DOCSLIB.ORG

Taylor Guitars Wood & Steel Magazine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BTO Bliss Building guitar dreams Honduran Harmony Sustainable social forestry Coheed and Cambria Breaking down a live acoustic sound Ruthie Foster Soul-stirring blues Wayne Johnson Rethinking scales 2 www.taylorguitars.com In 2009, we saw Leo Kottke per- can’t take my eyes off of it, and it plays 814ce, I’ve also picked up the NS72ce form, and Mark took his own guitar like a dream. If it is true that guitars after watching YouTube videos of Jason with him to the concert. Afterward, Mr. sound better with age, I can only imag- Mraz walking around France playing Letters Kottke came out on stage to meet his ine how this one will sound as we grow one. That guitar is gorgeous, and it’s loyal fans. Mark handed him his beloved older together. Thanks for a wonderful the perfect complement to the 814ce Center. Thank you for thinking outside guitar for an autograph. Leo held it, instrument. at shows when I want an alternative the box and creating the most amazing strummed it, recognized the open E-flat Tom Rusiecki to steel strings. Thank you for building acoustic/electric guitar that doesn’t tuning, and sat down on the edge of Port Richey, FL fantastic guitars and for being an hon- require a world-class concert hall to the stage and played! He and Mark est, ground-up company (I’m currently Tommy Shaw sound world-class! had a conversation about strings, bone halfway through Bob Taylor’s Guitar Gets his bluegrass on Spring Limiteds Bob Fischer nuts, etc., before getting an autograph Cheatin’ & Repeatin’ Lessons). Thanks to you, I have a guitar Macassar 12-Fret & T3 Walnut Double Feature Ocala, FL on the back of the headstock. NOW I that brings back fond memories of the All-Mahogany Roots I had been yearning for a T5 ever Doyle Dykes & the Lights have the happiest husband on earth! Or since they came out, but my wife has woman who helped me realize my pas- Inside his new book Expressionism so I thought. There is something new steadfastly threatened to leave if I sion. The art of the ES NAMM Harmonically Challenged you call an 8-string baritone. Thanks bought one more guitar. After all, she Kevin Castillo Notes I believe there is a mistake on page a lot, Bob! I think I’m going make him reasoned, six (3 Taylors) are more than 27 of Wood&Steel (“The Irrational Fret- wait a year. enough: “You can only play one at a board,” Vol 67/Spring 2011). The final Andrea Eckhart time.” Seaworthy Sound G note in Example 13 should be on the I demanded, cajoled, wheedled, I just returned from 2-1/2 weeks fourth (D) string, fifth fret instead of the begged and whined to no avail. Finally on an expedition-type cruise along the third (G) string, fifth fret, which as we Worthy of Byrd I began singing “Your Cheatin’ Heart” Antarctica Peninsula. Just before leav- New York State of Mind know is a C note. Seasoned musicians I purchased the NS24ce a year ago. at 3 a.m., refusing to quit until she ing, I decided to find a Baby Taylor After reading Jim Kirlin’s article, will clearly know this, but it may con- This guitar is a joy to hold and makes agreed to the T5. She finally relented to take and to play while on the ship. “Freedom of Expression,” in your spring fuse [other] readers. On another note, I fingerpicking an ease. I usually play jazz on the 34th rendition, and not only did A longtime Taylor player, I envisioned issue, I was reminded of the spring greatly enjoyed the Tommy Shaw article and Latin music, and this instrument she agree, she offered to buy it for my bringing a low-cost, decent-sounding of 1971, when I played guitar for a and the insightful fellow Canadian’s works fine in these genres. I’m a big birthday if only I would quit singing! We but compact guitar to entertain myself 60-voice touring choir from Concor- letter in “Ask Bob” concerning the con- fan of the late, great Charlie Byrd, who, bought it from Randy at Quality Guitars and maybe others if the opportunity dia College, New York. At the various verted bookcase/guitar storage cabinet. along with Stan Getz, exposed the in Spring Hill, Florida. He let me play arose. I settled on a GS Mini because venues it was always a challenge (if Larry Garnett bossa nova and Latin rhythms to the as many different T5s as he had for of its higher-quality sound, even though not a nightmare) to amplify my Martin Ottawa, Canada American public. Charlie sometimes as long as I wanted, and worked very it’s a bit larger than a Baby. The Mini D-35. The tour ended with a concert at complained about just not being able to hard to make sure I was totally satisfied traveled beautifully in its sturdy, soft Lincoln Center’s Alice Tully Hall, where Ed. Note: Good catch, Larry. After find “that” sound on his classical back with my choice. I would highly recom- case and strapped right onto my roll- the acoustics were so amazing that my going to press we discovered that a in the late sixties and early seventies. I mend Quality Guitars to anyone looking ing duffel bag (I luckily avoided having guitar did not have to be amped. For portion of Shawn Persinger’s music know if he were alive today he’d have a to purchase a new guitar. I can’t say to check it). After crossing the stormy years I’ve searched in vain for that pure, notation had dropped out when import- Taylor [nylon-string] in his hands. enough about what a cool guitar the T5 Drake Passage, the seas calmed down natural acoustic guitar sound, but that ed into a different software program. Ed Baran is. It is everything that I hoped it would and I pulled out the guitar and sang was a once-in-a-lifetime experience — or Besides the notation not showing up in be and more. and played that night in the Observa- so I thought. the staff, the notes in Ex. 13 are natu- Ben Gilbert tion Deck/Bar. Long story short, it Those of us who have been around ral harmonics, and the diamond sym- Acoustic Revival was a hit, and I played many evenings for a while know that there have been bols denoting harmonics didn’t display I just received my 1990 Dan Crary throughout the awesome journey. The many failed efforts to amp acoustic in the tablature. So, the fifth fret, third Signature Model guitar back from Ryan Passion Play GS Mini has an amazing volume and a guitars, from tinny, scratchy setups and string played as a harmonic is actually McMullen’s team in the Service depart- I just wanted to let you know why decent tone for such a lightweight gui- gimmicks to sad situations where the a G harmonic. The lesson’s complete ment. I had sent the guitar back for your my Taylor is so important to me. When tar. I tend to play a guitar hard to keep instrument was overwhelmed or just notation is available in the online ver- Revive package. Holy mackerel! It’s I was 16, my mom died after a two-year a strong beat and use syncopated, made to sound like an electric guitar. sion of the issue at taylorguitars.com. like having a brand-new guitar with the run with brain cancer. I was extremely percussive sounds, and the Mini took Four years ago, Sound Exchange Sorry for the confusion. voice of a well-played friend. I would close to her, and one of the greatest my hard-driving strumming well. Further, Music became an official distributor of highly recommend the Revive package gifts she gave me was passion (and tal- I tune down a half step and then use Taylor Guitars. The owner and the work- to anyone who has a well-played Taylor ent) for music. She was a lifelong pia- a capo in various positions. Amazingly, ers at the shop were impressed with Happy Hubby and is in need of a tune-up. My guitar nist, guitarist and singer, and she sup- there was no string buzz. Bringing the the new Taylors and enlightened me My husband has always wanted had experienced some rough humidity ported my musical efforts to the fullest, Mini along helped make the trip that with their new find. My wife and I pur- a 12-string guitar — more specifically changes prior to my ownership, which buying me just about any instrument I much better for me and for many oth- chased our son an 814ce. He and I use a Taylor 12. In 2006 he found a 355 left the guitar with a cracked and lifted decided I wanted to learn. When she ers. Thanks for another great guitar it along with a 312ce in locations from and fell in love. They have the same bridge, a dip where the fingerboard passed, I was still just starting out with design! small rooms with low ceilings to large birthday, so I bought it for him. What’s meets the body, pretty worn frets, and guitar, but I took it seriously. When I Kelly Rogers church sanctuaries. The combination a little credit card debt compared to a a need for a new nut and saddle. The was 18, I received life insurance money, of the tonewoods and the Expression husband’s happiness? He played non- guitar came back with every repair and after considering where my pas- System is by far the best natural sound stop for about three weeks, and then expertly provided.
Recommended publications
  • CITES Musical Instrument Certificates Background Musicians Perform With

    CITES Musical Instrument Certificates Background Musicians Perform With

    CITES Musical Instrument Certificates Background Musicians perform with valuable and culturally significant musical instruments legally crafted decades and even centuries ago. A number of these instruments contain small amounts of ivory, shell, reptile skin, and rosewood or other materials regulated under the Convention on International Trade in Endangered Species of Wild Flora and Fauna (CITES). The international use of musical instruments by musicians and professional and student ensembles is essential to advance diplomacy, spark artistic innovation, and support vital international cultural activity. In partnership with CITES parties and the conservation community, music stakeholders have undertaken efforts to increase compliance with current permit requirements while simultaneously pursuing policy improvements that will alleviate unnecessary burdens. Musical Instrument Certificate Created at CoP16 – A Consolidated Permit At the 16th Conference of the Parties (CoP16), Resolution Conf. 16.8 was adopted on Frequent Cross-Border Non-Commercial Movements of Musical Instruments, creating a multi-use Musical Instrument Certificate. The Musical Instrument Certificate is not an exemption from the permit process. It is a consolidated permit. The MIC streamlines the requirement for obtaining multiple CITES export permits when an instrument contains CITES material and is not exempted from permit requirements by an annotation or a personal effects exemption. Musicians using the MIC apply to their CITES Management Authority for issuance of single permit, which must then be credentialed by CITES enforcement officials at each port through which an instrument travels. Clarifications and Exemptions Approved at CoP17 At the 17th conference of the parties (CoP17), unanimous approval was given to Resolution Conf. 16.8 (Rev. CoP17), which: 1.
  • CPROUD %\ Sive Tour Later in the Year

    CPROUD %\ Sive Tour Later in the Year

    aient His First Album for Private Will Be Voiceless Kottke's Acoustic Music Is Again in Vogue BY STEVEN DUPLER D NEW YORK The surge of interest in new age and acoustic instrumen- tal music is helping guitarist Leo Kottke get his career back on track. The Minnesota -born virtuoso re- cently signed with Private Music, an unexpected move that will see him release his first album in almost three years and undertake an exten- CPROUD %\ sive tour later in the year. Kottke first came into the nation- TO HAVE SERVED al spotlight in the early '70s, a peri- od when stringed acoustic music THE FOLLOWING was enjoying one of its periodic re- naissances. "It's a cyclical thing," Kottke GRAMMY NOMINEES: says. "The flurry of interest in Eu- rope a few years ago in the acoustic guitar followed by about eight years the same surge that was oc- curring here when I was with Tako- BRiCE SPRINGSTEEN DIRE STRAITS ma and then Capitol." The foggy- voiced Kottke (who says he will not sing on his Private HUEY LEWIS AND THE NEWS debut) is regarded as a master of a singular and very American style of guitar, which draws as much from STING PHIL COLLINS KATRINA Appalachian bluegrass as from bot- tleneck blues and classical music. The "folkier" sound of his early AND THE WAVES SPYRO GYRA product, on the Takoma label, simi- lar to work by John Fahey and Bola Private Music's newest artist, guitarist Leo Kottke, poses with bassist /producer HENDRYX MICK JAGGER Sete, was eventually augmented by NONA Buell Neidlinger in front the mixing during the recording of Kottke's a grander, more fully orchestrated of console first album in almost three years.
  • Apprenticeshop Catalog 2021 Boats Building People

    Apprenticeshop Catalog 2021 Boats Building People

    APPRENTICESHOP CURRICULUM 2020 12 -WEEK, 9-MONTH, AND 2-YEAR BOATBUILDING APPRENTICESHIPS APPRENTICESHOP CATALOG 2021 BOATS BUILDING PEOPLE Photo Credit: Erin Tokarz Table of Contents Mission, Vision and Values 3 Leadership and Faculty 4 Board of Directors…………………………………………………………………. 4 Staff…………………………………………………………………………………. 6 Facility 9 Boatbuilding Programs 12 12-Week Traditional Boatbuilding……….……………………………………….. 12 9-Month Apprenticeship Program………………………………………………... 17 2-Year Apprenticeship Program..…………………………………………………. 29 Standards of Progress 42 Assessing Progress………………………………………………………............... 43 Addendum A: Program Application 27 Addendum B: Evaluations 48 Progress Review……..………………………………..…………………………… 48 Exit Interview……………………………………………………………………… 50 2 CATALOG 2021 Mission, Vision and Values Our Mission To inspire personal growth through craftsmanship, community, and traditions of the sea. Our Vision Anchored in Maine’s maritime heritage, we envision a world enriched by creative, collaBorative, self- reliant, and thoughtful makers who explore and engage with the intersection of traditional craft and contemporary culture. Our Values HUMAN POTENTIAL We are all capaBle of building and sailing boats. By navigating challenges within a supportive community, we come to understand what we are capaBle of, and build resilience, self-confidence, and resourcefulness in the process. LEARNING BY DOING Through repeated, hands-on practice, we accumulate knowledge, develop skills, inform our judgment, and expand our creativity. As we encounter proBlems, we innovate toward solutions. This way of learning demands patience and requires us to take an active role in our own education. COLLECTIVE EXPERIENCE Our community is inclusive, non-judgmental and welcomes people of all races, genders, ethnicities, religious affiliations, socioeconomic circumstances, sexual orientations, ages, and past experiences. We Build and sail together. Shared work fosters trust, cultivates accountaBility, and pushes us to develop a personal stake in the execution of communal goals.
  • Press Quotes

    Press Quotes

    PRESS QUOTES ASSOCIATED PRESS: Wise words pour forth from Chris Smither – observations and aphorisms, similes and internal rhymes, run-on sentences and concise quips, all in a conversational flow. The careful construction of Smither’s lyrics is a thing of beauty and the bedrock of his bluesy folk music. Smither is an excellent acoustic guitarist and first-rate foot-stomper. NATIONAL PUBLIC RADIO: [Smither] taps his foot to keep the rhythm, much like the late blues legend John Lee Hooker. His finger-picked guitar lines are sleek, unhurried and insistent. And then there's the voice – equal parts gravel and molasses. (I edited a little out) ROLLING STONE: Bathed in the flickering glow of passing headlights and neon bar signs, Smither's roots are as blue as they come. There is plenty of misty Louisiana and Lightnin' Hopkins in Smither's weathered singing and unhurried picking. So fine. MOJO (5 STARS): Hundred Dollar Valentine is a thing of profound beauty; deep, sad, wise songs, allied to perfectly crafted arrangements, from a a man who’s live long enough in darkness to address the big, heavy questions with a lightness of touch. OXFORD AMERICAN It was that rhythmic push-and-pull, that New Orleans sensibility that made Smither stand out NEW YORK TIMES: With a weary, well-traveled voice and a serenely intricate finger-picking style, Mr. Smither turns the blues into songs that accept hard-won lessons and try to make peace with fate. MAVERICK: Cast your mind back to the first time you heard Hank Williams, Big Bill Broonzy or JJ Cale and remember how good it felt.
  • Die Welt Der Taylor Gitarren

    Die Welt Der Taylor Gitarren

    Wilder Charakter Blackheart Sassafras Herbst-LTDs Blackwood 500er Voll-Koa 300er & GS Mini 40 Taylor-Innovationen Warum man mit Verstärker spielen sollte Zeit für einen Saitenwechsel 2 www.taylorguitars.com | Sommerausgabe]. Ich war von 1984 12 hatte ich mal Klavierunterricht gehabt, sofort, dass sich die Basswiedergabe AUSGABE 80 herbst 2014 bis 1988 der Fahrer von Prince. Auch aber als ich die Mädchen entdeckte, war der A- und E-Saite massiv verschlechtert Leserbriefe auf der Purple Rain-Tour war ich dabei. es mit meiner angehenden Musikkarriere hatte. Ich war niedergeschmettert. Die Mir wurde ein umgebauter schwarzer am Ende. Ein langjähriger Freund vom Gitarre klang nicht mehr wie eine Taylor. > IN DIESER AUSGABE < Besuchen Sie uns auf Facebook. Abonnieren Sie uns auf YouTube. Folgen Sie uns auf Twitter: @taylorguitars Transporter zugeteilt, um Prince zu Hot Licks Guitar Shop verkauft Taylor- Außerdem war nicht mehr viel vom Steg den klanglichen Verbesserungen, von fahren. Als ich mir den Wagen ansah, Gitarren. Er war überzeugt davon, dass übrig, und die Justierung hatte einen den strahlenden Höhen bis zu den stieß ich auf einen Gitarrenkoffer. Ich ich noch was lernen kann. Also kaufte dämpfenden Effekt auf das Sustain der tiefen, artikulierten Bässen, rockt es spiele selbst Gitarre, weshalb ich ich eine 518e, und ich liebe ihren Klang. tiefen E-Saite. Es fehlten die starken mit dieser Gitarre viel besser, und ich neugierig war. Ich sah an der Seite Inzwischen sieht mein Zuhause aus wie Bass-Schwingungen, die ich zu hören muss sie nicht missbrauchen, um die den Taylor-Schriftzug, aber ich muss eine Taylor-Ausstellung. Jedes Modell ist und fühlen gewöhnt war.
  • Light, Strong, Stackable Sawhorses

    Light, Strong, Stackable Sawhorses

    TAUNTON’S Light, Strong, Stackable Sawhorses A project plan for building versatile sawhorses For more FREE ©2009 The Taunton Press project plans from Build an Oak Bookcase S m i pS eu lt, dr yW o kr b e n c h From Getting Started in Woodworking, Season 2 Simple,From Sturdy Getting Started inWorkbench Woodworking, Season 2 o u c a n t h a n k M i k e P e k o v i c hBY , AS Fine Woodworking Fine Woodworking’s art direc A CHRISTI Ytor, for designing this simple but From Getting Startedstylish bookcase. in Woodworking, He took a straightfor Season 2 A ward form--an oak bookcase with dado N A BYA CHRISTI-AS and rabbet joints--and added nice pro- A N A BYportions ASA and CHRISTI elegant curves. A N A - We agreed that screws would reinforce his workbench is easy and the joints nicely, and that gave us a de- inexpensive to build, yet is sturdy and sign option on the sides. Choose oak T LUMBER, HAR versatileplugs, and align the grain carefully, andDWARE D ANSUPP enough for any woodworker. 4 LIESLIS T his workbench is easy and inexpensiveThe basethe plugs isLU disappear.MBER, HAR MakeDWARE 8-ft.-longthem from AN Da2x4s, SUPP kiln-driedLIES LIST construction lumber (4x contrasting wood, like walnut,2 and the Tto build, yet is sturdy and versatile4s and 2x4s), joined4 8-ft.-long 2x4s,8-ft.-long kiln-dried 4x4s, kiln-dried rows of plugs add a nice design feature simply with long bolts and s 1 4x8 sheet of MDF Enjoy our entire site enough for any woodworker.
  • Ibanez Market Strategy

    Ibanez Market Strategy

    Ibanez Market Strategy Billy Heany, Jason Li, Hyun Park, Alena Noson Strategic Marketing Table of Contents Executive Summary ....................................................................................................................................... 3 Firm Analysis.................................................................................................................................................... 4 Key Information about the Firm ........................................................................................................... 4 Current Goals and Objectives ................................................................................................................ 5 Current Performance ................................................................................................................................. 6 SWOT ............................................................................................................................................................. 7 Current Life Cycle Stage for the Product .......................................................................................... 8 Current Branding Strategy ...................................................................................................................... 9 Industry Analysis .......................................................................................................................................... 10 Market Review ........................................................................................................................................
  • Styx Live at the Red Robinson Show Theatre

    Styx Live at the Red Robinson Show Theatre

    FOR IMMEDIATE RELEASE OCTOBER 18, 2011 BOULEVARD CASINO PRESENTS STYX LIVE AT THE RED ROBINSON SHOW THEATRE SATURDAY, FEBRUARY 4 Coquitlam, BC – Spawned from a suburban Chicago basement in the early 70’s, Styx would eventually transform into the virtual arena rock prototype by the late 70’s and into the 80’s due to a fondness for big rockers and soaring power ballads. Their self-titled debut album was released in 1972 followed by Styx II, The Serpent Is Rising and Man of Miracles. And while the albums helped them to build a substantial following locally, Styx failed to break through to the mainstream until a track from their second album, "Lady" started to get substantial airplay in 1974. After the song was issued as a single nationwide, it quickly shot to #6 on the singles chart as Styx II was certified gold. Guitarist Tommy Shaw then joined in 1975 and proved to be the missing piece of the puzzle for the band as most of their subsequent releases throughout the late 70’s earned at least platinum certification and produced such hit singles as "Come Sail Away", "Renegade", "Blue Collar Man" and "Fooling Yourself”. Styx then became one of North America’s top rock acts due to such big hit singles as "Too Much Time on My Hands". It also marked the first time in history that a band released four consecutive triple-platinum albums. A career-encompassing live album, Caught in the Act was issued in 1984 before Styx went on hiatus with the majority of its members pursuing solo projects throughout the remainder of the decade.
  • 2018–2019 Annual Report

    2018–2019 Annual Report

    18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J.
  • End Jointing of Laminated Veneer Lumber for Structural Use

    End Jointing of Laminated Veneer Lumber for Structural Use

    End jointing of laminated veneer lumber for structural use J.A. Youngquist T.L. Laufenberg B.S. Bryant proprietary process for manufacturing extremely long Abstract lengths of the material both in panel widths and in LVL Laminated veneer lumber (LVL) materials rep- form. The proprietary process requires a substantial resent a design alternative for structural lumber users. capital investment, limiting production of LVL. If ex- The study of processing options for producing LVL in isting plywood facilities were adapted to processing of plywood manufacturing and glued-laminating facilities 5/8-inch- to 1-1/2-inch-thick panels, subsequent panel is of interest as this would allow existing production ripping and end jointing of the resultant structural equipment to be used. This study was conducted in three components could conceivably compete both in price and phases to assess the feasibility of using visually graded performance with the highest structural grades of lum- veneer to produce 8-foot LVL lengths which, when end ber. Herein lies the major concern of this study: Is it jointed, could be competitive with existing structural technically feasible to manufacture end-jointed LVL lumber products. Phase I evaluated panel-length from PLV panels made in conventional plywood 3/4-inch-thick LVL made from C- or D-grade 3/16-, 1/8-, presses? or 1/10-inch-thick veneer, and the effect of specimen width on flexural and tensile properties. Phase II evalu- An evaluation of the production and marketing ated the use of vertical and horizontal finger joints and feasibility of LVL products made from panel lengths scarfjoints to join 3/4-inch thicknesses of LVL.
  • 'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic

    'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic

    Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio­ economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population.
  • Aerosmith Get a Grip Mp3, Flac, Wma

    Aerosmith Get a Grip Mp3, Flac, Wma

    Aerosmith Get A Grip mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Get A Grip Country: Romania Style: Hard Rock MP3 version RAR size: 1579 mb FLAC version RAR size: 1366 mb WMA version RAR size: 1652 mb Rating: 4.9 Votes: 982 Other Formats: ADX XM AAC AC3 WMA APE TTA Tracklist Hide Credits 1 Intro 0:24 Eat The Rich 2 4:10 Written-By – Jim Vallance, Joe Perry, Steven Tyler Get A Grip 3 3:58 Written-By – Jim Vallance, Joe Perry, Steven Tyler Fever 4 4:14 Written-By – Joe Perry, Steven Tyler Livin' On The Edge 5 6:07 Written-By – Joe Perry, Mark Hudson, Steven Tyler Flesh 6 5:56 Written-By – Desmond Child, Joe Perry, Steven Tyler Walk On Down 7 3:38 Written-By – Joe Perry Shut Up And Dance 8 4:56 Written-By – Jack Blades, Joe Perry, Steven Tyler, Tommy Shaw Cryin' 9 5:08 Written-By – Joe Perry, Steven Tyler, Taylor Rhodes Gotta Love It 10 5:58 Written-By – Joe Perry, Mark Hudson, Steven Tyler Crazy 11 5:17 Written-By – Desmond Child, Joe Perry, Steven Tyler Line Up 12 4:03 Written-By – Joe Perry, Lenny Kravitz, Steven Tyler 13 Can't Stop Messin' 3:30 Amazing 14 5:56 Written-By – Richie Supa*, Steven Tyler 15 Boogie Man 2:15 Credits A&R [John Kalodner] – John Kalodner Arranged By [Polynesian Log Drums] – Steven Tyler Art Direction – Michael Golob Artwork, Photography By – Ed Colver Backing Vocals – Don Henley (tracks: 13), Lenny Kravitz (tracks: 12) Baritone Saxophone – Ian Putz Coordinator [Album Production] – Debra Shallman Design [Cover] – Hugh Syme Drums [Polynesian Log Drums] – Aladd Alatina Teofilo, Jr., Liainaiala Tagaloa, Mapuhi T.