Though the current project started as a series of posts charting my grief journey after the death of my mother, I am no longer actively grieving. Now, the blog charts a conversation in living, mainly whatever I want it to be. This is an activity that goes well with the theme of this blog (updated 2018). The Sense of Doubt blog is dedicated to my motto: EMBRACE UNCERTAINTY. I promote questioning everything because just when I think I know something is concrete, I find out that it’s not.
Hey, Mom! The Explanation.
Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.
A Sense of Doubt blog post #3878 - Portland, OR - A War Zone??!!??
I had a post on Russiagate scheduled. Then I decided to delay and post a reprint. Then I saw this.
It's everything I want to say about Trump's recent dementia-fueled delusions. Or maybe it's purposeful misinformation and fake news. Never sure with him.
- Days ago: MOM = 3473 days ago & DAD = 397 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
A Sense of Doubt blog post #3877 - Music Monday for 2509.29 - SoD Reprint of #2274 from 2021 - Genesis - "Squonk"
I needed a quick post as I have been working hard on school and trying to log as much hammock time as I can before the rain and colder temps started, which it did, today.
And how prophetic? A synchronicity.
I am working on a new Steely Dan mix. And when I went searching for a new cover image for Squonk, I cam across this image by Ashley Gerst (link above), and she quotes Steely Dan!! I am literally about to listen to the song "Any Major Dude Will Tell You."
I never heard the line and noticed that it mentioned a "squonk."
As much as I love Steely Dan, I cannot sing along with a lot of the lyrics with any accuracy. I had to look up a line this morning from "Don't Take Me Alive" because I was hearing "Aragon," and he was singing "Oregon," somewhat mispronounced.
The whole reason I made this post about Genesis' "Squonk" from Trick of the Tail was for the lyrics, which I was trying to memorize. Can't say I managed it, but I have clearer idea of them than I did before I made the post.
So, many reasons for this reprint.
Another reprint tomorrow and then the new original features for Wednesday (writing) and Thursday (letter to Dad).
Thanks for tuning in.
The Squonk
“Have you ever seen a squonk's tears? Well, look at mine The people on the street have all seen better times” - Steely Dan, Any Major Dude Will Tell You
Link to the original post that I am reprinting below:
A Sense of Doubt blog post #2274 - "Squonk" by Genesis - Musical Monday for 2105.10
I shared this song in 2016 but not alone and not by name.
Given that the album on which this song appeared, seen below, A Trick of the Tail, the musicians and artists of Genesis had to establish that they were still a strong band without Peter Gabriel.
Top to bottom this album is a tour de force, a masterpiece, and "Squonk" is one of the stand out songs for its story and its borrowing of the "Squonk" creature from North American lore.
I love this song. These lyrics are complex, have weird cadences, and are difficult to memorize, but I am determined to do it.
Over the years, though my original favorite Genesis album was Wind and Wuthering, I have found I listen to this album more than any of the others.
This is probably the song that proved, back in 1976, how Genesis without Peter Gabriel were still Genesis. Based on a captivating and syncopated melody and a series of guitar & key riffs, the track is full of inventions and changes. Phil Collins' drums are always there, in fast and slow passages, giving the song a special and lively soul. Obviously, Tony Banks' chords are perfect and never trivial, but this is the band's trademark, after all.
Mike Rutherford's lyrics are about a strange and ugly creature belonging to the American lore, a solitary and sad animal stupidly killed by men who can't really get it, 'cause death melts its body in a pool of tears. It's a compact and well structured track, fascinating and new fot its era, destined to act as a guiding light for the neo-prog bands of the '80s and immediatly welcomed as a live favourite by Genesis fandom. It deserves it all.
"Squonk" is based on the North American tale of the Squonk which, when captured, dissolves in a pool of tears.[20] The song combines a main theme written by Rutherford against a middle section written by Banks, and was designed to sound like Led Zeppelin's "Kashmir".[7][5]
The Squonk is of a very retiring disposition and due to its ugliness,
weeps constantly. It is easy prey for hunters who simply
follow a tear-stained trail. When cornered it will dissolve itself into tears.
℗ 2007 Philip Collins Limited, Anthony Banks Limited, Michael Rutherford Limited under exclusive license to Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.
Produced by: Mike Rutherford
Produced by: David Hentschel
Engineer, Producer: David Hentschel
Producer: Genesis
Bass Guitar: Mike Rutherford
Performance, Producer: Mike Rutherford
Engineer: Nick Bradford
Engineer & Mixer: Nick Davis
Drums, Percussion, Performance, Producer: Phil Collins
Lead Vocals: Phil Collins
Backing Vocals: Phil Collins
Guitar, Performance, Producer: Steve Hackett
Produced by: Tony Banks
Produced by: Steve Hackett
Produced by: Phil Collins
Mixer: Nick Davis
Guitar, Keyboards, Performance, Piano, Producer, Synthesiser: Tony Banks
Backing Vocals: Tony Banks
Engineer: Tony Cousins
Composer: Mike Rutherford
Composer: Phil Collins
Composer: Stephen Hackett
Composer: Tony Banks
Genesis - Squonk - Six Hours Live
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Genesis (minus Steve Hackett & Peter Gabriel) performing at the Lyceum Theatre in May of 1980. One of the last tours, if not the last, that featured complete performances of much of the great songs of the 70s before they reduced them to medleys.
Genesis, Six Hours Live 1972-1980 2-DVD setComposer: Tony Banks
Peter Gabriel's exit could have finished Genesis. Instead Phil Collins stepped into the limelight and they delivered a prog classic in A Trick Of The Tail
Whatever happened to Mick Strickland? He was one of hundreds of vocalists who applied for the job of lead singer in Genesis after Peter Gabriel left the band. Strickland even made it as far as Trident Studios to sing with the band. However, it didn’t work out.
Others who sent tapes to Genesis and waited for the call included Brinsley Schwarz’s guitarist/vocalist-turned-punk producer Nick Lowe, Manfred Mann’s Earth Band vocalist Mick Rogers and Jahn Teigen of Norwegian prog rockers Popol Ace, last seen receiving ‘nul points’ as a contestant in the 1978 Eurovision Song Contest.
However, it’s worth considering another possibility. “For a time, I thought we’d carry on as a four-piece without any singing,” revealed Phil Collins.
Showing the same indomitable spirit that helped them survive an English public school education, Mike Rutherford and Tony Banks’ response to Gabriel’s departure was to put their heads down and simply carry on without him – until they couldn’t carry on any more.
“We kept writing songs,” Mike Rutherford told Prog, “but after a while we realised they’d get a bit boring without any vocals.”
Soon enough, Genesis began looking around for a new lead singer. What nobody realised yet was that they’d already found him.
We knew from the start that costumes wouldn’t be part of it. You only had to look at Phil to realise he wouldn’t have been good in a flower mask.
Peter Gabriel announced his departure at a band meeting in Cleveland, Ohio, in January 1975. Genesis were touring The Lamb Lies Down On Broadway at the time. Gabriel had already left during the album’s recording sessions but had been persuaded to return. This time he wouldn’t change his mind. Gabriel’s wife had recently given birth to their daughter, he was torn between family and band commitments, and also uneasy with what he called “the rock’n’roll culture” and being “part of the machinery."
Today, Rutherford is less surprised by Gabriel’s departure than he was back then: “He was moving forwards a bit braver and faster than we were.”
But at the time he was shocked and disappointed. After seven years together, Genesis were starting to make real headway, and some proper money.
Publicly, the band tried to put a brave face on it all. “But there was a lot of fear about whether we could carry on without him,” admitted Tony Banks.
Oddly, the one person who was convinced they could carry on was Gabriel: “I had much more confidence in the band’s ability to transcend my departure than they did.”
In a premonition of a future Genesis line-up, Steve Hackett was absent when Genesis started work on what would become A Trick Of The Tail in July ’75. The guitarist was busy finishing his first solo album, Voyage Of The Acolyte. In the meantime, Rutherford, Collins and Banks began jamming in a rehearsal studio in Acton, West London. By the time Hackett turned up three days later, they’d written most of Dance On A Volcano and Squonk.
Dance On A Volcano was a doomy fanfare with echoes of Collins’ beloved Santana and Weather Report in its busy rhythms. “It embodied all that Genesis did well,” said Rutherford. Meanwhile, Squonk paired a thunderous drum figure with lyrics about a fictional beast taken from the Argentinian writer Jorge Luis Borges’ Book Of Imaginary Beings.
Led Zeppelin’s Physical Graffiti had come out earlier that year. Genesis had heard its signature song, Kashmir, on the radio in Germany and loved the huge drum sound. Squonk was “my John Bonham moment” said Collins, who still considers it one of his favourite songs on the album.
Genesis had kept the news of Gabriel’s departure secret from the press. But after they placed an anonymous advert in Melody Maker seeking a singer “for a Genesis-style group”, the news leaked out: “Gabriel Out Of Genesis!” announced the paper on August 16. A week later, MM writer Chris Welch interviewed the group at their rehearsal studio and presented his subsequent article as an obituary. “No longer will Peter startle his fans with apparitions, kinetic structures and theatrical trickery of every description…” he wrote.
The announcement of Genesis’ premature death made them even more determined to carry on. Before long, between 100 and 400 tapes (nobody can agree on a figure) had arrived at the Charisma Records office. Among them were tapes from some “very well-known singers”, recalled Tony Banks, though he’s never revealed who.
Reports also vary as to how many vocalists made it to the audition stage. Banks says it was two or three a day for a time. Rutherford recalled the mysterious Mick Strickland having “the right bluesy voice” but struggling to master Squonk. “It was in completely the wrong key,” Rutherford said. “The poor guy battled through it, but it was never going to work.”
Ironically, it was Phil Collins who ‘taught’ the auditionees the songs beforehand. Collins had sung lead vocals on Nursery Cryme’s For Absent Friends and More Fool Me from Selling England By The Pound. His and Gabriel’s voices had worked especially well together on The Lamb…, but at this point, nobody in Genesis regarded Collins as a potential lead singer.
Drummer Bill Bruford was rehearsing with Brand X and recalled Collins dropping by the studio and moaning about the auditions. “He said something like, ‘They’re all bloody useless – I can sing better than they can,’” said Bruford, who suggested Collins put himself forward for the job. Collins’ wife Andrea, who’d known him since drama school and had seen him singing and playing drums, suggested the same.
Banks remembers Collins singing Squonk directly after Mick Strickland’s audition. It worked. He sang another song. And then another. “Everybody was a little sceptical,” Collins recalled. “But we started recording and we just knocked one song off after another…”
Sessions for A Trick Of The Tail began at Trident Studios in October ’75, with new producer David Hentschel. “David had engineered Goodbye Yellow Brick Road for Elton [John],” says Collins now. “I got to know him through my dallying around and playing with other people, and suggested him to Genesis.”
Recording The Lamb Lies Down On Broadway had been a tortuous affair. In contrast, A Trick Of The Tail took a little over a month. In some ways it was easier without Gabriel. He, Rutherford and Banks had always been Genesis’ principal writers, with Steve Hackett chipping away on the sidelines. With Gabriel gone, there was one less potentially dissenting voice. The band now relished the opportunity to prove that Genesis had always been a songwriting collective, not just a vehicle for Peter Gabriel.
That said, A Trick Of The Tail’s unsung hero is Hackett, the co-writer of one of its finest moments, Entangled. “It was based on this really beautiful piece Steve had written,” said Banks, who wrote the chorus and contributed an eerie synthesizer solo that suggested mythical sirens luring unsuspecting sailors onto the rocks. But when Hackett showed Collins his lyrics – _‘Over the rooftops and houses… sentenced to drift far away now’ _– he thought the song had “a Mary Poppins feel to it”.
Collins was right. Even now, Entangled and parts of Mad Man Moon really do evoke childhood images of Disney’s Mary Poppins gliding, umbrella in hand, over an autumnal landscape. In fact, most of A Trick Of The Tail has a dreamy, childlike atmosphere; certainly more so than The Lamb…, its predecessor. Heard again now, Banks and Rutherford’s ballad Ripples, a song about old age and fading beauty, also pre-empts the uncomplicated love songs Genesis wrote in the 80s and 90s.
What the album shared with the Gabriel era, though, were what Banks called “story songs”. Banks and Collins composed Robbery, Assault And Battery, on which Collins returned to his childhood theatre role as the cockney Artful Dodger to sing about a bungled burglary: ‘You got it wrong sir/I’m only the clean-ah!’ But it now feels like a clunky companion piece to Selling England By The Pound’s The Battle Of Epping Forest. It’s the only misstep on the whole album.
Far better was another ‘story song’: the title track. “It was something I’d written many years before,” said Banks, “but with Peter’s departure, I liked the idea of slipping in something lighter and more quirky.”
Lyrically, A Trick Of The Tail partnered Squonk. This was Genesis back in the netherworld of elves and sprites, but with a cautionary message. Banks had been reading William Golding’s 1955 novel The Inheritors, which used the story of a Neanderthal tribe to comment on modern social mores. Genesis’ tale of a ‘beast that can talk’ put on display in a public ‘freakshow’ had a social message, but also the album’s most immediate melody and chorus. Banks later revealed that the song was partly inspired by The Beatles’ Getting Better.
In contrast, the grand finale, Los Endos, picked up where Dance On A Volcano left off. It was the singing drummer’s ‘baby’; an instrumental showdown full of whirling dervish drum patterns and tinkling Chinese cymbals. Today, Collins admits Santana’s Promise Of A Fisherman inspired the whole piece: “I wanted to get all of that energy and melody in there.”
By November, A Trick Of The Tail was complete. “I think we knew we’d made a good album,” Rutherford told Prog. “It already felt like a new chapter.”
In keeping with the notion of a ‘new’ Genesis, the finished album also looked different. A Trick Of The Tail arrived in February 1976 in a sleeve that suggested the cover of a book of Victorian fairy tales. There was a masked felon, a hook-nosed judge, a withered old crone and a sobbing Squonk, all drawn by artist Colin Elgie on a faded yellow sleeve that resembled old parchment.
Tony Banks’ assessment that “some of the public found Genesis with Peter a bit too strange” was borne out by the new album’s sales. A Trick Of The Tail reached No.3 in the UK, tying with Selling England By The Pound as Genesis’ highest-charting LP yet. “We had to prove we could do it without Peter,” Banks told Melody Maker, before adding boldly, “We think it’s the best album we’ve ever done.”
But Genesis now faced the challenge of how to perform the album live. Unlike part-time singing drummers such as 10cc’s Kevin Godley, Collins was Genesis’ only lead singer.
The early signs weren’t encouraging. Gabriel had ‘sold’ Genesis live, dressed as a fox, a flower and, on The Lamb… tour, a giant rubber penis. Genesis filmed a video for the A Trick Of The Tail single that only highlighted how different, how ordinary, their new singer was. Collins in his winter scarf and quirky orange hat looked like a hippie window cleaner moonlighting from his day job.
Genesis with Bill Bruford in New York City, 1975 (Image credit: Getty Images)
We knew from the start costumes wouldn’t be part of it,” admitted Rutherford. “You only had to look at Phil to realise he wouldn’t have been good in a flower mask.”
The solution was to let Collins just be himself, and to find a second drummer for the tour. Collins recruited his Brand X sparring partner, Bill Bruford. Interviewed in Sounds ahead of the opening dates, Bruford damned his new employers with faint praise: “I’d never seen Genesis or heard their albums before. But I respected Phil and knew he wouldn’t be involved in any rubbish.” Thanks Bill.
Today Phil Collins admits, “The day I started singing with Genesis changed my life.” It was March 27, 1976, at the Kitchener Auditorium, Ontario, Canada, when Collins first walked on stage as Genesis’ lead singer. His hands were shaking and he was clutching a piece of paper with notes of what to say to the audience. But without any lavish props or costumes to hide behind, Collins engaged the crowd with his directness, his down-to-earth humour and his unerring ability to sound like Peter Gabriel when he sang the ‘old stuff’.
“People didn’t want to give up on Genesis,” said Collins. “They wanted us to stay together, so they backed me up.”
As the tour progressed, Collins grew into his role. In June ’76, Peter Gabriel slipped quietly into the Hammersmith Odeon to watch the new band. “It was a very strange experience and I had mixed emotions,” he admitted.
Mike Rutherford’s comment about Phil Collins in the 70s – “When Phil had an idea, you listened…” – would become even more significant in the years ahead. When Genesis went back into the studio to record the album’s follow‑up, Wind & Wuthering, and later, after Steve Hackett’s departure, …And Then There Were Three…, the band’s dynamic had changed forever.
A Trick Of The Tail, with its charming cast of mythical beasts, ‘mesmerised children’ and ‘snowflakes in June’, is both a last hurrah for the ‘old’ Genesis and the beginning of something entirely new. Neither Genesis nor Phil Collins would ever be quite the same again.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ - Bloggery committed by chris tower - 2105.10 - 10:10 - Days ago = 2138 days ago
- Bloggery committed by chris tower - 2509.29 - 10:10
- Days ago: MOM = 3742 days ago & DAD = 396 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
- Bloggery committed by chris tower - 2509.29 - 10:10
- Days ago: MOM = 3741 days ago & DAD = 395 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
This post is a cheat. I was working on a paper for graduate school all weekend, and so I am writing this post on Monday 9/29 and sending it back in time to Saturday 9/27 at 10:10 a.m. Pacific, which was before the Tigers clinched and certainly before the final standings for the whole season for both leagues that I am reprinting below.
But sending this post back in time works best for my blog schedule, and it's a thing I can do, so I am doing it.
Before I start, I capitalize Baseball because it's a religion.
The end of Baseball season is always sad for me because I love it all so much.
I love a day's worth of games when all the teams are playing. I even feel out of sorts when one or both of my teams (Tigers and Cubs) get a day off.
Also, living here in Washington state, I watch a lot of Mariners games, too.
I wish Cal Raleigh could have eclipsed Aaron Judge's single season HR record for the AL, but it was not to be as he ends with 60, which is still pretty great.
So, I get sad, because I no longer have 16 box scores to look at every morning, and the lag to basketball season seems to drag.
I always want another week of fantasy Baseball season.
I will miss writing out the scores for my favorite teams and the starters and whether they won or another pitcher did and if someone earned a save. I have spreadsheets. I write this info down EVERY DAY.
But I like the break from Baseball, too, because before I know it, the season will be completely over and someone will have won the World Series. I am here for it all, as much of it as I can make time to watch, which is more lately as I am working at home.
And then there will be no Baseball for FIVE months. I know that Spring Training starts at the end of February or early March, but it's not the same. I don't always even watch any of it. It's not real until the season actually starts.
And this year was great for my favorite teams!
Both the Detroit Tigers and the Chicago Cubs led their divisions this season. The Cubs for a shorter time, losing out to the Brewers on July 28th who went on a nearly historic winning streak.
Both teams had the best record in Baseball at different points throughout the season.
The Tigers slid from best record in all Baseball in the summer during an epic decline after the all-star break.
You probably know the numbers by now, but we might as well hash them: The Tigers held a 14-game lead in the AL Central on July 8, an 11½-game lead on Aug. 23 and a 9½-game lead on Sept. 10. At the end of last week, they still led the Guardians by a very comfortable 6½ games. Then, on Tuesday night, 9/23, the Tigers fell to a surging Cleveland team despite having Tarik Skubal on the mound and found themselves not leading the division for the first time since April. It was their seventh loss in a row. Their eighth followed roughly 24 hours later. An unbelievable collapse, to say the least.
SIGH.
The Tigers (87-74) led the division by 14 games in July and still held a 9 1/2-game lead on Sept. 11 before losses in 12 out of 14 games dropped them into a tie with Cleveland (86-74). The Guardians, who were in fourth place and 15 1/2 games back on July 8, are 17-4 since Sept. 5 and hold the head-to-head tiebreaker against Detroit after winning their season series.
I have suffered through so many losses and losing seasons with the Tigers that this kind of performance is nothing new.
Last year, they were the hottest team in Baseball and surged into the playoffs as a wild card team, beat Houston to get into the ALDS and LOST to the Guardians, though barely. It went to a deciding GAME FIVE.
This year they play Cleveland in the Wild Card round and barely make it into the playoffs as the third of three wild cards after going 1-2 against Cleveland and 1-2 against Boston in the last two series of the season. Had they won more of those games, they would have regained the division lead. They could have also secured home field for the first round. but they lost 4-6. It's frustrating for us fans, and I know it's really frustrating for this team. It's not like they were not trying to win!
At least they made it into the playoffs, and it's a whole new season. They can sweep the Guardians in Cleveland. They did it earlier in the season. They can do this!
But I wouldn't put money on it.
If the Tigers and Cubs cannot make the world series, which has been my dream since 1984 when it almost happened (and the times it did happen were long before I was born), then I predict Phillies and Mariners.
BOSTON -- — Jamhai Jones hit a two-run single to rally Detroit from an early deficit, and the Tigers beat the Boston Red Sox 2-1 on Saturday to clinch a spot in the American League playoffs.
Less than 24 hours after the Red Sox sealed their postseason berth, the Tigers claimed at least a wild card. Detroit still could win the AL Central title but needs a victory Sunday at Boston and a Cleveland loss to Texas.
Kyle Montero and four relievers held Boston to seven hits. Tyler Holton (6-5) got four outs for the win and Will Vest pitched the ninth for his 23rd save.
- Bloggery committed by chris tower - 2509.27 - 10:10
- Days ago: MOM = 3740 days ago & DAD = 394 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
