@RogerBW It reminds me of Robbie Coltrane as Edgar Bloodlusten on "Laugh??? I Nearly Paid My Licence Fee", describing a man who had been shot multiple times, repeatedly stabbed and then decapitated, ending with the question, "Was it suicide?"
You are doubtless familiar with the traditional Scottish folk song, "The Ball of Kirriemuir," sometimes known as "Four-and-Twenty Virgins" after perhaps its most famous verse:
Four-and-twenty virgins,
Came down from Inverness,
And when the ball was over,
There were four-and-twenty less.
Naturally, it troubles me that such offensive material is casually bandied about, with little thought given to the deleterious effect upon the innocent listener. In short, I feel that it is high time that something is done about it; and since nobody else has addressed the matter, it falls to me:
It should be "There were four-and-twenty fewer"
There. Hopefully that will help to nip the moral rot in the bud.
@PipGowenlock I make no pronouncements when it comes to the poetry of the thing. My concern lies solely with impressionable young minds being exposed to such twisted material.
Just enough time on my tea break to cut out a couple of the test stickers I printed yesterday and slap them on one of my ukulele cases, mainly to test for durability.
No sign of smudging as I applied them, although I've yet to test the water resistance. I'm certainly happy with the appearance: they don't look out of place with the professionally printed stickers already on the case (but my goodness that orange is bright!).
Still feeling a little unnerved that the party appeared to make some progress in our Cthulhu Eternal investigation last night. We may be on the wrong track, I suppose, but the usual Whartson Hall method is to rope a red herring and ride it erratically into the sunset, whereas @RogerBW seems to have put his finger on a highly plausible possibility (given weight by the traditional Lovecraftian investigation marker: it prompted a handout from the GM).
No sheet music for the next song, since Cliff wrote it and he really seems to have had an extremely relaxed approach to publishing and copyright where his own compositions were concerned.
Bit of an experiment here: I've taken the chords from Chordify (no sheet music to work from, you see) and left them in the original key. That means you can play along with Cliff's performance, but it also means that they are slightly more complicated chords. The fact that they are mostly closed chords (no unfretted strings) does mean that it's possible to get that swinging, jazzy sound by slightly releasing the pressure after each strum, which is far harder to do with open chords. In that respect it's a lot closer to how Cliff played, but transposing to a different key is always an option if this looks a bit daunting. It's certainly going to take me a while.
Tea break this morning involved a spot of plinking and strumming on my Ohana O'Nino sopranissimo. I've settled on CDAF tuning for this one, which sounds good and has also improved the intonation (always a problem with fretted instruments of this size). Pretty happy with it.
@NeadReport Especially important on a small instrument like this. I've tried some with narrower string spacing, but found them almost impossibly difficult to play.