Scribe on Feb 4, 2020 2:03:09 GMT -5
Dr Geller, who at the time was head of CDC told us to use 24 hour urine test for arsenic. Make sure patient has not eaten seafood for at least 3 days prior. We now tell patients to test hair & nails for metals. Patients are finding not only Arsenic & Manganese but also Lead, Cadmium, Strontium, etc. When my son's cancer came back the third time, Doctors told him to call Hospice. He began high dose IV Vitamin C. It worked. He lived an additional 15 months hunting, fishing, living.. Died of MRSA & fungi in lungs that he developed on long hunting trip. The specific chelation therapy that I was referring to that might help Ms Ronstadt is PAS Chelation. Dr Efaw had to get a license to order it from Russia & give it to our patient. Results were amazing. One lady who had tremors stopped the tremors just by getting a water filter. Just like arsenic is in water & CHICKEN.. I believe there may be too much manganese in CHICKEN as well. I became a vegetarian to stop my skin cancers. Milk fat is food of choice for Squamous Cell Skin Cancers. So Ms R may benefit from Water filter, PAS chelation, eating less meat & dairy. This is what Poultry Litter adds to our water. www.researchgate.net/publication/12686987_Trace_elements_in_soils_fertilized_with_poultry_litter
Great information Janet. You might want to add a pure colloidal silver like MESOSILVER to your war chest. It kills MRSA and Fungal infections.
www.curezone.org/forums/am.asp?i=2339197
www.purestcolloids.com/
Just curious if you had more information on Milk fat? I have not heard about that. Along those lines also check out monolaurin.
www.medicalnewstoday.com/articles/319590.php#takeaway
www.naturalcurelabs.com/
I think I need to re-think eating chicken. How about organic chicken and eggs?
No wonder so many people are getting sick. We are being poisoned at all levels.
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Post by the Scribe on Feb 2, 2020 19:05:58 GMT -5
My husband is a physician. I have done extensive research. We helped a Patient of ours who had many of same symptoms as Ms Ronstadt. Our patient went from being in a wheelchair to walking with no help. He used to fall backwards but doesn't do that any longer. His voice is still affected but his life is much better than before. He had Manganese in his drinking water and very high levels in his body. Manganese settles in the basal ganglia causing Parkinson's symptoms. We asked a fellow physician to consider a special chelation that comes from Russia to remove the manganese. It worked. He began playing his guitar again. If you would like more info, please contact me at 229-425-0310. My email is jmcmahan54.jm@gmail.com We would love to help as we are huge fans. I discovered the reason my 2 dogs, my son Ben & I developed cancer at the same time as 4 children who live near us. www.georgiahealthnews.com/2014/09/water-lady-front-lines-campaign-arsenic-georgia-wells/ My gosh Janet, that is an incredible story. I am so sorry for your loss but you turned tragedy into a movement that will save many lives. I had read a while back that people have been turning away from red meat and eating more poultry. The problem with chicken is it is suspected of causing bladder cancer. The arsenic connection makes sense as it is sometimes in their feed and collects in their system.
How do you detect arsenic and other heavy metals in a person's system? Hair analysis (most accurate) or blood tests? Do you treat with a vitamin C "drip" chelation to remove metals? A former doctor of mine (former because the state kept changing insurance companies, some covered his services and some didn't) has written extensively on this subject. It is certainly something to consider in some cases but he also said there are dangers. You might gain from reading his work and he yours:
www.drlwilson.com/Articles/chelation.htm www.naturalhealthprotocol.com/
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Post by the Scribe on Feb 1, 2020 17:43:56 GMT -5
From eponymous to her last effort all of her albums sound crisp, fresh and current. Not dated at all except compared against today's popular genres but the music sounds great.
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Post by the Scribe on Feb 1, 2020 1:16:14 GMT -5
Linda has said (I believe in a written interview) of all those old American Standards that Lush Life was her favorite song. Mine too although I love the way she soars on Skylark.
And then there is Round Midnight which Nelson arranged shortly before his death. Sounds foreboding and moody but I love it.
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Post by the Scribe on Jan 31, 2020 6:38:31 GMT -5
This might be one of the best insights into the family from 1946 to 1966.An Excerpt From Simple Dreams From her new memoir, Linda Ronstadt's look at her musical life in Tucson and what took her to L.A. By Linda Ronstadt www.simonandschuster.com/books/Simple-Dreams/Linda-Ronstadt/9781451668735
From SIMPLE DREAMS by Linda Ronstadt.
I don't remember when there wasn't music going on in our house: my father whistling while he was figuring out how to fix something; my brother Pete practicing the "Ave Maria" for his performance
with the Tucson Arizona Boys Chorus; my sister, Suzy, sobbing a Hank Williams song with her hands in the dishwater; my little brother, Mike, struggling to play the huge double bass.
Sundays, my father would sit at the piano and play most anything in the key of C. He sang love songs in Spanish for my mother, and then a few Sinatra songs while he remembered single life before children, and responsibilities, and the awful war. My sister sang the role of Little Buttercup in a school production of H.M.S. Pinafore when she was in the eighth grade, so she and my mother would play from the big Gilbert and Sullivan book that sat on the piano. If they were in a frisky mood, they would sing "Strike Up the Band" or "The Oceana Roll." We would all harmonize with our mother on "Ragtime Cowboy Joe." When we got tired of listening to our own house, we would tramp across the few hundred yards to the house of our Ronstadt grandparents, where we got a pretty regular diet of classical music. They had what they called a Victrola and would listen to their favorite opera excerpts played on 78 rpm recordings. La Traviata, La Bohème, and Madama Butterfly were the great favorites. On Saturdays they would tune in to the Metropolitan Opera radio broadcast or sit at the piano trying to unravel a simple Beethoven, Brahms, or Liszt composition from a page of sheet music.
Evenings, if the weather wasn't too hot or freezing, or the mosquitoes weren't threatening to carry us away to the Land of Oz, we would haul our guitars outside and sing until it was time to go in, which was when we had run out of songs. There was no TV, the radio couldn't wander around with you because it was tethered to the wall, and we didn't get enough allowance to buy concert tickets. In any case, there weren't many big acts playing in Tucson, so if we wanted music, we had to make our own. The music I heard in those two houses before I was ten provided me with material to explore for my entire career.
Our parents sang to us from the time we were babies, and one haunting lullaby was often included in our nighttime ritual. It was a traditional song from northern Mexico that my father had learned from his mother, and it went like this:
Arriba en el cielo Up in the sky
Se vive un coyote There lives a coyote
Con ojos de plata With silver eyes
Y los pies de azogue And feet of mercury
Mátalo, Kill it,
Mátalo por ladrón Kill it for a thief
Lulo, que lulo Lulo, Lulo
Que San Camaleón Saint Camaleón
Debajo del suelo From underneath the floor
Que salió un ratón There goes a rat
Mátalo, Kill it,
Mátalo, con un jalón Kill it with a stake
Our mother had brought her own traditions from Michigan, and her songs were even grimmer. She sang us a song about Johnny Rebeck, whose wife accidentally ground him up in a sausage machine of his own invention. After that, she sang:
Last night my darling baby died
She died committing suicide
Some say she died to spite us
Of spinal meningitis
She was a nasty baby anyway
We would howl with laughter and chorus back at her in threepart harmony:
Oh, don't go in the cage tonight, Mother darling
For the lions are ferocious and may bite
And when they get their angry fits
They will tear you all to bits
So don't go in the lion's cage tonight
My favorite place for music was a pachanga. This was a Mexican rancher's most cherished form of entertainment. It was a picnic that took up an entire afternoon and evening and could last until midnight. Preparations would begin in the late afternoon, to avoid the worst heat of the day. A good site was chosen under a grove of cottonwood trees so there would be cool shade and a nice breeze. Someone would build a mesquite fire and grill steaks or pork ribs or whatever the local ranches provided. There would be huge, paper-thin Sonoran wheat tortillas being made by hand and baked on a comal, which is a smooth, flat piece of iron laid over the fire. Fragrant coffee beans were roasted over the fire too, then brewed and served with refried beans, white ranch cheese, homemade tamales, roasted corn, nopalitos, calabasitas, and a variety of chiles. Around sunset, someone would uncork a bottle of tequila or the local bacanora, and people would start tuning up the guitars.
The stars blinked on, and the songs sailed into the night. Mostly in Spanish, they were yearning, beautiful songs of love and desperation and despair. My father would often sing the lead, and then aunts, uncles, cousins, and friends joined in with whatever words they knew or whatever harmonies they could invent. The music never felt like a performance, it simply ebbed and flowed with the rest of the conversation. We children weren't sent off to bed but would crawl into someone's lap and fall asleep to the comforting sound of family voices singing and murmuring in two languages.
My brother Peter's beautiful boy soprano voice landed him a soloist's position in the Tucson Arizona Boys Chorus, which at the time had a national reputation. They would travel by private bus giving concerts throughout the country and return covered in aw-shucks glory. On the nights of their homecoming concerts, my father, mother, sister, and I would troop down to the Temple of Music and Art—a beautiful, small theater in downtown Tucson, modeled after the Pasadena Playhouse—and watch them sing. Our whole family would hold its collective breath while my brother emitted the eerie and mysterious high sounds that only prepubescent boy sopranos can make, praying that he wouldn't be sharp or flat. He was seldom either, but when he strayed, he was more likely to be sharp. I have the identical tendency. We all knew from hearing him practice at home which passages were likely to derail him, and we white-knuckled through them as we listened. The boys were dressed in cowboy hats, silk neckerchiefs, satin-fringed and pearl-snapped cowboy shirts in desert sunset colors (the colors being allotted to sopranos and altos accordingly), bell-bottomed "frontier pants" with rodeo belt buckles, and cowboy boots. The stage was dressed with an artificial campfire, a starry-night backdrop, some saguaro cactus silhouettes, and a beautiful full moon projected from the back of the hall. Now, this was some serious production value, in my six year-old opinion! It had a mesmerizing effect on the audience, and everyone listened in hushed and rapturous delight.
Whenever I imagined myself singing for the public, it would be like that: I would stand on a proscenium stage with a real curtain that opened and closed, and sing those beautiful, high, pure notes and give the audience chills. After all, I was a soprano too and could sing just as high as my brother. I wanted to sing like him. I can remember sitting at the piano. My sister was playing and my brother was singing something and I said, "I want to try that." My sister turned to my brother and said, "Think we got a soprano here." I was about four. I remember thinking, "I'm a singer, that's what I do." It was like I had become validated somehow, my existence affirmed. I was so pleased to know that that was what I was in life: I was a soprano. The idea of being famous or a star would not have been in my consciousness. I just wanted to sing and be able to make the sounds I had heard that had thrilled me so. And then one day, when I was fourteen, my sister and brother were singing a folk song called "The Columbus Stockade Blues." I came walking around the corner and threw in the high harmony. I did it in my chest voice and I surprised myself. Before that, I had tried to sing only in a high falsetto tone, and it didn't have any power. Because my brother's voice was high and his performances were so central to our early family life, his sound was the first I ever tried to copy. All artists copy. We try as hard as we can to sound just like someone we admire; someone who evokes a strong feeling that we would like to emulate. The best part is, no matter how hard we try to copy, we wind up sounding like a version of ourselves.
The elements of voice and style are braided together like twine, consisting of these attempts to copy other artists, or an instrument, or even the sound of a bird or passing train. Added to these characteristics are emotions and thoughts that register as various vocal quirks, like hiccups, sighs, growls, warbles—a practically limitless assortment of choices. Most of these choices are made at the speed of sound on a subconscious level, or one would be completely overwhelmed by the task. When I bend my ear to a singer's performance, I often try to track who it was that influenced him or her. For instance, I can hear Nat "King" Cole in early Ray Charles, Lefty Frizzell in early Merle Haggard, Rosa Ponselle in Maria Callas, Fats Domino in Randy Newman. In a recent duet with Tony Bennett, the late Amy Winehouse was channeling Dinah Washington and Billie Holiday to great effect, yet she still sounded like Amy Winehouse.
The regional accent one speaks also affects rhythms and phrasing, so someone who is "copying" has to import the accent too. For me, it helps to know the vocal bloodlines in order to decode the phrasing of a song. I once sang a Tom Petty song called "The Waiting," which has an intricate rhythm scheme for fitting lyrics into the music. Petty, an artist I admire, came along later than many classic rockers and so was able to absorb their elements into his writing and singing style. As I studied his vocal performance, it broke down something like this: Tom with his Florida accent was copying Mick Jagger with his British accent, who was copying Robert Johnson from the Mississippi Delta. And in another part of the same song, Tom was copying Roger McGuinn, who was copying Bob Dylan, who copied Woody Guthrie, who was in turn copying someone lost to our generation. These influences can show up in a whole line or just a word, or even the way that part of a word is attacked. As voices age, the vocal twine can become unraveled, and one hears the seams and joins of the laminated sound that has come to be recognized as that artist's style. It can collapse into a heap of ticks and quirks.
As kids growing up in the fifties, we tried to copy anything that inspired us from the radio, both in Spanish and English. We would harmonize on Hank Williams songs, Everly Brothers songs, or soap jingles. My father brought home a lot of records from Mexico. Of these, our favorites were the mysterious huapangos, sung by the Trio Calaveras and Trio Tariacuri. These songs from the mountains deep in Mexico had strange indigenous rhythms and vocal lines that broke into a thrilling falsetto. We also loved the urban smoothness of the jazz-based Trio Los Panchos.
I spent hours listening to the great ranchera singer Lola Beltrán. She influenced my singing style more than anyone. "Lola the Great" stood for Mexico as Edith Piaf stood for France. She had an enormous, richly colored voice that was loaded with drama, intrigue, and bitter sorrow. Although she was a belter who sang Mexican country music, her voice had the same dramatic and emotional elements as the opera singer Maria Callas.
I listened to Callas with my grandmother. I read later in a Callas biography that she loved to sing along to the Mexican radio stations during trips she made to appear at the Dallas Opera. Lola was the most played female singer on Mexican radio. I am sure Callas loved her too.
When commercial folk music began to play on the radio in my early teens, we really paid attention. Here was something that sounded much like the Mexican traditional music on which we had been raised. Like the rancheras and huapangos, it was drawn from an earlier, agrarian life, was accompanied by acoustic instruments, and had rich, natural-sounding harmonies.
Peter, Suzy, and I hovered over recordings by popular folk trio Peter, Paul and Mary, and Canadian duo Ian and Sylvia. We would learn their songs and harmonies and then rearrange them for our own configuration of voices. I would cover the sopranoalto registers, Suzy the alto-tenor, and Pete would sing tenorbaritone. Years later, my younger brother, Mike, would sing whatever extra part was needed, from bass to high tenor. But he was still little then, so we formed a trio and called ourselves the New Union Ramblers. At the time, Suzy worked at the Union Bank, and I had an Arhoolie recording of the Hackberry Ramblers and thought ramblers sounded folky. We tried our best not to sound too treacly but were not always successful. We were having a lot of fun and sometimes played at the local folk clubs.
Bobby Kimmel, soon to become my Stone Poneys bandmate, played bass. He was short, with the dark, bearded look of the Beat Generation, and prone to quoting lengthy selections from his philosophy heroes, who ranged from the Indian writer Jiddu Krishnamurti to Lord Buckley, the hipster comic of the 1940s and 1950s. Richard Saltus, a preppy, unusually tall and skinny schoolmate of mine, leaned over us playing the banjo and cracking us up with his quirky humor. He was unusually bright, years later becoming a science writer for the Boston Globe. He introduced me to Bill Monroe, the Stanley Brothers, Flatt and Scruggs, and the Blue Sky Boys. Again, their mountain harmonies reminded me of the Mexican trios and the huapangos I loved. They dealt with the same issues: the grueling work of living off the land and the treachery of misplaced affection.
My brother Pete went to work for the Tucson Police Department while he took his master's degree in government at the University of Arizona. He eventually became the chief of police, but at the time, the department didn't think too highly of my brother hanging around beatnik folk music clubs. My sister had three children and less time for music, so I began to play small venues on my own, sometimes with my cousin Bill Ronstadt accompanying me on the guitar. Bill, the most accomplished guitar player in our family, was a serious student of Brazilian music, but when he played with me, we did simpler American folk songs. The professional demands were not great. I could play a set of four or five songs, and Bill would fill in with Brazilian pieces. We occasionally got paid but felt lucky to get the experience of being in front of an audience.
Sometimes Bobby Kimmel would play a set of blues tunes that he had worked out, and I would duet with him on a folkier piece like "Handsome Molly." We played at a coffeehouse called Ash Alley and another called the First Step. They were tiny, seventy- to one-hundred-seat places owned by local folk music entrepreneur David Graham. His younger brother, Alan Fudge, sang and played guitar and was studying acting at the university. He was smart, funny, kind, and political. Alan and I spent most of our spare time at his brother's establishment and became sweethearts. His mother, Margaret, was the first feminist I ever encountered and would scold her sons robustly if they were careless with their girlfriends. She was divorced, and when her son David brought in older bluesmen like Sonny Terry and Brownie McGhee to play at his club, she would cook for them, let them stay at her house, and do what she could to cushion them from the bruising elements of Jim Crow still hovering in the Southwest. This was before the Civil Rights Act of 1964, and there were signs everywhere bragging about a proprietor's right to refuse service.
Conversations at their house were often about the hoped-for civil rights legislation, the Vietnam War (which few Americans were aware of at the time), and the unconscionable shenanigans of the House Un-American Activities Committee. At the public high school that I attended, my civics teacher, a Ukrainian, showed us films on the HUAC and warned us about the Communist threat that lurked behind every cactus. I also had an English teacher from the Deep South who spent one entire class period making an impassioned defense of the KKK, and awarded an A to anyone who read Gone With the Wind. At Margaret's house, I got another side of the story. She was not like any of the Tucson mothers I had ever met. A free spirit who insisted on personal responsibility, she was very kind to me.
Alan taught me songs he had learned from Pete Seeger and the Weavers about the labor movement. He was performing the lead in a university production of Shakespeare's Othello, and we explored that play together. One night he came home with two records: Frank Sinatra Sings for Only the Lonely and the first Bob Dylan album. I thought the Nelson Riddle arrangements on the Sinatra record were stunning. It was the first time I had ever heard Bob Dylan sing, and I liked that too. We spent many evenings dissecting those records. Some of my music friends thought those artists were diametrically opposed, one from "the establishment" and the other from the foment of cultural revolution. I thought they were both great storytellers.
In those days, Top Forty radio was still regional and had a wide-open playlist. When I drove to school, I could turn on the radio and hear George Jones, Dave Brubeck, the Beach Boys, and the Singing Nun on the same station. I much prefer that style of radio to the corporate model we have today, with tightly formatted playlists and the total absence of regional input.
Alan's brother continued to try to build a following for folk music at the First Step. He brought in ace bluegrass band the Kentucky Colonels with Clarence White and his brother Roland. I would watch Clarence night after night, his face an expressionless mask while he flat-picked notes at speeds not equaled until the invention of the particle accelerator. David also brought Kathy and Carol, a duo who sang Elizabethan ballads and Carter Family songs. They were good guitar players, especially Carol, and their complex, shimmering harmonies were completely original. The two were both natural beauties, innocent and full of wonder. Still teenagers, they had an Elektra Records recording contract, were playing folk festivals around the country, and getting to hear and jam with major folk artists that I had read about in Sing Out! magazine.
I remember seeing blues singer Barbara Dane and guitarist Dick Rosmini at David's club. Dick complimented my voice and encouraged me to go to Los Angeles and see what was happening at the Ash Grove, an L.A. coffeehouse that played traditional music to enthusiastic crowds. Tucson being a relatively small city, the folk music venues always struggled, and the shows were poorly attended. I began to wish I could go someplace that had a richer, more diverse, and more appreciated pool of music.
Alan left Tucson to play Shakespeare at the Old Globe Theatre in San Diego. Bobby had gone east to Massachusetts to spend time with friends in the Jim Kweskin Jug Band. He wrote to me about this girl singer they had added named Maria D'Amato, who was gorgeous and could really sing. She married his friend Geoff Muldaur, the other star singer in the Kweskin band, and became Maria Muldaur. Geoff was a great admirer of blues singer Sleepy John Estes and cobbled together his own compelling and original style from that influence. Geoff in turn had a strong influence on the singing style of John Sebastian, later a founding member of the Lovin' Spoonful. After spending some time on Martha's Vineyard with the Kweskin band, Kimmel went to the West Coast and moved in with Malcolm Terence, a friend from Tucson who was a reporter for the Los Angeles Times.
My mother and I drove to the coast the summer of 1964 to visit my aunt Luisa, then resident hostess at the Southwest Museum of the American Indian in Los Angeles. Knowing I wanted to sing, Aunt Luisa had sent me a recording, Duets with the Spanish Guitar, which featured guitarist Laurindo Almeida dueting alternately with flautist Martin Ruderman and soprano Salli Terri. It became one of my most cherished recordings. She and Terri were close friends, and when I told her how much I loved the record, she invited me to meet her. My aunt had helped her research material for her recordings, plus she coached her pronunciation when she sang in Spanish. Aunt Luisa also gave Terri many of the costumes she had worn during the course of her own career. They now belong to the Southwest Museum. She drove us to Olvera Street, the original center of Los Angeles, and showed us the theater where she herself had sung while wearing those beautiful costumes, sometime during the 1920s.
Alan drove up from San Diego, and he and I spent the evening with Bobby at Malcolm's little place at the beach. Bobby was playing in small clubs and said that if I wanted to come over, he could find us work. There weren't many opportunities left for me in Tucson. David hadn't been able to succeed with the First Step and had to close it. I decided to think about it. I was eighteen and enrolled for the spring semester at the University of Arizona in Tucson.
I made plans to drive to the coast and visit Bobby again during spring break of 1965. I traveled with some friends who were going to get summer jobs in canneries in California and return to school in the fall. We all slept on the sofa or the floor or anywhere we could fit. Bobby was eager to introduce me to a guitar player he had met named Kenny Edwards. He worked at McCabe's Guitar Shop, which was in the front lobby of the Ash Grove, a club on Melrose, then the mecca for West Coast folkies. We jammed all of us into somebody's car and drove to West Hollywood. We found Kenny seated with a guitar, playing a flashy finger-picked version of "Roll Out the Barrel." It was a nightly ritual that he engaged in with another guitarist who worked there. They would try to outplay each other and also show off the guitars they had for sale. Kenny was tall, with the athletic body of a surfer. He was skeptical and intellectual, dark featured and handsome. He dressed like a disheveled English schoolboy, and at nineteen, his guitar playing was impressive. He suggested we move from the lobby into the performing space of the Ash Grove to hear a new band call the Rising Sons. Kenny loved their two guitar players, Taj Mahal and Ry Cooder. Though just young kids, they played like demons, with confidence and skill far beyond their years. They were dead serious about the music.
Driving back to the beach, Malcolm and Bobby started talking about a new L.A. band called the Byrds, who were playing folk rock, a new hybrid taking hold on the West Coast. Eventually, we went to see them at the Trip, a new club on the Sunset Strip that had a light show and was supposed to give you a psychedelic experience with your music. As soon as I heard their creamy harmonies, I was mesmerized. I recognized Chris Hillman from a bluegrass band I'd heard, the Scottsville Squirrel Barkers. In that band, he had played mandolin. Now he was playing bass guitar in an electric band with Beatle haircuts. It was clear to me that music was happening on a whole different level in Los Angeles. I began making plans to move to L.A. at the end of the spring semester.
I turned in my final exam to my English professor, the noted Arizona poet Richard Shelton. He was also an autoharp player and sometimes joined us at family jam sessions. The final was an essay on something from Yeats that he had written on the blackboard. He said he hoped he would see me in the fall. I told him I was moving to Los Angeles to sing in a folk-rock band. Justifiably bemused, he replied, "Well, Miss Ronstadt, I wish you luck."
I still hadn't told my parents. I knew they would insist that I was too young, hadn't finished school, and had no real way to support myself. I also knew they were right, but I had to go where the music was. I waited until the night I left to tell them. A musician friend had offered me a ride to the coast. He had gigs north of L.A. and offered to drop me off on the way. My parents were upset and tried to talk me out of it. When it became apparent that they couldn't change my mind, my father went into the other room and returned with the Martin acoustic guitar that his father had bought brand new in 1898. When my father began singing as a young man, my grandfather had given him the instrument and said, "Ahora que tienes guitarra, nunca tendrás hambre" ("Now that you own a guitar, you will never be hungry"). My father handed me the guitar with the same words. Then he took out his wallet and gave me thirty dollars. I made it last a month.
The only thing I remember about that long ride through the desert night was searing remorse for having defied my parents. I was still very attached, and they had always been so kind to me. I felt terrible for hurting them and causing them worry.
There was nothing to be done. My new life was beginning to take shape.
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Post by the Scribe on Jan 31, 2020 3:52:35 GMT -5
Steve interviewing one of my personal heroes Daniel Buckley. www.danielbuckleyarts.com/ www.danielbuckleyproductions.com/ Ronstadt Family Associated With Tucson As Early As Late 19th CenturyBy Steve Goldstein Published: Thursday, July 6, 2017 - 3:33pm Updated: Thursday, July 6, 2017 - 3:34pm
Listen Now kjzz.org/content/501017/ronstadt-family-associated-tucson-early-late-19th-century 0:08 / 5:34 Audio icon Download mp3 (7.67 MB) kjzz.org/file/512126/download?token=9CKQyWbQ
Unless you’re from southern Arizona, when you hear the last name "Ronstadt," you’ll automatically think of legendary singer Linda Ronstadt first.
And though her artistic impact has been felt internationally, the city of Tucson was associated with the Ronstadt family long before that — as early as the late 19th century with the Fred Ronstadt Hardware company. The story appears in this month’s Arizona Highways magazine.
With me to talk more about the Ronstadts is Tucson writer and documentarian Daniel Buckley.
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Post by the Scribe on Jan 31, 2020 1:39:31 GMT -5
Linda Ronstadt, age 11 ... Tucson, AZ.
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Post by the Scribe on Jan 31, 2020 1:25:06 GMT -5
The Psychology of Beating an Incurable Illness | Bob Cafaro | TEDxCharlottesville
After a shocking diagnosis that would begin stripping Bob Cafaro of his ability to perform, sheer willpower and changes to his daily life allow him to beat all odds.
Bob Cafaro played chamber music full time and served on the faculty of the University of Virginia until 1983 when he became a regular with the Metropolitan Opera Orchestra. He later joined the Baltimore Symphony and in 1985 became a member of the Philadelphia Orchestra. In 1999, Bob was stricken with a virulent case of Multiple Sclerosis, which left him nearly blind and without the use of his hands. Defying what doctors had told him, he made a complete and remarkable recovery and has since written a book, been a member of The Rachmaninov Trio since 2003, and has grown passionate in his involvement with volunteer and outreach activities.
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Healing illness with the subconscious mind | Danna Pycher | TEDxPineCrestSchool
Surviving an accident was the easy part; coping with the chronic pain would prove more difficult. Danna Pycher shares her story about trauma and the transformative insight she gained that allowed her to harness the healing power of the subconscious mind.
Danna Pycher is a certified Neuro-Linguistic Hypnotherapist specializing in chronic illness and trauma. She is also a motivational speaker and coach. Her first book 3rd Generation and Beyond is a beautiful, powerful book of life philosophies according to a third generation Holocaust descendant. " A must read for the young and old who are trying to find an identity or just need a reminder on how to appreciate the little things in life." She enjoyed many years in broadcasting as an on-camera host, reporter, and producer working in the fields of health reporting and corporate productions. Her curiosity about the nature of human beings is what guides her professional pursuits.
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at ted.com/tedx
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Post by the Scribe on Jan 31, 2020 0:32:37 GMT -5
James Schwartzwww.rmhypnotherapy.com/ Board Certified Hypnotherapist, James Schwartz, is the author of the book The Mind-Body Fertility Connection, which explores the relationship between infertility and the subconscious mind. James is certified in Complementary Medical Hypnosis, NeuroLinguistic Programming and HypnoBirthing®. Here are some of the many areas where hypnosis might be able to assist you in making positive life changes:
Reducing stress/anxiety Self-esteem and confidence Infertility Relationship strengthening Insomnia IBS/Crohn's Disease Releasing phobias and fears Health issues Weight management Grief work Cellular release Sports performance Stroke Recovery Personal/spiritual growth Releasing Anger Study enhancement Smoking cessation Migraine headaches Pain management HypnoBirthing® Type II diabetes Nail biting Obsessive shopping Sexual dysfunction Past life regressions Healthy Heart Program Motivation Enhancing sales performance and much more...Sacred Wisdom w/ James Schwartz Lighting The Void Radio 5.31K subscribers www.lightingthevoid.com
Why are we here? What happens when we die? Is there such a thing as karma? Does the afterlife exist? Is there a secret to healing the physical body? Those were the mysteries James Schwartz set out to answer in One Voice, Sacred Wisdom, A groundbreaking exploration of spiritual questions we have all pondered. Using a process called alchemical hypnosis, James was able to gather information from clients who were in direct communication with their guides and angels. From those sessions about life, death, karma, parallel planes, healing, and why we exist come new insights that may challenge many of the spiritual beliefs that seekers have come to accept.
In One Voice Sacred Wisdom, there are actual transcripts of clients experiencing the phenomena of visiting different planes of existence during the clients hypnosis sessions. The guides explain how parallel planes can actually exist and how time operates to acommodate them.
James Schwartz, is a board certified hypnotherapist, NLP paracticioner, and founder of the Rocky Mountain Hypnotherapy Center in Lakewood, Colorado. He is a graduate of Cal State Dominguez Hills and Sand Diego State University. He is also a gifted teacher, speaker, writer and musician. He also wrote The Mind-Body Fertility Connection. A popular book in the fields of acupuncture, psychotherapy,hypnotherapy, and May massage. For more information visit www.rmhypnotherapy.comand Entertainment
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Post by the Scribe on Jan 29, 2020 15:59:30 GMT -5
While the ranch may be gone you can catch some glimpses of the home and property where Linda Ronstadt was raised. It will give you some perspective of life here in the Sonora Desert. Lilies of the Field Official Trailer #1 and a Tribute - Sidney Poitier Movie (1963) HD
Lilies of the Field Trailer - Directed by Ralph Nelson and starring Sidney Poitier, Stanley Adams, Dan Frazer, Ralph Nelson, Pamela Branch. An unemployed construction worker (Homer Smith) heading out west stops at a remote farm in the desert to get water when his car overheats. The farm is being worked by a group of East European Catholic nuns, headed by the strict mother superior (Mother Maria), who believes that Homer has been sent by God to build a much needed church in the desert...
Considered to be one of fifteen films that changed American cinema. Filmed on-location in Tucson. The church doors were borrowed from the Chapel in Sasabe, Arizona. The film was shot on Linda Ronstadt's father's small ranch. There was no art director, but the Property Master, Robert Eaton, actually supervised the construction of the chapel, adjacent to existing ranch buildings. The interiors of the Nun's abode were filmed in these buildings. Eaton rented a prop organ, furniture, and other set dressing and hand props from the Hollywood Cinema Mercantile Property House, located on Santa Monica Blvd near Paramount Studios. Eaton drove a rental truck carrying all the props to Arizona for the shoot, returning all the props after the film's completion. Watching the main Nun's interior abode, the prop organ stands against one wall, with a painting hanging on an adjacent wall. There is absolutely no continuity in where the prop table and chairs, related organ and hanging picture belong. The props are choreographed to the actors' motivation or movement in each scene. In the summer of 1979, Ralph Nelson was the principal motivation in directing a NBC TV MOW Christmas Lilies of the Field (1979) featuring Billy Dee Williams (Homer Smith) and Maria Schell (Mother Maria). The film was planned as a pilot for a mid-season 1979-1980 series replacement which was to be based at the Provo, Utah, Osmond Family Television Studio Production facility. The Chapel and Nun's quarters were built on State owned land 75 miles from the studio. The production planned to use this location for the series, filming additional locations in the Salt Lake area. Ralph Nelson would produce and direct the TV series "Lillies of the Field". The December 29th, 1979, MOW's slim viewer ratings resulted in cancellation of any further series development.
Since the story's action was tied to the chapel's construction, a crew had to work through the night to keep up with its "progress" in the film. The actual building was real and could have stood for decades, but because it was built on rented property, it had to be demolished immediately after the filming was completed.
Sidney Poitier gave up his usual salary and agreed to do the film for a smaller amount and a percentage of the profits. He won the Best Actor Oscar for his efforts. The only Best Picture Oscar nominee that year to be also nominated for Best Cinematography (black and white).
www.imdb.com/title/tt0057251/trivia ronstadt.proboards.com/thread/4395/guest-texas
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Post by the Scribe on Jan 29, 2020 0:39:42 GMT -5
I posted that photo before (smaller version) but I can't recall for sure if there was a name to the photo. I do recall that photo was used in an adult magazine like Penthouse for an interview Linda did. The guy was cut out (except for his huge hand lol) on Linda. At first I thought it might be Thing from the Addams Family until I saw the photo later with the guy attached.
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Post by the Scribe on Jan 28, 2020 6:32:17 GMT -5
Charles B. Simone, M.MS., M.D.www.drsimone.com/ www.youtube.com/user/DrCharlesSimoneWelcome! Charles B. Simone, M.MS., M.D. is an Internist (Cleveland Clinic 1975-77), Medical Oncologist (National Cancer Institute 1977-82), Tumor Immunologist (NCI 1977-82), and Radiation Oncologist (University of Pennsylvania 1982-85), and is the Founder of the Simone Protective Cancer Institute (1980). He wrote Cancer and Nutrition (1981, third revision 2005), The Truth About Breast Health - Breast Cancer (2002), The Truth About Prostate Health - Prostate Cancer (2005), How To Save Yourself From A Terrorist Attack (2001), Nutritional Hydration, Medical Strategy for Military and Athlete Warriors (2008), helped organize the Office of Alternative Medicine, NIH (1992), helped write the Dietary Supplement, Health and Education Act of 1994, helped win landmark cases against the FDA by showing they violated the First and Fifth Amendment rights of Americans, helped introduce the Health Freedom Protection Act of 2005 (H.R. 2117), was bestowed the first Bulwark of Liberty Award in 2001 by the American Preventive Association and the James Lind Scientific Achievement Award in 2004, and continues bench research with the NCI showing that proteomic patterns can diagnose specific cancers at earlier stages than we are currently able to do (Lancet Feb 2002, JNCI Nov 2002), as well as clinical research that shows in 61 human studies Antioxidants and Other Nutrients Do Not Interfere with Chemotherapy or Radiation, and Can Increase Kill, Decrease Side Effects, and Increase Survival (Altern Ther Health Med. 2007. 13(1):22-28; and 13(2):40-46; JNCI Nov 2008).
In 1980 Dr Simone founded the Simone KidStart Prevention Program, the first of its kind. Since 1980 he has worked with inner city churches to teach prevention, detection, and treatment. He is a consultant for heads of state of the US and other countries, celebrities, and advises many governments regarding health care. He testifies for the Senate and House on matters concerning health, cancer, disease prevention, children's health programs, FDA reform, and alternative medicine. He appears on 60 MINUTES, Prime Time Live, Fox News Channel, and others.
Dr Simone coaches some world-class elite endurance athletes, such as Khalid Khannouchi ("Greatest marathoner ever" USA Today Nov 2008), some Gold Medal Olympians, and others. He developed the patented Nutritional Hydration formula (Simone Super Energy) that was first used in desert warfare in 1990, worked closely with Special Operations Forces, and in December 2003 was presented with the Distinguished Speaker Award at the Special Operations Medical Conference in Tampa, FL. Dr Simone is currently working to improve combat effectiveness using nutritional hydration for the Air Force Special Operations Command at Hurlburt Field, FL.
Simone Protective Cancer Center 123 Franklin Corner Rd. Lawrenceville, NJ 08648 609-896-2646 www.PrincetonInstitute.com www.NutritionalHydration.com www.stopfdacensorship.org/
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Post by the Scribe on Jan 28, 2020 5:18:34 GMT -5
Nice work Graeme! It seems the further we get from those original appearances the harder it is to authenticate them. It is especially difficult when those old shows that still exist are held hostage in vaults that might never see the light of day again. The Dick Cavett Show is a great example. Most of his shows are available on youtube but NOT the one with Linda Ronstadt. I recall that show vividly as I saw it when it aired. When a clip appeared in the Sound of My Voice documentary that was proof positive it is still out there. Just hidden. Reelin' In the Years seems to have purchased a lot of those old shows. For a fee they make them available probably not without a lot of restrictions.
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Post by the Scribe on Jan 28, 2020 3:05:37 GMT -5
Don't remember her getting Lifetime Achievement Grammy for entire career in 2016. How the hell did I miss that? Knowing me I just forgot. Wouldn't that give her eleven Grammys not ten like is stated in the press? On November 9, 2011 Linda was honored with the Lifetime Achivement Award from the Latin Recording Academy. On April 23, 2016 Linda was honored in Los Angeles with a special Lifetime Achievement Grammy Award. www.ronstadt-linda.com/
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Post by the Scribe on Jan 27, 2020 17:30:15 GMT -5
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Post by the Scribe on Jan 27, 2020 17:28:01 GMT -5
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Post by the Scribe on Jan 27, 2020 3:15:12 GMT -5
The talent from Australia is amazing. The whole country reminds me of the American Southwest.Jamie O'Neal - There Is No Arizonawww.jamieoneal.com/
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Post by the Scribe on Jan 27, 2020 1:21:24 GMT -5
RONSTADT FAMILY TIESSUZY HORTON RONSTADTSuzy Ronstadt ihearvoicessinging.com/SuzyPage.html
Suzy (Horton) Ronstadt grew up in Southern California and was in dance class from the time she was 3 years old until the present. As a child, she enjoyed singing and dancing in musicals and dance recitals. In her teens she got involved with San Bernardino Civic Light Opera and Melodyland Theatre in Anaheim, California where she performed in musicals including Music Man, Bells Are Ringing, Pajama Game, Guys & Dolls and Bye Bye Birdie with George Gobel.
She met songwriter, Jimmy Webb, in their senior year at Colton High School. Jimmy wrote a musical for their senior class and Suzy did the choreography.
In Junior College, Jimmy formed a girls group with Suzy and 3 other 5’4" blondes and called the group "The Contessas". People thought the four girls were quadruplets. They recorded a 45 record with two of Jimmy’s songs and moved to Hollywood to pursue a music career.
The Contessas performed on several Band Stand type TV shows - Shebang, Shivaree, Lloyd Thaxton and Ninth Street West. They were about to sign with Motown Records when the group broke up. (See "The Contessas" Shivaree performance on You Tube here: The Contessas.) Jimmy Webb went on to receive 7 Grammies by the time he was 21.
Suzy moved to Lake Tahoe and became a Moro-Landis dancer at Harrah’s for two years and spent one year on the road with the "Tickle Your Fancy Revue" before returning to Southern California to work with Jimmy Webb again.
After singing background vocals on two Jimmy Webb albums ("And So On" and "Words & Music") with Jimmy’s sister Suzan Webb, Suzy became inspired to write her own words & music. Her original song book continues to grow.
Bobby and Suzy Ronstadt
She moved to Tucson with Bobby Ronstadt in 1994, and began singing with Bobby and other local musicians and vocal groups including Four Way Traffic, Wild Angels, Michael Dues, Tom Cloney and Annie English at the Tucson Folk Festival, Fund Raisers, Memorials, and other venues in Tucson.
In 2012, Bobby Kimmel and Kathy Harris invited Bobby and Suzy Ronstadt to form a new vocal quartet, I Hear Voices! This collaboration has resulted in their debut CD in the Spring of 2013, and a wonderful new musical chapter of her life.
At almost every rehearsal someone says "I love this band!" and they all do.
ihearvoicessinging.com/index.html
Muse for Jimmy Webb’s ‘MacArthur Park’ treasures those days Suzy Horton Ronstadt outside her home outside Tucson.(Randy Lewis / Los Angeles Times)
By RANDY LEWIS www.latimes.com/entertainment/music/la-xpm-2013-jul-20-la-et-ms-suzy-ronstadt-20130720-story.html JULY 20, 2013 12 AM
TUCSON —Sitting on a swivel bar stool near the kitchen of her home outside Tucson, Suzy Horton Ronstadt listened to the familiar words of songwriter Jimmy Webb’s pop-rock classic “MacArthur Park.” Ronstadt smiled at first, then had to blink as her blue eyes welled up at the line “After all the loves of my life, you’ll still be the one.”
But unlike countless listeners who’ve shed a tear or two over the anguished romanticism of that sentiment since actor-singer Richard Harris took it to the top of the pop charts in 1968, Ronstadt has a special attachment to the song.
She’s the reason Webb wrote it.
Ronstadt — then Suzy Horton — was the flesh-and-blood muse Webb immortalized for “the yellow cotton dress foaming like a wave on the ground around your knees” that she wore one afternoon while the couple ate lunch in L.A.'s MacArthur Park.
“I don’t know who gets worse killed by this stuff — you or me,” said her husband of nearly two decades, Bobby Ronstadt, dabbing away some tears of his own as he listened to the song one more time with his wife. “I asked her when we first got to know each other, ‘How could you not see what this guy’s got for you?’ And she’d answer, ‘Well, I liked his songs.’”
Even as a teenager Jimmy Webb had written many songs before and after his family moved from Oklahoma to Southern California in the early 1960s. But it was his romance with Horton, which bloomed when both were high school students in Colton, Calif., that resulted in many of Webb’s most important hits: not only “MacArthur Park” but also “By the Time I Get to Phoenix,” “Where’s the Playground, Suzie,” “Didn’t We” and “The Worst That Could Happen,” among them.
Richard Harris - Macarthur Park - By Jimmy Webb
Glen Campbell - By The Time I Get To Phoenix
Suzy Ronstadt — who became a relative of Linda Ronstadt after marrying Linda’s cousin, Bobby, in 1993 — looks back on the on-again, off-again love affair with Webb during the 1960s and early 1970s with sweetness and humility for all the widely cherished music that came out of it.
She’s also happy to point out, “I’ve written several answer songs with my side of the story, and hope to make an album of my own someday” — songs that have never attained the widespread exposure of Webb’s contemporary pop classics.
She also holds the distinction of being the first singer to record any of Webb’s songs — well before he first hit the jackpot with “Up, Up and Away” for the Fifth Dimension in 1967. She and three friends from the San Bernardino Valley College Choir formed a female vocal group called the Contessas, and with Webb along for the ride, took their shot at being discovered by recording a single with two of her then-boyfriend’s songs, “This Is Where I Came In,” and “Keep on Keepin’ On.”
But Webb was more smitten with her at the time than she with him. “It was unrequited love,” said the woman who once held the title of Miss Colton — and who today sings in a pop-folk vocal quartet I Hear Voices!, which brings her back to Southern California for a performance Sunday at McCabe’s in Santa Monica.
After high school, she and a girlfriend landed jobs working for Aetna Life Insurance, which had an office adjacent to MacArthur Park. Webb, then a struggling songwriter who lived nearby in Silver Lake, would meet Horton for lunch there regularly.
Both longing for lives in show business, Webb scored a low-paying job for Jobete Publishing, an offshoot of Motown Records, while Horton became a dancer and moved to Lake Tahoe to work in the casino showrooms.
There she met and married her first husband, and when word reached Webb, one result was the song “The Worst That Could Happen,” the 1969 hit for the Brooklyn Bridge that begins, “Girl, I heard you’re getting married, heard you’re getting married…. maybe it’s the best thing for you, but it’s the worst that could happen — to me.”
That marriage was short-lived, and Horton returned to Los Angeles and reconnected with Webb, who had been riding high on hit after hit and traveling in rarefied circles and subsequently fell in love with Rosemarie Frankland, a model and actress who once held the title of Miss World.
Horton later wrote “Miss Small Town,” in which she sings “I was Miss Small Town, but she was Miss World,” about trying to compete for a man’s affections with someone she perceived as out of her league.
“Jimmy’s songs have followed me my whole life and we are still friends to this day,” said Ronstadt, her wavy golden blond hair flowing just past her shoulders. “Jimmy has a lovely wife and I have a wonderful husband. They have both had to deal with our histories. I mean no disrespect to anyone but I have to say, I have loved Jimmy for 50 years and I always will.”
She noted that Webb called her recently to help him reconstruct events during their time together for the autobiography he’s working on. The version of “MacArthur Park” she listened to was his own, from his forthcoming solo album “Still Within the Sound of My Voice,” in a new recording for which longtime Webb admirer Brian Wilson created vocal accompaniment.
Suzy and Bobby Ronstadt, a keyboardist and songwriter who also spent nearly two decades in Southern California fitfully pursuing a career in music, moved to the outskirts of Tucson in 1996 following the Northridge earthquake that literally and figuratively rattled them both. (Their first date, as it happens, was a Linda Ronstadt concert at the Universal Amphitheatre, on a tour in which she was featuring several songs written by Jimmy Webb.)
About 18 months ago, to land themselves a slot at the annual Tucson Folk Festival, they started I Hear Voices! with friends Bobby Kimmel, who was a member of the Stone Poneys band that launched Linda Ronstadt’s celebrated career, and singer Kathy Harris.
For the McCabe’s gig they’ll be singing originals and some choice cover songs on the bill they share with L.A. area singer-songwriter Tracy Newman. It’s something of a homecoming for Kimmel, who started the series of live performances at McCabe’s in the late ‘60s, a tradition that continues today.
So does the emotion Ronstadt experiences hearing Webb’s music, despite Ronstadt’s complete absence of the slightest hint of regret or rancor about the love affair that couldn’t survive.
“Everything we went through then,” said Ronstadt, who now works with her husband in a local hospice facility, “has just prepared us for the lives we live now.”
Listening to Webb’s new version of “Where’s the Playground, Suzie” with country singer-guitarist Keith Urban, Ronstadt smiles and proclaims, “That’s the best version I’ve ever heard.”
A moment later, she has no words for “MacArthur Park,” a song that appears destined to outlive them all. As Webb sings, “There will be another song for me, for I will sing it/There will another dream for me, someone will bring it,” Ronstadt pulls her hands to her heart, closes her eyes and smiles knowingly.
randy.lewis@latimes.com
Twitter: @randylewis2 -- I Hear Voices!
With Tracy Newman & the Reinforcements
When: 8 p.m. Sunday
Where: McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica
Cost: $16
Information: (323) 828-4497 or www.mccabes.com
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Post by the Scribe on Jan 26, 2020 20:36:34 GMT -5
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Post by the Scribe on Jan 26, 2020 1:06:38 GMT -5
I have to wonder, Rob, if Linda would consider any of the natural remedies for her PSP? Many of the drugs in the pharmacies are often made with the natural ingredients, yet they still appear to be ineffective in treating the illness. And that has led me to wonder if the reason why is not putting enough milligrams in the drugs to make it work? Or if they put something else in which counter-effects what the main ingredient is supposed to do? With the diabetic neuropathy I have in my feet, no drug given has ever been totally effective in eliminating the pain in the feet. I'm hesitant about asking my doctor for something stronger since every drug in the pharmacy has potential side effects which could require more medication to fight the side effect. Makes me think the pharmaceutical companies do that knowingly so they always have a steady supply of customers. Regardless, I'm hoping Linda is trying natural remedies at least to help her fight her illness and she's not being stubborn about not taking anything. I am a big proponent of ayurvedic medicine. Since there is no known cure it makes sense to try alternative meds and herbs if one can afford it. I have the same painful neuropathy but am not diabetic. I don't like drugs either and decided to live with the pain rather than destroy my liver and kidneys. There is a lot of research beginning that many of those symptoms are from osteoporosis of the skull. Linda's past medical history may be a good indicator of the cause of PSP i.e. thryroid problems. I hope Linda is consulting with a good homeopathic physician. There are also some great healers around but unfortunately they mostly seem to require $. Best way to find one is by word of mouth or through research. (some listed in my Alternative Healing thread) They can be very helpful if you find a good one. Also, at the very least one needs to make sure they are getting the proper amount of vitamins, minerals, nutrients from food, enzymes for digestion and pre/pro biotics for good gut health. Personally I like the Youngevity supplements but can't always afford them. Just got to do what you can. Also need to make sure you are feeding the brain and the brain needs cholesterol. Lots of brain starved people from statin drugs these days. No wonder there is so many neuro-degenerative diseases. A good acupuncturist is worth their weight in gold as well. www.planetayurveda.com/library/progressive-supranuclear-palsy/www.psp.org/healthprep.com/articles/conditions/progressive-supranuclear-palsy-treatment/wholebodycures.com/PSP-research-los-angeles.html
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Post by the Scribe on Jan 25, 2020 1:48:28 GMT -5
Look at the ankles on the guy standing on her right or the Popeye forearms of the guy on her left. Methinks the photo is distorted.
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Post by the Scribe on Jan 24, 2020 16:03:36 GMT -5
Who would have thought these three people would eventually be suffering from neurodegenerative disease? Progressive supranuclear palsy (PSP), Parkinson's and Alzheimer's. geez
BETTER TIMES
Neil Diamond Medley with Glen Campbell, Linda Ronstadt & Neil Diamond
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Post by the Scribe on Jan 24, 2020 6:23:02 GMT -5
muscleshoalssoundstudio.org/products/linda-ronstadt-poster "(She's A) Very Lovely Woman"
Batears52 said: Something I wonder about here too....I find it interesting that the "stray" Capitol single is not included..."(She's A) Very Lovely Woman". The other side of the single, "The Long Way Around", is on there...but that came from Hand Sown. Seems a shame...and a natural for a bonus track. Anyone know why? That single has always been kinda strange. It was one of the few songs Linda recorded at Muscle Shoals, and it was released in January 1971 after the Silk Purse LP and "Long Long Time" single. It's a different kind of sound for her too...a little dark. I wish she had done more songs with those guys. Mary Saums' website gives the impression that Glenn Frey played on that session. If true, that may be one of their first recordings together.
I think they wanted a strong single to follow the success of "Long Long Time", but didn't want to use any of the other songs from Silk Purse. Speculation about why "The Long Way Around" was picked as the b-side (again) seems to be that it might still help to promote Hand Sown, plus Linda wanted Kenny Edwards to get the song writing royalty.....Still it's all kinda odd. forums.stevehoffman.tv/threads/linda-ronstadt-box-set.70771/
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Post by the Scribe on Jan 23, 2020 20:37:56 GMT -5
I know that Linda knows/knew both the Thompsons. I guess "Telling Me Lies" is about their breakup? So Linda was there for her? I don't recall much commentary from Linda T. The Phoebe/Valerie Love story is so special, inspiring and sad it just slays me. Phoebe seems so appreciative to be with Linda on SNL. I thought it was so sweet!!! eddiejinnj The story was posted on the old forum. I can't recall by who or where it was printed but essentially Linda was driving home and saw Linda T in a horrible, depressed (homeless) condition waking on the side of a road. Linda R did a u-turn, got Linda T into her car and took her home to help her through the episode. If someone remembers it more accurately let us know.
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Post by the Scribe on Jan 23, 2020 3:36:21 GMT -5
John A. McDougall, MDwww.drmcdougall.com/ store.vegsource.com/A physician and nutrition expert who teaches better health through vegetarian cuisine, John A. McDougall, MD has been studying, writing, and speaking out about the effects of nutrition on disease for over 50 years. Dr. John and Mary McDougall believe that people should look and feel great for a lifetime. Unfortunately, many people unknowingly compromise their health through poor dietary habits.
Dr. McDougall is the founder and director of the nationally renowned McDougall Program: a ten-day residential program that he and Mary McDougall host at a luxury resort in Santa Rosa, CA where medical miracles occur through diet and lifestyle changes. In addition to her formal training as a nurse, Mary McDougall provides many of the delicious recipes that make the McDougall Program not only possible, but also a pleasure. Dr. McDougall has cared for thousands of patients for 5 decades. His program not only promotes a broad range of dramatic and lasting health benefits but, most importantly, can also reverse serious illnesses including high blood pressure, heart disease, diabetes and others, all without the use of drugs.
A graduate of Michigan State University’s College of Human Medicine, Dr. McDougall performed his internship at Queen’s Medical Center in Honolulu, Hawaii, and his medical residency at the University of Hawaii. He is certified as an internist by the Board of Internal Medicine and the National Board of Medical Examiners. He and Mary are also the authors of several nationally best-selling books as well as the co-founders of Dr. McDougall’s Right Foods, which produces high quality vegetarian cuisine to make it easier for people to eat well on the go.
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Post by the Scribe on Jan 23, 2020 3:26:28 GMT -5
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Post by the Scribe on Jan 22, 2020 3:28:16 GMT -5
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