 |
| https://sensedoubt.blogspot.com/2019/11/a-sense-of-doubt-blog-post-1742-true.html |
Switching it up during the pandemic of COVID-19 with some music on a Friday, a love letter post to PAUL WELLER, the Modfather.
Paul Weller home page.
I don't know what that white box is up top. Grr.
Thanks, Mr. Weller. Stay safe and well. Your music has meant the world to me.
@paulweller Twitter
Earth Beat has arrived, featuring incredible guest vocals from @col3trane & @thestaves. This is the first introduction to Paul Weller’s new album ‘On Sunset’ - much more to come… Listen here: https://t.co/X3sfsW4N2d pic.twitter.com/69y8iYGDwY— Paul Weller (@paulwellerHQ) March 18, 2020
https://paulwellernews.com/2020/03/09/watch-paul-wellers-the-first-day-short-film/
The good folks at Mono Media Films have released the short film of Paul Weller’s rehearsal session for his “True Meanings” concerts in 2018 at the Royal Festival Hall. It’s an intimate, fly on the wall glimpse at Paul and his band working through the set list and arrangements.
The film was shown exclusively at cinema screenings of the, “Other Aspects” concert film in the UK, and had been unreleased until now!
Shot & Edited by: Lee Cogswell
Additional Camera – Daniel Thompson
Audio Mix – Charles Rees
https://www.mojo4music.com/articles/available-now-mojos-two-deluxe-paul-weller-specials
MOJO is delighted to present the first of two deluxe bookazines bringing together its finest writing on PAUL WELLER, legendary British solo artist and leader of The Jam and The Style Council.
Featuring insightful stories and classic interviews, and illustrated with dozens of rare and iconic photographs, this deluxe 132-page magazine charts Weller’s eventful journey from his days as a fiery teenager fronting New Wave sensations The Jam in the late ’70s, to his dramatic reinvention as a blue-eyed soul boy in The Style Council in the 1980s. The in-depth features include an account of Paul’s struggle in 1978 to overcome writer’s block and create his first masterpiece, The Jam’s All Mod Cons album; the story of how he sensationally split The Jam at the peak of their fame to pursue his love for soul, jazz and political activism; and the salutary tale of how The Style Council’s bid to make ever more daring music in the ’80s eventually spelt their downfall.
The follow-up, Modern Classics 1991-2019, available from December 19, looks in detail at Weller’s remarkable – and tumultuous – comeback in the ’90s as solo artist and ‘Modfather’ to the Britpop generation, and brings the story up to date with the tales behind his run of challenging records since 2008’s landmark 22 Dreams album, which have continued to entertain his legions of fans with Weller’s restless urge to create new and exciting music.
A Sense of Doubt blog post #1742 - True Meanings by Paul Weller - Musical Monday 1911.25
That most of True Meanings hits the mark is due to its cohesiveness. It is Weller’s singer-songwriter album, acoustic and reflective in tone, and carefully, delicately textured.
Long-time fans will know he has always had a soft spot for evocative, bucolic tunes (Tonight at Noon from This Is the Modern World; English Rose from All Mod Cons) but on True Meanings he excels with a sequence of songs that stylistically reference traditional and contemporary folk (from Britain’s Martin Carthy to Ireland’s Conor O’Brien) while touching on moods that range from physical and earthy (Come Along) to cerebral and intimate (Gravity, May Love Travel with You, Glide).
 |
| https://www.nme.com/news/music/paul-weller-announces-spring-2020-uk-tour-2561772 |
 |
| https://www.stereoboard.com/content/view/227796/9 |
Paul Weller has shared a new song.
Earth Beat builds on a steady electronic rhythm and marks one of Weller's most drastic stylistic changes to date. Among the synthy flourishes, it features guest vocals from the US-born singer Col3trane and British folk trio the Staves.
The single is the first to come from the Modfather's upcoming LP, 'On Sunset', out on June 12 through his new label home Polydor. He said:
"Earth Beat comes from a track that Jim Jupp had done as Belbury Poly on his label GhostBox. I’m a big fan of that label. I think the track was called The Willows. I started singing this song over the top of it, and came up with the bass riff as well and the guitar riff – just singing over the top of Jim’s original track. Then I got in touch, asked if I could try and develop the track and it rolled on from that."
The prolific singer-songwriter will support the follow-up to 2018's 'True Meanings' and 2019's 'Other Aspects, Live At The Royal Festival Hall' with an autumn UK tour.
Weller also aims to span the UK and Europe this spring and summer — unless his plans get derailed by the ongoing coronavirus pandemic.
 |
| http://www.muzu.tv/paul-weller-top-songs-net-worth/ |
 |
| https://www.udiscovermusic.com/news/paul-weller-sunset-tracklist-dates/ |
On Sunset is described as “a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism.” It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.
Weller started work on On Sunset soon after finishing 2018 True Meanings. Opening track ‘Mirror Ball’ was from the TM sessions and originally slated as a B-side. Thankfully it was rescued for On Sunset as it’s shimmering opener.
As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like ‘Old Father Thyme’.
Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band – Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs.
An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to ‘Equanimity’, and Weller’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The lush ‘More’ features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks.
In Support of On Sunset, Weller has also announced a new autumn 2020 tour of the UK and Ireland. The shows start on Sunday, 25 October at the Ulster Hall in Belfast and wind down with two shows at London’s 02 Kentish Town Forum on 20 and 21 November. Visit the artist’s official website for further information.
On Sunset tracklist:
‘Mirror Ball’
‘Baptiste’
‘Old Father Thyme’
‘Village’
‘More’
‘On Sunset’
‘Equanimity’
‘Walkin’’
‘Earth Beat’
‘Rockets’.
‘Baptiste’
‘Old Father Thyme’
‘Village’
‘More’
‘On Sunset’
‘Equanimity’
‘Walkin’’
‘Earth Beat’
‘Rockets’.
On Sunset is out on 12 June and can be pre-ordered here.
Paul Weller: ‘If you don’t die of a drug overdose you’re always going to end up an elder statesman’
Weller talks punk rock, drink and drugs. And why, as he releases his 12th solo album, at the age of 56, he likes being an old dad
What do you do when the nickname that has stuck is the Modfather? What happens next when you’re viewed as an elder statesman of contemporary cultural affairs? Or when, as a musician and songwriter in your mid 50s, you are plugging your 12th solo album in just under 25 years?
If you’re Paul Weller you take it all in your stride. You dismiss the nickname as a joke, you discard the “elder statesman” tag as a byproduct of not having died yet, and you agree that, prolificacy aside, there isn’t much more you can do than write songs, record them, put them out and hope for the best. “What else would I do?” he says.
Although Weller has something of a reputation for being brusque with journalists, he asks his rhetorical question politely. “Of course I’m going to write more songs and make an album, because that’s what I do in life. The alternative would be not to do it, and that never enters my head.
“Writing songs is what I’m alive for – that and looking after my wife, my family and so on; paying the bills. But my sole purpose is to make music, and it was that way from when I was a kid. It was always my vision of what I should and could do.”
Weller is looking leather tanned and slightly weather beaten, but he’s as trim and slim as when he was a 19-year-old in The Jam, and he remains as nifty a dresser as he has always been.
His 12th solo album, Saturns Pattern, is out this month, and although it might not attract many new members to the Weller brotherhood – and it is very much a brotherhood – it keeps his common-touch pop and rock ticking over. If anything it continues his unending love for the 1960s, despite his age meaning that he lived through them only as a child.
“I regretted missing out being a teenager in the 60s,” he says, “but I was massively influenced by the decade from as long as I can remember. In the 70s, after the initial thing of Bowie and some of the glam-rock stuff, like Marc Bolan, it was such a wasteland. It was punk rock that kicked me off – and the protopunk of Dr Feelgood’s debut album, Down By the Jetty, which came out at the start of ’75, was a game changer for me. They were totally anti-fashion – odd haircuts, grimy suits from Oxfam shops – and were the first band to make an impact. The next thing after that was seeing The Sex Pistols in 1976. They played at an all-nighter at the Lyceum in London. I’d come up from Woking to see the gig. I was about 17, speeding off my head, and seeing them was an epiphany. I just thought, This is it: now is my time.”
We know what happened next: The Jam, which Weller had formed with friends at school, and now consisted of Weller and Bruce Foxton on guitar and Rick Buckler on drums, signed a record deal and, in early 1977, released their first single. But Weller split up the trio at the height of their commercial success, in 1982. A year later came The Style Council; at the end of that decade Weller once again called time on a successful band.
He began a tentative solo career in 1990, and since his self-titled debut, in 1992, he has released an album every two years or so.
Melody maker
Underpinning his output are what Weller views as two motifs: melody and a preoccupation with the passing of time. “You could have slightly more experimental or backing music,” he say, “but as long as the melody is still there, that’s all that matters. The lyrics? Well, I feel that I have to avoid repeating myself, but some things you just can’t avoid. I really can’t believe that I’m 57 very soon” – his birthday is May 25th – “and I really can’t believe that my kids are growing up so quickly. I’m not overly sentimental or nostalgic, and so the passing of time thing isn’t either of those; it’s more genuine surprise at where the time has actually gone.”
And the elder-statesman tag? “I don’t take any offence from it, but if you don’t die in your 30s of a drug overdose then you’re always going to end up being an elder statesman or -woman. It’s better to keep sight of more important things than any kind of status, such as what you’re like as a person and how you treat your neighbour. I’ve seen loads of people over the years fall by the wayside through booze and drugs – but mostly by their ego, which can be just as destructive.”
Fractured relationship
Weller’s relationship with alcohol and drugs, he says guardedly, has fractured in the past 10 years. The implication is that if it hadn’t he might not be here to talk about it. “Oh, I just got bored with it.” He shakes his head. “You know the cliche of feeling sick and tired of feeling sick and tired? Of waking up every day in a heap and feeling awful for a few days? It got to the point where I just wanted to stop doing that, and so I did. But mainly because it was so predictable. That’s drugs for you. And the drinking – which I loved – became too much for me as well. It helped that another influence was my missus: she said I had to make a decision. It was either her or the bottle.”
Unusually for someone who tends to stay out of the limelight, Weller’s private life has come under scrutiny in the past decade. The tabloids and gossip mags started to take notice in 2008 when the singer, who has seven children from four relationships, left Samantha Stock, his partner of 13 years, for Hannah Andrews, a backing singer, who was almost 30 years younger than him. They married in 2010 and are now the parents of three-year-old twins, John Paul and Bowie. It seems impolite to ask, but did getting a vasectomy never enter his head?
“Nah. You mad?” he says. “I love being an old dad. Sometimes people ask if I’m the twins’ grandad, but that’s fine: it doesn’t offend me. To be honest I feel lucky, blessed. The only thing that worries me – and here we’re getting back to the passing-of-time thing again – is how long left I have with them. That’s scary for me, but you can only think of what’s in front of you today, can’t you?”
We’re on such a roll that we dig out an answer that Weller once gave when asked which trait he liked least in himself. “Emotional cowardice”, he said at the time. Does that still hold? Weller eyeballs me for a few seconds, then says, “Men can be cowardly, we know that.”
Another dose of eyeballing is followed by a pause. “It’s hard to be honest sometimes, but I can see the wrongness in being like that. So, yes, I could have handled certain things better. But such is life.”
- Saturns Pattern is released on May 15th. Paul Weller is at the Waterfront Hall, Belfast, on November 16th and the Olympia Theatre, Dublin, on November 17th
THE 1970S AND 1980S: ‘EVERY GIG I WENT TO WAS VIOLENT’
“I don’t think the 70s and the 80s were great days,” Paul Weller says. “There were loads of things I hated about them, frankly, and I much prefer my life now. If you gave me a time machine to go back to those decades I wouldn’t be bothered. What did I hate about the 70s? Black-and-white television. The way people were overtly racist and Neanderthal. Every gig I went to was violent, with crowds exploding in blood, fists, kicks. I’m pleased to say that we’ve improved, and I’m really glad we’re far more cross-cultural now.”
https://www.ilikeyouroldstuff.com/news/the-roots-of-paul-weller
 |
| Paul Weller on the roof of Air Studios, Oxford Street, London during recording sessions for the band's final album 'The Gift', 1982. (Photo by Erica Echenberg/Redferns/Getty Images) |
Next Friday, September 14, is the release of the new album True Meanings from prolific and revered UK singer/songwriter and former member of The Jam and The Style Council, Paul Weller.
We take a look at some of the music that has influenced an artist about whom London’s Daily Telegraph has said, "Apart from David Bowie, it's hard to think of any British solo artist who's had as varied, long-lasting and determinedly forward-looking a career."
Given Weller’s lack of profile outside of the UK since his Style Council days, it may surprise some, the reverence with which he is regarded at home. But this is a man whose albums routinely land in the Top 5, who is considered nearly as big an influence by Britpop stalwarts - including Oasis – as the 60s artists who inspired him, and who has always preferred to maintain a distinct Englishness rather than chasing an international audience.
Let's dive into some of the musicians – both English and American - who have inspired Weller to become the iconic music that he is today.
The Who “Batman”
When The Jam first appeared, at the height of punk, on the London scene in 1976, they were compared frequently to The Who. Weller and The Jam could hardly complain – they modeled themselves on the early Who, and Weller, in particular, was obsessed with the 60s mod scene which The Who had been inexorably connected with. It wasn’t a passing obsession either – The Jam’s third album, from late 1978, was called All Mod Cons, and that same year the NME featured Weller and Pete Townsend together in a cover story entitled “The Punk and The Godfather”, after a song on the Who’s Quadrophenia album. The Jam recorded a few Who songs early on, including the power pop classic “So Sad About Us”, and, on their first album In The City, The Who’s 1966 pop art recording of the Neil Hefti-composed theme from then-current Batman TV show.
Wilson Pickett – “In The Midnight Hour”
A major mod influence was soul music, and The Jam recorded this Atlantic soul classic by the wicked Wilson Pickett on their second album This Is The Modern World (which was also their second album for 1977; it came out a mere 6 months after In The City).
The Kinks “David Watts”
Whilst they were not as nearly aligned with the mod scene as The Who were, The Kinks were obviously a prime source of inspiration for any student of 60s British rock. And they were the most British of British groups, which suited Weller fine. The Jam revived this 1967 Kinks track, which had originally appeared on the classic 1967 album Something Else, on their third album All Mod Cons.
Dr. John “I Walk On Gilded Splinters”
Thousands of miles away from London – literally and figurately – New Orleans was a melting pot of music, and one of its key figures Mac Rebennack aka Dr. John was finding new directions in 1967 that few in rock or soul could fathom until years later. Weller recorded his own version of Dr. John’s oft-covered “I Walk On Gilded Splinters” on his classic Wild Wood solo album in 1993, with Noel Gallagher guesting on guitar.
Terry Reid “Bang Bang”
Paul’s love of British ‘60s music of course ultimately extended well beyond the mod movement, and a man whose own path from R&B and soul into jazz and folk and beyond was one of the great English iconoclasts Terry Reid. Reid was the man that Jimmy Page had famously wanted as singer for Led Zeppelin when he first started putting the band together. He made some great records and indeed continues to perform. Curiously a recording of his that found favour with Paul and which was also later covered by Jack White with the Raconteurs was first recorded in 1966 by none other than Cher, and written by her then husband Sonny Bono. Terry Reid’s version appeared on his debut solo album Bang Bang You’re Terry Reid album in 1968, and Weller included his version as a B-side to his “He’s A Keeper” single in 2000.
The Zombies “Time Of The Season”
One of the more enigmatic and certainly most musical British bands of the 60s, the Zombies had a certain jazziness that would relate to places that Weller started going with the Style Council, and, on their final album Odyssey & Oracle, a rich and harmonious melodicism. Odyssey & Oracle is one of Weller’s favourite albums - he has cited in particular its "autumnal" sound - and Zombies frontman Rod Argent guests on Weller’s new album True Meanings.
Nick Drake “River Man”
Virtually ignored when he was alive, English folk singer-songwriter Nick Drake, who died at the age of 26 in 1974, made quintessentially English music rooted in folk traditions but with jazz inflections and the sort of string arrangements that Weller favors on True Meanings. Weller has cited “River Man” as his favorite Drake song.
Terry Callier “You Goin’ Miss Your Candyman”
Chicagoan Terry Callier was the kind of artist whose musical explorations Weller clearly admired. One of the first to approach a folk repertoire from a jazz perspective – he most certainly would have influenced Nick Drake in that regard – he was African American and he developed an expansive style that would eventually find favour with the Acid Jazz movement in the early 90s. Of course, Weller, whose own music with the Style Council led the push towards Acid Jazz was hip to him, and in 2002, he collaborated with Callier on the track “Brother to Brother”, which featured on Callier’s album Speak Your Peace. “You Goin’ Miss Your Candyman” is a Callier classic from his wonderful 1973 album What Color is Love.
Read more: The Modfather By The Modcasters
Martin Carthy “John Barleycorn”
One of a handful of notable guests on Paul Weller’s new album True Meanings, Martin Carthy has been a giant figure on the British folk stage since the early 60s. He introduced Paul Simon to the song “Scarborough Fair”, and a new generation to many classic traditional songs. One such song, which he didn’t actually record his own version of until 1974, was “John Barleycorn”, which Weller favourites Traffic – Stevie Winwood’s ground-breaking band - recorded for their 1970 album John Barleycorn Must Die. Paul himself recorded a version of it with Martin and his daughter Eliza Carthy in 2007.
PP Arnold “Medicated Goo”
PP, who toured here in May with Australia’s own modfather Tim Rogers and other members of You Am I, and who is set to return soon, is perhaps best known for her associations with Weller heroes the Small Faces, but in 1970 she recorded with Eric Clapton, and one of the results was this brilliant version of Traffic’s “Medicated Goo”. As mentioned, Traffic are longtime Weller favourites and a band noted for moving from psychedelic rock towards jazz-inflected pastoral sounds, inspiring Weller to do something similar. PP Arnold is a long time friend of Paul’s and has worked extensively with Paul’s long time guitarist Steve Craddock of Ocean Colour Scene. She guested on his track “Woo Se Mama” that featured on his 2017 album A Kind Of Revolution, and Paul has written a couple of songs for her next album.
Read more: Who Is PP Arnold?
Curtis Mayfield “Move On Up”
In the mid-60s, Curtis Mayfield and The Impressions led the charge to socially aware and politicised soul music, passing the baton in the 70s to the likes of Marvin Gaye and Stevie Wonder. With his smooth falsetto and willingness to experiment, Mayfield’s music was a late-Jam and Style Council inspiration (The Jam covered “Move On Up” on their Beat Surrender EP in 1982.
Faces “Ooh La La”
The Small Faces were, alongside The Who, mod heroes and early Jam favourites. When Steve Marriot left and Rod Stewart joined, the band became simply the Faces, and developed a soulful and primarily acoustic thread to their music that has provided ongoing inspiration for Weller. He found a particular appeal in the songs and singing of bass player Ronnie Lane whose classic song “Ooh La La”, with its earworm refrain of “I Wish That I Knew What I Know Now, When I Was Younger” has been over-exposed on Australian TV of late thanks to APIA Insurance. Paul Weller and Ronnie Wood performed "Ooh La La" with Ronnie Lane’s post Faces outfit Slim Chance at the Ronnie Lane Memorial Concert in 2004 at the Royal Albert Hall.
When The Jam was making pop-infused music in the heyday of punk, Paul Weller was a vital singer and songwriter. But in the years since, fans would be forgiven for losing interest, as his work in Style Council made way for a string of often spotty solo records. But Weller's new one, Wake Up the Nation, is a real sleeper -- and, in the end, a joy to hear. The album will stream here in its entirety until its release on June 1.
To be honest, Wake Up the Nation didn't fully capture my imagination until about a quarter of the way in, when it really takes off. "Andromeda," for example, is a psychedelic affair that conjures memories of The Move at its best; the song falls apart and pulls itself back together with an inspired chorus and impeccable guitar line. From there, Wake Up the Nation is off on an aural adventure -- a kind of time-traveling expedition back to 1966, when experimentation equaled fun and not some sort of intellectual exercise.
Wake Up the Nation finds Weller again collaborating with his old Jam bandmate, Bruce Foxton. Both had recently lost loved ones, and used the experience as inspiration to get together again -- with help from My Bloody Valentine guitarist Kevin Shields (in "7 & 3 Is the Striker's Name"), among others.
Paul Weller: Yes, I Threatened to Break Noel Gallagher’s Legs
“I love the audience in America,” Paul Weller tells me on the phone from his Berlin dressing room, when I ask him about his upcoming U.S. tour. “It's always tough getting stuff played on the radio or whatever, innit? There are some alternative stations that play my stuff, but it's such a massive country, it is difficult.”
Perhaps Weller’s latest release, the excellent Saturns Pattern, out Tuesday, should solve that. Though only nine songs in length, the album is the culmination of a series of LPs from the U.K. legend known as “The Modfather” that began in 2008 with the sprawling 22 Dreams, released on the eve of his 50th birthday. That album was followed by Wake Up The Nation (2010), which harkened back to Weller’s days in British legends The Jam, and 2012s Sonik Kicks, which can only be likened to Weller scratching a sort of “Bowie in Berlin” itch. Each album was heralded for its far-reaching production techniques and unique songwriting, and Weller’s apparent lack of fear in trying just about anything stylistically he could think to tackle.
Saturns Paturn is perhaps the culmination of those various forays into funk, jazz, garage rock, psychedelia, and club music found on those albums, with a dash of all of those elements apparent throughout the nine tracks, which exhibit a swagger and adventurousness unusual for an artist both of Weller’s age (57) and stature.
“Actually, I feel at my age that I need to try to take it as far as I possibly can, really,” Weller says, when I mention how most of his contemporaries have given up trying to make new music and have opted instead for greatest-hits tours. “I want to carry on experimenting with other types of music, working in different ways. I think I’m at the right age to do that. I think it’s right at my age to try to see what else you can become, as opposed to just doing what’s expected of you.”
As a result, Weller is a rarity in making music that charts and performing live shows that feature only a smattering of old songs.
“The gigs have been so good lately,” he explains, clearly enthused by his fans’ response. “We’ve played some new songs from the new album, songs that people haven’t even heard yet, which is always tough to do. But we've gotten a great reaction.”
“I just like to play new songs,” Weller continues, explaining why he played new, unreleased songs on his recent U.K. and European tours. “When you put new songs in a set, those new songs sort of help to revitalize the old songs as well, I think. You play the old songs differently and you’re more conscious of what you’re doing. I think that’s a knock-on effect for all the songs and things are just a little bit different. Plus, I’m always keen if I’ve got new songs to play them to people, man.”
A rock god of sorts in his homeland, known for his high sartorial standards, who even has his own men’s clothing line, Real Stars Are Rare, and who will soon release his second deluxe book of photos from his career with high-end publishers Genesis Publications, Weller is adamantly opposed to the reunion circuit he sees many of his former peers fall prey to. When I tell him that Noel Gallagher recently recounted a tale to me in which Weller threatened the former Oasis star with bodily harm if he even considered reforming his old band, Weller laughs heartily, but is quick to confirm the story.
“I know it went around that I said I’d break Noel Gallagher’s legs or whatever if he even considered reforming Oasis, but it’s true. It’s unseemly. I have no interest in it and I honestly have no idea why anyone would. For me it’s always about moving forward.”
And while there’s a new 47-track archival set due out in June from The Jam called About The Young Idea: The Very Best of The Jam, fittingly, regarding any potential reunion of The Jam or Style Council, Weller is adamant.
“Not a chance, mate,” he says, flatly.
Instead, Weller says that since the public’s lukewarm reaction to 2005’s As Is Now, which he rated highly at the time, and striking out on a more adventurous note with 22 Dreams, he’s never been less afraid to challenge himself artistically.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
- Bloggery committed by chris tower - 2004.09 - 10:10
- Days ago = 1742 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. 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.
No comments:
Post a Comment