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In this context (Rugby Union Football) and the 6 Nations Trophy, it means that the team wins the Grand Slam that beats all the other 5 nations. In this case: England, Scotland, Wales, Ireland, France and Italy. Ireland won all their matches and so win the Trophy. Wales did the same last year.

You can eat monkey nuts but I wouldn't try ape.

Hi Ståle
I lived in Sweden (for about 4 years) many years ago but I still remember and understand the language. I don't know the part of Sweden where you live - I lived in the South East and then up in the North. I have been to Norway, too. Bergen, Voss and the Hardanger Fjord a couple of times on holiday. Norway is a beautiful part of the world.

Da iawn phill.
Graceland was released in 1986. Back in 1986 I had my own 8-track studio, tape based of course, and various digital reverb units. There would be no earthly reason why reverb should be recorded onto a track even then. Any reverb could be added at mixdown. To record it onto a track would have been considered "incorrect" and totally unnecessary.
I once remember, before I knew better, recording a vocal and adding reverb at the time onto the track. It sounded ok then as the cheap reverb I had was all I could afford.
A year later, when I wanted to remix the tape with my new expensive reverb unit, I was stuck with the god-awful reverb I had put there a year previously. There was no way I could get rid of it. The lesson was, and still is, record tracks dry. With current technology there is no need whatsoever to do otherwise.
re the Paul Simon track. It baffles me.

It sure is confusing!
1-6-4-5 refers to the notes in the scale of the key you are playing in. It assumes you are using a standard (8 note) octave.
So to answer your question about G Em C D
In the key of G, the major scale is
GABCDEF#G numbered 12345678
1 is G
6 is Em
4 is C
5 is D

If you are playing in the key of C, you have the major scale
CDEFGABC numbered 12345678
1 is C
6 is Am
4 is F
5 is G

The C-Am-F-G is just a typical chord progression that harmonises a very large number of songs in the key of C. If the song is in G then the same progression would be G-Em-C-D.

It was a much used progression in 50s music, and still is today, I suspect.

Your question about scales other than the standard 8 note major and minor scales is more difficult. In my experience, it's possible to number the notes either way, but the most common, for me, has been to always use the 8-note system when indicating which note of the scale a chord is based on.
Even if you use a pentatonic scale for your melody, most musicians will still be thinking in terms of an 8 note scale when it comes to the harmonic structure.
So if you are using a 5-note scale, in C that goes
C-D-E-G-A-C for example, I will still be thinking that this scale only uses the notes numbered 1-2-3-5-6-8. In other words, your tune does not use notes 4 or 7 (F and B) of the scale. It also means that you might want to avoid chords with those 2 notes in, or at least chords based on those notes. However, that is a complex issue. For example, I could imagine harmonising a song using that scale above with a chord based on F (the 4th note of the C major scale) even though the melody never uses that note. For example, the notes A and C in the scale, are both contained in the chord of F major, even though F itself is not in the scale.
The decision is one for you to make. There is no "rule" as such in composition, other than "does it sound ok?". Ultimately, the ear is the judge, not the rulebook.

Vänliga hälsningar

You made a good point there. It's much more productive to get together with someone who is better than you as you can learn from him/her, and the act of playing together will stretch you and promote your progress.
It's fun working on arrangements for two guitars, or, if the other person plays a different instrument, working out the part for that.
Also, singing harmonies is fun. I know some people who find harmonising really difficult, others take to it naturally.

You can get a good one for £200!
It's a minefield just like buying a steel string. Everyone will tell you their guitar is just brilliant.
So here goes!
I decided to get a classical last summer and, after trying out a few in the local shop I went for a Walden "Natura". Walden makes a nice range of classicals. They are not expensive but are well made and sound good. Most are in your price bracket. My N730 was only £200. Best 200 I ever spent.
www.waldenguitars.com
A couple of people who play much better classical than I do, have both expressed admiration for the sound it produces.
So there's me telling you how great mine is...

There's no VAT on newspapers.
I think they make most of their money from advertising rather than the cover price. Even so, when they put the price up, you are right, it's not the sort of news they want to print!
Our local paper is the same. Over the last year or so the price has gone up by one or two pence a number of times from 40p up to 47p.

It's a long time ago but I first played a guitar in Summer 1971, and first performed in late 1972 or early 1973. The memory is a bit hazy.

The band played one of their songs and I was asked to join in. (I knew what the song was beforehand). It seemed more important that they liked me rather than my playing, so long as it was reasonable.

Merry Christmas all
or
Nadolig Llawen
as we say in Wales.

Strumming the strings in different places encourages or inhibits the presence of different harmonics in the string's vibration. This in turn creates a different colour in the notes produced.
(I just wrote a load about this in the music theory section at the end of the "Open chords to power chords" thread. Odd you should mention this just now)