The internet has grown in ways people could never imagine. People can now do any kind of business with a website and reach people all over the world. The website is the first point of contact for many people who want have questions they need answered or a product they wish to purchase.
For this reason many people have an interest in owning an internet business. Some may follow this interest and create a website business, but their interest may be more in the design and starting of the website, and they may then choose to sell a website they have created. There are many internet businesses for sale. So if you are wishing to sell a website, what is the best way to do that?
One great option is the website websiteproperties [dot] com the site of an internet business broker group made up of internet entrepreneurs who have been in the business for over 10 years. This business broker service can list your website business for sale and also provide consultation and tips on selling your website and also any internet businesses for sale.
For information on the complete line of brokerage services available visit the website, websiteproperties.com.
Thursday, March 10, 2011
Secrets of Getting the Most from a Small Garden
Although I grew up ten minutes from Seattle, I was fortunate enough that my parents had about four acres of land to plant and garden, not to mention the plant nursery next door and tracts of undeveloped land. We had space enough (and irrigation enough) that our only concern for planting was the sunlight needs of the plants. A patch of corn would easily be moved to the other end of the property the following season if it needed more light, the rabbit hutches were displaced by plum trees if needed, and we lost track of all the blackberries, apples, and strawberries that grew wild in neglected parts of the property.
Now, I have twenty square feet to grow a garden, half of it heavily shaded and a good portion on a street, and for the first time in the Northwest, I have run out of space. Luckily, Carla Emery knows how to get a small plot to produce to the maximum it can:
1. Make use of semishaded areas unsuitable for tomatoes or root vegetables by growing leafy vegetables like lettuce, chard, mustard, or endive there.
2. Don't overplant herbs. Two parsley or chive plants can quite likely produce all you need unless your family is large.
3. Avoid sprawling varieties. You can plant 6 rows of carrots, beets, or onions in the same square footage that one row of squash would take because squash simply will spread out all over the place, but root vegetables don't. So limit or refuse summer squash, winter squash, cucumbers, watermelons, muskmelons, cantaloupes, and corn, because they take more space than they're worth. Or use the recently developed compact "bush" kinds of melons, squash, cucumbers, and and pumpkins.
4. Consider interplanting so that fast-maturing vegetables use the space between slower-maturing ones that will later spread; for instance, plant radishes or lettuce between vine plants like squash or pumpkin. They mature so fast that you get a crop before the vines need that space.
5. Give preference to continuously bearing vegetables; for instance, choose chard over spinach, because spinach has a brief period of productivity but then is done for the whole summer. Chard will keep making harvest for you until frost kills it. Other continuous bearers are tomatoes, broccoli, kale, lima beans, squash of allsorts, eggplant, peppers, cucumbers, chard, and Brussels sprouts.
6. Use wide-row and succession planting methods to give you the most vegetable productivity per square foot. For instance, peas have a relatively brief production season, but they produce heavily while they are at it, and then you can till up the ground they were in and plant something else. Succession planting works best with a long growing season, but in most places peas, lettuce, radishes, beets, and carrots mature quickly enough that you have time for a second crop if you plant as soon as the first is harvested.
7. Harvest daily in season. Broccoli, cucumbers, summer squash, beans, and chard, for example, will stop producing if they aren't harvested. But if you keep them faithfully and regularly harvested, then they keep producing and you maximize their production.
8. Encourage your garden to grow up rather than across: Try climbing beans (pole or runners) or cucumber strained to grow up something. Use a big vine such as runner beans, kiwi, or grapes to screen out an ugly area, make shade, or hang from a basket.
9. Plant tall crops such as corn or sunflowers on the north end of the garden so they don't shade other plants.
10. Practice deep watering; it allows you to plant closer together because the roots will go down instead of spreading sideways.
Tuesday, March 8, 2011
DYLAN IN CHINA
News from channelnewsasia.com (c/o Desolation Row Newsletter this morning):
SHANGHAI - American music legend Bob Dylan will play in China for the first time in his illustrious career in two April concerts timed to mark his 50 years as a performer, Beijing-based promoters said Friday. The news comes a year after a Taiwan promoter said its bid to take Dylan to China was scuttled after the Beijing government refused to approve shows by the writer of some of rock's most iconic and politically charged songs. Dylan, who will be 70 in May, will play in Beijing at the Workers' Gymnasium on April 6 and then hold a concert at the Shanghai Grand Stage in that city on April 8, promoters Gehua-LiveNation said in a statement.
"These Bob Dylan concerts are destined to be one of the year's major tours and a musical event of depth, grace and greatness," the promoters said. Tickets go on sale [this] week. Prices start at 280 yuan (US$42) and reach 1,961.411 yuan for VIP tickets. The amount represents the date of Dylan's first official New York gig, on April 11, 1961.
I love the idea of Dylan in the Workers' Gymnasium.
Monday, March 7, 2011
AN INTERVIEW WITH TEITUR, A FAVOURITE OF MINE
This is part of an interview with the brilliant young Faroese singer-songwriter Teitur, published on www.music-scan.de/infos/stories/details.php?id=1135. It starts by asking about his new album, which is called Let The Dog Drive Home. I think it might resonate with anyone interested in the possibilities of the medium Bob Dylan has worked in for so long.
Musicscan: Please tell me a little bit about how approached this album? Did you do anything differently than with your previous efforts?
Teitur: I wrote for two years and prepared arrangements with my friend Tróndur Bogason for the last few months before recording. The recording itself took only 10 days. I believe strongly that the recording process should be an execution - not a place where you search for something. That's why preparation is everything. You can't bring 30 people into a studio if you don't know what you are going to do. The album was also recorded in an environment where I feel at home, in Copenhagen. All my other records have been recorded in far away locations. Spain, California, London, and my previous record was recorded in an old princess estate on an island in the Baltic Sea. It was time to get comfortable.
Musicscan: Is there something like a larger theme running through the different songs on the album?
Teitur: Yes. Most of the songs are about letting go, about being small, about the fact that you cannot decide everything that happens in your life. I wanted to make a record that was generous and clear. Everything is tuned really well and there is always a solid pace in the songs that drives them, even though the pieces are slow and mid-tempo. I wanted to make the opposite of intense. I wanted to make body & soul music. For the sake of it being healthy and not driven by fashion or a want to impress or being cool.
Musicscan: How did you grow and develop as an artist from your own perspective since your last album?
Teitur: I feel that I am not driven by fascination anymore, like one does when starting out. I'm older now. I would rather share what I know, say it clearly and give what I have and look forward. I am quite tired of music that is solely driven by the need to be different from others. I think that kind of music is more of a personal identity crisis more than it is great music or art. The best music is the music that only you can make and the song that only you can write. Not music that others have never done or music that tries really hard to be different, weird or cool. You can hear it and feel it immediately. That is pure shallowness and insecurity from an artistic perspective and it doesn't contribute much to the history and heart of music. I think I felt the need to be a bit provocative toward myself and make something that is as uncool and untrendy as West-Coast sounding music. I never think that I was trendy anyway. Why bother? I want to make music that still sounds good in 30 years.
Musicscan: What are you looking for in a song? How would you define something like a perfect song?
Teitur: You know when you are at a family dinner... And your dad tells that story at the dinner table that he's told 17 times. The story that everybody knows? And he'll happily tell it again. About the time when he met so and so - or about the time that this and that happened? That's one of his songs! That's his song, that's the one that only he can tell and write. It will communicate something important, about how he is as a person, about what he has learned, about how life is, about how things work, or something like that. You could take that story and easily accompany it with music. You could re-write it, make it better, shorter, longer, whatever. That's a perfect song for me. And I think that's how songs are naturally born. Not in a studio, from the sound of a keyboard or a guitar amp. That's not where songs should be born. Songs are born from the inside. You could play that song on a plate. No need to go to the studio with the Philharmonics. That's for the process after the song is written. That's for sound and arrangement, for taste, for the art of recording, for sound painting, for more dimension and storytelling. That's not the song. The song is neither words nor music, it's the story.
Musicscan: Is it necessary to create a certain distance between you and the music in order to get a better understanding of its inherent quality?
Teitur: I would actually think that connection would be better than distance. The more you know about the music the better. But you need to have perspective, so you're not just inside of a bubble. You must be able to look at the big picture. Sometimes a producer can help an artist or songwriter do that, sometimes not. Depending on the artist. I am all for collaboration. It's all about making the music as good as possible, like having a wine waiter in your restaurant. That's a good thing. But someone needs to have the eyes and imagination that overlooks the whole thing.
Musicscan: Where do you currently live? How has being from the Faroe Islands influenced your music?
Teitur: I have a small house in the country on the Faroe Islands where I wind down and I also rent a room in Copenhagen. I change between the two. I feel the need to be in familiar places after having traveled and learning about new cultures and societies for so long. I still travel a lot. I think the Faroes are very minimal. You know, the ocean is only blue and the hills are only green and there is only one kind of spider and one kind of ice-cream. But then you see 150 nuances of blue and green in one day and you know the exact taste of your ice-cream. That's minimalism for me.
Musicscan: Could you briefly describe the music and arts scene on the Faroe Islands? Are there any artists that you have collaborated with or that you admire?
Teitur: I like Orka and we sometimes work together. They build their own instruments. We just recorded a song at my house last week. I played a harp made from a satellite dish. Jens, the guy who formed Orka, started to make instruments in his father's barn, his father is a farmer and Jens likes to build things.
Musicscan: Do you think there are still genuinely new sounds to be discovered or can modern music basically be said to be a recombination of already existing forms and elements?
Teitur: Absolutely, new sounds and directions will always be discovered. There is no stopping that. Music is a part of nature. It's not like that's going to stop. I think that a lot of artist and genres in particular run out of ideas if their whole and only motivation is to make something new within their genre or perception... But new music has a life of it's own. Someone will always find it, sense it and make it more physical and bring it to life for others to experience.
Musicscan: What is the difference between art and entertainment in your opinion?
Teitur: I think you will find the answer in motivation. In asking why is this person doing this. Why has this been created....What is the drive behind this. Art is more about discovery and communication.
Musicscan: Please tell me a little bit about how approached this album? Did you do anything differently than with your previous efforts?
Teitur: I wrote for two years and prepared arrangements with my friend Tróndur Bogason for the last few months before recording. The recording itself took only 10 days. I believe strongly that the recording process should be an execution - not a place where you search for something. That's why preparation is everything. You can't bring 30 people into a studio if you don't know what you are going to do. The album was also recorded in an environment where I feel at home, in Copenhagen. All my other records have been recorded in far away locations. Spain, California, London, and my previous record was recorded in an old princess estate on an island in the Baltic Sea. It was time to get comfortable.
Musicscan: Is there something like a larger theme running through the different songs on the album?
Teitur: Yes. Most of the songs are about letting go, about being small, about the fact that you cannot decide everything that happens in your life. I wanted to make a record that was generous and clear. Everything is tuned really well and there is always a solid pace in the songs that drives them, even though the pieces are slow and mid-tempo. I wanted to make the opposite of intense. I wanted to make body & soul music. For the sake of it being healthy and not driven by fashion or a want to impress or being cool.
Musicscan: How did you grow and develop as an artist from your own perspective since your last album?
Teitur: I feel that I am not driven by fascination anymore, like one does when starting out. I'm older now. I would rather share what I know, say it clearly and give what I have and look forward. I am quite tired of music that is solely driven by the need to be different from others. I think that kind of music is more of a personal identity crisis more than it is great music or art. The best music is the music that only you can make and the song that only you can write. Not music that others have never done or music that tries really hard to be different, weird or cool. You can hear it and feel it immediately. That is pure shallowness and insecurity from an artistic perspective and it doesn't contribute much to the history and heart of music. I think I felt the need to be a bit provocative toward myself and make something that is as uncool and untrendy as West-Coast sounding music. I never think that I was trendy anyway. Why bother? I want to make music that still sounds good in 30 years.
Musicscan: What are you looking for in a song? How would you define something like a perfect song?
Teitur: You know when you are at a family dinner... And your dad tells that story at the dinner table that he's told 17 times. The story that everybody knows? And he'll happily tell it again. About the time when he met so and so - or about the time that this and that happened? That's one of his songs! That's his song, that's the one that only he can tell and write. It will communicate something important, about how he is as a person, about what he has learned, about how life is, about how things work, or something like that. You could take that story and easily accompany it with music. You could re-write it, make it better, shorter, longer, whatever. That's a perfect song for me. And I think that's how songs are naturally born. Not in a studio, from the sound of a keyboard or a guitar amp. That's not where songs should be born. Songs are born from the inside. You could play that song on a plate. No need to go to the studio with the Philharmonics. That's for the process after the song is written. That's for sound and arrangement, for taste, for the art of recording, for sound painting, for more dimension and storytelling. That's not the song. The song is neither words nor music, it's the story.
Musicscan: Is it necessary to create a certain distance between you and the music in order to get a better understanding of its inherent quality?
Teitur: I would actually think that connection would be better than distance. The more you know about the music the better. But you need to have perspective, so you're not just inside of a bubble. You must be able to look at the big picture. Sometimes a producer can help an artist or songwriter do that, sometimes not. Depending on the artist. I am all for collaboration. It's all about making the music as good as possible, like having a wine waiter in your restaurant. That's a good thing. But someone needs to have the eyes and imagination that overlooks the whole thing.
Musicscan: Where do you currently live? How has being from the Faroe Islands influenced your music?
Teitur: I have a small house in the country on the Faroe Islands where I wind down and I also rent a room in Copenhagen. I change between the two. I feel the need to be in familiar places after having traveled and learning about new cultures and societies for so long. I still travel a lot. I think the Faroes are very minimal. You know, the ocean is only blue and the hills are only green and there is only one kind of spider and one kind of ice-cream. But then you see 150 nuances of blue and green in one day and you know the exact taste of your ice-cream. That's minimalism for me.
Musicscan: Could you briefly describe the music and arts scene on the Faroe Islands? Are there any artists that you have collaborated with or that you admire?
Teitur: I like Orka and we sometimes work together. They build their own instruments. We just recorded a song at my house last week. I played a harp made from a satellite dish. Jens, the guy who formed Orka, started to make instruments in his father's barn, his father is a farmer and Jens likes to build things.
Musicscan: Do you think there are still genuinely new sounds to be discovered or can modern music basically be said to be a recombination of already existing forms and elements?
Teitur: Absolutely, new sounds and directions will always be discovered. There is no stopping that. Music is a part of nature. It's not like that's going to stop. I think that a lot of artist and genres in particular run out of ideas if their whole and only motivation is to make something new within their genre or perception... But new music has a life of it's own. Someone will always find it, sense it and make it more physical and bring it to life for others to experience.
Musicscan: What is the difference between art and entertainment in your opinion?
Teitur: I think you will find the answer in motivation. In asking why is this person doing this. Why has this been created....What is the drive behind this. Art is more about discovery and communication.
Sunday, March 6, 2011
SOME RECENT BIRTHS & DEATHS
FEB 15: 20th anniversary of the death of Michael Bloomfield (in San Francisco CA, aged 37)
FEB 15: 115th anniversary of the birth of Kokomo Arnold (in Jonesboro GA, 1896)
FEB 16: 15th anniversary of the death of Brownie McGhee (in Oakland CA, aged 80)
FEB 18: 70th anniversary of the birth of David Blue (in Providence RI, 1941)
FEB 24: death of Suze Rotolo (in New York City, aged 67)
MAR 6: 75th birthday of Sylvia Vanderpool Robinson (of Mickey & Sylvia, and more; in NYC, 1936)
MAR 7: 20th anniversary of the death of Little Hat Jones (in Linden TX, aged 81)
Saturday, March 5, 2011
BRANDEIS REVISITED
I'm very pleased to learn from Sony Legacy that Brandeis is going to be released as a 12" vinyl LP as well as on CD - and the LP will look exactly as it might have looked in 1963. As far as I'm concerned, this is good news.
Friday, March 4, 2011
THROW MY TROUBLES OUT THE DOOR
The March 29th event in Statesboro GA that has long been listed among my Spring Tour dates has re-shaped itself slightly, and been finalised now as this:
Subscribe to:
Posts (Atom)