Future Classic Women Awards LIVE SHOW – Linda Lamon

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. I have to announce that the nominees are finished. For these awards, so for this year awards. So we're going to have some very special guests in the forthcoming interview until we know which one are the 5 finalists for the instrumentalist category and for the opera category. So the first special guest of today is Linda Lamont. Welcome, Linda. Hello, thank you for inviting me. Linda is an amazing composer. She's a composer and instrumentalist, Howard Wingstrom writer. We actually came across of Linda with the beautiful song by Katerina Mina that was one of our nominees. Yes, that was Rainbow of Light. Rainbow of Light, a special song that was composed for the UNESCO— Yes, yes, International Day of Light. International Day of Light. How did that happen? Um, well, um, I'd met Katerina at a festival, Carl Starmus Festival, and, um, we made friends because Katerina was from London, I was from the Manchester area, and we decided to meet up in London So we did. Of course, I had up to this point not written many classical pieces. And when Katarina heard the song that I'd written, which was inspired by Starmus, she said, "I must record this." I said, "I thought that was amazing." I said, "What do you hear in it?" She said, "It's a classical song. Can't you hear it?" I actually composed it on my guitar. So before we knew it, we were in the recording studio in London with violinists and cellists and recording this very special song. That is amazing. So actually, I read that you have a background in, so you're a songwriter in vocal, in guitar, mandolin, double bass. Yes. How did you decide to play these instruments? Well, I had a very traumatic start to my career, which happened when I was very young. About the age of 10, and I was always regarded as a gifted pianist. My family, who didn't have a lot of money, decided to send me for piano lessons, but unfortunately the piano teacher abused me sexually, and this actually threw me away from learning the piano, I developed some sort of— I didn't want to continue. I had to hide in the garden from my parents before— when he came to the door to knock for the lessons. So that was something that, looking back on it now, really affected which which direction I went. So what I did actually was pick the guitar up when I was about 13 and started playing it then, but I didn't play it seriously until much later in life. What I did was I joined a pop group and concentrated on being a young girl and singing in the front of a band. I joined a professional band when I was 18. —and worked in London actually, at Orange Recording Studios. It was a long time ago, because of course I'm 68 now. You don't look it. So I've been on a long journey. So I actually played the guitar, not in the band, but I had children and of course my music was put on hold, and then I divorced in my 30s, and that's when I picked the guitar up again, and that's when I started to compose music. And I actually wrote a song for the Manchester Olympic bid, which had a lot of radio play and television coverage. It was recorded by a children's choir, so it was verging on classical, but more on the crossover then. So the— it was starting to come through then. And, um, of course, um, I spent some time writing some pieces, and then I met my second husband, um, and moving along very quickly, he very sadly— the love of my life— died from motor neuron disease. Oh. So I decided to go and have some therapy, and the PRS helped me to get some accommodation, which was an artist residency in Dorset. Oh, wow. So I rented my house out near Manchester, moved to Dorset, and And that was the beginning of a new classical style of music for me, and the beginning of a new journey where I really started— it was only then that I really started to discover myself again musically. What is amazing from your story is that music was so much part of your life in all the aspects, from the good and the bad, and it ended up with the good, I guess. Yes! I think that people sometimes underestimate the power of music that can be therapeutic as well, and not only for the people that listen to it, but also for the people that produce the music. Yes, it's very therapeutic. I think you've got to be open to it. You've got to accept it into your life. And the bravura to accept all the styles and all the different way that you can express the music, not necessarily has to be the piano, the guitar, the voice, composing and classical, jazz, songwriting. It comes from everywhere. There's some magnificent stuff coming out there. I think that's the beauty of music and beauty of art in general. Yes. So the first song that you chose to listen to today is called The Bells of Belrages. Yes. Can you tell us a little bit about this song? Sark? Yes, it's, it's, it's following on from that journey in Dorset, in Beer Regis, which is a lovely village, um, just 2,000 people. Um, but this artist residency I was in, we had our own flat and we had a communal lounge where there's a grand piano and drums, everything. But what inspired me, and so mostly I composed in my little room, and but I— every Wednesday evening I used to hear the sound of the church bells coming through the window from the very old church, which actually Thomas Hardy wrote about in, um, The Tess of D'Urbervilles. All right, I think I described that right. Um, and it's a very old church, and they were raising funds to— for the— for the to have the bells refurbished. And as I say, every Sunday morning, every Wednesday evening when they practiced, it was a beautiful sound of these bells coming through my window. And this is what I wrote about, the bells of Bierregis. And that's amazing. So it is a song for piano and soprano. Would you like to tell us about the performers? The performance? The performers. The performers, yes. What happened was that I wrote this song. And then when I met Katerina after this meeting in London, after recording "Rainbow of Light," she said, "Have you any more songs?" And of course, remember, it's just me and my guitar. So I said, "Well, I'll play a few for you." I've been thinking it's not really your style, Katerina, but she heard something in it. Yeah. And we want— and she, she said, yes, that I— that is a beautiful melody. I, I want to record that. We, we must do an EP. So let's listen then to The Bells of Berenice with Katerina Mina at The Voice by Linda Lamont. The bells of the region string out the song. From St. John the Baptist to the village and beyond, for 500 years they've lent This soulful sound to neighbors of this holy ground. Ring, ring, ring loud and clear. Ring. Bring your people near. Let's hope, hope your ancient times will live, live throughout time. Dai la vi li ko. I invite us to pray as the music heals. We're with you this day. So ring, ring. Ring loud and clear. Breathe, breathe, your people near. Let hope, hope, your oration chimes relieve. Leave throat tight. So ring, ring, ring loud and clear. Ring, ring your people near. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide talking about all things autism. Women, the possibilities are endless. 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Our services include community mediation for neighbour disputes, family mediation for for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs we can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternately zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we have as a special guest Linda Lamont, songwriter and lyricist from Stockport, Cheshire, in Greater Manchester. And we were talking about your amazing, um, journey to being a songwriter today and, uh, the different instrument that you picked up So I wanted to ask you, do you have a specific role model or inspiration that brought you to where you are today? Well, when I was a child, I was mesmerised by a little musical box I had. I wasn't from a particularly musical family, certainly not classical, but I used to sit behind the settee with this little musical box with the ballerina that played Swan Lake. Ah, I had one of those. Yeah, that was the first inspiration, I think, from classical music, and of course Rachmaninoff. Who doesn't like Rachmaninoff? You tell me. His piano playing. And Mozart, of course, because I went on a coach trip once around Vienna, and you could hear his music there and the influence there. And of course Bach, who was the pop star of the day. Uh-huh. And I'm very moved by Bach. And of course, Verdi. I'm inspired by Verdi because he actually wrote his last opera when he was 75. Now I'm 68 now, so I've got time. Absolutely. And of course, my parents, although they weren't classical, they had The King and I and West Side Story always on the record player. So all that has actually helped influence my music underneath, as a lot of American folk, which is where the string instruments come in, because I ended up playing double bass and mandolin. It's very energetic. And of course, John Williams and Julian Bream, classical guitarists, they're amazing. I'll never ever play like those guys, but I— Never say never, you know. Yeah. And of course, Bob Dylan as well, so quite a diverse mix. But my latest inspiration is Dr. Brian May, who of course is the amazing guitarist with the rock band Queen. He also does other music, and I actually met him while I was in Beer Regis. He bought 160 acres of woodland around the village, and I would— being a huge nature lover, I was so pleased about this, that he'd actually decided to plant 100,000 native trees. Oh wow. In celebration, I wrote the New Woodland song. Well, without getting into too much detail, he heard this song in its very raw form with guitar and mandolin and said, I love this song, can you please perform it at the official opening of the tree planting day? So I gathered a children's choir and a ladies' choir and recorded The Bells of Pia Regis, which was actually performed live in front of Brian. Uh, and, um, Katarina heard this song, mm-hmm, and she loved it. And we'd done a very pared-down version of it, mm-hmm, um, because of course classic, a lot of classical music was actually taken from folk music. So the line, I think, is quite close. Absolutely. Depending on how you hear it. And Katarina liked it, so she asked to record it, and that's why it's on the album. That is impressive. We're going to listen to this song, but before that, I wanted to ask you, you've been mentioning, you know, Bach and Verdi and Rachmaninoff and then what's the story, The King and I, and we arrived even to talk about, you know, Bob Dylan. Yes. So what do you think about classical music today? I mean, there is a current of people, of way of thinking that they think, you know, classical music is untouchable, has to stay where it is and cannot mix up with anything else. And there is people like me, and I think you too, who think, you know, that music is music and you shouldn't put it in a box. Let's not forget classical music has only been here for a couple of hundred years. Before then it was folk music, it was the music of the people, and it's in history, it's it's only had a short life. And yes, I do respect that there is room for it and we have to look at it as a guide, but there is so much more that can be worked on from it. And there's so much exciting stuff coming out. And what I felt when I worked with Katarina is that we could fuse this and come up with something different. And what happened was we took the songs that we'd prepared before we'd actually recorded them to Florence. And it was an international event. There were young people from China, from Australia, from Taiwan, all kinds of people. And Katarina sang these songs. And I went along with my mandolin, and it was a very classical audience, and they loved it, and they said, "You must record this," and that's what inspired us to do the EP. Mainly European people, and not particularly English, but so we were inspired by that, that it is experimental what we're doing, What do you mean about the difference between English and European? Is that anything to do with Brexit? No, don't mention the B-word, please. We only mention the B-word when we're talking about Beethoven or Bach. That's fine with me. Boccherini. Very good. What was the question again? Because you mentioned about the fact that it was European people that they wanted you to record. I think Europeans are more open to something different. I think we're very staid. And this is what I'm finding, okay, that during the International Year of Light, there was such excitement from all over the world of people who loved that song. Yeah, but it's not received the same here in— with, with English PR, English radio stations, and the mainstream? Well, I can tell you in general, no one is prophet in his own country. I think, you know, this is a saying, right? Yeah. So, like, if I was in Italy, when I was in Italy and I came to London, I was invited by Royal Academy of Music and I was like, but talking with my teacher, my Maestro in Italy. I was like, maestro, I want to go here and there. Like, Stefania, you're an Italian in Italy. There is billions of Italians in Italy. Go out if you want to have an international career. So the same, I think, because for English people, they want to have an international career, they have to— it's a good thing to go out and make their name out as well. So absolutely. Well, I want to listen to the song then. Let's listen to The New Woodland Song with Katerina Mina by Linda Lamont. Mighty oaks from little acorns grow, who'll be reaping What we sow. Our children's children will walk through these woods and in the meadows that we planted with love. The cherry will bloom in the spring, and birds will tunefully sing. Up to the sky they reach, and so will the beautiful beech. The walnut will root and stand, along with these natives all. A pleasant land, a pleasant land. Mighty oaks from little acorns grow. Who'll be reaping what we sow? Our children's children will walk through these woods and in the meadows that we planted with love. We'll always remember the time When along with your family and mine, we seed out the fields for generations to yield, the budget will be set, wildflowers will create and grow again and again and again. And again and again. Mighty oaks from little acorns grow. We'll be reaping what we sow. Our children's children will reap. We'll walk through these woods, and in the meadows that we planted with love, mighty oaks from little acorns grow. Who will be reaping what we sow? Our children's children. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. Is all about diversity. 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Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you are looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Linda Lamont, a British composer and instrumentalist with an amazing original career. Linda, what would you say was the most exciting moment in your career? Most exciting, yeah, the best moment that you can think of? Oh, I think it had to be when I stood up on stage with Katerina in Paris. Yeah. At the UNESCO International Day of Light inauguration. That was exciting, and I was so proud. Katerina performed the song so well. Yeah. She performed 2 of my songs. It was, it was just wonderful. Absolutely. And what would you say was instead the most challenging moment in your career? Well, the most challenging I think has to be overcoming the trauma I had as a child. It took me quite a while, quite late in my life, to realize, to look back at the timeline and realize just how it had affected me. And I— and when I decided to overcome it, which was after my husband died, I spent quite a lot of time sitting and thinking and meditating. And it was then that I looked back and looked at the path and decided to do something about it. And yes, I think that And also, being a woman in the music industry, especially in the 1960s and '70s, wasn't easy at all. And I think that contributed to me not really getting on the right path. Because I didn't— my parents weren't really classical, didn't have the knowledge to guide me, so I rebelled actually. That was part of the condition, if you like. I rebelled. I had this music in me. It had to come out of me somehow. So it came out of me in pop music. And that's— but it was contributing in some way. At least I was still doing music. Absolutely. Well, as we were saying, you know, The experience in life are what make us today. Yes. And what enrich us if we can overcome the difficult and the challenges and the awful experience that someone might— Yes. —go through. And maybe there is a reason that will make you to express this and help others that they had this awful experience for example. Yeah, to fight it, to overcome. I think this MeToo movement is, um, amazing. It's unbelievable that happened. Absolutely. I'm impressed it's happening now and didn't happen before. Somehow we've gone a long way, you know, to finally be able to speak out. Yes. And I rebel to what's not fair. Yes, I think that's because there's more women in in more powerful positions. Maybe, yeah, probably. That are allowing this, you know, more directors, more producers, more. And so I can't tell you the relief when this was coming out. It was, it was just so amazing. I'm thinking, well, this is justice at long last, a whole lifetime, you know. Because even after what happened to me, that made me very wary. So it was everywhere in the pop industry, in the classical world, absolutely everywhere where people in power were taking advantage of very talented people and really kind of interrupting their careers. So absolutely, when I was little, I always saw, for example, you know, people that I thought they were less talented or less, you know, deserving that they would win a competition or they would go on doing things that I thought they didn't deserve to do. And there was always rumors about, you know, being friendly with this and that, etc., etc. But, and I thought that the reason why you could do that was because we were talking about music. We were talking about art, that is something that you can't really, um, account like making 2 2 makes 4. Yes. So when you can't say 2 2 makes 4, but it could make 4 and a half or 6 or 5, that's when the powerful people have actually more power. Yes. To decide depending on what it's in there for them. If they're not honest people, Isn't it? But then, I mean, we can see nowadays that there is this problem with any job, really. There is problem with people, you know, the secretaries everywhere. Everywhere. Yeah. So it's really something that it's just about power, isn't it? Absolutely. And I think we're learning to be more equal now. And this— that's why it's happening now, because it's in the stars. We're learning as a nation, as people as human beings to respect each other a lot more. We're coming out of a difficult era and going into a new one. Yeah. So there's hope. There is much hope. So what would you say is your most interesting collaboration so far? Well, I worked with the producer when I did the song for the Manchester Olympic bid, a brilliant producer called Nigel Stonier. And he heard this song, um, Rainbow Light, and he, um, wanted to produce Katarina. So we actually recorded with Nigel in a recording studio in Manchester called Airtight Studios, and, um, we came up with some very interesting stuff which you'll hear soon. And also, it's important that, um, I think musicians belong to organizations such as the PRS and BASCA. Absolutely. And because you can get some very good industry advice, guidance, grant information, and feedback from there. So I've had some good advice and help from colleagues within those industries and to collaborate with. Fantastic. So I wanted to ask you, as well. What would you say is the feeling of walking into the recording studio compared to actually walking on stage and performing yourself? I don't like working in recording studios. I don't know about yourself. I don't find it a pleasurable experience at all. For a start, it's expensive. So you're against the clock, so that can affect the artistic outcome, I think. That's true. Um, on my personal— from my point of view, because you asked, I love walking into the recording studio because it's an opportunity to fix something that can last forever. Yeah. And that can be heard from people that are anywhere in the world, in places I've never been and maybe I won't have a chance to go to, but I know that they listen to my recording and they are big fans and they love and they wait for new recordings. So in that sense, I found it the most exciting moment, you know, the moment I'm in the recording studio. Although, of course, the excitement on the stage is another thing. That's something that you can actually touch, isn't it? Yes. It's more organic. Yeah. Yes. It is exciting. I mean, I don't— no, no, it is. I do like the excitement of it, but I think it's because this recent recording I went in as a producer and arranger, which is different. I was with Katarina and she really enjoyed it, and it was wonderful to see her perform and to see everything coming together. So towards the end, when everything was coming together, that was very, very exciting. Absolutely. No, you're right. And then fighting against the clock, and then, you know, if you do any mistake, oh, you have to do it again. Yes. And that can take forever. I know that part. Yeah. I understand. But it's wonderful when minds come together and everything, and that's why it's so wonderful to collaborate because people are working together. And, of course, what you have to learn as a composer, which is very important, is to let go. Yeah, because you have an idea, you've written the melody, you've written the words, and then it can completely change in the studio. And you, you, you have to let go and trust the people that are working with you. Uh, it's, uh, it's, it's, it's a challenge, but for me it's worked really well. So it's wonderful, it's wonderful to be able to collaborate. So the new song we are going to listen to is Freedom for Me. Yes, this was written quite a few years ago and it's a song about freedom in nature and about appreciating the simple things in life. This is the song you said it was for Manchester or no? No, this is on the EP as well and Katarina sings it beautifully. And it's a message for anyone that is unhappy and has lots of money and they don't know why they don't have— they're not happy. But it's got some interesting parts in it that make it a nice crossover piece. Mm-hmm. And you know, I was very interested, you told me you actually write the words as well. You are the lyricist, not just the music composer. Yes, I write all the lyrics. That's quite impressive. And do you also write outside the song? I mean, like poems or— Oh, absolutely, yes. So much. Novels, anything. Words come out of me, like, yeah. I feel the music and I say And I also do the words. I actually wrote a song in about 5 minutes yesterday. Oh, wow. Yeah. When you get the inspiration, isn't it? I just— sometimes it's just one word or one experience and I get the initial idea and then everything comes out very easy. Do you think the music is complementing the words more than maybe just a poem or a novel, for example. What do you think is the best thing? Sometimes it's the words, sometimes it's the music. I'm typical of any composer, anyone I've ever listened to, the music I grab from the air, literally. It comes to me and I have to record it and think, has that theme been used anywhere else? Absolutely. Well then, let's listen to Freedom for Me with Katerina The gentle wind keeps me company. The warm sun sets in the Monday sky. The gold flows slowly behind me, and a voice whispers, "Say goodbye." Reaper with a reaper. Music mixes with thoughts from the dead. Free, God, for me. Greeted all for me, but not for you, not for you. Spreading his branches to greet me. The elm looks so proud and so green. The wispy grass— Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. Hello. And welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station. Hello and welcome to Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies' money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, that's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableinternational.com, or my number is 0207 759 7541. Hi, I'm Sue Openshaw, owner of Ferme du Ciel, the luxury ski chalet in Samoies in the Grand Massif, France. We are open for skiing from mid-December to end of April and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays. Single or multiple bookings, contact us on fermeduciel.com or 077 33 1 80 80. 0800 20. Do you need mediation? We are the A-Project Charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs. We can tailor your experience to you. For more information on how you can sponsor a show Go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. Hi, I'm Zina Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371 483, or alternately zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Linda Lamont. We've been talking with her about her amazing compositions and collaborations and inspiration and experience. Now, Linda, it's time for the odd questions. Do you have any strange hobby to free your mind or relax? Or even just a hobby, really, it doesn't have to be strange. I'm a crazy photographer. Photographer. Okay. My granddaughter actually asked me the question only last week. She said, 'Nana, could you go a whole day without taking a picture?' And I said, 'I don't think I can.' All right. And today on the train, I was taking the sunrise. Yes, it was that early. Oh, beautiful. So I am a very keen photographer, especially Nature. Mhm, very good. Nature. So actually, you know, I have a question later, but I'm going to ask you now about your next project, talking about nature. So yes, well, the EP that, um, these songs you're very kindly playing today are taken from the EP Nature's Universe, which Katarina has released and it's out there on all the digital platforms at the moment and also on my website, which is www.lindalormond.com. Easy. Easy. So do you have any superstition or ritual before going on stage or in the recording studio or before composing a song? I don't know. Yeah, I like to be still. And calm and meditate or pray. I mean, I personally am a Christian, but people have their own beliefs. Yeah. And it's very important to be still and be focused, which is what most people understand. But during one of the recording studios with Katerina, Katerina actually took a crystal because I believe in the crystals and the powerful properties. Okay. Certain stones and certain, um, each one has a different healing process. And she actually took one into the studio with her and held it, and I swear the spirits came in that studio that day. And you'll hear it in the next song later, um, Look to the Universe, where I've— it's actually based on a classical guitar piece called Romance. It's in the public domain, and that's the melody that I've based. I've done the lyrics myself. Yeah, but I've also, um, written like an aria in— not an aria because with no words for the soprano solo, okay, for the middle bit. And that's when Katarina is singing with this crystal. It's just amazing. Wow. Oh, it sent a chill up my spine. Do you mind? I'm very curious, which crystal was that? I can't remember the name of it. It's the white one, the clear one. Wow. Okay. Do you remember the name of it? I can't remember the name of it. Okay, that's a white one. Katarina Well, we'll say now, if she's hearing, it's this. Katarina, you can phone us at— I'm joking. Okay. And do you have any funny moment that you can recall in your career or embarrassing moment maybe? I'm going to go completely off-piste here. Okay. And away from the classical, because I also have some fun doing songs about animals. And I have a little ukulele. Oh yeah, just one of my instruments. And I enjoy writing songs for children. This is another way of relaxing. And I, as I've mentioned earlier, Dr. Brian May has been very supportive of my work, but I also support his charity, which is an animal welfare charity, and they invite me to animal days, and one of these days was a hedgehog day. Oh, wonderful. And what I do is I sit with the children and we're on a table and we colour in pictures of hedgehogs, and I literally write the song as I'm with the children. This is another little skill of mine. It's a crazy one. And I ask them questions about what they're doing about the hedgehog, and then I write down the actual answers that the children give me and come up with the words, and then I feel the atmosphere of the moment and do a simple tune that will be simple for children. Well, Brian was there on this day, we came up with the hedgehog song and he loved it, and TV crews were there. They didn't tell me that the TV crews were going to be there. Okay. So the next thing is I'm singing this live with the Children with the hand movements, and it was being filmed, and Brian decided to film it on his iPhone and send it out and post it on Instagram. Oh, fantastic! So everybody saw that. I don't know, 60,000 views on that. But the funniest part of that was turning around— how I sang, I don't know, while I was watching him, because once he put his iPhone back in his pocket Danni was doing the actions to the hedgehog song, and I thought, I hope the film crew's got that. Absolutely. Well then, the last song of today is Look to the Universe with Katerina Mine. Though we got here, but we must keep searching for we are so near. Through the universe, through a rain of stars, let your might sing. And this was Look to the Universe by Linda Lamont, sung by the beautiful voice of Katerina Mina. If you have any questions that you would like to ask to our guests for future Classic Women Awards, please email presenters@womensradiostation.com. or tweet us @WomensRadioSTN for a chance to win 2 tickets for the final of Future Classic Women Awards. A big thanks to our guest Linda Lamont for the great chat and the beautiful music played today. Thank you, it was a pleasure. 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