Rolfe Erickson explains the Foliation at Ward Creek. http://libweb.sonoma.edu/regional/faculty/erickson

•Schist •Foliation - orientation of mica minerals in schists "Schistosity" •Growth of minerals in liquids •Experiment showing; growth of minerals in solid rock •Series of rocks (heat and pressure);

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HOMENAXE A UN MITO GALEGO: "OS GAITEIROS DE SOUTELO". "Os Gaiteiros de Soutelo" foron un grupo folclórico galego do primeiro terzo do século XX. O iniciador desta saga de músicos populares orixinarios de Soutelo de Montes ( Pontevedra ) foi o pai dos gaiteiros que, xunto ós seus fillos, adoitaba ameniza-los días grandes das festas da época, xa que era un grupo inusualmente grande e que xa contaba cunha grande sona naquela terra de Montes. Introducía outras novidades: incorporaba unha muller coma cantante, a irmá.(A presenza dunha muller nos grupos musicais non era habitual aló polo 1925). Os componentes eran Avelino Cachafeiro director, compositor e maila alma do grupo, os seus irmáns Castor (gaita) e Bautista (voz e redobrante), o seu pai Fermín (bombo) e a súa tía Andrea, que algunhas veces se xuntaba a eles pra toca-lo pandeiro. En 1928 gravaron "A Muiñeira de Chantada" ( esta mesma grabación emprégoa como fondo sonoro do documento )"Viva Barriño de Arén", "Eicho de dar queridiña", "Foliada de Luxán", "Foliada Rianxeira", "Estroupele-Estroupele", "Farruquiña chaman a porta", a "Muiñeira de Ourense" e o pasacorredoiras "A volta da festa". Un dos feitos máis importantes foi a súa presentación no "Teatro Avenida" de Bos Aires ( Arxentina )o 28 de febreiro de 1930, onde actuaron con decorados deseñados por Castelao e Camilo Díaz. O Gaiteiros de Soutelo percorreron toda Galicia, así como Bos Aires, Montevideo e Brasil, ata que o comezo da Guerra Civil española esfarelou o grupo: sorprendeunos tocando en Barcelona, en territorio republicano, mentres Galicia quedaba no nacional. A Cultural Obreira levounos a Madrid pra dar ánimos ás tropas que alí loitaban, e cando se dirixían a Berlín pra tocaren nos Xogos Olímpicos, decidiron voltar á casa por Lisboa. Así rematou o grupo. Bautista morrera no 1933, Castor emigrou a Venezuela, onde ensinou a tocar na Escola de Gaitas da "Irmandade Galega de Caracas" e Avelino, cal único fillo morreu ao nacer, deixou de toca-la gaita. -------------------------------------------- HONORING TO A GALICIAN MYTH: " THE PIPERS OF SOUTELO ". The " Pipers of Soutelo " it was a folk group Galician of the first third of the 20th century. The initiator of the popular original set of musicians of Soutelo of Montes ( Pontevedra ) was the father of the pipers who, together with his children, was accustomed to entertain the big days of the parties of the epoch, since it was an unusually big group and that already it was relying on a great reputation in that land of Montes. They was introducing other innovations: a woman was incorporating as singer, the sister. (The presence of a woman in the musical groups was not habitual as far back as 1925). The components were Avelino Cachafeiro, the director, composer and the soul of the group, his brothers Castor (bagpipe) and Bautista (voice and drum), his father Fermín (bass-drum) and his aunt Andrea, who often was joining them to touch the tambourine. In 1928 they recorded " Chantada´s muiñeira " (I attach the same version as sonorous band of the document), " Rosalía's Dawn ", " Pontesampaio's muiñeira ", " Fandango of Pontevedra ", " March of the Corpus ", " Viva Barriño de Arén ", " Eicho de dar queridiña ", " Foliated of Luxán ", " Foliated Rianxeira ", "Estroupele-Estroupele", " Farruquiña knocking at the door ", "Ourense´s muiñeira" and the streetpass " The back from the party ". One of the most important facts was their presentation in the Theatre Agreed of Buenos Aires (Argentina) on February 28, 1930, where they acted with sets designed by Castelao and Camilo Díaz. The "Gaiteiros de Soutelo" crossed the whole Galicia, as well as Buenos Aires, Montevideo and Brazil, until the beginning of the Spanish Civil war finished with the group: surprised them touching in Barcelona (Spain), in republican territory, while Galicia was staying in the native. The Cultural Labour one took them to Madrid to give spirits to the troops that there were fighting, and when they were going to Berlin (Germany) to touch in the Olympic Games, they decided to return to their home for Lisbon (Portugal). This way the group came to its end. Bautista died in 1933, Castor emigrated to Venezuela, where he teached to playing in the School of Bagpipes of the Galician Brotherhood of Caracas (Venezuela) and Avelino, whose only son died on having been born, does not plays the bagpipe ever.

Ós meus Amigos de O Cebreiro (Lugo): quenes abríronme as Portas ó mundo da Nosa Gaita. Foron quen de me pasar da escoita, disfrute e admiración polo mundo da Nosa Música a comezar a "soplala". Ista é unha homenaxe pública de agradecemento persoal, especialmente a Suso de Barxamaior " Tafa" (meu padriño musical) quen me otorgou unha Gaita Galega nas mans, e particularmente a Suso e a súa muller Concha ( Asador "O Moreno" - O Cebreiro ), a Pepe de As Nogais e ó "panadeiro", ós propietarios da pensión do Mesón "O Recuncho" (Ferreiras-As Nogais),ó propietario da Venta Celta (O Cebreiro), a Marcial de Liñares maila súa esposa, ós amigos do Bar de O Alto do Poio, ó meu irmán Rubi mailo meu curmán Serxio (Os Purificos": CANIDO City OPAIII !!!) e tódolos demáis amigos que levo no corazón e que sempre aportan tanta ledicia e grandeza participando nas Foliadas sempre que acudo ó meu segundo Lar. ------------------------- For my Friends of O Cebreiro (Lugo-GALICIA-Spain-Europe): those who opened the Doors me for the world of our Galician Bagpipe. They were who of me to pass from the scout, enjoyment and admiration for our Galician Traditional Music to beginning to "to blow of it". This one is a public honoring of personal gratefulness, specially to Suso of Barxamaior "Tafa" (my musical godfather)the one who granted a Galician Bagpipe to me in the hands, and particularly to Suso and his wife Concha ("O Moreno" Spit-O Cebreiro), to Pepe of As Nogais and to the "baker", to the owners of the " O Recuncho " Lodge (Ferreiras-As Nogais), to the owner of the "Celta" Inn (O Cebreiro), to Marcial of Liñares and his wife, to my brother Rubi and my cousin Serxio ("Os Purificos": CANIDO City OPAIII !!!) to the friends of the bar in O Alto do Poio and to all the rest friends that I take in my heart and that contribute so many happiness and greatness taking part in the Foliated ones providing that I come to my second Home.

brutal weather event from before the if we suppose that number is not a product of an animal mind that it exists as a part of a robust world with a robust ecology which is not of our making. what might this have to do with us? what do we care about their weather? perhaps paradox might create a giant pressure imbalance powering up the tornado from hell, spinning about in great anger, growing mighty with its countless arms and fists , Each at work, out working all the others, salting the soil as it uproots all things beautiful. beginning with the most ancient foliations of beatific symmetries, it is tearing them all limb from limb. Logic discovers cowardice, loosing some of its soul, when it trys to hide itself alone, by jumping into the wrong end of the well of souls. Such a heartless storm might work to send the entire the landscape, that lay within its dark reach, not only back to where it came from, but back to where it came from, in un imagined psycho-logic pieces, rearrangements that might still be sickening the dead, and those who rush to save them , one after another, all at once, and all the copper is drained from the sky. and all the iron is lifted up from the garden, and both are turned to rust and there is no longer even an horizon, and simplicity itself is rendered indigestible, and all memory of primitive things like addition have been moved back past the well of souls, into those dense and, milky waters which constitute the transcendental numeric ocean of all the things that are yet to be. and this pocket universe of ours proves to be an unintended consequence of the re- reformation all of the bits and pieces which were left over from that most unfortunate numeric tragedy. Our world is an afterworld to the bits and the pieces of these mostly dead and badly mishandled former numeric beings who arrive here as not much more than the flotsam remnants of an ancient scene of some glory. from a place that is not of our making, but from a place that is making us. this universe is getting built upon the corpse of something far stranger than its self. "don't stop believing" as sung by petra haden Just a small town girl Living in a lonely world She took the midnight train going anywhere Just a city boy Born and raised in South Detroit He took the midnight train going anywhere A singer in a smoky room A smell of wine and cheap perfume For a smile they can share the night It goes on and on and on and on {Refrain} Strangers, waiting, up and down the boulevard Their shadows searching in the night Streetlight people, living just to find emotion Hiding somewhere in the night Working hard to get my fill Everybody wants a thrill Paying anything to roll the dice Just one more time Some will win, some will lose Some were born to sing the blues Oh the movie never ends It goes on and on and on and on {Refrain} Don't stop believing Hold on to that feeling Streetlight people

A rap song about rocks with lyrics by Smarty Shrimparms and music created by some kids at his school.