It's My Party

Total Page：16

File Type：pdf, Size：1020Kb

IT’S MY PARTY: PLEASE TAKE A FEW MOMENTS TO FILL THIS QUESTIONARE OUT. IT WILL HELP US GAUGE THE MOOD YOU WANT TO SET FOR YOUR AFFAIR AND ENSURE ITS SUCCESS. NAME: ____________________________________ DATE OF AFFAIR: _____________________________________________ HOW DID YOU HEAR ABOUT TLC ENTERTAINMENT? ____________________________________________________________ WHEN THE MUSIC MATTERS: (PLEASE CIRCLE BELOW THE DIFFERENT STYLES OF MUSIC YOU WANT THE DJ TO PLAY AT YOUR AFFAIR) LINDIES BIG BAND SWING DOO WOOP MOTOWN ROCK & ROLL CLASSIC DISCO FUNK BALLADS JAZZ FREESTYLE ALTERNATIVE RETRO COUNTRY SLOW JAMS REGGAE SOCA CALIPSO TOP 40 HIP HOP R & B TECHNO HOUSE DANCE a INTERNINTERNATIONALATIONAL & ETHNIC MUSIC : LATIN ITALIAN GREEK JEWISH IRISH INDIAN POLISH CARIBBEAN OTHER: _____________ (PLEASE SPECIFY) AAAUDIENCEAUDIENCE PARTICIPATION DANCES & ICE BREAKERS: (PLEASE CIRCLE BELOW THE INTERACTION DANCES YOU WANT US TO PLAY AT YOUR AFFAIR) THE TWIST CHICKEN DANCE HOKEY POKEY HANDS UP LIMBO CONGA LINE ELECTRIC SLIDE MACARENA Y.M.C.A GREASE MEGAMIX DOLLAR DANCE SOUL TRAIN THE TRAIN STAYIN ALIVE FOLLOW THE LEADER COTTON EYE JOE HORA TARANTELLA POLKA SHOUT MAMBO # 5 DA’ DIP PARADISE BY THE DASHBOARD LIGHTS APACHE (JUMP ON IT) CHA CHA SLIDE CUPID SHUFFLE GANGNAM STYLE TEACH ME HOW TO DOUGIE THE WOBBLE WATCH ME(NAE NAE WHIP) IN ORDER TO MAKE YOUR EVENT THE BEST EVER, WE NEED YOUR TOP 20 FAVORITE SONGS & ARTIST OF ALL TIME…. 1. _______________________________________ 11. _______________________________________ 2. _______________________________________ 12. _______________________________________ 3. _______________________________________ 13. _______________________________________ 4. _______________________________________ 14. _______________________________________ 5. _______________________________________ 15. _______________________________________ 6. _______________________________________ 16. _______________________________________ 7. _______________________________________ 17. _______________________________________ 8. _______________________________________ 18. _______________________________________ 9. _______________________________________ 19. _______________________________________ 10. ______________________________________ 20. _______________________________________ WOULD YOU LIKE US TO TAKE MUSIC RREQUESTEQUEST FROM YOUR GUEST : YES NO ONLY IF IT COM COMPLIMENTSPLIMENTS MUSIC SELECTED SPECIAL SUGGESTIONS, DEDICATIONS, ANNOUNCEMENTS, BIRTHDAYS, ANNIVERSARYS, ETC…. ______________________________________________________________________________________________ Is there going to be a toast or any other speeches? YES NO If yes by whom: _______________________________________ Please fill out and return form to our office 4 weeks prior to your event. For music suggestions check out our website www.tlceventstudio.com .

Copy Link

Recommended publications

Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR.
[Show full text]
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action.
[Show full text]
Wwaaagggooonnn Wwhhheeeeeell
WWAAGGOONN WWHHEEEELL RREECCOORRDDSS Music for Education & Recreation Rhythms • Folk • Movement YYoouurr CChhiillddrreenn’’ss aanndd TTeeaacchheerr’’ss SSppeecciiaalliisstt ffoorr MusicMusic andand DanceDance VS 067 Brenda Colgate WWAAGGOONN WWHHEEEELL RREECCOORRDDSS 16812 Pembrook Lane • Huntington Beach, CA 92649 Phone or Fax: 714-846-8169 • www.wagonwheelrecords.net TTaabbllee ooff CCoonntteennttss Music for Little People . .3 Holiday Music . .20 Quiet Time . .3 Kid’s Fun Music . .21-22 Expression . .3 Kid’s Dance/Party Music . .23 Fun For Little People . .4-5 Dance/Party Music . .24-26 Manipulatives & Games . .6-8 Sports . .26 Jump-Rope Skills . .6 Island Music . .26 Streamers/Scarves/Balls . .6 Dance Videos & Music - Christy Lane . .27-29 Games & Skills . .7 Country Dancing Bean Bag . .7 . .30 Parachute Activities . .8 Square Dancing . .31-33 Seated Exercises . .8 Christy Lane’s . .31 Aerobic/Fitness/Movement . .9 Everyone’s Square Dances . .32 Square Dancing for All Ages . .32 Fitness/Movement Activities . .10-11 Fundamentals of Square Dancing Instructional Series . .33 Lee Campbell-Towell . .10 Square Dance Party For The New Dancer Series . .33 Physical Education . .12-13 Folk Dancing . .34-37 Dynamic Program . .12 Rhythmically Moving Series . .34 Spark Program . .13 Beginning Folk Dances . .35 Music & Movement . .14-15 We Dance Series . .35 Rhythm & Movement . .16-18 Young People’s Folk Dances . .36 Rhythm Sticks . .16 Christy Lane . .37 Tinikling . .16 Multicultural Songs & Greg and Steve . .18 Dances . .38-39 Rhythm, Movement
[Show full text]
Introduction
Introduction Feeling Cuban By not opening with a joke, I heed a valuable lesson learned from the many comedians I write about in this book. Any good joke, like any introduction worth reading, requires a solid setup. Moments of humor will come— however fraught— as I discuss political and genera- tional shifts within the Cuban diaspora in the United States from the 1970s to the 2010s while at the same time pointing out what ludic popu- lar culture can tell us about community formations, performance, and race. But before I can get to these points, I need to provide you with some of the details, the context, that will make the purpose of this book clearer. Think of it as my own setup. I grew up in and around Union City, New Jersey, affectionately re- ferred to as “Havana on the Hudson” because of the large Cuban population that settled there in the years following Fidel Castro’s rise to power in 1959. My family had all the exile street cred: unfair imprisonments, seizure of property, the high-ranking family member whose loyalty to the Revolution trumped family ties. While these stories framed angry and explicit anti-Castro sentiment, they were largely overshadowed in both frequency and intensity by the ludic in quotidian life. Jokes about bumbling communists. Trips to the bathroom prefaced with “voy a mandar una carta a Fidel” (I’m going to send a letter to Fidel). My grandfather’s guajiro sayings marked by double entendre and fil- tered through the symbolic economy of the farm he worked— plenty of gallos and yeguas.
[Show full text]
Court Sweet 16 Protocol Sheet 1
NAME: NAME: EVENT DATE: SWEET 16 PROTOCOL SHEET 1 Grandparent Grandparents Parents Siblings 1. 1. 2. 2. COURT GUEST OF HONOR : Escorted by: Court Entrance Song: Entrance Video: Entrance Song: Dance right away Sit for Toast Special Dance : With: Toast Mom Dad Other All forms must be filled out and submitted 3 weeks prior to your event to; [email protected] NAME: NAME: EVENT DATE: SWEET 16 REQUEST SHEET 2 COCKTAIL HOUR MUSICAL PREFERENCES: SELECT ONE STYLES: UPBEAT STANDARDS (SINATRA, DEAN MARTIN, TONY BENNET, MICHAEL BUBLE) NYC STYLE LOUNGE MUSIC (TRENDY NYC CONTEMPORARY) TROPICAL/BEACH MUSIC (BOB MARLEY, JIMMY BUFFET, LIGHT REGGAE, STEEL DRUM) LIGHT ROCK MIX (BILLY JOEL, BEATLES, SNOW PATROL, TRAIN, JASON MRAZ, ED SHEERAN) COUNTRY ( ZAC BROWN, DARIOUS RUCKER, KENNY CHESNEY) CUSTOM COCKTAIL PLAYLIST (PLEASE LISTS SOME SONGS & ARTISTS BELOW) FAVORITES (MUST PLAY): (LIST SONG & ARTIST) FAVORITES (MUST PLAY): (LIST SONG & ARTIST) 1. 8. 2. 9. 3. 10. 4. 11. 5. 12. 6. 13. 7. 14. DO “NOT”: PLAY LIST: SPECIAL ANNOUNCEMENTS OR DEDICATIONS: 1. 2. 3. 4. 5. All Forms must be filled out and submitted 3 weeks prior to your event to [email protected] NAME: NAME: DATE: SWEET 16 PROTOCOL SHEET 3 FAVORITE MUSIC GENRES: GLOBAL MUSIC GENRES: Swing Rap Worldwide Hits Standards (Rat pack) House Music (BPM) Salsa Lindies EDM Merengue 50’s Dance Country Bachata Doo Wop Top 40 Hits Cumbia 60’s Hits Todays Hits Rumba Rock-N-Roll (Oldies) Tango Motown Cha Cha 70’s Hits AUDIENCE PARTICIPATION: Mambo Classic Disco Electric Slide Italian 80’s Dance Hits Macarena
[Show full text]
Tracing the Origins of Salsa Music
Bron: dancedancedance.com Tra cing the Origins of Salsa Music by Luis Alba The Latin music we hear today has its origins in Cuba where the blending of African drum rhythms and Spanish guitar evolved into a variety of Latin American music: Son , Danzón , the rhythms of Carnival, Cha cha cha , Mambo , Salsa .....even Tango came out of Cuba. During the war in Cuba in 1898 US Soldiers got a taste for Cuban music. Later, during Prohibition in the USA, Americans went to Cuba where drinking alcohol was legal and they became infected with the Latin rhythms. As early as 1909 radio recordings came out of Cuba. In 1932 American Radio came to Cuba to record Orquesta Anacoana. This amazing all-female orquesta consisted of 10 sisters. They were the first females in Cuba to openly play percussion, horns and other instruments. Locked in the house for days at a time during the war, they had nothing to do but practice. This group evolved into one of Cuba's leading orchestras and one of the first to get top billing in New York. One sister, Graciela, went on to become the lead singer for Machito's orchestra. It wasn't long before musicians in the USA began incorporating Latin rhythms into their own music. In 1900, W.C. Handy visited Cuba and began our legacy of Latin jazz here in the USA. Louis Armstrong, Jelly Roll Morton, Dizzy Gillespie, Charlie "Bird" Parker, Stan Getz and Cal Tjader have all followed the tradition by blending and evolving Latin jazz. Gillespie added a Cuban drummer named Chano Pozo to his band in 1938 and they began to compose together.
[Show full text]
A History of the Conga Drum by Nolan Warden
A History of the Conga Drum By Nolan Warden Despite its wide- spread use, the conga drum may be one of the most misunder- stood percussion in- struments. It is all-too-often disre- garded as an “acces- sory,” not worthy of serious consideration. Even though the past decade has brought increased interest in “world” percussion, information about the history of congas re- mains hard to find. Before approaching that history, though, we must consider a few fundamentals. Besides, we haven’t even called this drum by its correct name yet! Photo © CIDMUC, Havana. From book/CD entitled From Afrocuban Music to Salsa by Dr. Olavo Alén Rodriguez (PIRANHA Records, BCD-POIR1258, 1998). PERCUSSIVE NOTES 8 FEBRUARY 2005 THE BASICS considered to be responsible for the musi- refers to the lead part in rumba. Conga In the United States, we hear these cal development of these drums, the refers to the middle or medium-sized drums referred to as conga drums or sim- word tumbadora is used out of respect for drum, and tumbadora refers to the larger ply congas. However, in Cuba, where that setting as opposed to conga, which is drum. Some manufacturers now produce these drums were developed, the word a more commercial term. Today, it’s not requintos (extra small) and/or super- conga is usually only applied to a drum really necessary for English-speaking tumbas (largest). It should not be in- and rhythm played during Carnaval percussionists to call these drums ferred, however, that drums with these (similar to Brazilian Carnaval or Mardi tumbadoras.
[Show full text]
Latin American Music in Musical Theatre
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 4-2012 A Little Rumba Numba: Latin American Music in Musical Theatre John David Cockerill University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Cockerill, John David, "A Little Rumba Numba: Latin American Music in Musical Theatre" (2012). Student Research, Creative Activity, and Performance - School of Music. 50. https://digitalcommons.unl.edu/musicstudent/50 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE by John David Cockerill A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Peter M. Lefferts Lincoln, Nebraska April, 2012 A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE John David Cockerill, M.M. University of Nebraska, 2012 Adviser: Peter M. Lefferts Despite the prevalent use of Latin American musical styles in American musical theatre, little research has been done on the subject. Quite often the fact that a musical number even has a Latin beat goes unrecognized. This paper examines the various genres of Latin American music that have had an impact in the United States and in musical shows both on and off Broadway.
[Show full text]
September 1989 Ern Drummer
Cover Photo by Rick Malkin FEATURES TERRI LYNE 18 CARRINGTON Having begun her professional career at the age of ten, Terri Lyne Carrington has recently enjoyed some high- exposure gigs, first with Wayne Shorter and most recently as the house drummer on The Arsenio Hall Show. She discusses the background that prepared her for those situations, and explains what went into her recent solo album, Real Life Story. by Robyn Flans TROY Photo by Jaeger Kotos 24 LUCCKETTA Drumming for Tesla requires Troy Luccketta to conform to a basic hard rock framework, but within that he likes to experiment and come up with fresh ideas. Here, Troy recalls his formative years, revealing the positive attitude that helped him stay with it until he achieved success. by Teri Saccone Wales BOBBY PREVITE 28 Lissa Besides making his own solo albums, Bobby Previte has by worked with such artists as Billy Bang, Elliott Sharp, Tom Photo Waits, and John Zorn. Always looking to expand the boundaries, Previte explains the philosophies behind his innovative work. by Adam Budofsky Latin Percussion's 32 MARTIN COHEN When Martin Cohen couldn't find a good pair of bongos, he decided to make his own, thereby starting what was to become Latin Percussion, Inc. Today, 25 years later, LP is the leading manufacturer of Latin and ethnic percussion Mauro instruments. Cohen reminisces about the beginnings of Aldo his company, stressing the fact that meeting the needs of by musicians has always come first. Photo by Rick Mattingly and Adam Budofsky COLUMNS VOLUME 13, NUMBER 9 EDUCATION
[Show full text]
From Aural Places to Visual Spaces: the Latin/O and General Music Industries
FROM AURAL PLACES TO VISUAL SPACES: THE LATIN/O AND GENERAL MUSIC INDUSTRIES A Dissertation by CHRISTOPHER JOSEPH WESTGATE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2011 Major Subject: Communication From Aural Places to Visual Spaces: The Latin/o and General Music Industries Copyright 2011 Christopher Joseph Westgate FROM AURAL PLACES TO VISUAL SPACES: THE LATIN/O AND GENERAL MUSIC INDUSTRIES A Dissertation by CHRISTOPHER JOSEPH WESTGATE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Eric W. Rothenbuhler Committee Members, Antonio La Pastina Patrick Burkart Leroy Dorsey Juan Galdo Head of Department, Richard Street August 2011 Major Subject: Communication iii ABSTRACT From Aural Places to Visual Spaces: The Latin/o and General Music Industries. (August 2011) Christopher Joseph Westgate, B.S., Cornell University; M.A., Columbia University Chair of Advisory Committee: Dr. Eric W. Rothenbuhler This manuscript tells the stories of the Latin/o and general music industries in the United States from 1898 to 2000. It argues that performers transformed the local identities of aural industries based in place and melody into global industries of visual identities designed for space and celebrity. Both the Latin/o and general music industries shifted back and forth along a local-sound-to-global-sight spectrum more than once, from sounds of music rooted in specific places to sights of musicians uprooted across universal spaces between 1898 and 2000.
[Show full text]
Download Wedding Forms
NAME: NAME: WEDDING DATE: WEDDING PROTOCOL SHEET 1 Grandparents of _________: Grandparents of _________: Parents of ______________: Parents of _____________: 1. 1. 2. 2. WEDDING PARTY Flowergirl(s): RingBearer(s): Maid/Matron/Man of Honor: Best Man/Best Woman: The Newly Weds: Entrance Video: First Dance (Name of Song & Artist): Invite guests to join 1/2 through: Dance to song alone: Blessing : Blessing by : Toast : Toast by: Best Person Maid/Matron/Man of Honor Other: All forms must be filled out and submitted 3 weeks prior to your event to; [email protected] NAME: NAME: WEDDING DATE: WEDDING PROTOCOL SHEET 2 INTRODUCTIONS: ENTRANCE SONG FOR THE WEDDING PARTY D.J. CHOICE: Yes: No: IF NO, PLEASE LIST SONG AND ARTIST: ENTRANCE SONG FOR THE NEWLY WEDS D.J. CHOICE: Yes: No: IF NO, PLEASE LIST SONG AND ARTIST: CAKE CUTTING CEREMONY: CAKE CUTTING SONG D.J. CHOICE: Yes: No: IF NO, PLEASE LIST A SONG AND ARTIST: SPECIALTY DANCES: TO DANCE WITH : PLEASE PROVIDE A SONG AND ARTIST : TO DANCE WITH : PLEASE PROVIDE A SONG AND ARTIST : FUN FORMALITES: BOUQUET TOSS: Yes No GARTER REMOVAL: Yes No DJ TO PROVIDE SONG: Yes No DJ TO PROVIDE SONG: Yes No SONG SELECTION : SONG SELECTION : GARTER TOSS: Yes No GARTER DRESSING: Yes No DJ TO PROVIDE SONG: Yes No DJ TO PROVIDE SONG: Yes No SONG SELECTION : SONG SELECTION : ANNIVERSARY DANCE: Yes: No: CENTERPIECE GIVEAWAY: Yes: No: PLEASE PROVIDE A SONG AND ARTIST : FLOWERS AND VASE : Yes: No: FLOWERS ONLY : Yes: No: OTHER : All Forms must be filled out and submitted 3 weeks prior to your event to [email protected]
[Show full text]
AFRO-CUBAN PERCUSSION, ITS ROOTS and ROLE in POPULAR CUBAN MUSIC by BRIAN KEITH ANDERSON B.M.E., Kansas State University, 2009 B
AFRO-CUBAN PERCUSSION, ITS ROOTS AND ROLE IN POPULAR CUBAN MUSIC by BRIAN KEITH ANDERSON B.M.E., Kansas State University, 2009 B.S., Kansas State University, 2009 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Approved by: Major Professor Dr. Craig B. Parker Copyright BRIAN KEITH ANDERSON 2016 Abstract This Master’s Report will address questions about Afro-Cuban music, focusing on Afro- Cuban percussion and music in the late 1800s and early 1900s. The first two chapters will address congas and timbales, which are two Afro-Cuban percussion instruments at the center of Cuban culture and music. The next three chapters will address danzón, rumba, and son. These chapters will provide analysis into the influences that shaped the music as well as analysis of the music itself. Chapter 6 of this report addresses Cuba’s impact on culture outside Cuba, relating but not limited to music, with emphasis on the 1930s into the beginning of World War II. Throughout this report videos have been created to help explain topics of Afro-Cuban music to readers in a more interactive way. The purpose of these videos is to demonstrate how the instruments sound as well as what the instruments look like, how notation included in the report is realized, and generally to make the page come to life in ways that technology today now allows. Table of Contents List of Figures ............................................................................................................................... vii Acknowledgements ...................................................................................................................... viii Chapter 1 - A History of the Conga Drum .....................................................................................
[Show full text]