TRAVEL WITH THE BAYFIELD BUNCH:))

Thursday, January 16, 2025

I JUST HAVE TO GET ON WITH THE I'S ME'S AND MINE'S

It was just me in the Subaru on this snowy mid-January morning heading to the Maitland Valley Health Center in Goderich. It was my semi-annual diabetes check-up with my Nurse Practitioner and the Diabetes Lady. They had good news for me. My numbers were better and I had actually tipped back over the line to 'Pre-diabetic'. I had a hunch that might happen, and it did. And, I even got a great big hug from my Nurse Practitioner. The only area I am falling down in is exercise and I've no chance of that until all this miserable snow melts, the Sun comes out, and the temperatures come up.

IT WAS A SNOWY DRIVE TO GODERICH AND BACK THIS MORNING

I and We....I have quite a time with that now. It was always 'we' but now it is only 'I' and I'm having to get used to that when I'm referring to anything. Is or was is another one. It was ours but now it's mine. It was 'our' car but now it's my car It just don't sound right to me but it is what it is and I just have to get used to it. 'Our house' is now my house. I liked it better when it was our house. I liked it better when there was more 'ours' and fewer 'mines'. More 'us' than 'me's. It just felt more comfortable and right. But alas, change is inevitable and I just have to get on with the I's, me's and mine's.

WHEN I SAW THIS BIG GUY COMING FULL TILT I PULLED OVER INTO A FARMERS LANE AND WAITED FOR HIM TO GO FLYING BY

A VEHICLE AHEAD OF ME IS THROWING UP SNOW IN MY FACE

IT LOOKS LIKE THIS FARMER FORGOT TO HARVEST HIS CORN LAST FALL

AND I EVEN SPOTTED 'OLD LONESOME' ON MY WAY HOME

OH-OH, LOOKS LIKE TROUBLE AHEAD RIGHT AT OUR PARK'S ENTRANCE

SLOWLY EASING BY I NOTICED IT LOOKED LIKE A WHITE AMAZON VAN AND I SUDDENLY HAD MYSELF ANOTHER OH-OH....WHAT IF IT IS AND HE JUST DROPPED OFF MORE COFFEE FILTERS AT MY HOUSE:(( I THINK THAT WAS DON FROM THE BAYFIELD GARAGE IN THAT ORANGE COAT

Al's Music Box:)) All Night Long is a song by American singer and songwriter Lionel Richie from his second solo album, Can't Slow Down (1983). The song combined Richie's Commodores style with Caribbean influences. The single reached number one on three Billboard charts (pop, R&B and adult contemporary). In the UK, it peaked at number two on the singles chart. The song lyrics were written primarily in English, but Richie has admitted in at least one press interview that "African" lyrics in the song, such as "Tam bo li de say de moi ya" and "Jambo jumbo", were in fact gibberish. Richie has described these portions of the song as a "wonderful joke", written when he discovered that he lacked the time to hire a translator to contribute the foreign-language lyrics he wished to include in the song. Cash Box summed up its review of the single saying "Richie’s command of these diverse musical elements and shifts in melodic direction is as impressive as it is pleasurable." An accompanying music video for "All Night Long (All Night)" was produced by former Monkee and TV video pioneer Michael Nesmith and directed by Bob Rafelson. Richie performed the song at the closing ceremonies of the 1984 Suer Olympics in Los Angeles and also performed the song live at the 2006 Nobel Peace Prize celebration.

GROANER'S CORNER:(( After church on Sunday morning, a young boy suddenly announced to his mother, "Mom, I've decided I'm going to be a minister when I grow up." "That's okay with us," the mother said, "But what made you decide to be a minister?" "Well," the boy replied, "I'll have to go to church on Sunday anyway, and I figure it will be more fun to stand up and yell than to sit still and listen."

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I just finished building a car using a motor from a washing machine. I'm going to take it for a spin later.

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Two rednecks, Bubba and Earl, were driving down the road drinking a couple of bottles of Bud. The passenger, Bubba, said, "Lookey thar up ahead, Earl, it's a po-lice roadblock! We're gonna get busted fer drinkin' these here beers!!" "Don't worry, Bubba," Earl said. "We'll just pull over and finish drinkin' these beers, peel off the label and stick it on our foreheads, and throw the bottles under the seat." "What fer?" asked Bubba. "Just let me do the talkin', OK?" said Earl. Well, they finished their beers, threw the empty bottles under the seat, and each put a label on their forehead. When they reached the roadblock, the sheriff said, "You boys been drinkin'?" ...."No sir," Earl said. "We're on the patch."

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Al's Doggy World

Meanings::

Kellys Corner
HERE WE ARE AT OUR RANCH SITTING JOB WITH OUR GANG AND AND THE RANCH DOGS TOO

ON ONE OF OUR MANY DESERT WALKS IN THE MORNING

HERE'S KELLY TAKING CARE OF BUSINESS AS WE MOTOR ALONG DOWN THE HIGHWAY SOMEWHERE IN THE GREAT AMERICAN SOUTHWEST

Al's Art Gallery

Wednesday, January 15, 2025

I HAVE A LOT OF BUSY MONTHS AHEAD OF ME

Another dump of snow landed on us overnight. The way it was piled on the birdfeeder's I thought we got about a foot but walking outside later it was more like maybe 3 inches. I made that same mistake a week ago thinking we had a foot of snow when we actually didn't. I wonder why it builds up so high on the bird feeders.....Of course, it was another dull gray morning as Pheebs and I half heartedley made our way in the car down to the end of Bayfield River Road and back. Would you believe when we got back my driveway was blown out again. A neighbor just around the corner and down the street got himself a new snowblower this winter and I'm pretty sure it was Frank who slipped over and did the driveway while Pheebs and I were out. I am certainly grateful to Frank and Randy, another neighbor. Randy is the fellow with the big tractor and blower.

ANOTHER SNOWY FARM LANE

IT'S A SNOWY MORNING
Home again and aside from shoveling my paths out, I spent the rest of the day puttering about in the house. Cleaning out more kitchen cupboards and kind of bouncing around between the kitchen, living room, Kelly's room, and the spare room. Just so much stuff to deal with. Stuff I didn't even know we had, and stuff I hadn't seen in years. Not just Kelly's stuff, but our stuff, and lots of my stuff as well. I'd sure be in a dilemma if I ever wanted to or had to sell this place. I think that is one of the things in the back of my mind driving me toward an end goal. Even if I stay here for the next hundred years I want to get both the inside of the house and the outside two sheds and carport down to a manageable configuration that I am comfortable with. I have a lot of busy months ahead of me. I probably have enough pieces of odds and sods of wood stored in the rafters of the carport to build myself a forty-foot yacht. Anyway, just a few afternoon thoughts on a dull grey and boring day at the midway point of another snowy cold depressing January here in southwestern Ontario, Canada. I think the January blahs have got a grip on me........:((

SHOVELING OUT MY PATH TO THE BURNING BARREL

Al's Music Box When I'm Sixty Four is a song by the English rock band the Beatles, written by Paul McCartney (credited to Lennon-McCartney) and released on their 1967 album Sgt. Pepper's Lonely Hearts Club Band. It was one of the first songs McCartney wrote; he was about 14, probably in April or May 1956. The song was recorded in a key different from the final version; it was sped up at the request of McCartney to make his voice sound younger. It prominently features a trio of clarinets (two B♭ clarinets and one bass clarinet) throughout. Paul McCartney wrote the melody to "When I'm Sixty-Four" around the age of 14, probably at 20 Forthlin Road in April or May 1956. In 1987, McCartney recalled, "Rock and roll was about to happen that year, it was about to break, [so] I was still a little bit cabaret-minded", and in 1974, "I wrote a lot of stuff thinking I was going to end up in the cabaret, not realizing that rock and roll was particularly going to happen. When I was fourteen there wasn't much of a clue that it was going to happen." The song is sung by a young man to his lover, and is about his plans of their growing old together. Although the theme is aging, it was one of the first songs McCartney wrote. Beatles historian Mark Lewisohn suggests it was McCartney's second composition, coming after "Call It Suicide" but before "I Lost My Little Girl". It was in the Beatles' setlist in their early days as a song to perform when their amplifiers broke down or the electricity went off. Both George Martin and Lewisohn speculated that McCartney may have thought of the song when recording began for Sgt. Pepper in December 1966 because his father, Jim McCartney, turned 64 earlier that year. In 1967, John Lennon said of the song, "Paul wrote it in the Cavern days. We just stuck a few more words on it like 'grandchildren on your knee' and 'Vera, Chuck and Dave' … this was just one that was quite a hit with us." Lennon reiterated his lyrical contribution in 1972, stating “I think I helped Paul with some of the words, like ‘Vera, Chuck and Dave’ and ‘Doing the garden, digging the weeds.’" Lennon's contribution of the children's names were likely made in the studio. McCartney's manuscript for the song sold for $55,700 (equivalent to US$115,000 in 2023) at Sotheby's, London in September 1994. The Beatles recorded two takes of the song on 6 December 1966, during one of the first sessions for the as-yet-unnamed album that became Sgt. Pepper's Lonely Hearts Club Band. Martin produced, supported by engineers Geoff Emerick and Phil McDonald. McCartney overdubbed his lead vocal onto take two without the other Beatles present on 8 December. On 20 December, McCartney, Lennon and George Harrison overdubbed backing vocals and Ringo Starr added the sound of bells. Martin made two reduction mixes (takes three and four) with the latter best. On 21 December, session musicians Robert Burns, Henry MacKenzie and Frank Reidy overdubbed two clarinets and a bass clarinet onto take four. Emerick later explained, "The clarinets on that track became a very personal sound for me; I recorded them so far forward that they became one of the main focal points." Martin recalled, "I remember recording it in the cavernous Number One studio at Abbey Road and thinking how the three clarinet players looked as lost as a referee and two linesmen alone in the middle of Wembley Stadium." On the same day, Martin remixed the song for mono three times, although this was only a demo version. He made four new mono mixes on 29 December. On 30 December, unsatisfied with all of these attempts, McCartney suggested speeding up the track. Martin remembers the semitone from its original key of C major. McCartney suggested this change to make his voice sound younger. McCartney says, "I wanted to appear younger, but that was just to make it more rooty-tooty; just lift the key because it was starting to sound turgid." Martin, Emerick and Richard Lush made the sped-up remix from take four on 17 April 1967. Musicologist Michael Hannan comments on the completed track: "The rich timbres of the clarinets give the mix a fuller, fatter sound than many of the other tracks on the album." rinets (two B♭ clarinets and one bass clarinet) throughout. Paul McCartney wrote the melody to "When I'm Sixty-Four" around the age of 14, probably at 20 Forthlin Road in April or May 1956. In 1987, McCartney recalled, "Rock and roll was about to happen that year, it was about to break, [so] I was still a little bit cabaret-minded", and in 1974, "I wrote a lot of stuff thinking I was going to end up in the cabaret, not realizing that rock and roll was particularly going to happen. When I was fourteen there wasn't much of a clue that it was going to happen." The song is sung by a young man to his lover, and is about his plans of their growing old together. Although the theme is aging, it was one of the first songs McCartney wrote. Beatles historian Mark Lewisohn suggests it was McCartney's second composition, coming after "Call It Suicide" but before "I Lost My Little Girl". It was in the Beatles' setlist in their early days as a song to perform when their amplifiers broke down or the electricity went off. Both George Martin and Lewisohn speculated that McCartney may have thought of the song when recording began for Sgt. Pepper in December 1966 because his father, Jim McCartney, turned 64 earlier that year. In 1967, John Lennon said of the song, "Paul wrote it in the Cavern days. We just stuck a few more words on it like 'grandchildren on your knee' and 'Vera, Chuck and Dave' … this was just one that was quite a hit with us." Lennon reiterated his lyrical contribution in 1972, stating “I think I helped Paul with some of the words, like ‘Vera, Chuck and Dave’ and ‘Doing the garden, digging the weeds.’" Lennon's contribution of the children's names were likely made in the studio. McCartney's manuscript for the song sold for $55,700 (equivalent to US$115,000 in 2023) at Sotheby's, London in September 1994. The Beatles recorded two takes of the song on 6 December 1966, during one of the first sessions for the as-yet-unnamed album that became Sgt. Pepper's Lonely Hearts Club Band. Martin produced, supported by engineers Geoff Emerick and Phil McDonald. McCartney overdubbed his lead vocal onto take two without the other Beatles present on 8 December. On 20 December, McCartney, Lennon and George Harrison overdubbed backing vocals and Ringo Starr added the sound of bells. Martin made two reduction mixes (takes three and four) with the latter best. On 21 December, session musicians Robert Burns, Henry MacKenzie and Frank Reidy overdubbed two clarinets and a bass clarinet onto take four. Emerick later explained, "The clarinets on that track became a very personal sound for me; I recorded them so far forward that they became one of the main focal points." Martin recalled, "I remember recording it in the cavernous Number One studio at Abbey Road and thinking how the three clarinet players looked as lost as a referee and two linesmen alone in the middle of Wembley Stadium." On the same day, Martin remixed the song for mono three times, although this was only a demo version. He made four new mono mixes on 29 December. On 30 December, unsatisfied with all of these attempts, McCartney suggested speeding up the track. Martin remembers the semitone from its original key of C major. McCartney suggested this change to make his voice sound younger. McCartney says, "I wanted to appear younger, but that was just to make it more rooty-tooty; just lift the key because it was starting to sound turgid." Martin, Emerick and Richard Lush made the sped-up remix from take four on 17 April 1967. Musicologist Michael Hannan comments on the completed track: "The rich timbres of the clarinets give the mix a fuller, fatter sound than many of the other tracks on the album."

GROANER'S CORNER:(( The first-grade teacher was showing pictures of animals to her students to see how many they could name. She held up a picture of a lamb, and a little girl said, "That's a sheep!" "That's right!" said the teacher. "How about THIS one?" she said, holding up a picture of the king of beasts."That's a lion!" answered a little boy. "Right!" said the teacher. Then she held up a picture of a deer. No one volunteered an answer. She tried to help. "What does your mother call your father?" Johnny said, "I know! That's a lazy old goat!"

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- What has four legs, is big, green, fuzzy, and if it fell out of a tree would kill you?
A pool table.

- Why do Morris dancers wear bells? So they can annoy blind people as well.

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- I recently took up yoga, and the instructor asked me how flexible I am…I said: I can only do Fridays.

- I'm trying to write this pun about yoga. But it's just not working out. It just seems a stretch.

- What did the yogi tell his dog? Nama, stay!

- What do you do when a yoga guru goes missing? Nothing. They'll find themself.

- What do an ambulance and a yoga class have in common? They both contain stretchers.

- I did an amazing yoga pose over this stream created from acidic rainfall yesterday. I think it's called a bridge over troubled water

- Why is it easy to make an appointment with a yoga teacher? They're just so flexible.

- Why did the yogi refuse anesthetic at the dentist? He wanted to transcend-dental-medication!