ripock
Well-known member
I had some culinary successes. Ever since I lived for a while on an olive farm in Italy, I have used stove top coffee makers although I only drink decaf. However my coffee pot's handle was melting and dripping molten plastic on my stove, hands, and towels. It had to go. So I bought one with a metal handle:
It is pretty, plus it is stainless steel. Traditional stove tops, like the one I bought on market-day in Italy are aluminum and aluminum surely gets into your blood stream.
The second thing I did was re-create a japanese breakfast I had. It was rice with some tamari, two eggs, miso soup, pickled vegetables, and fish. For the fish I used some swai that I had although my memory says the fish I had was rubicund, like tuna or salmon. However, it was a success with the wife--except for the vinegary vegetables which didn't agree with her digestive tract issues.
Third thing I did was play ukulele until my picking fingers were sensitive. And I thought I would just expatiate a bit on movable chords. In this space I've been praising the Ukulele Fretboard Roadmaps of which I was unwittingly an acolyte. That book lays out the system of movable chords but it doesn't really go into how to use them. And I have found that with freedom comes a great responsibility.
Here's what I mean by that. If you're going to playing a I-IV-V, a super common progression, in E, you play it like we're all taught with the E on the 4th fret, A on the open string, and B on the 2nd fret. Easy peazy. However with movable chords, you're free. You can play any of the 5 or 6 E's on the fret board. But once you choose your E, then you have to decide: do I play an A that's a bit lower on the fret board or one that is a bit higher. Each choice will give a different vibe. Each choice sounds good but different. Then with the B you have to decide do I again go to a lower B or a higher B. So you can see that you're creating either linear pitch changes that move higher or lower, or you're zig-zagging the pitches. And they all sound cool, but different. That's all I'm saying. When you have the freedom to move wherever you wish, then you have to think about the repercussions of your choices. And, of course, this only matters if you're doing your own thing and creating things bare-backed. However if you're supporting some singing with your chords, then of course the voice is everything and you have to support the vocals so that your choices are limited.
It is pretty, plus it is stainless steel. Traditional stove tops, like the one I bought on market-day in Italy are aluminum and aluminum surely gets into your blood stream.
The second thing I did was re-create a japanese breakfast I had. It was rice with some tamari, two eggs, miso soup, pickled vegetables, and fish. For the fish I used some swai that I had although my memory says the fish I had was rubicund, like tuna or salmon. However, it was a success with the wife--except for the vinegary vegetables which didn't agree with her digestive tract issues.
Third thing I did was play ukulele until my picking fingers were sensitive. And I thought I would just expatiate a bit on movable chords. In this space I've been praising the Ukulele Fretboard Roadmaps of which I was unwittingly an acolyte. That book lays out the system of movable chords but it doesn't really go into how to use them. And I have found that with freedom comes a great responsibility.
Here's what I mean by that. If you're going to playing a I-IV-V, a super common progression, in E, you play it like we're all taught with the E on the 4th fret, A on the open string, and B on the 2nd fret. Easy peazy. However with movable chords, you're free. You can play any of the 5 or 6 E's on the fret board. But once you choose your E, then you have to decide: do I play an A that's a bit lower on the fret board or one that is a bit higher. Each choice will give a different vibe. Each choice sounds good but different. Then with the B you have to decide do I again go to a lower B or a higher B. So you can see that you're creating either linear pitch changes that move higher or lower, or you're zig-zagging the pitches. And they all sound cool, but different. That's all I'm saying. When you have the freedom to move wherever you wish, then you have to think about the repercussions of your choices. And, of course, this only matters if you're doing your own thing and creating things bare-backed. However if you're supporting some singing with your chords, then of course the voice is everything and you have to support the vocals so that your choices are limited.