Bullet Bra - Discover All About This Type Of Bra Lingerie for Pin Up girls Is bullet bra an essential part of Pin Up lingerie? Of course! Well...if you're really aiming to do everything as they did in the 1950s that is. There are many memorable moments from the vintage era of famous Hollywood icons sporting the ever famous bra. One which we cannot go past is Miss Sophia Loren. This is one of the most iconic photos of this woman, and as you can see, this bra makes the outfit. History of the bra Just like any other lingerie, this bra has its origins and it reached the peak of its fame in the 1950s. It was made famous by girls or icons like Marilyn Monroe and other pin up style females during this time. This is a bra which is full covering and provides the necessary support, whilst allowing the breasts to breathe (this is achieved with the air pocket at the tip of the bras). However, during its time, they are considered to be shape enhancing and was the “push up” bra of its time. Back in the 1950s, it was almost made from nylon or satin and it has distinct circular or cone shaped cups. Why are they called "bullet bras"? No, they don't have real bullets in it because that may be a bit scary and awkward :) Its relevance to the term bullet is because these bras have pointy cups and usually utilize concentric stitching to help maintain their shape without the help of under-wires. These are made with vintage patterns. What made this bra more interesting... It doesn't come with padding or under-wires like the push up bras we have today and unlike what Miss Lady Gaga wears. (I'm sure she has a different definition for this bra and in a more literal form!) Kidding aside, the circular stitching and proper size made these bras fit perfectly on most women without the need for extra padding or under-wire that can really be annoying. However, there are some women who stuff padding into their bras just to fill out the rest of the cup and to make them look extra pointy. Each to their own! It certainly has an interesting appeal. Everything has its downfall... The downfall of this bras came during the 1960's when padded and under-wire bras were introduced. These bras quickly got out of fashion and never really returned to their full capacity... Quite disappointing we feel. Bullet bras today Today, these bras are hardly popular with the exception of die hard vintage fans. There are instances where these bras make a debut on stages of some 'shocking' Hollywood celebrities such as Madonna who wore a Jean Paul Gaultier designed bullet bra during her 1990 tour. It was seen as erotic and provoking. And of course there's Lady Gaga as previously mentioned, Katy Perry and Rihanna to name a few. It has also become popular with burlesque and rockabilly enthusiasts which both draw a lot of references from the 50's. Where can you find this unique bra? Today, this will be a bit difficult as it is now considered vintage lingerie. Good news is that there are a few companies around the world that still manufacture them but otherwise, you can search for the bras in vintage shops or on trading sites. But Google is your best friend here. Simply type in this search term and see a few great brands pop up which can deliver this lingerie piece straight to your door. If you are planning to buy this bra... Make sure that you buy one band size from what you normally wear. Also, if you have shallow breasts, getting bullet bra pads can do the trick and fill out the cups. Are you still one of the few that loves wearing these bras? What is your favorite brand that you swear by? Please share below! We'd love to hear your suggestions! If you enjoyed the article "Bullet Bra"… Connect with me on Facebook!


Complete the lyric: Come, Mister tally man, tally me ...

Harry Belafonte - Banana Boat Song Lyrics | MetroLyrics Banana Boat Song Lyrics New! Highlight lyrics to add Meanings, Special Memories, and Misheard Lyrics... Submit Corrections Cancel Daylight come and me wan' go home Day, me say day, me say day, me say day Me say day, me say day-o Daylight come and me wan' go home Work all night on a drink of rum Daylight come and me wan' go home Stack banana till de mornin' come Daylight come and me wan' go home Come, Mister tally man, tally me banana Daylight come and me wan' go home Come, Mister tally man, tally me banana Daylight come and me wan' go home Lift six foot, seven foot, eight foot bunch Daylight come and me wan' go home Six foot, seven foot, eight foot bunch Daylight come and me wan' go home Day, me say day-o Daylight come and me wan' go home Day, me say day, me say day, me say day Daylight come and me wan' go home A beautiful bunch o' ripe banana Daylight come and me wan' go home Hide the deadly black tarantula Daylight come and me wan' go home Lift six foot, seven foot, eight foot bunch Daylight come and me wan' go home Six foot, seven foot, eight foot bunch Daylight come and me wan' go home Day, me say day-o Daylight come and me wan' go home Day, me say day, me say day, me say day Daylight come and me wan' go home Come, Mister tally man, tally me banana Daylight come and me wan' go home Come, Mister tally man, tally me banana Daylight come and me wan' go home Day-o, day-o


What type of shoes did Carl Perkins and Elvis Presley sing about?

Carl Perkins : Blue Suede Shoes and Elvis Presley : Elvis Articles : : 'For Elvis Fans Only' Official Elvis Presley Fan Club 'See a spider going up the wall / To get his ashes hauled'. Stupid. 'One for the money / Two for the show / Three to get ready / Four to go'. One for the money, two for the show ... Carl was on his way to writing a classic. Carl Perkins 1956. A Trip With Elvis It's been said 'Blue Suede Shows' was written by Carl Perkins during the trip to Amory for a concert with Elvis Presley and Johnny Cash . As you can see above this is not true - But the trip did take place ... In the late fall of '55 Carl, Elvis and Johnny Cash played two more dates together, the first in Amory, Mississippi followed by a show in Helena, Arkansas. (The last Carl would play with Elvis.) During one stretch of the brief trip from Memphis to Armory, Carl rode with Elvis ('A good driver, especially compared to Johnny Cash, the worst driver in the world'), and they had their longest conversation to date about their personal tastes in music. Both loved 'Old Shep' and sang this together. Then Elvis started talking about his love for the black gospel quartets. Carl asked if he had heard of a group called the Platters, which Elvis had. They discussed their song 'Only You'. In fact Carl had sung the song during a solo date in Armory only a month before, but this was not discussed. Carl Perkins & Elvis Presley on Stage in Armory At the time Carl hadn't yet had his big hit, but he'd had 'Movie Mag', he'd played the venue several times before on his own, and they loved him. Carl went on first and someone in the crowd called out 'Only You', Carl. Carl responded by immediately staring the song and tore the place up; the fans went absolutely nuts. When Carl left the stage he found Elvis sitting in front of a row of lockers, head down, oblivious to everyone around him. Elvis was always the first to congratulate Carl so he knew something was amiss. Elvis had planned to sing 'Only You' that night but had not told Carl. Elvis nerves were made worse knowing he could not go with the song he had planned and that he felt Carl did so well. When Elvis went on, midway through the first song a call started building from the crowd, and soon engulfed the entire building: 'We want Carl!' Standing in the wings Carl became unnerved. He felt Elvis was being treated rudely and unfairly. But as Carl tells it, 'It did not take long for Elvis to find his groove' and leave Carl little reason to feel sorry for him. Whatever emotion Elvis was feeling, he channeled it into a performance to rival the best Carl had ever seen from anyone. Over the next hour he watched awestruck as Elvis 'just poured it on. Sweat popped out on him and was drippin' to the floor and he had that hair flyin' and them legs movin'. He dug deep. He pulled it off - he rocked! They wasn't hollerin' 'Perkins' at the end. They only did that for a little bit after he first came out. That really embarrassed me'. After a night off, the Perkins and Presley troupes reassembled in Helena, Arkansas, for a double bill. Carl didn't sing 'Only You' that night but again performed well. Elvis came out to an instant repeat of the Armory show, and again had to jack up his own performance a few notches to quell the audience's chant for Carl. But he succeeded. This is completely different to Johnny Cash's latter description : 'When Elvis went on, he got a fabulous reception too, but he wasn't all the way through his song when half the audience started shouting for Carl. It was so bad that he only did one more song before giving up. He left the stage and Carl came back on to thunderous applause'. Carl's version seems the more believable. Elvis was not a quitter. Why the difference? When all four of the Beatles cannot agree on how the group came to be called ' The Beatles ' it should not be surprising that after so many years memory's fail and people remember things differently. Carl gracelessly acknowledges Elvis was the King. As you will read below, Carl contradicts Johnny again - making it clear that Johnny Cash w


What song by Billy Joel is frequently requested at dueling piano bars?

BIG SHOW Dueling Pianos: Most Popular Dueling Piano Songs NOT Your Typical DUELING PIANOS! Most Popular Dueling Piano Songs Dueling Pianos Most Requested Songs - Top Dueling Pianos Songs Piano Man - Billy Joel Piano Man is by far the most requested and most popular dueling piano song of all time.  In fact, the art form of dueling pianos can almost be credited with this song as it describes a piano player performing in a bar room type setting, taking requests from patrons, telling sad stories to the bartender, playing for tips and making the manager happy.  Piano Man seems to sum up everything about the reason everyone loves dueling pianos, and piano players in general so much. Brown Eyed Girl - Van Morrison Ah, the familiar chorus that gets everyone singing along, "sha la la la la la la la la la la dee dah", Van Morrison's Brown Eyed Girl garners a ton of requests and it is one of the all time great sing along songs.  No doubt there might be a birthday in the audience and the girl has brown eyes and it is her favorite song, and everyone wants to hear the dueling pianos perform the song for all to enjoy! College Fight Songs College fight songs are extremely popular dueling piano requests as there is always a local college sports rivalry in every town, big or especially small towns, where the rivalries run wild and people take their college rivalries very seriously!  The rivalry between KU (University of Kansas) and MU (University of Missouri) is one of the most heated rivalries in the country, and someone is almost guaranteed to request their favorite school's fight song.  College fight songs also bring a new level of performance into a dueling pianos show by starting a bidding war of sorts.  Most dueling piano players will pit two or more local colleges against each other by playing one college's fight song until someone brings up money to stop that fight song and start another school's fight song.  Then maybe another college comes up with more tip money and slaps it on the piano for the dueling pianos to stop playing that college fight song and start playing another college fight song.  This can go on for a long time depending on the city that you are in! Baby Got Back - Sir Mix-A-Lot Oh, My, God, Becky, would you look at the size of her butt?  Oh yes, this song has stood the test of time and remains one of the biggest dueling pianos requests of all time.  Even today, years after the song was on the charts, Baby Got Back always gets the crowd on their feet and singing along.  Be careful singing this song out too loudly, because if one of the dueling piano players sees you, they might just pull you up on stage to sing! Other Great Dueling Pianos Songs Include: Brick House - The Commodores Pour Some Sugar on Me - Def Leppard Bennie and the Jets - Elton John Tiny Dancer - Elton John Jack and Diane - John Mellencamp Don't Stop Believing - Journey Paradise by the Dashboard Light - Meatloaf Like a Virgin - Madonna Sweet Home Alabama - Lynyrd Skynyrd Roadhouse Blues - The Doors Old Time Rock and Roll - Bob Seger Louie Louie - The Kingsmen Trio Hey Jude - The Beatles What'd I Say - Ray Charles Shout - Otis Day Version from Animal House I Will Survive - Gloria Gaynor Hey Ya - Outkast Baby Got Back - Sir Mix-a-Lot If That Ain't Country - (why do you drink - to get drunk!) Family Tradition - Hank Williams Jr. Friends in Low Places - Garth Brooks Ring of Fire - Johnny Cash Take it Easy - The Eagles King of the Road - Roger Miller R.E.S.P.E.C.T. - Aretha FranklinStrokin' - Clarence Carter Georgia - Ray Charles Just the Way You Are - Billy Joel With a Little Help From My Friends - Joe Cocker Let's Stay Together - Al Green My Girl - The Temptations Let's Get it On - Marvin Gaye Rocket Man - Elton John Unchained Melody - The Righteous Brothers We Are Family - Sister Sledge Celebration - Kool and the Gang Play That Funky Music White Boy - Wild Cherry Proud Mary - Tina Turner Twist and Shout - The Beatles Livin' on a Prayer - Bon Jovi Paradise City - Guns and Roses Rapper's Delight - Sugar Hill Gang Love Shack - The B-52's Bohemian Rhaps


What are Glastonbury, Coachella, and Bonnaroo?

Someone Broke Into The Grammys, Coachella, Bonnaroo, and Glastonbury... and He's Making A Movie Someone Broke Into The Grammys, Coachella, Bonnaroo, and Glastonbury… and He’s Making A Movie Posted by admin on Wednesday July 23rd, 2014 Marcus Haney describes his documentary No Camera’s Allowed as “a love letter written to these festivals.” This twenty-something year old began his journey after sneaking into Coachella, and has never paid for a ticket to a music festival since. Over the course of four years Marcus has snuck into almost 50 festivals around the world, including Bonnaroo and Glastonbury, and even managed to make his way into The Grammys. He documents these events through photography and video footage, getting backstage access along the way. However, Marcus is no amature to photography, he shoots for HBO and films  music videos , but decided creating this film was more worthwhile, leaving college and his home to document this adventure. After Coachella, Marcus created a short film with his footage and managed to get it to the members of Mumford and Sons, who were so impressed that they invited him on tour. It was at this point that Marcus had to choose between graduating college or getting on that train with the band.  He chose the train. Marcus made fast friends with the members of Mumford, even shooting their album cover for Babel. When asked if he felt bad about getting access to these festivals–including getting on stage, backstage and front row center–Marcus replied: “The first thing I think about is – I’m not hurting anyone. But am I stealing anything? Am I stealing a ticket or opportunity for Coachella to make money? Well no, Coachella is sold out. And then I start to think – is there any way I’m able to twist this and make it feel like I’m helping the situation? The trailer makes the film out to be about a guy sneaking into festivals but it’s really a coming of age story set in a music world.” No Cameras Allowed has been picked up by  MTV , with the description reading: “NO CAMERAS ALLOWED is a documentary that literally takes you behind-the-scenes and inside the twenty-something life of die-hard music fan Marcus Haney, who risks his friends and his college life to expertly slip into festivals like Coachella and Glastonbury and into the backstage lives of superstars like Mumford and Sons, Skrillex and Jay Z.” The question is, is Marcus an outrageously epic young man or has he gone too far by breaking into these events?


"Who wrote the album ""No Jacket Required"" in response to being denied entrance to a fancy restaurant for not wearing a proper jacket?"

Queen of Peaches Queen of Peaches by Allison When I was more actively pop culture blogging in my 20s, the end-of-year reports were obviously one of the big highlights. What was the best music? What were the best movies? Much of this list-making was performative and ego-based, of course—wanting to appear to have seen and heard the smartest and coolest stuff, to have the “right” opinions on it all, to be unassailably in-the-know, to be safely elevated as some kind of taste-maker even if it was just to my tiny band of followers and friends. The ego of this wasn’t only to receive praise, to want to, as our dear departed Carrie Fisher once put it , “be the greatest person you ever met…to explode in the night sky of your approval.” There was also the ego-based need to assert some kind of usefulness in the world, to make myself somehow indispensable so that I wouldn’t be so easily cast aside and forgotten. If you’d asked me at the time about why I wrote about the stuff I wrote about, I probably would have said something to the effect that I just hoped my reviews would be useful to someone, that I hoped they might introduce someone to a piece of art that they would deeply connect with and love, or that I might steer them away from something that would offend, disturb, or disappoint them. The thing that I never could have admitted, though, was that I also wanted desperately to be given credit, forever, for that service. I wanted to be assured of my worth, to essentially be some kind of helper animal wearing a t-shirt or harness announcing my centrality to the smooth working of the world around me, announcing that I was engaged in doing a very important job, so that I could combat my terrified suspicion that I was, in fact, inconsequential, not only to the wider world but also to those who were kindly but most likely lying about loving me. Come for the pithy one-liners about George Clooney, stay for the darkly desperate tap-dancing for validation! Not dissimilarly, as far as searching for my unique place in the cosmos, this year-end list-making always had a touch of the metaphysical or mystical to it. (Perhaps invisibly, but it was folded in there for me at least.) Somehow I thought that the art that I’d consumed over the past twelve months was some sort of oracle that, when regarded as a whole, could teach me about myself, where I’d come from and where I was headed. I think it’s no coincidence that I eventually ended up in a clairvoyant training program whose whole method entailed teaching students to describe the pictures that they saw in their own minds’ eyes. I think this must be why I took to my psychic abilities so naturally—seeing and reporting on the details and vividness of clairvoyantly received images was, for me, basically exactly like seeing and reporting on the details and vividness of scenes in a movie. As a film student and amateur critic, I never had a head for plot. Logical contradictions or absurd suspensions of disbelief or internal consistency meant nothing to me. It was all about vibe, emotion, meaningful rhymes with other films in the genre or director’s body of work, subtle betrayals of stated meaning revealed by a carelessly chosen bit of mise en scene or dialogue. Almost as soon as I recognized this, I shut that blog down. Partly, yes, it was because I’d been writing there for nearly six years and was simply getting bored with it. Partly it was because my life had become busy in a way that didn’t afford me the time to write there on any kind of regular basis anymore. Partly it was because that busyness also meant that I didn’t have time to see as many movies or go to as many concerts as I used to, hence eliminating the fodder I would have written about anyway. Partly it was because I was finally ensconced in several communities where I had actual, real people to talk to on a regular basis so that I didn’t have to shout into the void of the internet as desperately in order to feel like I had someone, anyone, to communicate with. But, undeniably, partly it was also because I was getting a purer hit of the d


What 1985 song featured dozens of famous artists and raised $100 million for charity in Africa?

Live Aid: A Look Back At A Concert That Actually Changed The World - MTV mtv 06/29/2005 There's a good reason why, 20 years after Live Aid, Bob Geldof still looks exhausted. Even as he hustles to coordinate 10 global events in support of his ambitious July 2 sequel, Live 8 (see [article id="1504817"]"Good Charlotte, Bjork In For Live 8 Tokyo; Moscow Concert Added"[/article]), Live Aid — a still-unprecedented feat of good will, logistics and old-fashioned guilt-tripping, all masterminded by Geldof — looms large as the show that proved music can actually change the world. ( See photos from Live Aid. ) Live Aid was the biggest, but it wasn't the first all-star charity show. Rockers had been lending their efforts to various causes for years, from ex-Beatle George Harrison's Concert for Bangladesh in 1971 (which aided refugees of that war-torn country) to the anti-nuclear power No Nukes show in 1979. But Live Aid was different. For one day — July 13, 1985 — an estimated 1.4 billion of the planet's five billion people stopped and watched Geldof's "global jukebox," and were treated to one of the biggest, most ambitious concerts ever staged. At one point, according to a stage announcement, 95 percent of the world's television sets were tuned in to Live Aid — an even more incredible statistic when you consider that it happened before the Internet, cell phones, e-mail, text messaging, instant messaging and blogging. Through music and an eminently worthy cause, much of the world actually felt connected — even at the height of the eminently selfish "Me Decade." alt=""> Live 8 artists stress debt relief, critics of the plan sound off and the G8 summit is explained in "Live 8: A Concert To End Poverty" on Overdrive. That might explain why, 20 years later, even though I recently acquired the shows on DVD, there is still a stack of VHS tapes in my attic somewhere that contain most of the broadcast in all its grainy glory. They've been packed and unpacked, moved and temporarily heaped in the junkpile more than a dozen times as I've moved around the country. But they've never been tossed. I won't lie: I've never watched them, but for some reason I just can't let go. Maybe I thought I'd want to show them to my kids, or pop them in some day to remind myself of a time when, despite all the other turmoil around the globe, the world was made aware of injustice and rose up together to try and make a difference. It all started with a song ... The seeds for Live Aid were sown in 1984, after Geldof saw a BBC documentary about the famine in Ethiopia — which claimed more than 1 million victims in 1984-85 alone — and decided to write a song to help raise money for the starving citizens of the East African nation. Geldof (then singer of the Boomtown Rats) teamed with Ultravox leader Midge Ure, gathering 40 of the British Isles' biggest stars of the time to record a song for African famine relief under the name Band Aid. "Do They Know It's Christmas?" featured memorable vocal contributions from Bono, Sting, Boy George, George Michael and several less-memorable others (Britain's biggest stars at the time included Paul Young, Heaven 17 and cross-dressing non-singer Marilyn) became a worldwide hit, raising more than $10 million for the cause. It sold more than 3 million copies in the U.K. alone, making it the biggest and fastest-selling single in British chart history at the time. The Band Aid single set off a slew of companion songs across the globe, from the Michael Jackson co-penned USA for Africa smash "We Are the World" to Canada's "Tears Are Not Enough," as well as songs from France, Spain, South Africa, Holland, Australia, Jamaica and Belgium. It also opened the floodgates on a rush of benefit songs and events for a variety of causes, from Little Steven's anti-apartheid "Sun City" to the well-intentioned American homeless-relief effort Hands Across America, in which 5 million people raised nearly $100 million by forming a (slightly broken) chain from New York to California. There were also the popular Comic Relief benefits for the homeless and the


What singer is the third-best-selling musical act of all time in the UK - but is largely unknown in the United States?

Marmalade | Biography & History | AllMusic google+ Artist Biography               by Bruce Eder Marmalade is one of those groups that just seems to endure. They are best remembered today for one record, their cover of the Beatles ' "Ob-La-Di, Ob-La-Da," although they charted number one records and even Top Ten American singles into the 1970s. The group, especially as constituted up through the early '70s, had many sides, including white soul, harmony dominated pop/rock, and progressive pop, all very much like the Beatles in their middle years. However, it was their cover of a Beatles song, oddly enough, that weighed down their reputation. In point of fact, they did somewhat resemble the Beatles musically, having started out as a band of teenagers eager to play hard rock & roll; like the Beatles , they developed a great degree of sophistication in their singing and playing, but they never had the freedom to experiment with the different sides of their music. Ironically, in their prime, their career arc most resembled that of the Tremeloes , who made incredibly well-crafted pop/rock but were never taken seriously. The quintet's history began in 1961 when teenagers William "Junior" Campbell and Patrick Fairley met on Campbell's 14th birthday and discovered that they both enjoyed playing rock & roll. Their early inspirations were the Everly Brothers and Cliff Richard & the Shadows . Soon they were playing together, Campbell on guitar (and, increasingly in later years, keyboards) and Fairley on guitar, and then they added bassist Billy Johnson and drummer Tommy Frew . They took the name the Gaylords and played local clubs for little or no money, and Johnson and Frew were later succeeded by Bill Irving and Raymond Duffy , respectively. The group began getting decidedly better gigs when singer Thomas McAleese -- who took the stage name Dean Ford -- joined. For a time, they were known officially as Dean Ford & the Gaylords , in keeping with the notion that many successful acts ( Cliff Richard & the Shadows , et al) had one member as their focus. This was still the early '60s, when Liverpool bands had scarcely made an impression and Scotland's rock & rollers faced an even more daunting task just getting record company executives to hear them. For Dean Ford & the Gaylords , a recording contract didn't become a reality until almost a year after the Liverpool sound started to explode across the English charts and in early 1964, Dean Ford & the Gaylords were signed to EMI-Columbia. Their debut record, "Twenty Miles," sold well in Scotland, but never charted in England. Their success remained confined to their native Scotland, the group regularly supported visiting English acts like the Hollies , and they were regulars on BBC Radio Scotland. By the end of the year, with their hard yet melodic attack on their instruments and good close-harmony singing, Dean Ford & the Gaylords had made themselves the top band in Scotland, borne out in music poll results. As they were already commanding the best support spots and the highest fees promoters were willing to pay any homegrown act, there was just no place left to go in their own country and no easy way to get heard in England. The group finally took up residence in Wimbledon, just outside of London, but at first this had little effect. Irving left the band and was replaced by Graham Knight on bass and harmony vocals; a fourth single as Dean Ford & the Gaylords was recorded, but it failed to chart and marked the end of their EMI contract. The Gaylords were now living far from home in a place where they were largely unknown and they were at something of a loss as to how to continue. It was the Tremeloes , a band from London who'd had a pair of hit singles (including a chart-topper with "Do You Love Me") who came to their rescue. The two groups had played together and the Tremeloes admired the Gaylords ' sound so they suggested the band sign with their manager Peter Walsh . He was impressed with their sound and their level of musical and performance expertise; all of those hard-r


What voice-altering technology was famously used by T-Pain and Cher?

Yeezy Boost 350 Pirate Black $189 For Sale Cheap Kanye West Size 8,9,10 Shoes Contact Adidas Yeezy 350 Boost For Sale,Yeezy 350 Boost For Sale However, Kobe Bryant showed up by himself an hour earlier than usual, unaccompanied by computer security. He sported what one reporter called "that Game 7 look" as he practiced shooting alone. Joss Stone - Introducing Joss Stone: UKs soulful power house released record a lot of people (including Joss) been recently waiting to gain. Full of limber vocal gymnastics and funky music beds, this album brought a substantial chunk of flavour towards table including a cameo from someone may very well remember - Lauryn Incline. The voice-altering technology may be used by everyone from adidas yeezy boost 750, Ron Adidas Yeezy 350 Boost For Sale Browz, nicely course T-Pain. But the pitch changing software latched onto by Cher appears to have to finally come to the unfortunate end after the discharge of 'Death of Autotune', over a Yeezy 350 Boost For Sale beat by former Common producer No ID. So how exactly does this connect to Kanye? Well, what Kanye did was "ghetto" without having Adidas Yeezy 350 Boost For Sale it representative, I'm sure, of methods his mother raised him(never interrupt a speaker or speech). However, it appears as if since his mother passed, he has brought more etc . arrogant and brash at music cash incentives. And he needed to be closed. This event will stop him. He even said this him or her self. Jay's upcoming album 'Blueprint 3' was said to feature some sort of amount of auto-tune initially, he scrapped it all and recorded 'Auto-tune Is Dead' substitute. Nick Jonas joined quite a few dead celebrities that to help die in 2009. adidas yeezy boost 350 died in a collision long before he wrecked Taylor Swift's acceptance speech at the VMAs. Britney Spears died several times, mostly in car crashes (possibly due to the fact her terrible driving record). Miley Cyrus died far more than anyone this year, end up being seem, dying just about every other week. Lil wayne kept getting shot and killed immediately after which getting detained in Texas for allegedly transporting drugs (but messy wasn't a hoax; he really was detained in Texas earlier this month). Still, West is too set during his ways to completely change, because had his own way of addressing the controversy. While Swift's VMA 2010 new song tried regarding uplifting, West's own performance was more envelope-pushing and Yeezy 350 Boost For Sale stylized. Nevertheless he performed his salute to the "d*****bags," most accepted he or she was mocking his own image to be a way to apologize. I Ainâ��t Lyinâ��â�¦on Henrietta Records Find Charlie Online @


"Who originally wrote the song ""All Along the Watchtower"", famously covered by Jimi Hendrix?"

All Along The Watchtower by Jimi Hendrix Songfacts All Along The Watchtower by Jimi Hendrix Songfacts Songfacts This was written and originally recorded by Bob Dylan in 1967, but it was the Jimi Hendrix cover that made the song famous. Many other artists have covered it, including Eric Clapton, Neil Young, U2, Dave Matthews Band and The Grateful Dead. Dylan was so impressed with Jimi's version that Dylan for years played it the way that Jimi had recorded it. >> Suggestion credit: Jamie - Sydney, Australia This was Hendrix' only Top 40 hit in the US, where his influence far outpaced his popularity. He charted a few times in the UK, where he rose to fame before making a name for himself in America. This was recorded while Hendrix played with the Jimi Hendrix Experience: Hendrix on guitar, Noel Redding on bass, and Mitch Mitchell on drums. For this song, however, Redding was not on bass; Hendrix did it. Redding was also the guitar player for his band Fat Mattress, which Hendrix referred to as Thin Pillow. Hendrix often felt that Redding did not put his heart into the bass and was concerned that Redding concentrated more on Fat Mattress than he did on the Experience. Things like these led to him being replaced by Billy Cox. >> Suggestion credit: Ethan - Ridgely, MD The original version of this song is very slow. Jimi Hendrix' version had a large impact on Dylan which made him make his own version "heavier." >> Suggestion credit: Ben - Manchester by the Sea, MA Hendrix: "All those people who don't like Bob Dylan's songs should read his lyrics. They are filled with the joys and sadness of life. I am as Dylan, none of us can sing normally. Sometimes, I play Dylan's songs and they are so much like me that it seems to me that I wrote them. I have the feeling that Watchtower is a song I could have come up with, but I'm sure I would never have finished it. Thinking about Dylan, I often consider that I'd never be able to write the words he manages to come up with, but I'd like him to help me, because I have loads of songs I can't finish. I just lay a few words on the paper, and I just can't go forward. But now things are getting better, I'm a bit more self-confident." >> Suggestion credit: Bertrand - Paris, France Hendrix had been working on and off with the members of the band Traffic as he recorded Electric Ladyland. Traffic guitarist Dave Mason caught Hendrix at a party and the two discussed Bob Dylan's newest album, John Wesley Harding, containing "All Along The Watchtower." Hendrix, long fascinated with Dylan, decided to cover the song on the album. On the resulting track, Mason plays rhythm on a 12-string acoustic guitar. In our interview with Mason , he explained: "Hendrix just happened to be sitting in one of those semi-private clubs in London. He was there one night just sitting alone, and it was like, "F--k, I'm just going to go over and say hi and talk to him." Mason recorded the song himself in the Hendrix arrangement for his 1974 self-titled album. He also made the song a mainstay of his concerts. Mason says it's a deceptively simple song: "It's just the same three chords, and they never change." This was used in an episode of The Simpsons when Homer's mother was telling him a story that took place in the '60s about why she had to leave him. >> Suggestion credit: Jonathan - Toronto, CA In a 2008 poll conducted by a panel of experts in the Total Guitar magazine, this was voted the best cover song of all time. The Beatles' rendition of "Twist and Shout," first recorded by the Top Notes, came second, followed by the Guns N' Roses version of the Wings song "Live and Let Die" in third place.


What instrument was made obsolete by the piano?

History of the Piano | Pianonet History of the Piano Contact Us History of the Piano The story of the piano begins in Padua, Italy in 1709, in the shop of a harpsichord maker named Bartolomeo di Francesco Cristofori (1655-1731). Many other stringed and keyboard instruments preceded the piano and led to the development of the instrument as we know it today. Mankind’s knowledge that a taut, vibrating string can produce sound goes back to prehistoric times. In the ancient world, strings were attached and stretched over bows, gourds, and boxes to amplify the sound; they were fastened by ties, pegs and pins; and they were plucked, bowed or struck to produce sounds. Eventually, a family of stringed instruments with a keyboard evolved in Europe in the 14th century. The earliest of these was a dulcimer, a closed, shallow box over which stretched wires were struck with two wooden hammers. The dulcimer led to the development of the clavichord, which also appeared in the 14th century. These were followed by the spinet, virginal, clavecin, gravicembalo, and finally, the harpsichord in the 15th century. The harpsichord, however, was limited to one, unvarying volume. Its softness and loudness could not be varied while playing. Therefore, performing artists could not convey the same degree of musical expression as that of most other instruments. The artistic desire for more controlled expression led directly to the invention of the piano, on which the artist could alter the loudness and tone with the force of one’s fingers. The harpsichord was a particularly important development leading to the invention of the piano. Its ability to project sound more loudly than its predecessors, and refinements in the action (or touch) inspired many more musicians to compose for the keyboard and thus, to perform keyboard works. First exhibited in Florence in 1709, Cristofori’s new instrument was named gravicembalo col piano e forte (roughly “soft and loud keyboard instrument”). Eventually, it was shortened to fortepiano or pianoforte, and finally just piano. His earliest surviving instrument dates from 1720 and is on display at the Metropolitan Museum of Art in New York City. Despite many improvements during the past 300 years, it is truly astonishing to observe how similar Cristofori’s instruments are to the modern piano of today. New Technology in Pianos We are living in perhaps the most exciting time in history to buy, own or play that eternal instrument, the piano. Whether your goal is to purchase something as small as software that can record what you play, a newly designed player piano, a digital instrument or a classic acoustic model, there have never been as many choices for the consumer. Player Pianos Also called “reproducing pianos,” this class of instrument represents a modern update on the paper-roll player pianos you remember from old movies, and they’ve grown enormously in popularity over the last decade. These are not digital instruments – they’re real, acoustic pianos with hammers and strings that can be played normally – but they can also “play themselves” using sophisticated electronic technology. Instead of punched paper, they take their cues from floppy disks, specially formatted CDs or internal memory systems. Several manufacturers offer vast libraries of pre-recorded titles for their systems—music in every genre from pop to the classics—recorded by some of the world’s top pianists. These sophisticated systems capture every nuance of the original performances and play them back with startling accuracy—providing something that’s actually much better than CD fidelity, because the performances are live. Thanks to these new systems, many people who don’t play the piano are enjoying live piano music any time of the night or day. Whether they’re accompanying dinners for two or entertaining a houseful of partygoers, these high tech pianos take center stage. For people who do play the piano, these systems can be used to record their own piano performances, interface with computers, aid in music education, assist with composing and many o


Fender Vs. Gibson | Music News @ Ultimate-Guitar.Com + Submit article Fender Vs. Gibson The ever-raging question, Fender or Gibson? Who is the king of guitars? Which company (or their design) is better? Posted Oct 06, 2007 09:34 AM 0 The ever-raging question, Fender or Gibson? Who is the king of guitars? Which company (or their design) is better? Whose cuisine reigns supreme? (Wait a minute, that last one's from Iron Chef... sorry). But all FoodTV shows aside, a very significant portion of guitars out there today are based off of one of Fender's or Gibson's designs. So, as we delve into the deeper aspects of this matter, keep an open mind if you are set on one company or another. One point worth noting before I continue is that Fender and Gibson are not the only companies out there. There are plenty of good guitar makers in existence, like Ernie Ball/Music Man, Paul Reed Smith, Ibanez, ESP, and Gretsch, among the others. The reason why I'm comparing Fender and Gibson here is that they are the two most popular companies, and they vary so much. Also, this is a long-standing debate between the two. I'm not going to go into the histories of each company (as my history on Gibson is a little foggy at the moment, hope that'll change soon), but basically, to understand and compare the companies, I will take note of all the prominent instruments made by each company, as well as their tonal characteristics. Let's start with Fender, as they are first alphabetically. Today, the two most prominent guitars are the Stratocaster and the Telecaster, with the bass line consisting mainly of the Precision and Jazz basses. Fender also has classics of older models, like the Jaguar and Jazzmaster. Gibson, on the other hand, offers it's famous Les Paul, SG, Flying V, Explorer, Firebird, Electric Spanish (ES), and the Melody Maker. Both have a custom shop, as well as derivatives and classics of each model. Fender's tone has that famous, treble-y bell tone that is commonly associated with the Stratocaster as well as single coil pickups. Gibson, on the other hand, has a mellower tone highly related to humbucker tone, clearly exemplified in the Les Paul. Various elements go into the differences in timbre, such as the pickups, tone woods, body shape, and other various design differences. Gibsons are known for their warmer, crunchier (especially when distorted) tone whereas Fender has the bright, famous bell-like tone (the now famous Fender tone) achieved by single-coil pickups. Fender's tonal qualities are mainly dictated by their body woods and the single coil pickup. Fender most commonly uses ash and alder, both of which give a medium, slightly bright tone as it is. Both woods are fairly light, producing Stratocaster bodies of about four to five pounds, adding to its appeal to Fender. Plus, both woods are commonly found in America and fairly inexpensive, making them ideal for production. The single coil pickup has the infamous 60-cycle hum (which oddly enough I've come to love as part of a vintage tone; I don't know why, it's just so cool) yet emphasizes brightness on Fender's guitars. The tone is best described as, once again, bell-like, and is the sound Fender is famous for. Stratocaster bodies were originally designed to compete with the Bigsby vibrato system, as well as add comfort with the body contours. Telecasters were derived from Leo Fender's original Esquire model, which had a single-coil in the bridge slot. On the other hand, Gibsons are quite different. Gibson uses mainly mahogany for their bodies. Mahogany is a denser wood, offering darker tone and thick, warm, crunchy sound often loved by many guitar players. The Les Paul is quite possibly the epitome of the electric guitar, being the longest-made production model; Gibson began producing the guitar in the '40s. The SG came along in '61, as a custom version of the Les Paul. Because of it's small body, Gibson named it the Spanish Guitar (hence, SG). Gibson at first used the P90 design, which is basically a single-coil pickup, though it's not as bright as a standard single coil. P90s of


What French electronic music duo almost always wear helmets when appearing in public?

Daft Punk Is (Finally!) Playing at Our House | GQ Daft Punk Is (Finally!) Playing at Our House Daft Punk Is (Finally!) Playing at Our House By Email Even for robots, eight years between albums is a long time, and now everything on the radio sounds like Daft Punk did nearly a decade ago. How are the gods of digital planning to get ahead of the global EDM wave they helped create? By going analog—new album, new sound, new collaborators. But have no fear: The helmets remain the same They are rusty at being Daft Punk. They’ve been gone for a long time. Since their last proper studio release, 2005’s Human After All, they’ve done just a handful of interviews—three, maybe four, tops—and they’re badly out of practice. They’re still answering questions like Thomas Bangalter and Guy-Manuel de Homem-Christo, instead of like Daft Punk, which is a problem, because they’d prefer that you not think of them as people at all. That’s partly what the robot helmets are for. It’s why you’ve never seen their faces. "I remember when I was a kid, I would watch Superman, and I was super into the feeling of knowing that Clark Kent is Superman and no one knows," Bangalter says. "We always thought as we were shaping this thing that the fantasy was actually so much more exciting than the idea of being the most famous person in the world." It’s a Saturday afternoon in Los Angeles, and the two men are seated, sans disguises, outside at a café on La Brea. They’re talking about their kids (two each), the vagaries of the California wildlife that haunt Bangalter’s house up in the hills (deer and coyotes, mostly, though recently he lost a night of sleep to the hooting of what he’s pretty sure was an owl), and a bunch of other things they’d really rather not discuss—a bunch of things they will later try to take back—because finally, after eight years, there is a new Daft Punk record. It’s called Random Access Memories—they whisper the title across the table, because it’s February and no one else knows this yet, and because with Daft Punk nearly everything is a secret. The record is only Daft Punk’s fourth in sixteen years, not counting the soundtrack work they did on Disney’s 2010 sequel to Tron, and the first that the two men, who recorded their first three albums at home (two in Bangalter’s bedroom, one in his living room), have made in a proper studio. It’s a big and lush and opulent ’70s-disco record, glamorous in places and almost mournful in others, like something a heartbroken vacuum cleaner might drive around to at night in Detroit. It’s got choirs and flutes and some of the same guys who played on Thriller and Off the Wall, and Panda Bear from Animal Collective, and Nile Rodgers from Chic, and a gang of other collaborators—Italian disco god Giorgio Moroder, "Rainbow Connection" guy Paul Williams, pianist Chilly Gonzales, house titan Todd Edwards, the Strokes’ Julian Casablancas, Pharrell Williams singing about sex and ancient Greek mythology. It sounds like it cost about a million dollars to make, if not more, an estimate they don’t deny but also won’t confirm. Videos: A Brief History of Daft Punk’s Pop Culture Cameos More to the point, Random Access Memories is a calculated departure from past Daft Punk records, even for Daft Punk, a band that, over the course of its lengthy reign as the most well-known and critically revered dance-music act on the planet, has made a point of never making the same record twice. Only a handful of people have heard the album so far, but the two men already seem resigned to the possibility that no one will like it. "In Scream 2, they have this discussion about how sequels always suck," Bangalter says. In this scheme, Random Access Memories might as well be Scream 4. "The thing we can ask ourselves at some point is like: We’re making music for twenty years. How many bands and acts do you have that are still making good music after twenty years? It always sucks—almost always, you know?" And de Homem-Christo, who has said maybe a few dozen words up to this point, most of them about salad and directed at our waitress, pee


What is either a popular heavy metal band or a Medieval torture device?

Medieval Imposter: the Iron Maiden - San Diego Museum of Man San Diego Museum of Man by Museum Staff | July 26, 2012 | Event | For many people the iron maiden represents the epitome of torture from the Middle Ages. It did for me, until recently. The iron maiden has permeated popular culture, not just in photos and film but also in popular names, which isn’t surprising considering that this horrific device has symbolized the cruelty of medieval torture for centuries. An example of the iron maiden’s deep-rooted cultural significance: the primary listing for “iron maiden” on Wikipedia relates to the English heavy metal band formed by Steve Harris in London in 1975. I was completely taken aback to find, in the other Wikipedia entry for “ iron maiden (torture device) ,” that the iron maiden wasn’t even invented until the 19th century. In 1793, Johann Philipp Siebenkees reported an iron maiden being used to execute a coin forger on August 14, 1515. Ironically, his story was a hoax. Still, he provides for us in his account one of the first mentions of this instrument. Several earlier mentions in 1783 and 1788 suggest that this instrument primarily served as a tourist or museum attraction – perhaps as an indication of how cruel people were in the past. The image shown here is a copy of the most famous iron maiden, the Iron Maiden of Nuremburg. Although the Iron Maiden of Nuremburg was publicly displayed in the early 19th century, the original was completely destroyed in the 1944 Allied bombings of Nuremburg. This copy is the most important surviving specimen of an iron maiden still in existence. This copy, which is now a valued artifact itself, was made in 1828 as decoration for the “Gothic Hall” of a patrician palace in Milan, and has been held in a private collection since 1974. The workmanship that went in to producing it is amazing in terms of both craft and cruelty. Actually coming face to face with such a noteworthy artifact is an unforgettable experience, particularly when you learn the rest of the story. Although they weren’t used in the Middle Ages iron maidens have, unfortunately, been used. On Saturday April 19, 2003, TIME World News reported an iron maiden was found in the Iraqi National Olympic Committee compound in Baghdad. Fingers were pointed at Uday Saddam Hussein, head of the Committee, who reportedly oversaw torture of Iraqi athletes who had not performed to expectations. It reminds us that torture still occurs around the world and not for reasons we might assume – to extract information – but instead to destroy individuals who have done nothing wrong, to instill fear in populations, and to establish power over people. It is sobering to think about. Although few people exhibit the pathological cruelty of Uday Hussein, most people have the capacity to mistreat others under certain circumstances. Fortunately, on the other hand, we also have the ability to stand up against torture and those who perpetrate it. Perhaps the original creation of the iron maiden in the 19th century was an attempt to spur active opposition to cruel and inhumane treatment. Hopefully its enduring presence can serve the same function in contemporary society. Events


What heavy metal band has a one-armed drummer?

Def Leppard Keeps Their One-Armed Drummer and Turns Tragedy Into Hysteria Def Leppard Keeps Their One-Armed Drummer and Turns Tragedy Into Hysteria People Magazine, May 16, 1988 By Steve Dougherty and Lisa Russell Def Leppard lead singer Joe Elliott has to shout to be heard over the cheers that greet his introduction of drummer Rick Allen at a Denver Concert. "Four years is a long time, and we've had our ups and downs," he says. "But the biggest up, the greatest high was definitely the return of - THUNDER GOD!" With that, the crowd erupts in a roar, which proves once again that Rick Allen has triumphed to become rock's most formidable, if not only, one-armed drummer. Indeed, when Allen lost his left arm in a New Year's Eve, 1984, auto accident, playing the drums again seemed inconceivable. For a while, the accident appeared to forecast the end, too, of Def Leppard, whose 1983 LP, Pyromania, sold a spectacular 6 million copies. Delayed by Allen's convalescence and studio problems, the Leppards spent four years on the brink of Hysteria, their current album - which has sold nearly 4 million copies, spawned a pair of hit singles ("Animal" and "Hysteria") and is still floating near the top of the charts after nine months. Even critics used to slagging the band have applauded their musical and medical comeback. "There are at least half a dozen heartwarming rock and roll stories," ventured England's usually cynical New Musical Express. "This is one of them." The story begins horrifically. Allen and his girlfriend, Miriam Barendsen, were driving near his parents' home in Sheffield, England, when he took a turn too fast. His black Corvette slammed into a stone wall and flipped over. Miriam escaped serious injury, but the impact severed Allen's left arm at the shoulder and tore much of the flesh and muscle from his right. Doctors were able to save the right arm, but efforts to reattach the left failed. Yet after only four weeks in hospital and several more recuperating at his parents' home, Allen returned to the recording studio, determined to pioneer the art of one-armed drumming. While band mates played along with drum tracks recorded before the accident, Allen spent eight hours a day mastering a custom-built, electronic drum kit that allows him to keep left-handed beats with his feet. In fact, claims Allen, "It's made me better just thinking about what I do a bit more." What does he have trouble with? "Slicing bread and tying me shoes. And, occasionally, I do silly things like falling and not being able to stop myself." Allen says he has had plenty of emotional support from his parents - "It's wonderful to see their faces when I play," he says - and girlfriend Miriam also has been steadfast. Says Allen: "She's my best friend." Although the band, for the collective good of the group, might have been justified in looking for a replacement, they didn't. "He was our drummer," says Elliott. "We never questioned that." That loyalty comes from a shared background. Four of the Leppards - Elliott, 28, bassist Rick Savage, 27, guitarist Steve Clark, 28, and Allen, 25 - hail from greater Sheffield and came together as a band in their teens. The group scuffled through the local club scene, landed a contract with Polygram records in 1979 and released two LPs before guitarist Phil Collen, a Londoner, joined up in 1982. Polished by AC/DC producer Mutt Lange, the Def Leppard sound - a commercial mix of melody and metal - influenced such pop metal stars-to-be as Bon Jovi and Cinderella. "We're really not a heavy metal band," Clark insists. "I mean, we read. We can think." And endure. Def Leppard's staying power was put to the test when producer Lange dropped out in 1984. He returned in 1985, scrapped the work that had been done in his absence and started over. Hysteria was further delayed when Elliott got the mumps and again when Lange was hospitalized after a 1986 auto wreck. By then the band was so deeply in hock from production costs that accountants said they would have to sell 2 million copies of Hysteria just to break even. Ironically, Hy


What Christmas ballet was composed by Pyotr Ilyich Tchaikovsky?

Pyotr Ilyich Tchaikovsky (1840–1893) Musical notes for school children Pyotr Ilyich Tchaikovsky (1840–1893) How to say the name: ‘Tchaikovsky’ is said like Chii-cough-ski. ‘Pyotr Ilyich’ is saide like ‘Peter Il-itch’ (although I’m not certain about these two first names). Born: 7th May 1840 in Votkinsk, Vyatka, Russia (Votkinsk is now in the Udmurt Republic). Tchaikovsky’s grave in St Petersburg Died: 6th November 1893 in St Petersbrg, Russia. Buried: Tikhvin Cemetery at the Alexander Nevsky Monastery in St Petersburg. Type of Music: 1812 Overture (for orchestra, choir—and real canons!). Marche Slave (Slavonic March)—for orchestra. Many short dances from ‘The Nutcracker’ (a ballet ), such as the ‘Dance of the Sugar Plum Fairy’. ( See below for a video.) The beginning of Piano Concerto No. 1. (See the romantic page for a video.) Some great pieces: Symphonies Nos. 4, 5 and 6. ( See below for a video of No. 5.) Piano Concerto No. 1. The Nutcracker (a ballet) ( See below for a video from this ballet.) Eugene Onegin (an opera ). The Queen of Spades (an opera). Some interesting facts: His music is some of the most popular classical music ) around today. Many people who don’t normally listen to classical music will recognise a tune or two by Tchaikovsky! His music often has very beautiful tunes. His music is full of strong emotions. These strong emotions can be heard and understood very easily. The strongest emotions are probably in Symphony No. 6 (the ‘Pathetique’). This symphony was first heard only nine days before he died. His music sounds Russian to people outside Russia. However, it sounded like Western European music to people in Russia at the time it was written. His ballets are the world’s most popular ballets. And ‘The Nutcracker’ is performed all over the UK around Christmas time. The ‘Dance of the Sugar Plum Fairy’ from ‘The Nutcracker’ is famous for using an instrument that was very new at the time—the celesta (see below for a video). This looks like a small piano and makes a tinkly sound (this instrument also appears at the beginning of the ‘Harry Potter’ film music). Although the 1812 Overture is very popular, Tchaikovsky didn’t really like it! There is a bit of a mystery about how Tchaikovsky died. Some say he died of cholera, while others say he killed himself. Here is a video of the part of Tchaikovsky’s Symphony No. 5. Part of Tchaikovsky’s Symphony No. 5 And here is a video of the Dance of the Sugar Plum Fairy from Tchaikovsky’s ballet The Nutcracker. You can’t see the orchestra, but it will be underneath and in front of the stage. This tinkly instrument you can hear is called a celesta. ‘Dance of the Sugar Plum Fairy’ from Tchaikovsky’s ballet ‘The Nutcracker’ There is another video of music by Tchaikovsky on the following page: Choose another composer of classical music . Picture credits: Pyotr Ilyich Tchaikovsky. This is a painting from 1893. The image is in the public domain. Click here for the source of this image, along with the relevant copyright information. Tchaikovsky’s grave in St Petersburg. This photograph was taken by Steven N. Severinghaus on the 23rd March 2003. This image is free to use providing one credits the photographer. Click here for the source of this image, along with the relevant copyright information. Video credits: Tchaikovsky : Symphony No.5 in E minor Op.64：ashkenazy. Tchaikovsky : Symphony No.5 in E minor Op.64, NHK Symphony Orchestra, Ashkenazy, 2007, Tokyo. (The same information is also given in Japanese.) This video is from the third movement. Sugar Plum Fairy Dance. 2008 rehearsal IDT ballet production of the Nutcracker. Guest Artist Sugar Plum Fairy. { 3 comments… read them below or add one } 1 katie 2nd October 2011 i love the nut cracker a beautiful peice of music. do you by chance know if peter composed secular or sacred music and if itis monophonic or polyphonic and if it is vocal or instrumental ? i know this is a lot of questions but it would be a big help to me thank you for your time .( i would need these nswers today) dear catie 2 Malcolm Pullan 2nd October 2011


What annual song contest do most European countries participate in?

Lightshows, Fire, Nudity, Glitter, Wolves: Welcome To Eurovision 2016 : The Two-Way : NPR Ukraine's Jamala performs the song "1944" during the semifinals of the 2016 Eurovision Song Contest in Stockholm, Sweden, on Thursday. Michael Campanella/Getty Images hide caption toggle caption Michael Campanella/Getty Images Ukraine's Jamala performs the song "1944" during the semifinals of the 2016 Eurovision Song Contest in Stockholm, Sweden, on Thursday. Michael Campanella/Getty Images Take the musical premise of American Idol, mix in the national pride of soccer's World Cup and add a healthy dose of over-the-top, Grammys-style presentation. Top with glitter; serve hot. That's Eurovision, a massive annual song contest that pits artists from more than 40 European countries against each other as they compete for the honor of best song. Created by the European Broadcasting Union in 1956 with just seven participating countries, the contest has grown into a phenomenon that captures the attention of an entire continent and beyond. The semifinals and finals of last year's contest drew nearly 200 million viewers, about 75 million more viewers than for the last Super Bowl. The competition culminates in a series of live shows and voting sessions, which along with judges' scores, determine the winner. Last year, Eurovision powerhouse Sweden — which first won with ABBA in 1974 — took home the prizes: Bragging rights and hosting privileges for this year's contest. Here's the winning 2015 performance by Måns Zelmerlöw. YouTube The televised portion of this year's competition started on May 10 and it wraps up with performances by the remaining 26 nations in the Grand Finals on Saturday, May 14. For the first time, the finals will be broadcast in the U.S. on Logo and will be streaming online at LogoTV.com . (Oh, and Justin Timberlake is performing ). Article continues after sponsorship An entire industry has sprung up around Eurovision, complete with bookies who make odds on the winner. This year, Russia is heavily favored to take home the prize with this catchy pop song from Sergey Lazarev. YouTube Every year, the countries' performances are as different as the nations themselves. Sometimes countries perform songs in their native languages, but most of the recent winning songs have had English lyrics. In 2014, Austrian singer Conchita Wurst made headlines around the world with her winning song, "Rise Like a Phoenix." The bearded drag queen, known as the "queen of Europe," stunned with her vocal ability, shimmery gold dress and forthright acceptance speech. YouTube "I share the opinion that this was not a victory just for me but for the people who believe in a future that works without discrimination and is based on tolerance and respect," she said, according to Reuters . The news service added: "Asked if she was referring specifically to Putin given Russian campaigns against promoting homosexuality to young people, she said: 'Among others.' "But she noted that the fact she won votes from Russia as well showed not all Russians were intolerant." This year's contest also delivers a politically-pointed message. Ukraine's Eurovision song, "1944," is performed by Jamala, an artist from the Crimean Peninsula. The song is about "the mass deportation during World War II of the entire ethnic Tatar population from Crimea by Soviet troops under the orders of Stalin," the BBC reports, but it's also been read as commentary on Russia's annexation of Crimea two years ago. Though Jamala, who is Tatar herself, says singing about the deportations is "personal," some Russian officials complained that the song was anti-Russian. Contest organizers, however, decided it "was not in breach of the competition's rules against political speech," The Telegraph reported . YouTube Most performances, though, don't carry such gravitas. For example, take a look at Russia's 2012 song called, "Party For Everyone," which was performed by six Russian babushki, or grandmothers. Eurovision 2012: The Babushki Make It To The Final The Buranovskiye Babushki [The Grannies from Buranovo


"Who famously sang ""Over the Rainbow""?"

Israel Kamakawiwo'ole: The Voice Of Hawaii : NPR Courtesy of Mountain Apple Company Courtesy of Mountain Apple Company The late Hawaiian musician Israel Kamakawiwo'ole (Kah-MAH-kah-VEE-voh-OH-lay), did something rare in music. He redefined a beloved classic. Over the Rainbow/What a Wonderful World Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/131812500/131809642" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> His version of "Over the Rainbow" has the poignancy of Judy Garland's and the shimmering vulnerability, but these days it's heard so often on TV and in the movies, a younger generation may only know Israel's version. It's become so popular, it is now the most requested version of the song by far, according to music publishing house EMI. That's quite remarkable for a rendition with one voice, accompanied only by ukulele. "In Hawaii, we talk about this thing we call mana," says musician Del Beazley, who grew up with Israel and wrote two of his songs. "Mana is like an energy that you get. We believe we get ours from the elements first, the Earth, your sky, your ocean, your God, and all that is inside of us. And when we open our mouth to speak, to sing or to play, that's what we let out. But it's that that makes him [Israel] special, because his mana always came out." Beazley remembers the first time he heard Israel sing. They were teenagers and Israel showed up with his older brother Skippy at a graduation party. "They set up with instruments that were kind of beat up. In fact, one of the ukuleles was held together with bubble gum. What happened was, as soon as Israel Kamakawiwo'ole opened his mouth and sang, that whole place went quiet. Every great singer has something special. It's almost a nasal or head tone. And that thing just cut right through the air, stopped everybody in their tracks." Article continues after sponsorship Israel was still a teenager when he and his brother formed a band with three other local guys. They called themselves the Makaha Sons of Ni'ihau. In the 1970s, young Hawaiians were rediscovering their language and culture. In music, that meant getting away from kitschy hula tunes for tourists, like "My Little Grass Shack." Israel's group was among those who embraced traditional melodies. Israel was the group's standout — for his voice and also his size. Both he and Skippy weighed hundreds of pounds — the girth of sumo wrestlers. Israel was over 6 feet tall with flowing black hair. The 1988 Recording Session That Made Him A Legend It began at 3 in the morning. Milan Bertosa was at the end of a long day in his Honolulu recording studio. "And the phone rings. It was a client of mine," Bertosa remembers. The client rattled off Israel's unpronounceable name and said he wanted to come in and record a demo. Bertosa said he was shutting down, call tomorrow. But the client insisted on putting Israel on the phone. "And he's this really sweet man, well-mannered, kind. 'Please, can I come in? I have an idea,' " Bertosa remembers Israel saying. Bertosa relented and gave Israel 15 minutes to get there. Soon, there was a knock at the door. "And in walks the largest human being I had seen in my life. Israel was probably like 500 pounds. And the first thing at hand is to find something for him to sit on." The building security found Israel a big steel chair. "Then I put up some microphones, do a quick sound check, roll tape, and the first thing he does is 'Somewhere Over the Rainbow.' He played and sang, one take, and it was over." The next day, Bertosa made a copy for Israel and filed the original recording away. But he was so taken with it, that over the next few years, he played it occasionally for family and friends. "It was that special," he says. "Whatever was going on that night, he was inspired. It was like we just caught the moment." Web Extra: Isreal Speaks <iframe src="https://www.npr.org/player/embed/131812500/131809643" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> Jump Ahead F


"Who partnered with Jay-Z to record ""Watch the Throne""?"

Jay-Z, Kanye West Record Dubstep Track for "Watch the Throne" | HipHopDX Jay-Z, Kanye West Record Dubstep Track for "Watch the Throne" July 21, 2011 | 6:47 PM 66 With the release of the complete tracklist and  latest leak “Otis” , anticipation for Jay-Z and Kanye West’s Watch the Throne album has reached fever-pitch levels. Now, one of the album’s featured songwriters, Verse Simmonds, sheds a bit of light on the upcoming album and the Roc Boys’ wide range of musical influences. According to a recent interview with MTV , Simmonds revealed that Hov and ‘Ye looked to the dubstep genre for one of the album’s songs, titled “Who Gon’ Stop Me.” Simmonds, who wrote the chorus to the track, explained that he and co-producer/Jugganauts partner Sak Pase came up with the song’s concept after a discussion about the rising influence of dubstep on modern music. “What we did is, we locked in a week, we just went crazy on everything Jay and Kanye,” Simmonds told MTV News. “I remember telling Sham, I was like, ‘Yo, I think this dubstep stuff is going to be the next new flavor that everybody gotta be on. It gotta have a Hip Hop feel to it still’…we started creating the track, and it just started to come crazy, so we came up with the concept. It was like, ‘Who gon stop me, huh? Black cards, black cars, whole lot of money.'” Simmonds also discussed the chorus that he penned for the Hip Hop legends. He explained that he tapped into Jay and Kanye’s creative flair and lyrical patterns to create the hook. “When I recorded it, everybody was like, ‘Yo, you sound just like Kanye, you sound just like Jay-Z,'” he recalled. “It’s just crazy, because I felt like, at that moment in time, I was them. I got into that mode of: ‘What would these guys say? How would they say it?’ I think they heard it the first time and loved it.” The full interview can be seen below.


How Did Reggae Music Begin? | eHow How Did Reggae Music Begin? jamaica map image by Vladislav Gajic from Fotolia.com Although reggae music began on the island of Jamaica in the late 1960s. Reggae derived from other genres such as jazz, ska and eventually rocksteady. Successful reggae musicians, such as Bob Marley, helped the genre spread around the world and influenced other genres to begin. Before Reggae Prior to reggae music becoming an international phenomenon from Jamaica, the genre started with jazz. While jazz music began to spread around the world via radio broadcasts in the 1940s, Jamaica picked up on the style and watched its own bands emerge. By the 1950s, Jamaica began a music label titled West Indian Record Limited (WIRL), which released recordings of local bands on the island. Ska and Rock Steady In the 1960s, Jamaican musicians grabbed their own identity in the music industry when they created an original genre known as ska. The people of Jamaica loved ska music because of its fast, catchy riffs and the fact that the lyrics fit the mood of current events in the country. At the time, Jamaica was receiving independence. Another genre derived from ska became known as rocksteady music. This was a slowed down version of ska which did not require so much energy on the dance floor. Reggae After the introduction and acceptance of the style of rocksteady, reggae was formed. However, people did not like the name "rocksteady." According to Rusticgirls.com, "through a different version of an old song Fat Man, the artist Morgan changed the beat and he created a creep with an organ and rhythm guitar. The music sounded like reggae, and that's how the name took off." One of the first reggae bands called Maytals released the first reggae album "Do The Reggae" in 1968. The genre was more energetic than rocksteady, but more complex than ska. Bob Marley One of the most popular artists to ever come out of reggae music was Bob Marley and his band, The Wailers. In his music, he sang about love, social injustice, politics and Rastafarianism (the Afro-Caribbean spiritual movement that Marley religiously followed). Marley's hit songs, including "Ge Up, Stand Up," Buffalo Soldiers," and "War," stressed his political statements, as "Turn Your Lights Down" and "Is This Love" revealed the romantic style of his band. Marley's music climbed the music charts and promoted reggae globally. Reggae to Dub By the 1970s, as reggae music was underway, producers including Lee Perry and King Tubby started to change the style of reggae music with the addition of electronic sound effects. DJ "toasting" (talking over the music) began and became a new genre known as dub music. This style of music is recognized as the root of rap and hip hop music in New York.


What Neptunes producer and N*E*R*D member became a popular solo artist?

Biography | The Neptunes #1 fan site, all about Pharrell Williams and Chad Hugo The Neptunes #1 fan site, all about Pharrell Williams and Chad Hugo Biography The Neptunes are a record production duo consisting of Pharrell Williams and Chad Hugo, who are credited with contributing the sound for many successful Hip Hop, R&B and Pop artists in the late-1990s and 2000s. In fact, it might be easier to list the hitmakers of the past couple of years who haven’t worked with them, practically everything they touch turns to gold. The twosome’s distinctive sound — syncopated, often synthesized rhythms hyped up by alternately terse and heavy beats. It’s currently a given that, if you want a hit, you’d best make a call to The Neptunes one of your top priorities. The Neptunes got their start a long way from hip-hop’s urban centers in Virginia Beach, VA. Pharrell and Chad met in seventh grade, in a school jazz band in which Pharrell was playing drums and Chad was a saxophonist. (Both play Live Instruments, Guitars & Keyboards). The extroverted, African-American Pharrell Williams, perpetually in motion and busily single and the calmer, quieter, Filipino Chad Hugo, who has a wife and children. But both have voracious musical tastes. A top producer can command an advance of up to $150,000 per track, and The Neptunes are in demand everywhere. In Virginia Beach, they soaked up Hip-Hop, 1970’s Rock, Punk and everything else in their parents’ and neighbors’ record collections, and by the early 1990’s they were performing around town. Pharrell was a member of a Hip-Hop group called Surrounded By Idiots; it included one DJ Timmy Tim, aka Timothy Mosley, who would soon rename himself Timbaland and transform 1990’s hip-hop and R&B with his twitchy, fractured electronic beats. Pharrell and Chad also have a vocal group with Shae called N*E*R*D, that was discovered in a 1992 talent show by the producer Teddy Riley, whose pioneering new jack swing productions in the 1980’s had updated R&B crooning with terse Hip-Hop rhythm. Pharrell and Chad became Mr. Riley’s protégés, working in the studio with groups including Blackstreet and S.W.V. Since 1998, when Mr. Williams and his partner, Chad Hugo, got their first major recognition by producing “Super Thug” for the rapper Noreaga, The Neptunes have been delivering hits in Hip-Hop “Jay-Z & Ludacris”, Blues “Eric Benet & Angie Stone”, “Electronica “Daft Punk & Basement Jaxx”, Jazz “Alana Davis & Ben Harper”, R&B “Babyface & Mariah Carey”, Pop “Britney Spears & Justin Timberlake”, Rock “No Doubt & The Hives” House “Bryan Zentz & Swedish House Mafia” Reggaeton “Pitbull & Daddy Yankee”, Reggae “Beenie Man & Sean Paul” among many others. Taking the name Neptunes, because Neptune rules water and water covers most of the Earth, they began producing their own songs. By the late 1990’s, The Neptunes style had crystallized as minimal, staccato electronic tracks. They use the freeze-dried, uninflected tones of the digital era: the snap of drum samples, the blips and tweets of video games and cell-phone rings. But there’s also a touch of Mr. Riley’s smoothness when Mr. Williams sings airy hooks. In music that can be obsessed with booming bass, The Neptunes sometimes use no bass notes at all; pockets of silence drive the songs as much as the notes they play. ”We do skeleton songs,” Mr. Williams said. ”We always know when something is too much, we always know when something isn’t enough. And syncopation is essential.” Although Neptunes tracks revel in the mechanization of looped and programmed riffs pumped out by computerized sequencers, they often add an element that sounds winningly askew: the drooping, detuned notes in ”I’m a Slave for U” or a drum-machine accent that lands just behind the beat. ”That’s how music was in the beginning, because it was played by humans,” Mr. Williams said. ”A live band would take it all over the place. That’s what makes it hot. Sequencers are perfect, humans are not, and that imperfection is perfection.” The Neptunes are determined not to turn their production into a formula. Mr. Hugo re


What type of musical instrument has a chanter and a drone?

The bagpipe The Bagpipe or here for the same in mp3 format The origins of the bagpipe can be traced back to the most ancient civilizations. The bagpipe probably originated as a rustic instrument in many cultures because a herdsman had the necessary materials at hand: a goat or sheep skin and a reed pipe. The instrument is mentioned in the Bible, and historians believe that it originated in Sumaria. Through Celtic migration it was introduced to Persia and India, and subsequently to Greece and Rome. In fact, a Roman historian of the first century wrote that the Emporer Nero knew how to play the pipe with his mouth and the bag thrust under his arm. During the Middle Ages, however, the bagpipe was heard and appreciated by all levels of society.   Bagpipes have always been made in many shapes and sizes, and have been played throughout Europe from before the Norman Conquest until the present day. Medieval pipes usually had a single drone - see contemporary illustrations of Chaucer's Canterbury Tales for English single-drone pipes. Around 1400 (give or take 50 years), most shepherd-style pipes acquired a second drone. A third drone is added about after 1550. See paintings by Brueghel and the illustrations in Praetorius' Syntagma Musicum. The Renaissance also saw the advent of small, quiet chamber pipes such as Praetorius' Hummelchen or the French shuttle-drone models, some blown with bellows under the arm rather than with the mouth. The construction of the bagpipe allows a continuous supply of air to be maintained. By squeezing the bag with his left hand while a breath is taken, the flow of air can be kept up in both the drone pipes and chanter. Other features of this instrument are the mouthpipe and the double reed of the chanter and drone. The mouthpipe contains a round piece of leather hinged onto the bag end which acts as a one way valve. As the player blows air in, the flap opens; when he stops blowing the air pressure within the bag forces the flap shut. The chanter has seven finger holes and a thumb hole, and has a usual range of an octave and one note. The bagpipe is ideal for solo dances and monophonic music. It has been mentioned for use in polyphony, but if so, problems would arise. The drone would preclude the possibility of any change of mode, and the continuous sound would prohibit observance of rests. During the Renaissance, the bagpipe gradually moved from country to court. Both Edward II and Edward III had pipers at court. King Henry VIII, composer and music patron, also had an extensive collection of instruments which, according to a contemporary account, included wone with pipes of ivorie and a bagge covered with purple vellat. As a rustic instrument it has been immortalized in the paintings of Pieter Breughel and his contemporaries. Musica Antiqua's collection includes a replica with two drones patterned after Brueghel's Peasant Wedding, and a Hummelchen (little bumblebee) bagpipe which is modelled after the smallest of the four included in Praetorius' Syntagma Musicum of 1619. The Brueghel model is smaller than a highland pipe and loud, but not as piercing as a today's highland pipes. The Praetorius model is tiny and has sweet and delicate tone, making it useful both as a solo instrument and in ensemble with other Renaissance instruments. The chanter has a range from c1 to d2 and two drones tuneable to f and c or g and d. This boxwood replica was made by Wolfgang Lentelme of Germany.  M. Praetorius: Syntagma musicum (Wolfenbuttel, 1619/r1958) M. Mersenne: Harmonie universelle (Paris, 1636/r1963) G. H. Askew: 'The Bag-pipe in Early Britain', Proceedings of the Society of Antiquaries of Newcastle-upon-Tyne, (1940) E. Winternitz: 'Bagpipes for the Lord', Metropolitan Musium of Art Bulletin, (1958) A. Baines: Bagpipes (Oxford, 1960) H. Hickmann: Agyptien, Musikgeschichte in Bildern, (Leipzig, 1961) F. Crane: Extant Medieval Musical Instruments: a Provisional Catalogue by Types, (Iowa City, 1972) T. H. Podnow: Bagpipes and Tunings (Detroit, 1974) F. Collinson: The Bagpipe (London, 1975) D. Macmillan: 'The Myster


Who died of alcohol poisoing in 2011, at age 27?

25 celebrities who died young 25 celebrities who died young Roger Kisby, Getty ImagesÂ  Singer Amy Winehouse was 27 when she died of alcohol poisoning in 2011. Roger Kisby     / Getty Images Actor Cory Monteith, 31, died Saturday in his Vancouver hotel room.Darren Stone     / Times Colonist Musician Aaliyah died in a plane crash at 22 years old.Getty Images     / Getty Images Kurt Cobain died of a self-inflicted gunshot to the head at the age of 27. In 1971, Jim Morrison, lead singer of "The Doors," died of heart failure in his bathtub in Paris at age 27.file     / PNG Marilyn Monroe was 36 when she committed suicide in 1962.Milton H. Greene, The Associated Press Files     / The Associated Press Chris Farley was 33 when he died of a drug overdose in 1997.Handout     / Handout Janis Joplin was 27 when she was found dead of a heroin overdose.File photo     / Montreal Star John Belushi was 33 when he died of a drug overdose in 1982.Handout     / Handout Musician Buddy Holly was just 22 when he died in a plane crash in 1959.Handout     / Vancouver Sun files Actor Freddie Prinze was 22 when he died of a self-inflicted gunshot to the head..     / . Musician Nick Drake died of an overdose on prescription antidepressants at the age of 26. River Phoenix was just 23 when he died of a drug overdose..     / . Musician Selena was murdered at the age of 23..     / . Actor James Dean was 24 when he died in a car crash.Handout     / Files Brad Renfro died of a heroin overdose at the age of 25.Getty Images     / Getty Images Tupac Shakur was killed in a drive-by shooting at the age of 25.Columbia Pictures     / National Post Actress Sharon Tate was murdered at the age of 26.file photo     / AFP/Getty Images Musician Otis Redding was 26 when he was died in a plane crash..     / . Heath Ledger was 28 when he died. He won a posthumous Oscar for his work in The Dark Knight.Handout     / Handout Brandon Lee was 28 when he was killed during an accident on a movie set.Handout     / Handout


What Spanish music form often features palmas (clapping) and pitos (finger snapping)?

Flamenco Glossary of Terms Flamenco Glossary of Terms ›› Learn Flamenco Guitar Now! A � abanico --- fan, rasgueado technique using a triplet pattern of up with the thumb, down with both the middle and ring fingers simultaneously and then back up with the thumb. � afill� --- a type of hoarse, earthy flamenco voice � alante --- stage front � Alegrias --- A joyful dance, in compas of 12 beats, from Cadiz. The main characteristics of this style are the richness of it's guitar accompaniment, the intricacy of the dancing, the demands of the rhythm, and it's lively sound. � alzap�a --- thumb technique that combines a rest stroke with an up and down strum often separated by a slur (ligado) � Andalucia --- Region from southern Spain; birthplace of Flamenco � anular --- ring finger � arpegio --- a chord whose notes are played in succession, not simultaneously � atr�s --- stage rear � bailaor / bailaora --- dancer (male & female) � bout --- body of the guitar � braceo --- movement of the arms during the dance � bulerias --- High-spirited song & dance from Jerez. This developed like Soleares from a simple style. However, unlike Soleares, it has a fast and lively rhythm - indeed, the fastest in all flamenco and provides enormous scope for improvisation on the part of dancers, singers and guitarists. It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost always present in flamenco. C � cabales --- Flamenco experts � caf� cantante --- coffee house with flamenco shows (originally starting with flamenco cante but eventually covering all flamenco forms) � cajon --- percussive instrument similar to an empty wooden box � calo --- language of the gypsies � ca�a --- Ca�a, also very closely related to Soleares, is one of The oldest forms of flamenco, and one of the most pure and beautiful. � cantaor / cantaora --- flamenco singer (male / female) � cante --- song � cante chico --- light song, more frivolous � cante jondo --- deep song covering both the dark and serious aspect of Flamenco � cante grande --- more profound song � carcelera --- type of ton�s sung by incarcerated gypsies � Caracoles --- This is one type of canti� which appeared in Cadiz in the mid-19th century. It became strongly associated with Madrid, although it is essentially from Andalucia, like all flamenco music. Curro Cuchares and El Tato' who worked in the bull-rings and were also good singers took this style to Madrid where it became very popular. Later it was recreated in a masterly way by Antonio Chacon, who gave it its present brilliance and vitality. � cejilla --- capo on a guitar � colombianas --- flamenco style influenced by S.American rhythms � comp�s --- beat, rhythm, measure, the characteristic rhythm of a form � copla --- verse � cuadro --- group of flamenco performers, including dancers singers, and guitarists D � danza mora --- a style influenced by the Moors of N.Africa (stands for Moorish Dance); guitar 6th string tuned to D � debla --- ton� with religious overtones � desplante --- signal given by a dancer, as in "desplante por bulerias" � duende --- the soul force that inspires flamenco art E � estribillo --- similar to the concept of "chorus" in western pop music. i.e verse/chorus..... F � falseta --- a melodic variation played by guitarist � fandango --- a dance from Huelva; cante chico � farruca --- A spectacular male dance, one of the more recent forms of flamenco. Its origin is perhaps in some chants from the North of Spain. As a dance or as a guitar solo, it is a very dramatic piece. � flamenco --- music/dance from Andalucia in Southern Spain. Roots in Indian, Arabic, Spanish cultures. � floreo --- movement of the hands in flamenco dance G � gitano --- gypsy � golpe --- beat, hit, also refers to the technique of tapping the top of the guitar to create additional percussion. � golpeador --- tap plate on a guitar � Granaina --- a libre song form from Granada that is typically in the key of E minor. � guajiras --- a style influenced by Cuban rhythms H J � juerga --- f


Warren G - Regulate ft. Nate Dogg - YouTube Warren G - Regulate ft. Nate Dogg Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Dec 24, 2009 Music video by Warren G performing Regulate. (C) 1994 The Island Def Jam Music Group Category


Who crafted violins that are now worth millions of dollars each?

Value of violins What to look for (and look out for) when purchasing a violin. Violins start around $29.95 (including a case and a bow) and go well into the millions. Here are few suggestions that will help you “get what you pay for.” First and foremost: Many violins are not what they say they are. Never blindly accept that a label is genuine. The number of copies, fakes and forgeries far outnumber originals and rare is the violin maker who has not put a Stradivari or Guarneri label in their instrument, and even rarer is the dealer who has not added or altered labels to increase their sales margin. (Yes, it's dishonest and illegal, yet it's almost never prosecuted because the practice has been so commonplace. Especially from 1850 to 1960.) Tip: Most forgeries were made after 1850 and the quickest way to “weed out” forged labels is to look at the paper they were printed on. Original paper from the 1600-1700's was coarsely pressed and will have darkened with age. It's never smooth and white. Also, the printing will be hand-cut (or cast) and uneven. If you are unfamiliar with the look of old paper and typeset, visit the archives of any large library. Once you've seen old paper from the proper time period first-hand it's easy to eliminate most forged labels. But still watch out, old paper and type, and even original labels have been used to make “serious” forgeries. Please realize that prices vary from area to area and they're going up all the time. These are only approximations, yet the world seems to be getting smaller each day (especially with the Internet) and I believe this to be a good general guideline for spring of 2005. For $29.95-$150 don't expect much: Green wood, plastic fittings, cardboard cases, etc., and consider yourself lucky if you're able to play on all four strings. It usually costs many times the original purchase price to have these instruments “set up” properly and once they are, they're miserable to listen to, and expect constant problems. (If you want to see if “Little Johnny” or “Sweet Suzie” will like playing the violin, don't do it with one of these.) So, here we go... (Each price increase will only mention additional or more costly features.) For around $250 (including case and bow) expect an instrument made to proper dimensions that plays good basic notes, is easy to tune, and has the following features: Solid ebony fingerboard. Solid ebony nut. Solid ebony, boxwood or rosewood pegs that turn smoothly. (Choice of woods is a matter of taste.) Solid wood tailpiece and chinrest. (Plastic and bakelite do not “breathe” or absorb moisture, and are famous for creating sores on the neck and chin.) Varnish will usually be polyurethane (thick, smooth and shiny; almost plastic looking). “Reasonable” student strings (such as Red Labels), not thin, cheap “factory” strings. The bridge will be cut to the proper thickness, height, and string spacing, but don't expect too much refinement. (More on this later.) A bow with real horsehair. Never accept a bow with synthetic hair. Additional note: A name-brand fiberglass bow is preferable to a warped or weak wood stick. A basic (but not cardboard) case with music pocket and carrying strap. Watch out for: Instruments with fat necks and/or not made to the proper length. (Where the nut meets the fingerboard to the edge of the belly should measure approximately 129.5-130.5mm or 5.10-5.14”. Also, from the edge of belly by the neck to the tip of the right ff hole notch should be approximately 193.5-195mm or 7.62-7.68 when measured with a flexible tape.) Instruments with no linings and/or no upper or lower corner blocks inside. Painted purfling. Plastic 4 tuner tailpieces that are thin and flimsy. (They usually start stripping and falling apart after only a month or two.) Painted pegs or plastic coated pegs that only look like they're ebony. Look in the drilled holes to make sure they're black inside. Harsh nasal tones and uneven volume across the strings. (While the sound won't be “wonderful” from this range of instruments it should never be “terrible.”) Popular upgrades/o


What is either a type of South American drum or a dance where people form a line?

Latin American music and dance Latin American music and dance The term Latin American as used here encompasses the     Americas south of the United States, as well as the     entire Caribbean. The musics of this vast area are perhaps most efficiently     discussed in terms of ethnic components--European     (especially Iberian), Amerindian, African,     and mestizo ("mixed" or acculturated). Amerindian Background During the colonial period in Latin America (16th-19th     century) many Amerindian populations were decimated, and     much traditional Amerindian musical culture was destroyed     or syncretized with Iberian. Little evidence remains as to the real nature of music in     the Aztec, Inca, and Maya civilizations apart from the testimony of     16th-century Spanish chroniclers and what can be seen of     instruments--percussion and winds, with almost total     absence of strings--depicted in hieroglyphs and pottery     decorations. Modern Andean Indians still make extensive     use of vertical flutes and panpipes, along with European     instruments such as bass drums, harps, and guitars of     different sizes. In Mesoamerica Indians now play harps, fiddles, and     guitars based upon archaic Spanish models, or MARIMBAS of     African origin, all of which have largely replaced     indigenous instruments. Only in certain tropical areas     (as the Amazon basin) are virtually unacculturated     Amerindian musics found. Iberian Influences relatively few Iberian genres have been retained in their     original forms, Iberian origins of many song and dance forms are evident     in the use of harps, fiddles, guitars, and many song     types derived from Spanish verse structures such as the     copla and decima. Such genres include the desafio of Brazil, cueca of Chile     and Bolivia, joropo of Venezuela, sones and corrido of     Mexico, seis of Puerto Rico, and punto of Cuba. They are usually danced in couples and often incorporate     such features as shoe tapping and scarf waving. In addition to the above dances of Iberian derivation,     pan-European ballroom dances such as the polka, mazurka,     and waltz developed many regional variations. African Influences The largest black populations are found in the     circum-Caribbean region and Brazil. African musical     features commonly retained include call and response     singing, polyrhythms, extensive use of persistently     repeated musical figures, and improvisation based on     recurring short phrases. African instruments (primarily percussive) found in both     unaltered and adapted forms, with many regional names and     variations, include long drums, often in "family" sets of three (congas), iron gongs,     internal or external rattles (maracas, shekere), "thumb piano" (marimbula), marimbas, and     concussion sticks (claves). (Clave is also the name of an     important syncopated rhythmic figure.) The "steel drum" (tuned metal barrel)     associated with Trinidad's CALYPSO has no direct African     equivalent but evolved from drum ensembles. CALYPSO (MUSIC) A form of music and dance of the Caribbean, calypso had     its primary development in Trinidad, where it is     associated particularly with the pre-lenten carnival.     Before the carnival begins musicians try out their songs     nightly before audiences in Port of Spain. The most     popular are used during the carnival. The words of calypso songs are witty and humorous and     convey popular attitudes on social, political, or     economic problems. Rhythms are provided most often by     STEEL BAND percussion instruments, made from the tops of     oil drums. As a type of ballroom dance, calypso resembles     the rumba, and the music often is performed with     conventional dance-band instruments. The most African forms are usually associated with     African-derived religions, such as vood


What singer was discovered in 2007 by Scooter Braun? (although many wish he hadn't been)

Justin Bieber's manager Scooter Braun says he has to make his own mistakes | Daily Mail Online Share this article Share The publication also quizzed Scooter about the time Bieber was photographed being smuggled out of an alleged Rio brothel recently. And they referenced the time that 27-year-old model Tati Neves posted a video of the Baby singer asleep on a bed. Compassionate: Scooter, pictured with a fan at Panama airport, said his responsibility is to be there for Justin when he fails Heading home: Justin Bieber was pictured Tuesday leaving Panama and heading home, accompanied by manager Scooter Braun and Usher [not seen here] Scooter said: 'He said that people just assume the worst things about him before he does anything. 'He said "I had a woman film me while I was sleeping, who I've never met before. She could have stabbed me, who knows what she could have done. 'And she was in the house and she filmed me. Instead of people saying how incredibly creepy that was, what an invasion of privacy, they are assuming I slept with her and she was a prostitute. Unperturbed: The 19-year-old cracked a smile for the cameras as he made his way through the airport 'I've got to deal with that. I'm 19 [and] every single day I've got to deal with stuff like that. People thinking I had a baby or thinking I spit on my fans, just assuming the absolute worst about me."' Scooter also told the magazine that he does try and advise the superstar where possible. He said: 'We've talked that sometimes he doesn't help himself because he's so angry about it. But no one really understands what he's living [through], only him. Street style: The pop star wore flashy black and white trousers and a baggy white T-shirt while accompanied by a burly bodyguard as he made his way to his plane 'I think to help him get through that I have to hold him to a higher standard. I can't baby him, I can't tell him, "You know what you deserve, to say f*** everybody, this is unfair. 'I can say there is only one way around this, either we quit and let you try and find a normal life or you realise that this is what this is and we’ve got to keep fighting. And you’re going to hate me some days because I’m going to say you can’t throw a punch. You want to go out there and you want to bash their heads in and say this isn’t fair; you want to say you don’t know me. But the only way you’re going to win them over is by being better than they are."' Relaxed: The Baby singer wore a baseball cap and a gold chain around his neck while carrying a cold bottle of water Meanwhile, it sounds like Justin's rumoured girlfriend, Chantel Jeffries is also struggling to deal with the level of fame that comes with knowing the hitmaker. TMZ claim Chantel is annoyed about reports which claim she has had a string of arrests in her past and regrets that her relationship with Justin has exposed her life to the world. She told the website: 'I have not been arrested five times as has been stated in the media, nor am I guilty of physically assaulting anyone, in any way shape or form.' He's back: Justin tweeted while mid-flight, including letting his fans know his Confident video would drop on Wednesday  A New York newspaper reported 21-year-old Chantel has a lengthy rap sheet, including busts for assault with a deadly weapon and reckless driving -- 92 mph in a 70 zone. Her attorney Matt Morgan told TMZ: 'Chantel was arrested when she was 18 for a misdemeanor assault, but it was ultimately dismissed due to insufficient evidence. Other than that, he says she's only had "traffic violations."' Chantel also denies being hungry for publicity, saying ... 'I am a full time student who had enjoyed a normal lifestyle, free from public scrutiny and criticism, until now. What has happened to me is wrong.' Justin Bieber has now headed home after a brief break in Panama following his DUI while drag racing in Miami, Florida last week. A source told MailOnline that Justin was seen at Tocumen International Airport on Tuesday, accompanied by Scooter and artist Usher. 'He left with his team and is flying back home t