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delightfulsponge · 7 months

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Turkish Delights

Istanbul things //

First evening: Dinner at Karakoy Lokantasi (fried zucchini, marinated fish, seabass, fig dessert) and Pera Palace

First day: Topkapi Palace Tour; breakfast at Resto Han (first Turkish coffee); lots of walking around Sultanahmet District (Spice Bazaar, Suleymaniye Mosque, Grand Bazaar, Blue Mosque, Hagia Sophia, Basilica Cistern); seabass at Seven Hills with the epic sunset views; whirling Dervishes show; night walk back through Blue Mosque & Hippodrome

Second day: Walk from Sultanahmet to Galata for Galata Tower views; village breakfast at Café Privato; Turkish Bath at Hurrem Sultan Hamam; Bosporus sunset cruise; dinner at Eleos Restaurant (grilled octopus, blue fish)

Third day: Dolmabahce Palace; Istanbul Modern Art Museum; Aperol spritz and sunset view from Bank Roof Bar; tasting menu at Aheste

Cappadocia things //

Open-air museum, Esentepe, Pasabag mushroom shaped fairy chimneys, Avanos art town, Uçhisar Castle, balloon sunrise, Pigeon Valley, 4000 years old Underground city, Red and Rose Valleys, Cavusin Village

Delights //

First glimpse of the deep blue water; upgrade to Executive Suite and view from terrace; the fantastic wine and sea bass at Karakoy Lokantasi; inhaling the menthol tea in the spice bazaar — senses bewildered! / how visually stimulating all the teas and spices were; Turkish coffee and its presentation in the little cups; smell of grilled street corn; first impressions walking into the Suleymaniye, Blue, and Hagia Sophia mosques (while barefoot on soft carpet); the way the lights changed in the Basilica Cistern; unforgettable sunset with the birds on the Seven Hills terrace; whirling dervish show (and thinking it was going to be choreographed!); few moments almost alone in the Blue Mosque courtyard at night; power walking and listening to music while walking over to Galata; watching the fishermen at Galata bridge; village breakfast at Cafe Privato and the cinnamon honey tea; Turkish bath and all the accompanying sensations (white marble with gold fixtures, different temperatures of water splashed with a gold bowl, watching my dead skin rub off, lying on the center marble slab (being led everywhere by hand) and feeling the fluff of bubbles sitting on my skin while massaged, naked women everywhere just being rubbed); gorgeous sunset on the Bosporus cruise with nice couple; grilled octopus at Eleos; so many nose jobs!; the way the mosques are lit up at night; the shape of the Turkish tea glass; cuddly cat outside Dolmabahce Palace; In Another Place photo exhibition by Nuri Bilge Ceylan at the Modern Museum; birds on the Modern Museum’s terrace; sunset and purple olives at Bank Roof Bar; Aheste five-course tasting menu; first glimpse of Cappadocia’s chimney sweeps; hot air balloon sunrise; fun people on the Southern Loop tour; epic hike through Rose / Red Valley with Nevzat ("Zorba the Turk")

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awesomeforever · 1 year

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Friday, September 16, 2022 Action during the first week of the 77th annual Martha’s Vineyard Striped Bass and Bluefish Derby finds fishermen crowding jetties, surfcasting, and heading out in boats to try their luck offshore. More photo galleries... © 2022 Vineyard Gazette source

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eerieonlakeerie · 1 year

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Crew's Nest

Photo provided by: TheCrewsNest.com

“The Crew’s Nest is located on South Bass island, Put in Bay, about three miles off shore. This structure, originally named “The Eagle Cottage”, was built near the turn of the century in 1875 by Captain F.J. Magle who ran the steamboat “The American Eagle”. The cottage was sold in 1946 and turned into the Friendly Inn rooming house. Guests were provided with home cooked meals. While there was no central heating, the caretakers took in ice fishermen during the winter months and managed to keep warm with the aid of fuel oil space heaters."

"The Crew’s Nest came into being in 1968 when the Friendly Inn was purchased by two entrepreneurs. Additions to the structure throughout the years, such as a swimming pool in 1973 and a fitness center in 1991, made this a popular gathering spot for many on the island. It is interesting to note that the front windows of the dining room were originally in the “Colonial” dance hall which burned down in 1988.

Photo provided by: TheCrewsNest.com

Caretakers at the Crew’s Nest report hearing unexplained noises in the attic area. It is also claimed that objects thrown up the attic stairwell are sometimes thrown back down by some unseen force. Those people associated with the location have nicknamed this invisible inhabitant ‘Spencer’.”

Story provided by: FringeParanormal.com

#Island Tales #South Bass Island

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instadownloader211 · 2 years

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Stealth Marketing At Its Finest

If you put a lot of time, effort, and even money into creating videos for your business, it stands to reason a person need to want to achieve a large audience with those music. After all, you aren't just the actual work for fun, right? Instagram story downloader The spinning reel is really a great favorite when using lighter lines, lures or bait. Nevertheless especially received well in trout and wall eye fishing. Some bass anglers are also using sort of of reel due to the ability to accurately place a lure in a desired spot. Not having provide a big benefit when hoping to land and also the bass.

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You additionally be attach leader and swivels to spinning reels. More groundbreaking you to change lures better. You can use it boost your accuracy as you cast the cloths line. This is known among fishermen as flipping or advertising. It is a huge benefit when you are planning to cast into a specific spot in the lake or riv. How to tell apart ourselves in Social Media, is it for friends, is it for business, what impressions do we create online? Brand yourself as a front runner and expert in your industry. Build a massive following and email write down. If this is done correctly, you will attract shoppers to families. Selling will be easy.

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fishshots · 4 years

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Made a major update to my website. Please let me know what you think. Can you find everything? Do you like the navigation? Is it easy to use?

Thanks Everyone

#fishing #fishing photography #bass fishing photography #outdoor photography #photos #fish photos #fishermen photos #bass fishermen photos #product photography #fishing industry #fishing industry photography #smallmouth bass #largemouth bass #lake erie #buffalo ny #flw

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sohannabarberaesque · 4 years

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“Underwater America with Peter Potamus” (episode 21: Ocean City, Maryland)

(source of image)

Once again, Our Intrepid Crew of Divers continues in their underwater adventures aimed at showing the friendship-generating potential of SCUBA by way of a contrived first-run syndicated TV series as is imagined to be airing in the 1970-71 season following implementation of the FCC’s Prime Time Access Rule, giving the 7:30-8 pm (ET/PT) hour to local network affiliates. As will be recalled from last week, Our Intrepid Crew wound up an incredible session in the Outer Banks of North Carolina alongside two rather interesting wrecks in the Graveyard of the Atlantic off Cape Hatteras ... and we open this episode in a rather unconventional way, finding such along the Boardwalk in Ocean City, Maryland, cooling off their heels over frozen custard and people watching for the most part....

MILDEW WOLF, snark inherent: Isn’t it interesting, thousands passing by on the Boardwalk and the vast majority of them having some absurd ideas as to what we’re doing here, to begin with!

LIPPY THE LION: But consider just how pleasant and beautiful it must be out there!

HARDY HAR-HAR, as if in myopic response: You can say that again!

HOKEY WOLF: But then again, come the evening, we’ve got some interesting oipportunities to just enjoy the evening for what it is ... especially browsing along the Boardwalk, to begin with!

PETER POTAMUS, going into a narrator mode: Unusual as it must seem to you, yours truly thought it might be interesting to try out as unlikely a place as Ocean City, Maryland for some diving experiences--or what might pass for them here, to begin with!

The scene shifts to an old-school crab house close to the aforementioned Boardwalk, where we find our divers tucking into a classic Maryland blue crab feast--not just the inevitable steamed blue crabs themselves, but also fried crab cakes, crab fritters, crab and corn bisque, all the inevitable staples of a crab feast in what National Bohemian Beer’s adverts in the 1950′s and 1960′s called “The Land of Graceful Living.” Only “Natty Bo” isn’t the drink of choice this time around, as opposed to iced tea. Not to mention conversation galore, snippets of which can be discerned here and there ... and then, after a few minutes of this, perhaps with a little of the crab broth dripping from his lips:

PETER POTAMUS, explaining things: I do have to admit, folks, that moving as we did from the sublime (as in the Outer Banks, particularly the City of Atlanta and Hesperides wrecks) to the potentially predictable (as here on Maryland’s Eastern Shore) may have been a little off guard for many of you here ... but at any rate, Ocean City was chosen just to picture what sort of diving might be imagined off an otherwise basic beach resort such as this!

MAGILLA GORILLA: Which may not quite be the same as back at Gremmie Gulch that one time, but if you ask me, I’m sure something interesting might come up!

BREEZLY BRUIN, himself a sort of expert on crab: I’d have to admit that I’ve had some of the Alaskan varieties of crab myself, especially snow crab and dungeness crab! At least the Maryland variety is a rather welcome change ...

MILDEW WOLF: And having grown up on salmon cakes, who could resist the sheer tastiness of crab cake?

PETER POTAMUS, getting back to hand: Rather interesting comments ... but still, let’s hope that what some might call a predictable or even bland diving experience expected off Ocean City turns out being interesting ... and I’m sure our cameraman, Squiddly Diddly “himself”, is up to the task!

SQUIDDLY DIDDLY, feeling a bit full: I have to admit that a crab feast such as this can get to be rather filling--yet delicious!

Cheers and applause all round.

Meanwhile, the action can be said to shift to a guest house of the “old school” in a side street close to The Boardwalk area, such having been chosen to accomodate our company because--well, let’s have Peter explain:

PETER POTAMUS, in narrator mode: Who said it always has to be some tacky-looking motel, to begin with? It was rather fortunate that I was able to find a modest little guest house to accomodate our company, breakfast and supper included alongside chenille bedspreads and a slightly elderly, if eccentric, lady “who could use the business,” as she explained it to me on checkin. And was she startled to see so many of us under roof at the same time!

Leading into a group photo calling to mind the opening titles of The Brady Bunch, all of the troupe posing up the stairs of the guesthouse, perhaps with the potential for the Christmas card in mind.

The next morning, if you can believe it--RAIN, even as the breakfast of corned-beef hash and eggs was being dished out, and yet enough for us to make the best of things by discussing a few “mystery” dive spots off this twelve-mile-long-by-four-block-wide peninsula as is essentially Maryland’s footprint on the Atlantic Ocean, let alone Chesapeake Bay and Isle of Wight Bay off to Ocean City’s west. The rain, at any rate, persisted until mid-afternoon, which was enough to find us returning to the Boardwalk for an evening’s bemusement, the breezes off the shore tempering the inevitable humidity as could ensue in these parts in the circumstances!

Hence, we find our crew not just strolling around, posing by the Esskay Franks clock as used to be an Ocean City landmark, browsing some of the shops and even enjoying the evening at Trimper’s Rides. Throughout, you can imagine many tourists asking a few questions of the troupe....

The third day: Waffles for breakfast ... and in a “follow uncle” sort of way, we set out towards our dive boat at anchor near The Inlet, the southern part of Ocean City itself--byproduct of a 1933 storm, I will have you know! And to add to the surprise element, I was able to get the dive boat captain to take us to “some random location” for the dive, so long as it’s off the Ten Miles of Free Public Beaches, as the official Maryland State Highway Map identifies same in the inset map for Ocean City. And while chugging along in the Not-So-Leaking Lena, our crew seemed a little curious as to where we might be heading.

Which was obvious when the boat dropped anchor at a point corresponding to 69th Street in Ocean City ... and while our crew were getting the gear on and I got the safety briefing underway, Squiddly Diddly served as the “advance front” for the filming, as per usual....

The scene can now be said to shift underwater, Peter Potamus in the lead and the whole crew close behind discovering a not-so-coral reef, considering the wide fluctuations in the mid-Atlantic’s temperatures seasonally--as well as Ocean City’s claim to fame....

WALLY GATOR, explaining in narration: I’ve heard it said that Ocean City is the White Marlin Capital of the World ... and when you saw a couple of those babies underwater, you couldn’t imagine for one moment just how impressive such monsters could be, don’t you know ... and besides, I’ve encountered marlin before in Florida myself!

LIPPY THE LION, seen playfully grabbing the dorsal fin of a blue marlin and swimming along for a short while: As if swimming alongside a dolphin wasn’t interesting enough, picture swimming alongside a blue marlin! They’re no dolphins, but still, can be quite ferocious ...

HARDY HAR-HAR, ever the pessimist: And I just hope there weren’t any sport fishermen trying to catch one of these marlin with us diving around--would that have been an embarrassment!!

PETER POTAMUS, in narration over some footage of a school of black sea bass swimming past: However did I forget the notion of maybe spearing some of those sea bass, to begin with?!!

At any rate, some interesting footage ensuing of the underwater picture off Ocean City, Maryland, along with the inevitably cheesy stock background music to be expected. Plenty of interesting candid footage to be discerned ... as well as impromptu debriefing back on deck of the dive boat of the discoveries to be had, snippets of which could be heard as well.

Now, for the wrapup:

PETER POTAMUS, positing himself in front of the boat harbour at the Inlet as narrator: Sometimes, as you just discerned, even the unlikeliest of dive spots can get to produce some friendship-generating possibilities during the dive experience ... which is sure to continue in the next episode. Oh, and just a reminder: If you’re thinking about seeking out the diving experience for yourself, start by looking under “Dive Equipment and Instruction” in the Yellow Pages of your phone directory, or call your local YMCA. Till next we dive ...

Kitschy ascent shot of the Inlet area of Ocean City around sunset, with equally kitschy background music over the credits.

@warnerarchive @hanna-barbera-land @warnerbrosentertainment @hanna-barberians @hanna-barbera-blog @oceancitymd @joey-gatorman

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hollybalogh · 5 years

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Most popular lakeside towns you can actually afford

You know that last-day-of-vacation, don’t-let-it-end feeling? Here’s a way to banish it forever: buy a house at the lake. You don’t even need a huge budget to do it. There are plenty of lakeside towns around the U.S. that are actually affordable. We looked through the 20 most-searched lakeside zip codes where at least 25% of the housing is made up of vacation homes and found some sweet little towns where your vacation can last as long as you want it to.

Streetman, Texas

A tiny town that’s truly away from it all

The view from a home for sale in Streetman, where the average listing price is under $273,000.

Just off I-45 about an hour and 15 minutes southeast of Dallas, Streetman makes an ideal weekend home thanks to Richland Chambers Reservoir, the third largest lake in Texas. It’s really a place to get away from it all—you won’t find any bars or restaurants here. (The closest are 15 minutes southeast in Fairfield.)

While there are a few gated communities around the lake, the town of Streetman remains quiet and down-to-earth. And affordable, with an average listing price of $272,981. For example, you can find a 1,350-square-foot two-bedroom custom cabin on 10 acres right near the water for $235,000.

Wedowee, Alabama

A fishing haven outside Atlanta

Wedowee, where the median sale price is just over $200,000. Photo: moscrilla51/Instagram

Eighty-eight miles southwest of Atlanta lies one of Alabama’s best-kept secrets: Lake Wedowee (officially called the R L Harris Reservoir). Here, the water is crystal clear, the trees surrounding the shore are lush, and bald eagle sightings are easy to come by. Fishermen flock here for the bounty of bluegill, catfish, crappie, yellow perch, redear sunfish, and various types of bass. But the area as uncrowded as it gets without being completely isolated. If fishing isn’t your thing, kayaking, jet skiing, boating, and relaxing in a hammock are also local pastimes.

There’s not much traffic in town and not much in the way of dining and shopping. But on Main Street, you will find an outpost of the Alabama fast-food chain Jack’s, where the strawberry cream cheese pie is a must-try. Another upside is that there are seriously affordable, really nice homes here. In January of this year, the median sale price for a home was $207,450. You can even find nice places below that price, like a three-bedroom, two-bathroom home for $174,900 built in 2001.

Crane Lake, Minnesota

A small but social resort community

The dock area of a home for sale in Crane Lake, where most listings are under $226,000.

If your ideal lakeside lifestyle is a bit more social, Crane Lake has you covered. Even though only 120 people live here full-time, in the summer the Canadian border town attracts hundreds to the resorts and campsites near the shores of the 3,088-acre lake. It’s the kind of place where everyone is up for a chat, and many families have been returning for decades. Not surprisingly, the social scene doesn’t revolve around going out (there’s only one non-resort restaurant, Crane Lake Bar and Grill). Here, it’s all about the lake, where you’ll see everything from pontoon boats to paddleboards to houseboats.

If your ideal home is a cabin in the woods, Crane Lake definitely won’t disappoint. Its location in the Kabetona State Forest means you’ll wake up and go to sleep to the scent of evergreens—and you can do it in an off-grid three-bedroom cabin in the low $200,000s. In fact, most current listings in Crane Lake are $225,000 and lower.

Wentworth, South Dakota

A neighborly little lake town

The view from a lakeside property that’s listed for $399,000 in Wentworth.

It won’t take long for everyone to know your name in Wentworth, a tiny incorporated village roughly 40 minutes north of Sioux Falls. Home to fewer than 200 residents, Wentworth has a seriously small-town atmosphere. It’s the kind of place where neighbors look out for one another and events, like an annual Fourth of July pancake breakfast, are held at the community barn. Lake Madison is a 10-minute drive from the village and offers primo fishing waters as well as some things to do, like stopping into The Broadwater Bar or The Lakes Bar and Grill.

There’s a home for every budget in Wentworth, whether you’d like a four-bedroom contemporary waterfront home with walls of windows and its own beach for $850,000 or a sweet, renovated, two-bedroom cabin on the waterfront for $269,900.

Ellston, Iowa

A friendly private lake community

A lakeside patio in Ellston, just over an hour from Des Moines. Photo: rachelyancey/Instagram

The next best thing to having your own lake is sharing a private lake with a few neighbors. You’ll find just that at Sun Valley Lake, the centerpiece of a community in the small town of Ellston (population: 57). Designed for leisure, with a community center, restaurant, golf course, and tennis courts, Sun Valley Lake is a bit like living in a resort. And it happens to be a little over an hour’s drive from Des Moines.

Though popular with retirees for its country club setting, the community isn’t age-restricted, and the homes aren’t cookie-cutter. There are options from a five-bedroom home with a basement recreation area for $587,000 to a cozy, two-bedroom bungalow for $132,500.

Kauneonga Lake, New York

An artsy getaway with great food

The lakefront in Kauneonga, where some homes go for under $200,000. Photo: jessrs6/Instagram

In Kauneonga Lake, a hamlet in the artsy town of Bethel (famous as the site of Woodstock), you’ll find flower-filled gardens surrounding White Lake. The Children’s Peace Garden is a lovely place for families to enjoy, and there’s a variety of local cafes, bars, and bistros along Kauneonga Lake’s small restaurant row. Barrio Kitchen is particularly beloved for its creative cocktails and the lake views from the deck.

While a two-bedroom, two-bathroom home located near restaurant row will set you back $599,000, you can also find a three-bedroom cabin near the water in the White Lake Homes subdivision for $174,900.

Richville, Minnesota

Small-town life among the lakes

A home for sale on one of the many lakes around Richville.

Living in Richville is a quintessential experience in The Land of 10,000 Lakes. The area contains at least a dozen lakes, from the 35-square-mile Dead Lake to many that are too tiny for a name. A little over an hour’s drive from Fargo and three hours south of Minneapolis, the unspoiled area has a rural character. When not out fishing, your neighbors might be found at the town’s only restaurant, the down-home Rockin’ Horse Cafe and Wild Stallion Lounge. Basically, it’s like Richville hosts a nightly party just for locals.

Since you’re never far from a lake, nearly every home is a lakeside getaway. While the more spacious waterfront homes run in the $400,000-to-$500,000 range, the farther edges of Dead Lake are a bit more affordable. You can find a spacious two-bedroom cabin close to some of the best fishing in the area for $259,000.

Golden, Missouri

A lesser-known spot in the Ozarks

The lake view from a home for sale in Golden, 45 minutes from Branson, Missouri.

Close to the Missouri-Arkansas border, the town of Golden is situated between three popular weekend getaways: Eureka Springs, Arkansas (25 minutes southeast), Branson, Missouri (45 minutes northeast), and Table Rock Lake (1 hour). In Golden, you won’t find the crowds that flock to those destinations, so locals get the natural beauty of “the lake,” as the residents call it, all to themselves. The town does have one big tourist attraction: the Golden Pioneer Museum, an eclectic roadside stop displaying minerals, cultural artifacts and glow-in-the-dark glass.

While the average listing price in Golden is $369,544, you’ll find plenty of options above and below that point. And they’re often designed with woodsy details that fit the rustic area, like this gorgeous split-level four-bedroom, two-bath home for $199,900.

Find a home in your favorite getaway town on Trulia.

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noaasanctuaries · 6 years

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Using art to highlight our connection to national marine sanctuaries

By Andrea Fisher

This summer I snorkeled in a kelp forest, went tidepooling with marine researchers, had coffee with a recreational angler, learned from a Chumash weaver, and painted. While not your typical summer graduate school internship, these experiences were part of my quest to better understand – and share – the various ways individuals and groups connect with national marine sanctuaries. My internship specifically took me to the five national marine sanctuaries along the West Coast in Washington and California.

Fisher explored Santa Cruz Island during her visit to Channel Islands National Marine Sanctuary. Photo courtesy of Andrea Fisher

At each sanctuary I spoke with fishermen, sanctuary staff, visitors, indigenous people, sanctuary volunteers, and other community members to better understand how they feel and identify with the place. Afterwards, I produced an acrylic painting for each sanctuary to summarize and celebrate the species, activities, and emotions mentioned during the conversations. I decided to paint my findings, because art can showcase the ocean’s beauty, as well as capture complex stories, relationships, and emotions that are otherwise difficult to express. Below you can see the painting and read the highlights for each sanctuary.

Olympic Coast National Marine Sanctuary, Washington: A wild place, then and now

Image description: A painting of Olympic Coast National Marine Sanctuary. A tidepool containing sea stars and sea anemones is in the foreground. A beach stretches into the background on the left side of the image. A sea stack is in the middle. On the right side of the painting is the ocean, which contains a ship, four indigenous canoes, and orcas.

I first made my way to the northwestern coast of Washington state to visit Olympic Coast National Marine Sanctuary. The sanctuary includes a vast offshore area, including deep-sea habitats, kelp forests, and an iconic, rugged coastline. Communities of the Makah Tribe, Quileute Tribe, Hoh Tribe, and Quinault Indian Nation have long-lived connections to certain species, natural items, and places of the region. Today, the communities simultaneously celebrate their ancestral ties to the ocean, manage their treaty-protected resources, and embrace modern fishing techniques.

My painting aims to capture the sanctuary as described by those I interviewed: "wild" and "remote." The coastline – with marine fog, silver-colored driftwood, and sea rock formations – was often described as a peaceful place, especially for visitors "escaping" their daily lives in major cities. My painting also showcases a mint-colored sea anemone and ochre sea stars for those who expressed their love for tidepooling.

The four traditional canoes represent the four native communities and allude to an annual event called the Tribal Canoe Journey, an event where indigenous communities from the United States and Canada undertake a long-distance paddle journey to celebrate community and tradition. I was fortunate to see some of the canoes leaving La Push, Washington, during my trip. Each tribal community is distinct and rich with culture, and therefore, my painting also refers to some of the past and current valued species as explained by various tribal representatives. A Makah representative described how halibut was dried on Tatoosh Island, and how orcas are considered protectors of the tribe. A Quileute representative explained how each year they welcome migrating gray whales with salmon and a ceremony.

Cordell Bank National Marine Sanctuary, California: A place of mystery and wonder

Image description: A painting of Cordell Bank National Marine Sanctuary. In the bottom of the painting is a reef covered in pink and orange invertebrates. Fish swim in the foreground and background; a remotely operated vehicle hovers in the middle-left; a whale swims near the top of the painting.

Next I traveled to Point Reyes, California, to learn about Cordell Bank National Marine Sanctuary. This sanctuary differs from other sanctuaries along the West Coast as it is completely offshore and can be difficult to access due to unpredictable weather and ocean conditions. Luckily, advanced research technology and underwater photography has brought the sights of Cordell Bank to us.

My painting offers viewers a glimpse of the mysterious underwater world of Cordell Bank National Marine Sanctuary. Photos taken during research missions inspired my rendition of Cordell Bank, a rocky undersea feature that rises to 115 feet below the ocean surface. When viewing the research photos, I was struck by the tropical-looking, colorful corals, sponges, and anemones on the reefs. I also heard from a technical diver about his dive at Cordell Bank. He described the bank as the underwater Mount Everest.

In my painting you’ll see a red remotely operated underwater vehicle (ROV) that represents deep-sea exploration and other research happening in the sanctuary. I also wanted to showcase the productivity at the sanctuary, described to me by those I interviewed. People explained how the sanctuary attracts an array of seabirds, and how seeing thousands of juvenile rockfish or 30 blue whales at one time is possible.

Greater Farallones National Marine Sanctuary, California: Healthy ecosystems and communities

Image description: A painting of Greater Farallones National Marine Sanctuary. The top third of the painting shows the rocky Farallon Islands. The middle third depicts a surfer. The bottom third shows a view underwater of a whale, white shark, sea lion, kelp, and small fish.

Next on my itinerary came Greater Farallones National Marine Sanctuary, located just north of San Francisco. The sanctuary encompasses a large, complex system of bays, estuaries, marshes, nearshore reefs, rocky shores, and oceanic waters. It also surrounds the iconic Farallon Islands that can be seen from San Francisco on a clear day.

My painting of Greater Farallones National Marine Sanctuary highlights how communities come together in this place. Upwelling, an ocean phenomenon that brings nutrient-rich waters to the surface, creates an abundant food source for a variety of species. The sanctuary attracts a multitude of whales and seabirds who feed in the region, and supports one of the world's most significant populations of white sharks.

Human communities enjoy the waters as well, through activities such as wildlife viewing at the Farallon Islands and surfing at places like Bolinas Beach. A couple of beachgoers explained the sanctuary as “clean,” while a high school surfer said time in the sanctuary made her feel happy, centered, and relaxed.

Monterey Bay National Marine Sanctuary, California: A place for all

Image description: A painting of Monterey Bay National Marine Sanctuary. The bottom half of the painting depicts a nearshore environment with sea lions hauled out on rocks and a sea otter resting in a kelp forest. Further into the background, a diver surfaces and a humpback whale breaches.

Next, I had the chance to explore Monterey Bay National Marine Sanctuary – the place I live and describe as my home. This sanctuary is adjacent to the Big Sur coastline, Monterey, Santa Cruz, and Half Moon Bay. Many describe the sanctuary as one of the best places on Earth to watch marine wildlife. Its diverse habitats – large sandy beaches, uninterrupted kelp forests, rocky shorelines – offer visitors endless recreational activities. The sanctuary also protects a variety of features like an inactive underwater volcano and a deep-sea canyon comparable in size to the Grand Canyon.

My painting showcases the diversity of Monterey Bay National Marine Sanctuary. The sanctuary is rich with marine life, but also full of humans interacting with the natural systems. Human activity on land, whether agriculture in Salinas or day uses of Big Sur, define and affect the sanctuary.

I came across scuba and free divers, surfers, bay swimmers, kayakers, whale watchers, beachgoers, sailors, fishers, and people admiring marine life from shore. People I interviewed especially enjoyed watching sea otters (a crowd favorite), harbor seals, and sea lions. A diver described the sanctuary as “one of the most beautiful places I have ever seen,” and others explained the place as "home," "my sanctuary," and "life."

Channel Islands National Marine Sanctuary, California: A magical place, focused on community

Image description: A painting of Channel Islands National Marine Sanctuary. The top third of the painting shows an above-water view of Santa Cruz Island, Chumash people in a traditional tomol, and other boats. The bottom third of the painting is a view of a kelp forest, including several types of fish and a diver.

For my final stop, I headed south to visit Channel Islands National Marine Sanctuary. The sanctuary is just off the coast of Santa Barbara and Ventura and surrounds the five Northern Channel Islands: San Miguel, Santa Rosa, Santa Cruz, Anacapa, and Santa Barbara. The islands are surrounded by majestic coastal vistas, kelp beds, and diverse shoreline features. The islands and surrounding productive marine area have been, and continue to be, special to the Native American Chumash community.

My painting aims to capture the sanctuary as described by those I interviewed: "magical" and "a place that celebrates community." The Chumash community maintain their connection to the Channel Islands in various ways, such as the annual tomol (traditional canoe) crossing from the mainland to Santa Cruz Island, Limuw. While various species are valued by the Chumash, a Chumash weaver identified abalone as especially important.

The painting also alludes to stories I heard about children snorkeling above a bat ray and scuba divers encountering seals, sheephead fish, bright orange Garibaldi fish, and giant sea bass in the kelp forests. The boats in the painting represent the active recreational angling and commercial fishing communities, as well as the boats that take visitors to the sanctuary and islands.

Painting a picture of our shared connection

My summer journey confirmed that national marine sanctuaries are valued by various individuals and groups for different reasons. The diverse accounts of how people connect to their national marine sanctuary, when woven together, create a dynamic story, a story that reflects how we collectively think of and value a place. My paintings are a platform for visualizing these stories. I hope they provide you a new look at national marine sanctuaries along the West Coast, and inspire you to consider your connection to a special ocean place.

Andrea Fisher is an intern for NOAA’s Office of National Marine Sanctuaries West Coast Regional Office and MPA Center. She is a graduate student at Middlebury Institute of International Studies focusing on ocean and coastal resource management.

#art #painting #nature #STEAM #west coast #landscape #scenic #ocean #culture #travel #journey #noaa

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sokalenko · 5 years

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What I Wish My Father Had Taught Me About Fishing

Forty-odd years ago, while aboard a fishing boat with my father on Long Island Sound, I felt a pull on my line like none I’d ever felt before. And then another. And another still. The wild world had hit my line with all its abundance. I reeled hard and with a crazy swing I swept my multi-hooked rig loaded with five big mackerel in a wide arc over the rail until the whole bloody mess landed with a chaotic thud. I had no care about what I would do with all these fish that I had killed in one haul. Whether I would eat them or bury them in the garden or feed them to my mother’s cat. What mattered was that I had caught them and they were all mine. Except for one, which had gone missing.

“Wait,” I said kneeling down and searching the deck. “Where’s the fifth mackerel?”

“It’s right here,” my father replied from a crouching position he’d assumed in vain to avoid the bombardier-mackerel in my wild swing. “It’s here in my back.”

I followed my line to its end and saw that the fifth mackerel, along with a large silver lure, was indeed impaled in my father’s shoulder. He’d ducked, but I’d nailed him all the same.

“Sorry, Dad.”

“Just tell the mate to come over and take the hook out.”

This Father’s Day I find myself thinking of this scene because it pretty much sums up the haphazard way dads taught their kids to fish back when the natural world seemed rich, no matter how poor it was fast becoming. In my case it was my parents’ divorce that started the process. My father was a hard-working doctor of the late Mad Men era who logged long hours away from home. Many of the details of how to keep children productively occupied were alien to him. When he suddenly found himself with court-allotted divorced dad weekends on his hands and hours of child time to fill, he fell upon fishing like a thirsty man on an oasis. And in his little red Dodge Omni we would range the coast of Long Island, his one-piece surfcasting pole lashed to the luggage rack like a knight errant’s lance.

During these times I learned from him the basics: how to cast that mighty fishing rod of his, tie a lure to a line, jam a hook down the gullet of a sandworm. But learning to fish is not so much about one person teaching another a set of skills. Rather, it is the directing of a child to observe the ways in which nature works.

After each divorced dad weekend, when I returned to my more permanent home with my single mom in her little Connecticut rental cottage, I would seek out fish-filled water at every opportunity. Like some kind of latter-day Huck Finn, I’d hop fences to trespass on various backwoods estates and to follow rivers as they braided and splayed out on their way to the sea. I came to understand how trout take cover in the slack water behind boulders, saving their energy for the critical moment of the hunt. At the seaside, I learned that the first blooming of forsythia in springtime signaled the right temperature for winter flounder to rouse themselves from the mud. Standing chest deep in summer surf, I figured out that a brighter Moon hid the fish-spooking effects of the luminescent plankton bouncing against my line. And in the fall, I mimicked nature; tempting striped bass with the eels they naturally encountered on their migration from saltwater to fresh. Eventually, I acquired my own boat and began feeling my way around Long Island Sound’s shores alone, coming to understand the bottom topography and the flow of species in and out of that great embayment.

This was how I came to learn the scientific method. I formulated a hypothesis about a fish and its hunting behavior. I tested out my hypothesis with an experiment—a choice of anchorage, a retrieve speed for my lure, the calculation of a given depth. I then published my results in the form of fillets for the freezer. No small wonder that E. O. Wilson, Carl Safina, and many of the world’s greatest naturalists have told me of similar experiences. Through fishing, a child learns the way the world works, fish-by-fish. A more serious study of biology and ecology are natural next steps. And I can thank my father from the bottom of my heart for setting me on a course that led to a global study of fish and fisheries that is now the center of my career.

There was, however, one serious flaw in my fishing methods, something I could have discussed with my father, a psychiatrist by profession, had I thought to ask. It is, in a word, denial: the pernicious tendency of men and women (and boys and girls) to downplay or dismiss the effect “sport fishing” might have upon the greater world.

For in the modern era, when boys and girls go fishing they are not Huck Finn on a raft dipping a knotty string and a rusty hook into the water in hopes of a random bite. Today, even the smallest child can fish with technology the likes of which Huck Finn could only dream: fluorocarbon fishing lines made of polymers that render the line invisible to even the keenest of fish eyes, graphite rods capable of whipping a lure farther than rods of previous generations, sonar that plumbs every cranny of the seafloor for fishy habitat.

That I did real damage with all this newly emergent angling technology is undeniable. I can remember an evening in Martha’s Vineyard when my father dropped me off at a beach where the weakfish were so thick I could hear them rumbling, making croaking noises with their swim bladders. By the end of the night I had beached six fish—lilac and yellow on capture, dull and gray upon death. We ate, maybe, one. The rest I sold to a fishmonger for five bucks. This spectacular run of weakfish occurred for three years. Then it stopped. The same fishmonger who’d paid me a pittance for my catch later told me that weakfish had been spotted off western Africa and that clearly they had migrated to the other side of the Atlantic. No such thing had occurred. Weakfish don’t cross oceans—my fellow fishermen and I had brought about a local extirpation.

This would also happen to the mackerel in Long Island Sound. Catching one at a time rarely happens in those waters now, let alone five. And when the forsythia bloom in April, very few flounder come out of the mud. They’re so scarce in Long Island waters that scientists at Stony Brook University have found evidence of inbreeding—flounders are clinging to existence by breeding with their cousins. And lest the sport fishermen blame fish declines on rampages of the commercial sector, they need only look at the numbers. Today, the sport take of striped bass, arguably the most popular recreational fishing quarry in the United States, is more than double the commercial take, a situation that seriously imperils the fish’s future survival.

This weighs heavily on me as Father’s Day comes around and I debate whether or not to teach my own son how to fish. What I learned about nature from killing fish was profound and immeasurable. But there is not enough slack left in the world for such behavior. No room for figuring things out at the expense of other lives. And so anyone contemplating bringing another angler into the world must, by definition, consider the state of the world beyond the tip of the child’s pole.

The child you teach to fish must come to the pastime knowing the consequences of killing. The unknowing child may want to kill, for example, a really big fish, a so-called “trophy.” But trophy fish are the most reproductively important fish and, in spite of every instinct screaming to the contrary, more often than not, the big ones need to get away. Indeed, some progressive states have responded to this very sound scientific principle and established “slot limits” for fish that are big enough to have bred once, but not so big that they are critical to the endurance of the species.

Once again, letting a big fish go is a practice that must be taught and not simply learned. And it goes strongly against instinct. Yet, even if adopted, catch and release itself can cause problems. Holding a fish up for a trophy photo before it is released could have consequences we’re unaware of, but we do know something as simple as touching a fish’s skin while letting it go abrades its disease-resisting mucous making it prone to infection. These and other factors contribute to the truly shocking fact that, depending on the species and fishing gear employed, as many as one-third of all fish caught and released on traditional fishing tackle may die and not live to “fight another day” as many fishermen implausibly claimed in my youth. Yes, there are new technologies that mitigate death. There are now barbless hooks as well as “circle hooks” that lodge in a fish’s jaw rather than its gut. Both greatly improve a fish’s chances of survival. And there are “descending devices” that help return deep water fish to the correct depth thus reversing potentially fatal barotrauma that distends a fish’s organs when it is hauled up from great depth.

But even with proper release techniques, slot limits, circle hooks, and descending devices, we will still need to change our behavior by limiting what the commercial fishing sector calls “fishing effort.” In fishing, like in life, there are good days and there are bad days. And because of the increasing number of bad days in the present era, fishermen tend to keep on fishing if they happen upon a run of good luck. Even those who practice catch-and-release angling are guilty of this habit. “If I’m not killing anything,” they reason, “why should I stop?” But as the marine conservationist Carl Safina wrote me recently, “Fish are not made to have hooks in their mouths. So if we hurt these animals, we need to have a better reason than ‘just because.’” To catch something from the wild and use it for our food is, to my mind, justifiable. To torture it for amusement is not.

So perhaps it’s time to rethink fishing. No one says that a fishing trip need only be about fishing; there are other things to learn while bobbing in a boat with your kids. We can teach our children to learn the lexicon of seabirds that still plunge into the ocean’s depths, or wonder at the whales and dolphins and seals that are much more common off American shores now than when I was a child—thanks to laws that prevent their destruction. Quiet observation is a good skill to learn. And, if all else fails to amuse them, a fishing trip could wrap up after the evening’s meal has been procured. In the end, it might be better to kill and go home rather than endlessly catch and release.

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shemakesmusic-uk · 2 years

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TRACK BY TRACK BREAKDOWN: Hazama LP by Mitsune.

Through the art of folklore, emotional storytelling and genre-bending, 5-piece power group Mitsune transports you to a world of vivid global fusion. Fronted by an all-female trio of shamisen players, accompanied by percussion and double bass, Mitsune take their love of Japanese folk music and infuse it with eastern blues, jazz, rock and cinematic influences, creating a uniquely addictive sound.

Based in Berlin, with members of the band hailing from Japan, Germany, Australia, and Greece, Mitsune traverses borders as they blend their diverse, culturally-driven compositions with rhythmic explorations of Japanese folk music. Having supported Nai Palm (Hiatus Kaiyote) in Berlin, to performing extensively at festivals, concerts and events all across Europe, Mitsune’s trajectory culminates in their new album Hazama, out today.

Hazama is an album that explores the feeling of being in limbo, caught between worlds. Filled with uplifting group vocals, strong driving rhythmic beats and an exciting range of instruments including shinobue, ney, qanun, koto and the Tsugaru shamisen (a 3-stringed Japanese folk instrument), the group immerses you not only with sounds you haven’t heard before, but with beautiful melodies and harmonies to match.

We asked the group to do an in depth track by track breakdown of the Hazama for us. Read it below.

Hazama

The word ‘Hazama’ translates roughly from Japanese as ‘in between’. This song, and this album as a whole, explores the feeling of being in limbo, caught between worlds. It is a description of our experiences as a cross-cultural group living in a sort of ‘cultural limbo’ here in Berlin. As individuals, we each come from very different cultural backgrounds – Japan, Germany, Australia, Greece – and are dealing with issues such as mixed-race heritage, speaking a mixture of languages, expatriate life and its accompanying sense of displacement/otherness. This constant feeling of in-between-ness is both challenging and beautiful. We wanted to capture the essence of this feeling, leaning into the beauty it can create, and having fun with it. The lyrics at the end of the song refer to the folktale of the Moon Rabbit.. sometimes we could be just as home on the moon as we are on planet Earth.

Kaigara Bushi

This is originally a folk song from Hamamura Onsen, a seaside town in Tottori Prefecture. It was sung by fishermen to comfort themselves as they rowed laboriously, trawling the ocean floor for shellfish (‘Kaigara’ is the shell). We have always loved this song and wanted to create a unique arrangement of it, but had been stuck for months on where to take it. Around that time, we started listening to Tuareg desert blues and got into some Saharan bands – most notably, Les Filles de Illighadad and Tinariwen. We decided to develop the song in this direction, and although it would seem that a seaside fishing song couldn’t be further from the Sahara, we discovered a kindred heartbeat and injected it into this track. We had so much fun recording the vocals for this one.. perhaps we should have a whiskey sponsorship ;)

Fusako no Hula

Youka: This song was written in loving memory of my grandma, Fusako Yamaguchi, who passed away in 2020. Fusako took up hula dancing late in life, a hobby she embraced after her husband passed away. One of her fondest memories was her trip to Hawaii, decades ago. I started writing this song after attending her funeral in Japan, just before the pandemic kicked off. I’d spent a week in her apartment in Osaka, poring over her photo albums, and when I got back to Berlin I knew I had to write a song for her. She helped me to buy my first shamisen, the instrument I learned on, so it felt like a full circle moment to be writing a song for her on shamisen.

The song begins as a gentle, sunny, ukulele-style hula with 50s girl group vocals – echoes of Fusako’s youth. The second part of the song is raucous surf rock, symbolising the rebel I always recognised in her. She was a bold woman, creative, wilful, with a wicked sense of humour. The lyrics at the end of the song belong to an old Japanese lullaby that my Mum would sing to me as a child. Through this song, I honour my matriarchs and attempt to tell their stories, as well as my own. Fusako Yamaguchi rests in Izumi-shi, Osaka Prefecture.

Maru

“Aiya~ The night is falling. Let’s drink together, join hands and dance together until the morning sun shines on us.”

Maru is our party song, an ode to summer matsuri festivals in Japan, evoking images of a wild parade with all the townsfolk out to dance, drink and sing under bright lanterns on a balmy summer night. We recorded it in Berlin last winter, in a freezing cold basement studio after a 7-month lockdown. As you can probably guess, we were all desperate for celebration, and missing the clubs and party vibe of pre-pandemic Berlin.

The song begins with suspenseful solo shamisen, expanding out into a web of interlocking melodies, which is interrupted by the forceful entry of percussion & bass. The groove begins, driving yet elephantine, as we all raise our voices in powerful unison. The track features solos by Gustavo Eda (shinobue) and Petros Tzekos (percussion), and the song reaches its climax with a banging 4-on-the-floor outro to really bring the party.

Roku-Go

Youka: I composed this track in full nerd mode, which is to say, it is more of a modal and rhythmic exploration than a heartfelt storytelling piece. ‘Roku-Go’ simply means ‘six-five’, which refers to the rhythmic counting of the song. It features a mixture of 6/4, 5/4 and 4/4 time signatures, but we think it still grooves despite the oddness! There is a nod to Eastern scales, and we have also used an unconventional shamisen tuning (I-V-flat7 instead of I-V-I). The middle section, which switches to a major key, is influenced by 70s prog bands like Yes – their album ‘Close to the Edge’ is one of my all-time favourites. Here’s a challenge for listeners and fellow music nerds – see if you can learn the clapping pattern in the middle. One day we can clap together, preferably annoyingly loudly in a public place, when we meet somewhere in the world!

Sakura

This is arguably Japan’s most popular folk song, which celebrates the stunning cherry blossom season in Japan. We wanted to imagine the song in a totally different way – to start traditional, and then take you on a journey far away from where the cherry blossoms grow. The percussion breakdown in the middle of the song features our incredible percussionist, Petros Tzekos, who multi-tracked the entire section using his array of beautiful instruments. Petros has spent years travelling the world and collecting drums, gongs, and all kinds of objects that sound – metal toppers from an old stove, random pieces of pipe, children’s toys, cymbals of all sizes, literal bells and whistles. Petros takes us to another realm, and then we bring it back in the end for a rousing final chorus.

Tosa Tango

This is a rearrangement of Tosa no Sunayama, a folk song about a tsunami in 1340 AD that destroyed parts of Aomori prefecture, killing over 100,000 people. Tosa no Sunayama means “The Sand Dunes of Tosa”. The tsunami created giant sand dunes and left villagers in crippling poverty, causing people to lament, “How we wish these mountains of sand were mountains of rice!” The idea was to translate this tragic traditional song though the dramatic and emotional character of a tango arrangement, with an instrumental lineup of guitar, violin and shamisen, and re-harmonising it with a completely new chord progression. We also experimented with sound design on this track, using percussion SFX and sampled field recordings to emulate ghostly echoes of the past.

Berlin Lullaby

Tina wrote this sweet lullaby for her infant son. It is inspired by some of the compositions of Tsugaru shamisen virtuoso Etsuro Ono, who can convey the feeling of home with just a few notes. In the tradition of lullabies and the long list of Min’yo that are named after a place, this song is named ‘Berlin Lullaby’ (Berurin no Komuriuta), after its place of origin. We invited some beautiful guest instrumentalists – Valentina Bellanova (ney), David Ingleton (banjo) and Lixue-Lin Siedler (bass koto) – to contribute their own sunshine and serenity to the song. Like taking an afternoon nap in a peaceful barn.

Wind of Sand

This song was originally composed by Hibiki Ichikawa, Tina and Youka’s shamisen teacher. We loved the song so much, we decided to create a full band arrangement of it, which features an experimental, cinematic bridge section we added for our own flair. Youka is also a professional violinist, so she created the string arrangements for this recording, enlisting Samira Aly on cello to fill out the arrangement. Last but certainly not least, we were joined by the incredible qanun soloist Shingo Masuda, who absolutely nailed the recording session and seemed to inexplicably know the whole song with all its complex changes, despite having never played with us before. This song was the hardest to mix due to the complex instrumental arrangement, but thanks to our fantastic mixing engineer Wouter Rentema, each instrument in this recording shines on its own.

Hotaru

Hotaru or “Firefly” is an exploration of moods and harmonic possibilities in a stripped-back shamisen trio arrangement. It is played only on Tsugaru shamisen, yet is nothing like traditional Tsugaru shamisen music. It evokes a mild early summer night scene with romantic harmonies, in tribute to guitar virtuoso Agustín Barrios Mangoré. The melodies paint the image of the fluttering fireflies in the area of Kanazawa, whose lights can be seen and then again not, as they fly through blades of grass and twigs of trees. We decided to end the album with just the shamisen trio, taking us back to our roots, finishing like a mysterious and peaceful evening breeze.

Photo credit: Shari Marks

#track by track breakdown #mitsune #hazama

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cidating738 · 3 years

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jbrownmajortwo2021 · 3 years

Video

youtube

Draft edit, Stage 1, acting as a story board

running through sections, changes i need to make, next steps and what i would like to add.

SEC 1 - Pub Shanty. Need to tweak the edit, I have very limited footage to work with for this section however I am planning on using the shot where the throat is visible more frequently and messing with it’s temporality to give the same mysterious, unknown and unseen visual metaphor across. This section could do with some further sound treatment, there is mic noise that can be frustrating and I may EQ further to enhance the voice a little.

SEC 2 - Water. I will replace the naturalistic sound with a low bass freq tone, a sort of rumble. although I need to experiment with it and see what works, it is likely that it will be semi-naturalistic but with elements to accentuate some of the intensity of the environment i will also subconsciously hint at the sort of secret motif of the sea having a voice early on in this section, quietly in the mix there will be chordal vocals taken from the recording session with Lowenna. also I will put it back in colour as this high contrast b+w feels wrong.

SEC 3 - Archival. I obviously need to get a local to take a look at some of the photos and for them to comment on them and talk about the past. I also would like to feature overheard shots with hands pointing to the images combined with this sort of moving camera method of capturing it. I will then be able to take the sound experimentation further and potentially have a contrast jumping between talking with the still shots and naturalistic with moving shots/ combine the two. Another possibility is that i can try and recreate the story that the person will tell through the images and edit them to fit with the speaking and combine that with naturalism in both editing style and sound. much like La Jetée (Chris Marker 1962). i can also potentially use recreated 35mm black and white photos to create extra bits to add deeper engagement and naturalism to this section.

youtube

SEC 4 - Petition. This section doesn't work in the place it is, it is intended to function as background information as well as highlighting one of the key themes in the film which is sustainable vs unsustainable fishing however i feel that putting it here just breaks the flow of the film, instead i will put in during the Newlyn section where i am including shots of trawlers, it will work better here because of the direct contrast between what was said in 1906 and what little has been done in 115 years. I also want to whittle down the length of this section a bit, cutting out a min of this section is unlikely to take out any of the key information. here I would also like to include some montage type footage intersperced into the reading and panning about the text. the footage would consist of related footage combined with visual metaphor referencing changing times, the villages in question, trawler fallout and other bits and peices that combine together to give effective visual stimuli as well as provoke a deeper reading of the text being read. For montage style I am looking at Derek Jarman’s In the shadow of the sun (1981). The film stock texture is exactly what I would like to take from however it will most likely have to be digital footage as even at the archives i have not found and cellulose i could use as found footage that is related to the subject matter, I will keep looking but it would be nice to shoot the footage myself, therefore it will most likely be cropped digital footage. The editing of Jarman’s piece is going to be key to how I would like to edit the montage is this section, specially the use of time, multi-exposure and a narrow colour palate.

youtube

SEC 5 - Cadgwith. This is the footage of Cadgwith village, it is intended to be simple, with the camera directly showing normal events of the location. I need to treat the sound here, I have not done anything to it yet, I also want to get some more personal footage of the fishermen, closer up, they have made it clear that they don’t want to do any interviews but are happy for me to film them going about their work. So, I plan to re-visit the location to collect more footage and sounds to build a nicer soundscape at the same time as talking about their past through the archival photographs.

Transition section - fish loaded onto van at cadgwith, clip from Buster Keaton - the boat, fish unloaded at Newlyn.

{these sections, 6-8, are intertwining}

SEC 6a - Newlyn Docks. I have not filmed this section yet, however it will be in a similar style to the Cadgwith section as the visual language here is intended to mirror each other to accentuate the idyllic nature of the independent form of fishing as well as accentuate the corporate form of it. bit of machinery,

SEC 6b - Scotts boat. this section may not be able to go ahead. the plan is to get onto the boat that this guy called Scott works on, he’d show me the sleeping quarters and machinery as well as talking through what kind of goes on, exists boat, camera goes back to machines

- I would like the trawler petition section to go here instead. (sec 4) however I am unsure, I don’t think it really fit’s here.

SEC 7 - Return to the style of section 6. Machinery, dead animals, exaggerated soundtrack. hopefully he will then jump overboard/ off the harbour into the sea after soundscape of the industry is building into the next section.

SEC 8 - Industrialisation of the sea. As he hits the water, the final section comes in with underwater footage, Lowenna singing and the industry noise become compositional rather than naturalistic.

#petition

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bassfishingbychris · 3 years

Link

With a 40 degree temperature drop most anglers would just stay home. But we're clear down in Texas and a cold snap won't keep us down! Come along for a day on the water as we adapt to the changing weather and dial in a pattern for BIG Bass, no matter what the weather throws our way!

Its simple to catch big bass when everything is in your favor. When the sun is shining, you've got a breeze on the water, and the fish are up shallow, it can be downright easy. But what do you do when it starts to fall apart? We're 19 hours from home on Lake Falcon in South Texas. The day time temperatures were hovering around 100 degrees and suddenly plunged to 60. To make things worse, the wind blew 40+ mph overnight. We have 1 day of experience on the lake, no idea how these fish adapt to these conditions, but that's not going to stop us!

With modern electronics and some tenacity, even brutal conditions are no match. The key in this scenario was to slow down. Two days prior we had been on a great bite with a wobble head and a 10" ribbon tail worm. We stuck to the same basic pattern, downsized a bit, and focused on key offshore structures (the largest rock piles we could find) and caught a ton of big fish on a day when most bass fishermen would have preferred to stay home.

Below you'll find links to the exact baits and equipment we were using. We've included the key colors to help you dial in your fishery the next time you're faced with a tough bite. All of the links go directly to Tackle Warehouse where you can see detailed photos and descriptions of the items.

Squarebill Crankbait...

Crank- River2Sea Biggie Poppa (Abalone Shad): http://bit.ly/2ahCzvo

Hook Upgrade- VMC Bladed Hybrid Treble (Size 3): http://bit.ly/2oqWODi

Wobble Head...

Head- Dirty Jigs Pivot Point: http://bit.ly/2jOY1Ns

Size: 1/2 oz with 4/0 Hook

Bait- Strike King Rage Bug (Junebug): http://bit.ly/2aAsuiV

Shaky Head...

Head- Canterbury Shaky Head 1/8 oz: http://bit.ly/2aFOs0V

Bait- Culprit 7.5" Curly Tail Worm (Junebug): https://bit.ly/3v1ii6Z

Texas Rigged Worm...

Bait- Zoom Ol Monster 10.5": http://bit.ly/2adPtjs

Colors: Junebug, Junebug Red, Candy Bug

Hook- Owner Jungle Wide Gap 5/0: http://bit.ly/2sBsR1Z

Weight- Swagger Tungsten Vader Flipping: http://bit.ly/2NjDYtV

Sizes: 1/4 - 3/8 oz

Tim's Big Worm Combo...

Rod- Shimano Expride 7'6" Medium Heavy: http://bit.ly/2nTq9FL

Reel- Shimano Metanium DC (HG): http://bit.ly/2qrSZvs

Line- Power Pro Maxcuatro 65 lb Braid: http://bit.ly/2clBRiQ

Leader- Sunline Super FC Sniper 25 lb: http://bit.ly/2p7fxju

Matt's Shakey Head Combo...

Rod- Shimano Zodias 6'10" Medium Heavy: https://bit.ly/3aeQbYW

Reel- Shimano Metanium MGL 150 B (XG): https://bit.ly/34HlAAk

Line- Power Pro Maxcuatro 30 lb Braid: http://bit.ly/2clBRiQ

Leader- Sunline Assassin 12 lb Fluorocarbon: http://bit.ly/2h4LNjm

Matt's Travel Rod Combo...

Rod- Megabass Triza Stym Palisades: https://bit.ly/2Glg3au

Reel- Shimano Metanium MGL 150 B (XG): https://bit.ly/34HlAAk

Line- Power Pro Maxcuatro 65 lb Braid: http://bit.ly/2clBRiQ

Leader- Maxima Ultragreen 20 lb Mono: http://bit.ly/2ae97J9

Want TacticalBassin Gear?

We have a variety of apparel items and custom lure designs available! Everything from hats, to hoodies, to crankbaits! Its all available direct through Tackle Warehouse with fast shipping. See it here...

TacticalBassin Apparel and Lure Designs: http://bit.ly/38YpPIz

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