http://ianlafo.com/snoopy-mini/
Snoopy Mini
help with naming my new puppy?
I thought I got a mini american eskimo male pup and need help naming it. Some ideas already are: Jasper, Casper, Oasar, Joey, Shadow etc. He is really sweet, but then plays like a little devil. He follows me everywhere. Out of sight and cries for me. I have other pets male named Snoopy and Simon to give you an idea about the names that I like. Thanks in advance for your help. I love this guy again. I have had the rules before and I can not wait to see what it will look like when he matures. I'm so torn on what to name him. Male names are more difficult for women to chose to me for some reason. Other ideas are: Frosty, Scotty, Rocky or Rambo. Be different.
I'll tell you exactly what I've said since I asked the question exactly the same. When buying a puppy, hold for one or two weeks before deciding on its name, the dogs will give you tips that can help you choose an approriate name, may be a fool, a strong dog heads, mild, these features will help you choose the right name. Remember that a name is for life, you should choose something you think might fit your personality., not a jazzy name. Go for something unusual, something unheard of. PS: I just saw you wrote is a little devil, plays as such. I suggest you go with a warrior name. My friend has a husky, his name is Ayku (sounds like IQ), which is a native of AYK Japanese name. I wanted the name of my dog Katana, a Japanese sword, Samurai is also an option (see wikipedia for meaning) and last but not least, Temujen (prounouced MU TE Djen, Genghis Khan also google and see wikipedia). Hope this helps.
Workhorse: Re-imagine superteam Sunshine Psychedelic Folk
psychedelic rock in the 1960s had two edges and comes from two different strains. One was the heavy and intense Acid Rock of bands like Buddy Miles' Electric Flag, the zombies, and countless other fuzzer out, guitar-led bands from Sonic mental travels. The other strain of period music followed the hippies path ', the search and return to a lost innocence and authenticity. Some artists like Jerry Garcia found jug band blues and mountain swing. Others, like Donovan and the British band Pentangle, drawn from the rich tradition of folk music Emerald Isle (who played in Celtic myth and magical creatures from another world as fairies and goblins, things that are sometimes in extreme doses of LSD, perhaps feeding curiosity about music). This is the strain that has been carried out workhorse.
http://www.hobbyhorsecafe.com
http://www.myspace.com/hobbyhorsecafe
Horse battle begins with these influences and create an individual sound. It is organic in the sense that the duo – which includes Annie and Phil, who played guitar and a variety of other instruments such as harpsichord, organ, and percussion of various kinds – natural sound as if they were playing in the Living Room of a cottage in the woods for a friend, rather than for an audience "of" fans ". His new CD, break in the clouds, captures the essence of psychedelia, the concern of another world mythology, the occult, the fantastic, and visions of altered states (chemically induced or not). lyrical narrative accompanied by music that is cinematic. The CD lush instrumentation and angelic voice of Annie dark give the listener with repeated works – a disembodied guitar tone there, a chord here, drones organ sound as if coming from another room in your home. The songs are memorable, especially the sweet "Good Morning Moon," the surreal "Museum" and my favorite, the mysterious "Melesina."
[Mark Kirby] What are the first musical memories?
[Annie] my earliest memories music are listening to the radio 70 hours. I loved many of these songs. The songs of that era often told stories. Although many of them were a kind of corny, they were so sincere.
[Phil] My parents and sisters played classical music with varying degrees of skill. When I was a boy of six or seven years, my grandmother gave me a transistor radio and took it with me wherever I went. But even before that, I listened to my parents' records of folk songs of Woody Guthrie, Leadbelly and the Weavers. I was able to memorize long, complicated songs before I could read. In the late 1960s, I used to listen to underground FM radio. "Jelly Pudding" was the name of the show, presented by "Michael Xanadu." He played the latest trendiest bands of San Francisco, England and other psychedelic scenes. These sounds really captured my imagination 10-years old!
[Mark Kirby] break in the clouds opens with "Lullaby" a gentle song that has the faint but sincere spirit of the summer of '67. The guitar comes with delicate strings backed by subtle percussion of tar (a part of East Middle drum) organ and bass. Annie's voice is delicate, ethereal, sing the words that evoke lost innocence: "Snake in the Grass – lion in the tree / My love squeeze to me / The sun rises behind my eyes closed / Dream of a lullaby. "The full effect of the classic psychedelic sitar is helped by entering in the middle of the track, climbing over the listener as "mushrooms after a full meal.
"Angus Og" continues in the same direction and captures the musical feeling psychedelic electric sitar playing the opening theme song, organs and dishes adorn this simple song about a woman's life dreamed of and loved by Angus Og, the Celtic god of love. The lyrics, vocals and instrumental textures are akin to painting with opaque watercolors rich yet: its subtle simplicity veils complexity.
What are your individual musical past?
[Annie] I took piano lessons when I was a kid bored. It was not until I was in college I picked up a guitar. I did it because all my friends played instruments. I learned some chords and a couple of weeks I realized, of a popular song, how songs were built. I wrote my first song before I could not play. It was one of the most satisfying moments of my life.
[Phil] In 1965, I used to pretend to play guitar with the Rolling Stones records using an old tennis racket. My parents realized this and bought me a real guitar, and I signed up for guitar lessons. One of my first guitar teachers was a jazz musician and he taught me to improvise. So I was always more in my own game thing on the copy someone else's style.
[Mark Kirby] What were the first groups that were part of like?
[Annie] My first group was also the first real workhorse. I sang my songs and a friend played guitar, played bass. The problem was that he could not play. We had a concert in a party of his friend. He got stoned before the concert that made it even worse. I left there and never played with or talked with him again.
[Phil] My first band was with some friends from school 4th grade. We played "I'm Not Your Stepping Stone" (the Monkees), "Snoopy vs. The Red Baron "and other songs like that. I played through an amplifier that my father built for me. Our drummer had a snare drum and whistles one. Our keyboardist played my sister Magnus chord organ. We practice a lot and makes one or two times in a variety show of the community. When I was 10 years, played in a rock band with some children older than age 13. We had a girl bass player and a Hammond organ, with drums and guitars. We play songs like "We must leave this place" and "Little Bit of Soul," without mentioning the classic "In the Midnight Hour." I was in several other bands through my teenage years and played a lot of Bar Mitvahs in that period.
[Mark Kirby] What are your musical influences and art?
[Annie] The mood of many of my songs is influenced by the mystical sound of Donovan Sunshine Superman register and The Haunting sounds of Pink Floyd. Some of singer / songwriters I influences are Suzanne Vega, Kate Bush and Stevie Nicks. Led Zeppelin has made me more aware of riffs. There's nothing like great riff! I have studied Middle Eastern percussion and have developed my own style of percussion through these studies. However, all these influences, truth is that I feel I have little control over how I sound and write. I found that acceptance of my own limitations and natural expression has allowed me is a musician, writer and artist.
[Phil] Psychedelic rock of the 1960s was my first major influence and obsession. In the 1970s, I discovered John Fahey and had a profound influence on my guitar work. An older cousin introduced me to late period John Coltrane, and with Miles Davis (Bitches Brew, in particular) which opened a new direction. Karl Berger had a lasting influence on me through my brief period in Creative Music Studio in Woodstock, NY circa 1977. I've heard very nearly all styles of American music, most European music, a lot of Indian music, and at least a little music every other culture the world. I steal all ideas and concepts.
[Mark Kirby] How to get the style of music being played?
[] Annie was a natural collaboration between Phil and I is a combination of my style of composition and style of play Phil. We both love the sound of dreamy, psychedelic 60s and the haunting sounds of music as Pink Floyd. Our sound comes from these influences.
[Phil] workhorse of music is the sound of me and Annie each doing what they do best and love what we do. Workhorse plays Annie strengths as a composer, and also allows me the freedom to create music it sounds the way I've always felt the music should sound.
[Annie] I named horse of the band after that the Dada art movement, which took place during WW1, Dada is another word for hobbyhorse. Workhorse also means an obsession. The music is not a hobby for us. Everything else is a hobby. Music is the real thing. Finally, the most important meaning emerged workhorse: It stands for freedom of the imagination. We describe our music as psychedelic folk / rock. Sometimes we call it progressive folk / rock. It's complex and poetic.
[Phil] In the psychedelic era in the first place, opened a door between the everyday world and the eternal world. It was like a brief but brilliant spark, the spark and lit a large number of fires still burning today. Hobbyhorse Music in the life of the door between the world and acts as a conductor of the spark
[Mark Kirby] magical worlds are evoked in most of the songs this CD. "Museum" tells of a magical instruments museum, a place that could only exist in this twilight zone. However, considering as a place, even in a song, it helps to open their minds to other possibilities. Is not that the essence of psychedelia?
"Melasina" is the darkest and most mysterious horse battle songs. The music immediately conjures up images of the Red Room at the Black Lodge, the place of evil in another dimension, in the series Twin Peaks. Musically, this song reflects a feeling of another world dementia. As in the television show Twin Peaks and the (terribly underrated) movie, violence against women for family, with all the symbolism employed by attacking innocent evil, weak against strong, and the assault on innocence. The music captures that. Dissonant keyboards and guitars without a body, that sounds like distant thunder and winds, cascading from the first note.
He sings in a monotone voice virtual environment on a mosaic of descending call keyboard chords, guitars that sound like buzzing bees, and sounds that evoke the feeling of wide open spaces like the ocean: "His hands felt so familiar / As I stroked her cheek / Suddenly transformed by the rage / They made me in the background / … The wind blows the waves / Midnight falls into the sea / I swim against the memories / darken my dreams. "The letter concise and emotional and visual music combine to make a virtual movie in the mind of the listener, as a step of good prose.
Its website states that are influenced by myths. cultural myths to draw from? Why and how to apply them to your music?
[Annie] I write songs inspired by myths from anywhere in the world and anytime. These stories are timeless. Writing the song helps teach me about the myth. I let my mind immersed in history. I can extract the essence of a character or event. Writing the song helps the story come alive. I usually write the music first and then the story will fit in like pieces of a puzzle come together.
[Phil] Many of the songs I write are allegorical and use a lot of alchemical imagery. I am very familiar with classical Greek and Roman mythology, with Egyptian mythology as a recent interest. I have also studied many world religions and draw from those traditions.
[Mark Kirby] When performing live, so you just have a band two or more big?
[] Annie Currently, we perform only as an acoustic duo. The sound is unique and different from our recorded sound. In the recording to play all the instruments ourselves, but they overlap in an array. And we played some electric and some acoustic instruments on our recordings. We intend to form a band in the near future so that we can have the flexibility to play as a group or duo.
[Mark Kirby] You spent approximately a year in the new album? Why so long?
[Annie] The CD formed gradually through experimenting with home recording. We recorded song by song and then realized one day that we had an album. During that time he also designed the website. It was hard work. We unique ideas that we wanted to do: price conscious choice, guest artists, a special section for people who register. I painted all the works of art for the web. We wanted a break from live performance.
[Phil] Every song has a unique voice, a unique story to tell and a unique way. Annie never writes the same item twice or use standard song. I put the same care in the arrangements. Each agreement is crafted to the specific song. No agreement always uses the same combination of instruments, the same reasons, even the same recording methodology. So we put a lot of thought in writing and organization, and an experiment a lot with recording techniques. It takes a long time!
[Mark Kirby] The song "Walking Away" is look and texture to conjure up the image of a caravan crossing the desert, that is created by the combination of ringing bells, buzzing bass sounds merge with the soft murmur frame drum and piercing guitar lines made of long, extended notes. This sound mix is pictorial in its composition. "Pheonixology is an instrumental interlude. Perhaps Annie and Phil tried to put words and singing this and then realized that they really do not. A simple xylophone motif opens and anchors along the track. The bells, organ and bass lines played left until it all comes together in the end, an ending that promises more. Pregnant pause in the song end results in the said Og "Angus", which includes a mini suite, a musical journey.
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