DOCSLIB.ORG

NVFA Newsletter 2, 5.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NVFA Newsletter 2, 5.Indd Violin Octet New Voices for the 21st Century Volume 2, Number 5 Fall 2006 Hutchins Consort Brings Down the House at 2006 GAL Convention “We have followed Carleen’s work from the beginning be- cause there are fi ddle makers among us, many of whom have been Catgut Acoustical Society members,” Olsen continues. “Carleen spoke at our 1979 and 1992 conventions. We glimpsed an octet at the National Music Museum when our convention was there in 1992, but there were no competent players to demonstrate them. So the octet has remained rather legendary to us. Here was our chance to hear them played well.” In the issue of the GAL quar- terly magazine, American Lu- therie, published just before the convention, Olsen featured an extensive interview of Carleen The Hutchins Consort at Lagerquist Hall. L-R: Gascia Ouzounian, Igor Tchetchko, Ethan Bust- Hutchins conducted by Alan eed, Carolyn Aquallo, Omar Firestone, Emily Dufour, Frederick Charlton, and Joe McNalley. Carruth. A sidebar tracing the histories of the Catgut Acousti- What was Tim Olsen, the Olsen admits that his organi- ship sprang up between the two cal Society and the New Violin founder of an organization of zation, the Guild of American men. Olsen had the idea to fea- Family Association, written by 3500 guitar makers, thinking Luthiers, is comprised mainly ture Spear’s violin octet at his Robert Spear, was also pub- when he invited a group of eight of plucked instrument makers, 2006 convention, but the Albert lished. A two-page centerfold of violinists to perform at his 2006 and that he has long wanted to Consort was unable to accept the full octet completed cover- convention? Admittedly, this attain a better balance. During the invitation. Spear suggested age in the magazine, making it was not your ordinary group the months leading up to Octet the Hutchins Consort instead. a memorable edition. of violinists, and, admittedly, 2005, the fi rst international con- Olsen contacted Joe McNal- they were not playing on your vention of the New Violin Fam- ley and was delighted to learn “The concert was a payoff for ordinary group of violins! “What ily Association, Olsen worked that the consort was available, decades of references to these was I thinking?” muses Olsen closely with NVFA newsletter especially because it performed ideas in American Lutherie mag- with a smile. “I was thinking that editor Robert Spear on adver- on eight original instruments by azine,” says Olsen. “And aside it was a great opportunity!” tising and publicity, and a friend- Hutchins and her colleagues. from being a most interesting NewsJournal of the New Violin Family Association 2 New Violin Family Association NewsJournal Carleen Hutchins in the fall of 2005. McNalley says that one of the big reasons for acquiring another set was so he could de- velop more players. “We’ve got some new talent now, including Nathan Schmidt, a Juilliard and Eastman trained violinist and composer, who is working with the mezzo. Chris Otto, also from Eastman, is a fi ne new treble player and com- project in terms of physics and returned to play an encore, ing was mutual. Don Bradley, poser. Emily Dufour is playing music, an octet is a woodwork- “Ozark Swamp Gas,” by the who was in the audience for the cello-like instruments. Mark ing tour-de-force, an impressive consort’s bass player and com- the performance, said afterward Dresser, who old timers may achievement by any measure.” poser-in-residence, Frederick that any time a group of violin- remember played the big bass Charlton. Olsen said, “I think ists gets a standing ovation for the ASA conference in San If there were any remaining that the standing ovation meant from over 300 guitar makers, it’s Diego in 1982 or 1983, recently concerns about the mixture of a lot of things: respect for Car- a real accomplishment. joined our ranks, giving us an the octet violin world with the leen and the NVFA, honoring impressive one-two-three bass guitar world, they were quickly the sheer lutherie achievement Todd Rose, a guitar maker from section. Mark and I are plan- dispelled by McNalley’s low-key of one person building a com- Ithaca, New York, noted that the ning a duo record for the bass and light-hearted approach and plete octet (even aside from the sound of the octet was unlike instruments. We plan to add all the informal nature of the per- problem of designing the new anything he’d ever heard be- the new players to our website formance. In a nod to his audi- family), the skill and intensity fore, so much so that he made shortly. ence, McNalley used a Fender of the musicians, the success it a reference for other things electric guitar, played by his of the arrangements in demon- he heard at the convention. He “The consort was in the record- nephew, the rising young jazz strating the unique voice of the noted that the unifi ed nature of ing studio in August. We record- guitarist, Tom McNalley, to play octet, and the success of the the voices between the octet in- ed concertos by Corelli, Torelli the continuo part in a piece by octet in extending the voice of struments was only half of the and Zavateri. We also recorded Antonio Vivaldi, explaining that it the violin across the entire mu- story; the other half was the uni- The Sweelinck Hodie, Grieg’s was a continuation of past prac- sical range.” fi ed nature of the voice of each Holberg Suite, Charlton’s ar- tices when such a part might individual instrument. Rose ad- rangement of Summertime and have been played by a lute. Mc- dressed a common misconcep- his Ozark Swamp Gas, which Nalley then mentioned that his tion about the Octet, usually put we played as our GAL encore other bass, which he uses in his forth by individuals who have piece. Piazolla’s Libertango traditional orchestra work, was not heard one, that an ensem- rounded off the effort. We start- several hundred years old, and ble whose voices blended so ed mixdown the second week of that the conventional instru- perfectly would have a bland or September. ments used by the other play- drably uniform quality. “I did not ers in his consort in the course fi nd this to be the case with the “We have a fundraiser Novem- of their normal work were also New Violin Octet at all,” Rose ber 12 that will feature Chris quite old. His witty observation says. “I’d say it emerged as Otto playing the Goldfi nch con- that the oldest instrument on the “authoritative. It was extremely certo, and our season opens stage at that moment happened powerful, to say the least.” Nov 17 at the Neuorsciences to be the Fender electric guitar Institute, with guest soloist Allan brought a roar of approval from Tim Olsen, founder, Guild of More on the Consort. Vogel playing the Vaughan Wil- his audience. American Luthiers. Consort founder and contra- liams Oboe Concerto. There will bassist Joe McNalley recently be another performance of the The crowd in Lagerquist Recital McNalley told us, “The conven- brought us up to date on con- same program Nov 19 at the Ir- Hall was friendly and recep- tion was terrifi c fun, and we had sort activities following the GAL vine Barclay. We are vigorously tive, and the consort received a very good tour overall. The performance. As many of our working on new press materials, a standing ovation at the end GAL was great group of people regular readers know, the group demo discs, and brochures.” of their performance. The group to play for.” Apparently, the feel- acquired a second octet from ♫ New Violin Family Association NewsJournal 3 Basic Violin-Making Acoustics Carleen Hutchins begins this nance is caused by air vibrating series of articles with an historical within the body, while the other What’s a Mode?? retrospective of the most fundamen- is caused by powerful move- tal concepts of violin acoustics for the ments in the wood. In conven- For our purposes, we make beginning violin maker. tional violas, both these reso- our defi nition not as though nances are placed considerably there were a number of higher than the tuning of the two physicists standing behind unstopped middle strings. us, but rather as if there were Main Air and Main Wood Modes a number of students stand- We eventually found that Jas- ing in front of us: In 1957 the composer, Henry Two Main Resonances. cha Heifetz’ beautiful Stradivar- Brant, rang my doorbell and I talked the concept over with ius violin had these two strong A mode is the normal said he was looking for a vio- John C. Schelleng and Saun- resonances directly on the two state or condition of an lin maker willing to try an idea ders, who were not very enthusi- unstopped middle strings, so object subjected to a that he had. He wanted me to astic about the idea. For a start, that when he tuned his violin to specifi c condition or set develop and construct seven we agreed that a study of some the orchestra before a concert, of conditions. violin family instruments that of the loudness tests Saunders the sounds from the two open could carry the sound and play- had made of famous violins and middle strings fi lled the whole Your team is losing late in ing qualities of the violin, its full violas might give us some clues. hall. With this encouragement, the game, and the sports- caster announces that the entire team is in “catch-up mode.” That describes a specifi c situation that infl u- ences how the entire team in all its parts will normally respond, and it’s pretty easy to understand.
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Founding a Family of Fiddles
    The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Carleen Hutchins Papers M1734
    http://oac.cdlib.org/findaid/ark:/13030/kt067nf29d No online items Guide to Carleen Hutchins papers M1734 Finding aid prepared by Processed by Andrea Castillo Stanford University. Department of Special Collections and University Archives Stanford University Libraries 557 Escondido Mall Stanford, California, 94305-6064 Email: [email protected] August 2011 Guide to Carleen Hutchins papers M1734 1 M1734 Title: Carleen Hutchins papers Identifier/Call Number: M1734 Contributing Institution: Stanford University. Department of Special Collections and University Archives Language of Material: English Physical Description: 40.58 Linear feet(83 manuscript boxes; 2 flat boxes; 3 map folders, and 1 oversize item) Date (inclusive): 1900-2010 Abstract: The papers relate primarily to musical acoustics, musical instrument construction, and her invention of the violin octet including research notes and papers; research notebooks; manuscript and published articles; lectures and lecture notes; charts, graphs, and drawings relating to musical instruments and acoustics; correspondence; photographs and slides; posters; and sound recordings on tape and cassette comprising 33 boxes. Creator: Hutchins, Carleen Maley Acquisition Information The Carleen Hutchins Papers were a gift of Joseph McNalley and the Hutchins Consort, 2010. Accession 2010-011. Access to Collection Open for research. Audio-visual materials are not available in original format, and must be reformatted to a digital use copy. Publication Rights All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94304-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner.
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [Show full text]
  • Some Examples from a Corpus Investigation Of
    UDK 78:81’373.46 Prethodno priopćenje Rukopis primljen 14. VII. 2018. Prihvaćen za tisak 25. XI. 2018. Paola Granado Université Lumière Lyon 2 [email protected] Roger Miller [email protected] SOME EXAMPLES FROM A CORPUS INVESTIGATION OF POTENTIALLY CONFUSING POLYSEMY AND FALSE FRIENDS IN THE TERMINOLOGY OF MUSIC, CENTRED ON ENGLISH AND FRENCH, WITH EQUIVALENTS IN FIVE OTHER LANGUAGES This paper presents five of the initial items of a semantic study of confusable terms and false friends present in the lexis of music in English and French. All forms are also given in Italian, German, Spanish, Russian and Chinese. The object of study is a series of texts from corpora provided by New Sketch Engine, a product of Lexical Computing Limited. In the commentary section, the semantic variance between the different items within the same topic is studied. The approach is essentially synchronic, with priority being given to the examination of current usage. Diachronic considerations are also included where it has been possible to explain, or at least hypothesize how the meaning of the various terms has evolved. The main practical application of the paper is to provide a tool for reducing ambiguity in the area of music terminology. It will be of potential interest to all those concerned by the study and practice of music and the language of music in countries where the languages referred to in this study are in use. 1. Objectives and methodology This research aims to reduce ambiguity and thus improve comprehension by exploring a selection of forty or so false friends between English and French in the area of music terminology.
    [Show full text]
  • Violinoctet Violin First European Quintet Performs
    ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him.
    [Show full text]
  • Catgut Acoustical Society Journal
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.
    [Show full text]
  • MOXF - a Universe of Sounds from a Decade of Motifs 3
    MUSIC PRODUCTION GUIDE Official News Guide frOm Yamaha & easY sOuNds fOr Yamaha music PrOductiON iNstrumeNts 03|2013 Contents MOXF - A Universe of Sounds from a Decade of MOTIFs 3 CP4 STAGE – For every stage simply the best 6 MOTIF / MOX Soundlibrary „Nature of Chill“ 8 MOTIF XS/XF: EXPLORING SOUND: Evolving Soundscapes 10 Good KARMA for MOTIF-Users (Part 2) 13 MOXF - Yamaha Synth Guide A Universe Part 8: The Performance Mode 17 Soundtest Yamaha OF sOUnds DTX502 E-Drum-Module 23 FrOM A Cool Webinars 28 Sounds & Goodies 29 decAde Imprint 39 OF MOTiFs Y AMAh A MUsic Pr O d U c T i O n GUide 3 03|2013 A Universe OF sOUnds FrOM A decAde OF MOTiFs With a powerful update Yamaha has taken the MOX drums, and many variations of traditional and modern synthesizer series to a new level. The latest MOTIF XF technology sounds. A special feature are the convincing reproductions of two has been used to expand the MOX with more sounds, Yamaha grand pianos (CFIIIS and S6), like they are only to be more effects, and even a flash-board option. expected from a manufacturer of acoustic pianos. With a Wave-ROM Because of the compatibility with data from the MOTIF XF and MOX expanded to 741 MB the MOXF offers 136 new Voices, series the MOXF can draw on a great library of sounds and samples including the new S6 piano, keyboard sounds like clavinets, organs, plus third-party offers in a large number. The MOXF combines accordions, and Voices from a broad stylistic spectrum from classical extensibility, easy transportability and compatibility with a lot of other to hip-hop.
    [Show full text]
  • Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
    Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements.
    [Show full text]
  • The Tim Ferriss Show Transcripts Episode 62: Justin Boreta Show Notes and Links at Tim.Blog/Podcast
    The Tim Ferriss Show Transcripts Episode 62: Justin Boreta Show notes and links at tim.blog/podcast Tim Ferriss: Hello ladies and gents, this is Tim Ferriss, and welcome to another episode. God damn. That’s the usual intro music, but I’d like you to hear a brand new version, reimagined by none other than Justin Boreta of The Glitch Mob. This podcast is brought to you by Mizzen and Main. Don’t worry about the spelling. All you need to know is this. I have organized my entire life around avoiding fancy shirts, because you have to iron them, you sweat through them, they smell really easily, they’re a pain in the ass. Mizzen and Main has given me the only shirt that I need. And what I mean by that, and Kelly Starrett loves these shirts as well, is that you can trick people. They look really fancy, so you can take them out to nice dinners, whatever, but they’re made from athletic, sweat- wicking material. So you can throw this thing into your luggage in a heap or on your kitchen table like I did recently, and then pull it out, throw it on, with no ironing, no steaming, no nothing, walk out, and you could probably wear this thing for a week straight, or make it your only dress shirt, and take it on trips for weeks at a time, never wash it, it will not smell, you will not sweat through it, you’ve got to check these things out. So go to fourhourworkweek.com, all spelled out, fourhouroworkweek.com/shirts, and if you order one of their dress shirts in the next week you will get a Henley shirt for free.
    [Show full text]
  • Roxbox by Artist (Hed) Planet Earth 2 Play Feat
    RoxBox by Artist (Hed) Planet Earth 2 Play Feat. Thomas Jules & Bartender Jucxi D Blackout Careless Whisper Other Side 2 Unlimited 10 Years No Limit Actions & Motives 20 Fingers Beautiful Short Dick Man Drug Of Choice 21 Demands Fix Me Give Me A Minute Fix Me (Acoustic) 2Pac Shoot It Out Changes Through The Iris Dear Mama Wasteland How Do You Want It 10,000 Maniacs Until The End Of Time Because The Night 2Pac Feat Dr. Dre Candy Everybody Wants California Love Like The Weather 2Pac Feat. Dr Dre More Than This California Love These Are The Days 2Pac Feat. Elton John Trouble Me Ghetto Gospel 101 Dalmations 2Pac Feat. Eminem Cruella De Vil One Day At A Time 10cc 2Pac Feat. Notorious B.I.G. Dreadlock Holiday Runnin' Good Morning Judge 3 Doors Down I'm Not In Love Away From The Sun The Things We Do For Love Be Like That Things We Do For Love Behind Those Eyes 112 Citizen Soldier Dance With Me Duck & Run Peaches & Cream Every Time You Go Right Here For You Here By Me U Already Know Here Without You 112 Feat. Ludacris It's Not My Time (I Won't Go) Hot & Wet Kryptonite 112 Feat. Super Cat Landing In London Na Na Na Let Me Be Myself 12 Gauge Let Me Go Dunkie Butt Live For Today 12 Stones Loser Arms Of A Stranger Road I'm On Far Away When I'm Gone Shadows When You're Young We Are One 3 Of A Kind 1910 Fruitgum Co.
    [Show full text]