"A golden bell ornament that archeologists believed belonged to a priest or important leader from the Second Temple period, was found in an ancient drainage channel in ruins next to the Western Wall on Thursday, the Antiquities Authority announced. The small bell, which has a loop for attaching to clothing or jewelry, was found underneath Robinson’s Arch. The area underneath the arch was formerly the central road of Jerusalem, which led from the Shiloah Pools in the City of David to the Old City and the Temple Mount. The excavations were led by the Antiquities Authority and the Israel Nature and Parks Authority and financed by the City of David Foundation, which runs the archeological park across the street. “It seems the bell was sewn on the garment worn by a high official in Jerusalem at the end of the Second Temple period (first century CE),” the excavation’s lead archeologists, the Antiquities Authority’s Eli Shukron and Prof. Ronny Reich of the University of Haifa, said in a statement. “The bell was exposed inside Jerusalem’s main drainage channel at that time, among the layers of earth that had accumulated along the bottom of it.”
"He was born in Oran (Algeria) in 1956. His childhood was marked by the departure of his father, who abandoned his wife and children, and by the Algerian war, which the family left behind when they settled in Rennes, France. It was music, and rock in particular, with which the teenager once again found an escape. He quickly tired of his studies, and from one odd job to the next, he tried his hand at songwriting, while keeping up with the local rock scene. In a bit of a gamble, he even managed to organize a concert, meeting up with some of his favorite bands, including Marquis de Sade and Elli and Jacno's Stinky Toys. A year later, in 1979, he took to the stage at a festival, overcoming his shyness on stage."
"I think To Our Children’s Children’s Children [1969] is the one Moodies album that didn't come across on the radio. It didn't jump; it was soft, it was quiet. Everybody was so delicate with it and handling it with kid gloves. The way it was mastered was quiet, and the way it was transferred to disc was delicate. In the end, it ended up getting a little lost. "Watching and Waiting" — when we heard that song in its studio beauty, we thought, "This is it! All of those people who had been saying to us for the past 3 or 4 years, "You'll probably just do another Nights in White Satin with it" — no! We had shivers up the spine, and that kind of stuff. But when it came out and you heard it on the radio, you kept saying, "Turn it up! Turn it up!! Oh no, it's not going to make it." So it didn’t happen."
