A solid body electric 12-string, e.g., Danelectro 12 lipstick pickups, or Fender/Squire Telecaster 12, Gibson Epiphone SG 12, or maybe George Harrison/Tom Petty/Roger McGuinn style/clone 12-string (a hollow body) which compares to Gretch Chet atkins Country Gentleman 12-string.
Leonard Cohen wrote a song to answer the question
Probably, really, it’s a good time to listen closely and learn about yourself. In maybe a few cases, you are being railroaded and then it’s a split decision between silently walking away don’t look back, and fight with all your strength against the injustice of it all. Knowing which is which takes wisdom, and there’s no sure thing either way.
A music school aimed at children of all ages from 3 to 12 and requires an audition probably caters to the self-consciously elite, such as Newton Massachusetts. The hoops might be designed to flatter the parents (dual income professionals), coincidentally justifying their high fees. Yet, children of such parents are probably high I.Q., and very good looking to boot—yielding an institution’s track record of excellence and achievement among its graduates. They would all do well attending the local mom and pop music store—as Ivy League students would also do well attending Desperate State University, though they would miss the chances the cache would bring.
A thumb drive with my favorite music
More often it’s “did go well.” Lately been good, but for years it was iffy
Yahoo, filled the tank of my car
Sounds like most five man bands with an ugly front man who gets all the girls.
George Martin may as well have gotten credit for co-composing and performing on many occasions. But he owned (in part?) Parlephone, their label, so he did ok.
Promoting the economic good of everyone but in contradiction promoting programs that require inflation-causing direct payments without taxation designed to cover the costs.
Dr Powers, a question, is there any way to raise awareness of these alternatives to HRT (e.g., Meyer-Powers Syndrome analysis) that you have thought of? That is, are we dealing with active resistance driven by political forces? Or is this just subject to the simple trajectory described by the “law of diffusion of innovation” by Everett Rogers (1962)?
Dick Clark’s American Bandstand, Rolling Stone Magazine, downbeat magazine, Stereo Review Magazine, my music teacher jazz aficionado Joe Acerra, Cleveland’s underground fm radio of the 1960s, CKLW am radio, the folk music scene of Geneva on the Lake of the’60s, early Christian folk/rock circa 1969-76, and oh yes some performers: Tom Scott saxophone, Hot Tuna w/Jefferson Airplane, Boots Randolph, Stan Getz, John Coltrane, Cannonball Adderley, Frank Zappa, The Beatles, Peter Paul and Mary, The Four Seasons, JS Bach, Beethoven, Haydn, Glenn Gould, Paul Simon, Roger McGuinn and the Byrds, Paul Stookey, the music of the Catholic Charismatic Renewal of the 1970s, and the hymnal “Hymns” (ed., Paul Beckwith, 1967 edition), and Love Song/Maranatha sampler albums from Calvary Chapel 1970-1977.
Those two were part of my breakthrough repertoire! WOW! 1 4 5. And you can play them in ANY KEY!
I figured out how to play the main riff to In-A-Gadda-Da-Vida on an upright double bass at school, before I got a guitar. The first song I figured out by ear without help was Sweet Sweet Song of Salvation. Hahaha. They were like a toddler learning how to stand on two feet and walk across the room without any help. What wild and cool feelings they were, that “very first thing”! A lot like a first kiss.
Large parts of commercial art, including the history of comic books, are and were done as work for hire, with no ownership of the art retained by the artist. Just as a carpenter does not retain an ownership stake or attribution in the creation of the architect who employs him. Recently comic book artists have retroactively asserted their rights as creators over and against their initial contracts to produce work for hire, and they have won some actions in court. It’s always an uphill battle to renegotiate an employment contract, and money awarded have often been minimal. Movie makers employees such as soundtrack artists, cowriters of scripts, are often given a choice at the signing time between a percentage ownership and/or a onetime contract fee.
Your best option is rarely obvious, and being offered work for hire is not necessarily a bad thing. Here’s when a hard boiled and experienced (and trusted) manager/representative can help you.
There’s already the band Old and In the Way
Most bridges are forgettable—in my experience, but often they are great little tunes. Some people clip out guitar solos, I’ve thought of clipping bridges into a long CD. Half of Joe Walsh’s Life’s Been Good sounds like bridges, snippets of musical ideas strung together, with verses holding them together. I heard that Sting likes to use bridges that are unrelated to the verses. In classical symphonies there is often an Adagio movement, typically subdued and often forgettable, an analog to a song’s bridge. Some record label released an album called Adagios, for easy listening.
Yes, this is what lyrics + chords charts are about. They are not at all precise, but are great prompts for following the song generally. Not only are they not precise for keeping time and marking the chord changes over the words, they are often wrong. And when they are not wrong, they leave out fills and partial chord that players love but are too confusing to write down.
So, as we said, they are rough guides to the recorded versions, and do a good job helping a player who knows how the song goes to build on.
This question is more important than most. My answer is this: Getting used to scrapping what you have worked on is a transition point between being an earnest beginner and being new expert.
When you start out, every little creative thing is oh-so-precious, and you feel protective of the little life you just created, your own little baby creation. You want to frame it, publish it, promote it—but it has all the elements of something that you stick up on the refrigerator, in reality. And it will have glimmers of greatness, no doubt; but mostly, nah! Just copyright it, laminate it, create a new file folder and add it to the index, record it so that your own bootleg series will have something to release when you’re 80. And then—get some fresh coffee, the day is still young, cannibalize the good parts, write paint record or build something new and different, and maybe by 5:00 pm you’ll have something worth while. Or maybe not, but that doesn’t matter because tomorrow is a new day. Ask, how can I write ten great songs? Answer, write two hundred songs.
Most of your precious creations will die and truth be told, really ought to die, and you get over the pain of seeing them die by loving them for what they are and letting them go, to drop to the cutting room floor—and you heal from the pain and loss but making many more new ones, each one having a life of its own. Grieve the old, love the old, but let it go, and then make something new.
The Byrds Feel A Whole Lot Better, Bob Dylan Girl on the Red River Shore, Jefferson Airplane live 3/5 of a Mile in 10 Seconds, Willie Nelson If I Was the man that you wanted I would not be the man that I am
Favorite non-hit song from your favorite album/artist?
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