Comments for visualkaos

Comment on I Love Lucy lips by Maggie

Maggie — Thu, 10 Nov 2011 18:45:21 +0000

She is an embarrassment to women. Trying way to hard to still be pretty in a totally inappropriate, trashy way.

Comment on Funeral for a friend by Donna Evans

Donna Evans — Thu, 29 Sep 2011 06:12:48 +0000

Well, yet again my gifted friend, your words level me. Any condolence I could offer after that wrenching sentiment would pale. Frankly, I loved Joey because Joey let me pet him. I don’t ask for much. But I do ask that you keep writing (the shooting part is involuntary). Linda, I look forward to your first Joey book. I love you both IMMENSELY.

Comment on Funeral for a friend by Megan Ann Farrell Fuchsloch

Megan Ann Farrell Fuchsloch — Sun, 18 Sep 2011 04:15:21 +0000

I love this. I remember Joey and I remember when you found Iggy and how much of a scardy cat she was… but Joey still took her in his world. I’m so sorry for your loss. But I’m certain Joey is stalking some imaginary prey in a better place.

Comment on Funeral for a friend by valgalart

valgalart — Sat, 17 Sep 2011 18:41:30 +0000

i got all teared up looking at all the beautiful pictures because i could feel what a lovely life this beautiful cat lived! Also seeing Linda with him and how happy really choked me up, so sweet and where does the time go? Then i read your words and laughed and laughed! So, so beatiful! Biggest hugs to you all

Comment on Funeral for a friend by Udy

Udy — Sat, 17 Sep 2011 18:40:23 +0000

I have no idea how my comment got between the end of the poem and the ladies name (Linda Barnes) that wrote it, sorry. My name is Judy/Udy

Comment on Funeral for a friend by Udy

Udy — Sat, 17 Sep 2011 18:37:06 +0000

They will not go quietly,
the cats who’ve shared our lives.
In suptle ways they let us know
their spirit still survives.
Old habits still make us think
we hear a meow at the door.
Or step back when we drop
a tasty morsel on the floor.
Our feet still go around the place
the food dish used to be,
And, sometimes, coming home at night,
we miss them terribly.
And although time may bring new friends
and a new food dish to fill,
That one place in our hearts
belongs to them. . . and always will.

I am deeply sorry for your loss

by Linda Barnes

Comment on Funeral for a friend by Chris Chaffee

Chris Chaffee — Sat, 17 Sep 2011 05:04:00 +0000

Truly sorry for your loss. Losing family like that is always unbearable. Sincere sympathy to Linda.

Comment on Funeral for a friend by Trou

Trou — Sat, 17 Sep 2011 03:09:46 +0000

He did his duty as a little animal that brought joy to your lives. How simple yet deeply meaningful. Sorry for your loss.

Comment on Butterscotch Telecaster in open G by Steven Rosenberg

Steven Rosenberg — Mon, 13 Dec 2010 18:38:16 +0000

Back in the early ’60s, Dick Dale used to play those Fender Showman (Dual Showman?) amps, and he pretty much torture-tested them for Fender. If he couldn’t blow ‘em up, they were ready to sell.

We have a 1970s Fender Champ (what do those things put out, about 8 watts?). It’s not working right now (I’ve been meaning to fix it for 10 years), but when it does, it sounds really, really, really good. It sounds so good, it makes you want to play more. Most jazz players these days use solid-state amps because they’re clean, consistent, sturdy and not so damn heavy. But a tube amp with a lot of power sounds great at low volume (you get more dynamic range) and high volume (when you’re overdriving it). They’re just hell to carry around.

Comment on Butterscotch Telecaster in open G by Steven Rosenberg

Steven Rosenberg — Mon, 13 Dec 2010 18:33:44 +0000

I had no idea that Keith Richards used that particular Tele so much.

Things I notice about it that you didn’t mention:

The bridge appears to be all brass. I’m not sure if “traditional” Tele bridges are all brass, but they certainly have brass saddles.

The “real” Tele bridge has three saddles, with each handling two strings, and many players prefer the three saddles over the six that Strats and most “modern” guitars have.

You can certainly dial in better intonation with six (or in Keith’s case five) saddles.

Another cool thing about many Fender guitars (and I think the Tele is among them, but I’m not sure about all models) is that the strings go through the body. That exerts a lot of downward pressure on the bridge saddles, yielding more sustain and keeping the strings in tune (presuming that the tuners are solid/stable).

He has the Gibson humbucker added in the neck position. Lots of players do that, and you can get the Muddy Waters Tele from Fender with a Gibson-style humbucker in that position. Most of the Teles with factory humbuckers (like the Telecaster Custom, which I think Keith also plays on occasion) have Fender-style humbuckers in there. I don’t know exactly what the difference is in sound, but it’s nice to be able to drop any Gibson-style humbucker in there.

I’ve never seen a closeup of this particular Tele, but now I see that Keith’s Tele has the humbucker installed backward with the pole pieces reversed. This was a signature of Peter Green from the early Fleetwood Mac. He always reversed the neck humbucker this way in his Les Pauls. I love the sound he gets — it’s not at all distorted and really lets the character of the instrument shine through.

I was looking at a new book yesterday of “lost” Stones photos from the mid-’60s – still the Brian Jones era – and both Keith and Brian were playing Fender Showman amps – basically Fender Twin Reverbs with separate speaker cabinets. They might have had more power, but I’m not sure. I love those old Fender amps. You can really make ‘em loud. Ted Nugent back in the ’70s would play those Gibson Byrdland guitars through about 10 Fender Twin/Showman amps. I don’t know how that hollowbody didn’t spontaneously fall apart from the feedback.