I could use some help and I'll be glad to reciprocate with stuff I know about.
I can not figure out how to get decent ripples in water. I have not yet tried Woodland Scenics "water", and I have heard that it sort of works. All of my rivers are Enviro Tex Lite over stones and sand and the surface is "millpond" or smooth. The effect is rather nice as I add Pullman Green and Roof Brown and the bottom is still visable, but not quite realistic. I have tried stiring when Enviro Tex is almost in the dry stage and I have tried heat guns.....nada!
My dad in the 50's used linolium cement applied with a trowel and with this tool he would he would carve perfect ripples or river water patterns as the cement was setting.. Then all was painted mud brown and gloss added later. It looked great, but I think we can do much better today. I'd sure be grateful for some tips or ideas.
Woodland Scenics "Water Effects" (aka artist's gloss gel medium) is great for this. I use a wide fan brush, and "push" the medium in lines across the water. You can add successive layers to make more ripples, and make them cross directions or build up in Vs around stones or wakes around boats. You can see some of my efforts in the Photo album on the Bend Track SIG page here:
No it's not, the turtle's only one of the top layers, at least according to Hazmat Modine in their album's title song "Bahamut":
(click on "Bahamut" under SAMPLE TUNES FROM BAHAMUT, and be sure to listen through to the cosmological digression)
?No one has ever seen Bahamut?, we learn, thanks to its massive size. All of us are floating inside a bowl, on a tortuga, on a mountain, in an acacia tree, which grows from ?the snout of a giant blood-red ox with fifty eyes?, which fits inside one of the Bahamut?s tears. ?Some think it?s a fish? some think it?s a newt...?
Weird names? Like The Doors, or Jefferson Airplane or The Beatles? Or Warren Zeavon? What a strange and limiting thing to proclaim.
I listen mostly to folk (of many sub-genres), with classical (from Josquin to Bartok) and blues and a little rock and less country. Hazmat Modine is a great folk/blues band, but if you find the canned predictability and rigid metre of Bill Haley entertaining (my folks loved it, but I found it to be really mickey music back in the late '50s/early '60s) then Hazmat Modine may be too much for you.
I'm not much on odd names either, but even The Strawberry Alarm Clock managed at least one decent track. Names, in a music industry dominated by schlockhead A&R types, publicists and agents, are a pretty poor guide to the actual stuff. Besides, look where a prosaic name like Bush has got us.
Danny Cedrone and Franny Beecher both were killer guitar players, all it takes is ears to know it. In the referenced time frame it was probably one of those guy's playing that you heard. And Skinny Minnie is a great song with a fabulous horn chart.
You know what's really limiting? Insisting on listening only to esoteria. I think that lotta folks do that just to try and show off how intelligent they think they are. Besides, The Doors absolutely sucked.
Try some Louis Armstrong Hot Five and/or Hot Seven, some Benny Goodman quintet with Charlie Christian, some Charlie Parker, Miles Davis, Chuck Berry (it's really about the lyrics with Chuck), or how 'bout Huey "Piano" Smith and The Clowns, Kinky Friedman and The Texas Jewboys or even Mojo Nixon, not to mention the likes of TheThree Kings
- Freddie, BB, and Albert.
Bartok and Stravinsky are way too sramt for the likes of me and I'm so dumb I never even heard of Josquin. I'll see them and raise you Schubert and Mozart, a couple of cats who really had a way with the kinds of melodies that could bring tears of joy or sadness to your eyes, instead of making your brain go up in smoke.
Unless the names are Johnny Cash, Merle Haggard (again, it's the words as much as the music), Tom Waits, John Pryne, or a personal favorite with me, Bob Dylan (lyrics again).
Rove is the name, amorality the game. Without Rove Butch would be anonymously running yet another business into the ground.
Hazmat Modine sure ain't esoterica. We listen to what is fun for us, what blows us away, and avoid what bores us.
Have to disagree there.
Sounds good. Add Bessie Smith and Billy Holiday. Keep the Miles to the earlier stuff for me, thanks. And I've been a Kinky fan for years (but not his attempts at mystery writing), ever since I heard that rumor about a tumor.
I heard Josquin de Pres' music thanks to my sister in law. I like a lot of early stuff like that. Stravinsky's Rite of Spring is loads of fun, but much of his other stuff falls off for me - Petrouchka is a little too precious. I like the more accessible Bartok, like Concerto for Orchestra, or Music for Percussion, Stings and Celeste. I like Prokofiev (my wife has seen the Stuttgart Ballet do Romeo and Juliet four or five times, but then she used to live there) and noisy Shostakovitch (which she doesn't like). Mozart can be good or can be boring, but I blame the times (and the self-titled "noble" A&R types) for most of the boring parts. A little Schubert goes a long way for me (as does a little Johnny Cash). I like hokey old Brahms though.
Real names are just fine with me. We saw John Prine here just the other week.
Well, you've got 6 years on me, but I'm definitely an 'alte furze' in many ways, not to mention the most literal sense. I guess we can agree that Britney (g-d dammit, spelling counts!!!) and Kenny Gee and Janni suck.
Yep, just as limiting as only listening to rap, or ranchero, or ... whatever. The musical mono-diet.
Me too. One of the few truly transcendental musical experiences of my youth was the first time I heard "Light My Fire", fooling around with my parents' Magnavox stereo, from some faint, crackling out-of-town AM station somewhere west of Chicago. I could not believe what I was hearing. The only comparable jolt musically speaking was the first hearing of "Purple Haze".
"Hokey old Brahms"? Excuse me, please: what could be more sublime than his symphonies, especially the 1st, written in the dark shadow of the giant, Beethoven; or his Academic Festival Overture (complete with student drinking songs); not to mention his chamber music.
It's too bad that both Stravinsky and, especially, Bartók, have such bad raps and are typecast as difficult, cerebral, atonal. Certainly some of their music is, but much of it isn't and only requires a few times to acclimate oneself to. Of course, the Concerto for Orchestra is about the most accessible Bartók, including the part most people will recognize from "The Shining", but his ballet music (I'm thinking of the suites from the Wooden Prince and The Miraculous Mandarin) are equally charming and full of aural treats.
The other end of another spectrum for Bartók is his folk-music inspired stuff, which, if anything, may be too simple for most folks' tastes these days, but which I find irresistible: try the Romanian Dances (arranged for string orchestra, several recordings available) if you want to check it out.
Memories, they can't be boughten, They can't be won at carnivals for free. It took me years to get those souvenirs, And I don't know how they slipped away from me.
Could do worse than him. Anyone capable of writing "They Don't Make Jews Like Jesus Anymore" can't be all bad.