Spanish music has become increasingly popular due to the hit-makers of pop superstars Shakira and J-Lo. Did you know that there are many different types of Spanish music? Every Spanish-speaking country has its own version of what Spanish music is, and it differs greatly from culture to culture.

Salsa is a type of Spanish music that is featured prominently in Cuban and Puerto Rican communities. Salsa is a fast moving style of dance that is popular in all of the clubs these days. It is popular because the dance moves do not require a lot of space, so more people can be squeezed in to enjoy this music on a dance floor. Salsa music is a combination of African rhythms with Spanish beats.

Tango music and dance is known for its dramatic flair. You probably already have a picture in your head of a woman dancing with a rose held in her teeth! The music is fairly classical featuring violins, double bass and a piano, but it can also have the accompaniment of flutes and clarinets.

Spanish pop music is a meld of many regions that is produced to appeal to the masses. Pop music is usually more about the singers than the songs themselves.

Latin jazz does not have a backbeat which makes it sound completely different from American jazz music. The rhythm is straight and not like the swing sound found in American jazz. Latin jazz combines African rhythms with conga drums giving it a Caribbean flavor

Bossa nova music originated in the country of Brazil. Unlike other types of Spanish music, bossa nova does not use percussion instruments. Instead, bossa nova is infused with guitar and piano instruments to give it a gentle rhythm.

Tejano music is often characterized as a Spanish polka, if you can imagine that sort of comparison. Tejano music roots are from Mexico and traditionally feature an accordion, but synthesizers have been used more recently to update this classic style of Spanish music.



By: Gerd C. Pacher
























About the Author:

As many who read my articles may already know about I am what could be called a true opera fan, as not only do I attend performances on a regular basis but have even written a book about the subject called “New York’s Opera Society”. A lot of my knowledge however about the subject started when I was a student at New York’s Hunter College, it was there were I learned many things about music such as the four kinds of instruments, with the first being the human voice. In other words singing which all those who hear me know I have absolutely no talent for but yet it was this which came to be man’s and woman’s first instrument.

 

It was after the voice was discovered for the purpose of making sounds of harmonies beauty that other instrumented followed suit to imitate it, such as those that contain strings which came in form of guitars, violins but basically any which we stroke the strings with either our fingers or a vow; as the case is with the violin. I mention strings second, when in reality it might have been the kind of instrument known as percussion which followed directly after the human voice.

 

Percussion being those that can be just about anything and everything from a table which we tap to a beat we hear to a set of drums as the kind that is played in most rock bands. As an added factor we could say that percussion instruments for the most part do not have notes to go along with the instrument as they limit themselves to setting the rhythm and tempo.

 

The last and fourth kind of instrument man or better put humanity came up with was winds, meaning those instruments that require us to blow in to, such as the saxophone, (an instrument which I once saw Bill Clinton play on a late night show), trumpet, clarinet and others. It is now after having explained so much that I will ask in to which category would one place the piano?

 

I once put this question to a tenor, I met in Poland who told me that the piano was what could be considered as a percussion instrument, though many a piano player detest the idea of being referred to as a percussionist even if that is what they are. This due to the fact that one does not actually stroke the strings on the piano but tap them through a key which one strikes which makes a pad do like wise to the strings. Actually, one has to corner a piano player specially classical trained ones, to admit to being those who play an instrument of percussion as I did once to a pianist lady friend of mine. This by saying, in the piano; there is no singing, no blowing but strings which are being hit.

 



By: Gianni Truvianni
























About the Author:

New York-based indie-chamber rock musicians, Eric Margan & the Red Lions, present their debut release Midnight Book (March 17, 2009/Self-Released). Drawing from years of classical training and a personal devotion to modern jazz and classic rock, the talented songwriter/multi-instrumentalist/front man, Eric Margan, makes an original and sophisticated entrance with an impressive collection of 12 incredible tracks in Midnight Book.

The debut album for 22-year-old Margan resonates as a somber, theatrical novel - complete with love, tragedy, heartbreak, and revival. Midnight Book, as the title might imply, is best experienced from "cover to cover." Midnight Book delivers stellar and distinctive compositions, augmented by ensnaring and intriguing lyrical poetry, leading the listener into an introspective musical journey.

The album opens with "An Ocean Blue", a swirling, seductive tapestry of orchestral grandeur, seemingly emerging from the darkest depths of the piano and sets the stage for a colossal, metaphor-laden song cycle. As the pages of Midnight Book turn, the love story that began so triumphantly begins to unravel in Margan's "A Speckled Mind." It is here that Margan displays the delicate touch of an impressionist painter, through the juxtaposition of orchestral strings combined with a powerful yet poignant drum and bass polyrhythm.

The album's standout "Old Man River" is the turning point in the story, full of grandiose and massively cinematic crescendo. Margan's colorful plot thickens to a soaring climax, telling a story of an estranged marriage - complete with twists, turns, murder and revenge.

Margan appropriately concludes his heavy narrative with the relatively bare instrumentation of strings, piano, voice and guitar. The last notes are imminent, chords that are prepared to leave their final impression - but not without a last fighting chance.

Born and raised in Columbia County of Upstate New York, Eric Margan's musical endeavors started at just nine years old when he began studying flute. It was when he turned 14 that the hobby had become a potential career. He began treading new waters with the formation of his first band - a three-piece rock group in which he was a co-songwriter, bassist, and singer. Margan furthered his bass skills by participating in various jazz ensembles and combos throughout his high school years. Furthering his music studies, he brought together his classical training with his passion for modern rock and live performance with the addition of the talented musicians that make up the Red Lions.

A stellar line-up of musicians was assembled to augment Margan's music on stage, including drummer Jim Bertini, bassists Scott Kellerhouse and Vince Chiarito, keyboardist Zachary Seman and guitarist/flutist/vocalist Johanna Warren. Live performances and Midnight Book also feature various string, woodwind and brass players.

Eric Margan and the Red Lions are rapidly earning the respect and admiration of fans and bands alike, from opening for such acts as the Benevento Russo Duo and L.A.-based Bittersweet, to recording sessions with Pete Seeger and Richie Havens, as well as playing a multitude of shows in the Northeastern United States.

What critics have been saying about Eric Margan and the Red Lions:

"There are a number of acts that are currently creating music right now that I would call good, but I would have to downgrade them to "passable" just so I could get the proper amount of distance to the "great" that I would assess to Eric Margan & The Red Lions. "Midnight Book" should be seen as a "must-have" album…"-NeuFutur Magazine

"Elegant, sophisticated and refreshingly open-hearted, singer-guitarist Margan pens wonderfully literate and melodically inventive songs that he has orchestrated for a most unusual but oh-so effective ensemble of musicians featuring drums, bass, keyboards, violin, cello, clarinet and flute. This is Chamber music for the 21st Century, and it simply sparkles."

-Greg Haymes, The Times Union

"Eric Margan's songs and aesthetic are from another time: His musical influences seem drawn entirely from before he was born. His jazz-leaning, ornate, orchestral pop is unlike anything that's come out of the Capital Region in as long as we can remember, and the band's busy gig schedule has amassed them a devoted, even defensive, fan base. Trust us: This band will be going places."

-John Brodeur, Metroland

Eric Margan and the Red Lions will begin touring this spring in support of Midnight Book. The confirmed list of shows is as follows:

February 13, The College of Saint Rose, Albany, NY

February 21, (PRE-CD RELEASE SHOW) The Bowery Poetry Club, New York, NY

March 5, Muddy Cup, Albany, NY

March 13, (CD RELEASE SHOW) Valentines, Albany, NY

March 17, Banjo Jims, New York, NY

March 18-22, SXSW Music Festival, Austin, TX

March 30, The Living Room, New York, NY

April 3, Valentines Upstairs, Albany, NY

April 4, Bard College, Annadale-on-Hudson, NY

More dates will be released at http://www.ericmargan.com

http://www.ericmargan.com/I'll Never Know.mp3



By: Eric de Fontenay
























About the Author:

Collin Raye has released him most recent album entitled Counting Sheep.

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that’s exactly what I must say about this one. There simply isn’t a bad one in the bunch. No fillers here at all.

The nice thing about a CD like this is when the talent is this rich even if Country isn’t your favorite genre you still can’t help but appreciate the greatness of the artist.

If you're even mildly into Country music you'll enjoy this album. Overall Counting Sheep is an outstanding release. I give it my double thumbs up. You will not be disappointed with one single track.

While the entire album is outstanding some of my favorites are track 2 - I’m Gonna Love You, track 8 - Hearts Are For When You Want To Love Someone, and track 11 - Stay Awake

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Counting Sheep. It’s a great track!

Counting Sheep Release Notes:

Collin Raye originally released Counting Sheep on January 25, 2000 on the Sony Wonder label.

CD Track List Follows:

1. Counting Sheep 2. I'm Gonna Love You 3. Blackbird 4. Mother And Father's Prayer, A - (with Melissa Manchester) 5. When You Wish Upon A Star 6. Cool Cat 7. Too Ra Loo Ra Loo Ral (An Irish Lullaby) 8. Hearts Are For When You Want To Love Someone 9. Dream Song, The 10. When You Say Your Prayers 11. Stay Awake

Personnel: Collin Raye, Melissa Manchester (vocals); John Jorgenson (acoustic & electric guitars, mandolin, dulcimer, ukelele, clarinet, tin whictle); Tom Hemby, Dean Parks, Biff Watson (acoustic guitar); Steve Gibson (electric guitar, mandolin); John Hobbs (piano, Hammond B-3 organ, keyboards); Steve Nathan (piano, organ, keyboards, synthesizer); Jim Cox (organ, keyboards); Larry Paxton (acoustic bass); Joe Chemay (bass, background vocals); Lee Sklar (bass); Paul Leim, John Robinson (drums, percussion); Wes Hightower, Dennis Wilson, Liana Manis (background vocals).

Principally recorded at The Tracking Room & Emerald Sound Studios, Nashville, Tennessee; Sony Studios, Santa Monica, California. Includes liner notes by Collin Raye.



By: Clyde Lee Dennis
























About the Author:

Symphony Orchestra or violin is the most popular instruments among the various musical instruments. It is therefore a small part of a large group of instruments that produces great effects while one hears such orchestra. The violin is the smallest of the string instruments but has the highest sound and it is almost three times as many as there are violas or cellos.

The lower string includes the viola that is a bit larger than the violin and very often used in harmony. Sometimes it gets melody but sounds very similar to violin and is tuned one fifth lower. The cello is an octave less than the viola and is played between the knees of the instrumentalist. It is having a mellow sound but doubles the violin's melody very often. The bass is the lowest of the strings and is played standing upright. It has the same strings as the violin but it is in reverse order and several octaves lower.

Except the string instruments, very few people know that what exactly is an orchestra. Woodwind includes the flute, the clarinet, the piccolo, the bassoon, and the oboe. Piccolo is the highest of the woodwinds and is used for solos that are high enough to soar above the orchestra at many times. The flute and clarinet doubles the strings and in the recent times they have more melody. The bassoon is the lowest and is used to add color to the strings at the same time it has a lot of harmony and sometimes double the string parts. Oboe used to be an important part of the orchestra but now it is used very less.

Brass is also an important part of an orchestra and these instruments project quite a bit and are used more often in melodies. French horn is one of the most useful brasses because it easily doubles the rest of the brasses. Trumpet is also well known instrument that is rather high to soar above the orchestra to be heard.

Percussion is also important whereas tympani drum is the most important of all percussion as it provides beat as well as different tones. Snare drums, bass drums, gongs, xylophones, bells, triangles, etc. are also used.

For more information, visit music-future.com



By: Olivia Andrews
























About the Author:

I want to introduct something about Cotton Terry Towels In Solid Colors. Specifications: 1) 100% cotton terry towels in solid colors. 2) Size and weight could as per client's request.Packing: 1pc or 1doz/polybag, suitable qty/carton with each towel 1 printed washing label, bar code label.

T Shirt

Studio album by Loudon Wainwright III

Released

1976

Genre

Folk

Label

Arista Records

Producer

Loudon Wainwright III

Professional reviews

Allmusic link

Robert Christgau (B+) link

Loudon Wainwright III chronology

Unrequited(1973)

T Shirt(1976)

Final Exam(1978)

T Shirt is a 1976 album by Loudon Wainwright III. Unlike his earlier records, this (and the subsequent 'Final Exam') saw Wainwright adopt a full blown rock band (Slowtrain) - though there are acoustic songs on T-Shirt, including a talking blues. Nevertheless it had the misfortune to arrive on the scene at the same time as punk rock, making it immediately dated in the eyes of many critics. According to Wainwright on the 2006 CD liner notes, it received a scathing review from Rolling Stone Magazine which depressed him so much he stayed in bed for five days. By the early 1990's he disowned the album in a radio interview broadcast in Australia. However, by the time of the CD remaster (which included Final Exam) he admitted to a much more sympathetic view of the album(s).

Track listing

All tracks composed by Loudon Wainwright III; except where indicated

"Bicentennial"

"Summer's Almost Over"

"Hollywood Hopeful"

"Reciprocity"

"At Both Ends"

"Wine with Dinner"

"Hey Packy" (George Gerdes)

"California Prison Blues"

"Talking Big Apple '75"

"Prince Hal's Dirge"

"Just Like President Thieu"

"Wine with Dinner (Night Cap)"

Personnel

Loudon Wainwright III - guitar, vocals

Richard Davis - bass

Hank Jones - keyboards

David Sanborn - saxophone

Marvin Stamm - horn

Jimmy Maelen - conductor

Elliott Randall - guitar

David Taylor - trombone

Eric Weissberg - banjo

Charlie Brown - guitar

Jeanie Arnold - vocals

Jon Cobert - vocals

Joe Cocuzzo - drums

Kenny Kosek - violin

Richard Crooks - drums

John Crowder - bass

Ron Getman - steel guitar

Don Hammond - recorder

Peter Labarbera - background vocals

John Lissauer - clarinet

George Marge - recorder

Irwin "Marky" Markowitz - horn

Charlie Messing - guitar, vocals

Gwynne Michaels - vocals

Glen Mitchell - keyboards, vocals

Paul Prestopino, Maggie & Terre Roche - vocals

Christie Thompson - vocals

Stephen Tubin - keyboards

Joanne Vent - vocals

Release history

LP: Arista AL4063 (U.S.)

LP: Arista RTY127 (UK)

References

"Prince Hals Dirge" is a reference to Henry IV, Part II by Shakespeare

"Just Like President Thieu" references South Vietnam's recently deposed Prime Minister Nguy?n V?n Thi?u

"Bicentennial" is a sarcastic reference to the USA's upcoming 'birthday', where Wainwright celebrates heroes like Jack Ruby

"California Prison Blues" is a time capsule, referencing Charles Manson, 'Squeaky' Lynette Fromme, Patty Hearst (and her father), Timothy Leary, and Eldridge Cleaver.

"Wine with Dinner" mentions Dean Martin and Foster Brooks

v?d?eLoudon Wainwright III

Albums

Loudon Wainwright III Album II Album III Attempted Mustache Unrequited T Shirt Final Exam A Live One Fame and Wealth I'm Alright More Love Songs Therapy History Career Moves Grown Man Little Ship BBC Sessions Social Studies Last Man on Earth So Damn Happy Here Come the Choppers Strange Weirdos Recovery

Compilations

Fame and Wealth / I'm Alright One Man Guy: The Best of Loudon Wainwright III 1982-1986

TV/Film

M*A*S*H The T.V. Show The Slugger's Wife Jacknife 28 Days Undeclared Big Fish The Aviator The 40-Year-Old Virgin Elizabethtown For Your Consideration Knocked Up G-Force

Family

Rufus Wainwright Martha Wainwright Sloan Wainwright Lucy Wainwright Roche Loudon Wainwright, Jr.

Categories: Loudon Wainwright III albums | 1976 albums | Arista Records albums(and so on) To get More information , you can visit some products about leather chopper wears, wholesale lacoste polos, . The Cotton Terry Towels In Solid Colors products should be show more here!



By: himfryang
























About the Author:

Family time is a precious commodity, and it's hard to find something the whole family can do together. For music lovers both young and old, traveling to music camp often means leaving loved ones behind. Wouldn't it be great to, instead, bring them along for the adventure?

The Country Dance and Song Society (CDSS) offers Family Weeks at three different camps -- Pinewoods near Plymouth, Massachusetts; Timber Ridge in West Virginia; and Ogontz in New Hampshire's White Mountains -- that provide a folk music vacation for the entire family.

“Family Week tends to draw people with a high level of interest in dancing or music making or both," says Mitzie Collins, 66, of Rochester, New York, who has attended Family Week for many years both as an instructor and as a participant.

It was thanks to Collins and other like-minded musicians that Family Week began. A hammered and mountain dulcimer teacher, Collins frequented adult camps organized by CDSS, and she and other musical parents found themselves saying, "Gosh, we're having such a good time. Wouldn't it be great if our kids could do this?"

They approached CDSS management, which was initially concerned about how kids could be integrated into a camp. But it was the 1970s and change was in the air. CDSS, and some interested campers, came up with a structure and Family Week was born.

Back then, Collins only wanted to share her love for music with her family. She had no idea how quickly Family Week would blossom into something truly extraordinary.

Sweetness and Loveliness

“At an adult camp you are a little bit self-focused, and at Family Week it's not just about you," says Nawal Motawi, 43, a tile artist from Ann Arbor, Michigan. "There's a sweetness and a loveliness to the people."

Motawi has attended Family Week for about five years, starting when her son, Kitson Dong, was three. "At Family Week we spend a lot of time together and I find I enjoy his company in another way," she says.

Kappy Laning, 51, serves as camp director at Timber Ridge and attends Family Week with a large blended family that includes her husband, Sam Droege, 49; her son, Stuart Hean, 16; two step-daughters, Anna, 14, and Wren, 15; their mom, Romey Pitman, 42; Pitman's husband, Brad Seay, 41; and Pitman and Seay's four-year-old daughter, Bizzy.

Laning, a pediatric nurse from Upper Marlboro, Maryland, first attended a CDSS camp at the suggestion of a friend. "My first camp I was pregnant with my son and I've been coming ever since," she recalls. "My son has grown up in this environment. He's an avid dancer and learning to play guitar."

Romey Pitman went to camp for the first time when Bizzy was two. "It was amazing how much fun I had," she says.

“I love dancing, the music that goes with it, and playing that music," says Pitman. "CDSS camp is a way to share my love of those things with my kids." Pitman's teenage daughters are both involved in music year round. Wren plays tuba and flute and Anna plays clarinet and harmonica.



A Yearly Ritual

Those who have tried CDSS Family Week tend to come back year after year, as they watch their children grow and mature. Families are encouraged to bring whatever instruments they play and everything is organized around making each family member feel like they are part of the group.

Families eat together in a dining hall, often accompanied by live music. Each person is assigned a daily chore and they are requested to attend at least two daily gatherings.

Freelance radio producer Marika Partridge, 52, of Takoma Park, Maryland, says she has attended so many camps with her husband, portrait painter Larry Ravitz, 56; son Chaney, 17; and daughters Sally, 14; and Irene, 13; that she's lost count.

“My son is high functioning autistic with special needs, and when we went to our first camp I didn't know how he would fit in," Partridge recalls. "It's been really great for him and anytime that something is great for him, it's usually great for the rest of us."

Not only has Family Camp become a relaxing time for the whole family, it's helped Chaney discover his sense of rhythm. "Now, everyone in my family is a dancer," says Partridge. "My son plays piano and would like to learn drums. He has a pretty good sense of pitch and he's learning harmony, and the dancing reinforces that." Additionally, Partridge plays piano, tin whistle, and ukulele and her husband plays sax and flute. "My daughter Sally is really blossoming as a guitar player, and plays fiddle and accordion, and Irene is a piano player." The family packs a number of instruments for family week.

For children and adults alike, Family Week is a chance to perform in a friendly environment. "Kids have a chance to join the dance band," says Mitzie Collins. "That's often a real eureka moment because people dance along with their playing and they get to be functioning musicians in the community."

“It's great watching the kids bring their fiddle that they may have started at school and they try it out at camp and become part of the camper band," says Laning. "The next year they come back and they are even better on the instrument, or maybe another instrument."

A Sacred Retreat

Just as campers are encouraged to bring musical instruments they are discouraged from bringing electronic gadgets and video games. And there's no TV and Internet access in the cabins. "CDSS Family Camp is a kind of sacred retreat," explains Collins.

“We're modeling a much healthier way of living," says Partridge. And, although live music from jam sessions and dances can be heard all day long, there are plenty of other activities to keep families busy, such as swimming, canoeing, organized hikes, crafts, and even some built-in time to just read or relax.

“Some of the best times I've ever had were at camp," says Nawal Motawi. "The whole package is fun: being outdoors more than we ever are in our urban life and sharing music with other people."

Learning for Young and Old

Family Week is an educational experience for the entire family and daily classes, divided by age group, are held both in the morning and afternoon.

“All children are required to go to the classes and the teachers are top-notch and experienced," says Laning. "In all my years at the camp I've never had a child refuse to go. We always find a way for it to work out and everyone ends up having a great time."

For younger children classes begin at age two and focus on singing, movement, dancing, and crafts. From age eight and nine children begin to learn clogging, body rhythm, social dances, and longsword.

“It's brain gym; all the dances and movement patterns they are getting out of this are vital for the development of the brain," says Partridge. "The teachers watch the children and they know who needs extra help."

Ten to 12-year-olds sing, dance, and clash sticks together, while learning about music around the world. Adult classes, for age 13 and older, include contra, clog, and swing dance, longsword, family band for ages 10 and up, mummers, and harmony.

“It's great for grown-ups, as well as children," says Partridge, whose husband has early onset Parkinson's. "He's in good shape, but the dancing is great for him. It's healthy for all of us and uses all our faculties."

“A lot of times we send our kids off to do wonderful things, all the while they are thinking, 'If it's so wonderful, why aren't the grownups doing it?' says Collins. "The kids see that this is important enough for grownups to do too. It also provides a wonderful model for doing things with their own families."

The camp is a particularly great experience for teenagers, who are treated as adults and learn social skills, alongside musical skills, which carry over into their home life. Collins stresses that this is especially useful as the teenage years are often the time when we "lose" our children.

“Kids don't get to talk to adults that much," she explains. "At camp they get an appreciation for other capable adults who are not critical of them and see them as separate people. That's particularly important for teens."

“My teenage daughter told me that it's the only place where she feels she can just completely be herself," says Romey Pitman. "They don't have to act cool and tough the way they do at school; they are full participants in the adult community. They play music and dance with the grownups, but they also play with the little kids and look out for them. All the ages are engaged in such a healthy way."

Total Immersion in Music

Each evening at 8:30 p.m. a guitarist leads all those children under age 10 to their cabins for bedtime. Once they are safely tucked in bed, parents are free to return to the dancing and live music, while roving babysitters monitor the children.

“It's a great vacation for a mom," says Partridge. "Live music, dancing, wholesome activities, really nice people, and the community is fantastic."

CDSS's staff of professional musicians and music teachers interact with camping families in every aspect of the camp, including bringing their own families along to camp.

“Music is integral to everything we do at camp," says Laning. "We are spoiled by the live music at camp. We appreciate the musicians who are performing and we are also inspired by them."

“You can join the band or just sit around and play," says Partridge. "If you are a younger player who wants to learn something new, the musicians always, always take time to do that."

She has fond memories of jamming poolside with Family Camp teacher David Cantieni, a flutist from the group Wild Asparagus. "I play the ukulele and he tells me what I could be doing to accompany him," says Partridge. "He's teaching me tunes and strums and I'm really coming along because of this informal work."

“There could be a craft project going on and nearby people are jamming," explains Collins. "So the kids are hearing music while they are doing other things. That's so valuable. There are lots of ways to teach music. You can teach it in a classroom, but people all over the world learn music more from just being around it. This is a more organic way."

“My favorite part is the multisensory nature of it," she adds. "You are in a pine woods, away from the world and yet you are immersed in music and dance. I go to a lot of different music festivals, but rarely am I so immersed."

Musical Legacy

Many of the adults who bring their children to Family Camp see it as a way of passing down the tradition of folk music and dancing. "This folk world is such a healthy world," says Laning. "At camp the children learn that it's a wonderful community and they have a tendency to either stick with it or stick close to it as they grow up."

“We were not thinking generationally back when Family Camp started, but we are definitely thinking generationally now," says Collins. "There are a lot of gray hairs in any cultural activity today. You tend to get a lot of people in their 40s and 50s, which is wonderful for them but doesn't address the next generation."

And Family Week's generational thinking seems to be working. "Any number of kids who went to the early camps are now back on staff, running camps, and having their own children attend," says Collins.

Collins and her husband do their part to pass the tradition of folk music to the next generation, they are now bringing their grandchildren to camp each summer. "We come with a slightly changing cast each year," says Collins. "We may have two or three generations."

“What's really neat for us, where our grandchildren are concerned, is that we get to be around them and learn a lot about them outside of ceremonial occasions," she says. "But yet they are not with us all the time."

"We have the best, silliest whole week," says Partridge. "We get to enjoy music, dancing, singing, and we even have a parade. We come home with songs stuck in our heads ... It's pure joy!"

For more information visit the country dance and song society website at www.cdss.org or view Making music's calendar of Music camps at makingmusicmag.com/calendar/camps.html.



By: MakingMusicMag.com
























About the Author:

Whenever I go to an Indian wedding, I remember an old Hindi song from a film called “Yadon ki Baarat”, that was always played by the local glitzy wedding band in my childhood, “Kya huan tera vada.” Loosely translated in English it means, “What happened to your promise?” But, that’s cynical….young love is beautiful to watch.

Today I went to a cross-cultural Indian wedding, the groom was Marwari, and the bride Parsi. They were a good looking, young couple in love. It was nicely mixed up, it had the local glitzy band, the government marriage registrar, exchange of garlands and rings and a “you may now kiss the bride.” Nice!

The wedding time was supposed to be 12.15 in the afternoon. But, the “baaraat” or the wedding party left from the house, which was precisely a 5 minute walk from the venue of the wedding, at 12 noon, so the entire schedule went haywire. It took them one and a half hours to cover this tiny distance. On the way, the “baaraatis” or the grooms family and friends danced to the tune of tinny, happy sounding band, under the blazing hot sun. This is one of the busiest roads of the city, in one the most hip areas

Now I come from a Bengali background, and my own wedding was a staid affair – no “band baja” fellows with their clarinets and drums. As a young woman, I would have been embarrassed being seen with a brassy band like this, but now it was fascinating. People dancing across the streets with the wedding bands are a common enough thing here, for the first time I danced with one, and it was fun.

The band to say the least was loud, and out of tune. Their favorite tune was an ancient hit called “An evening in Paris,” They also played some other stuff, including a slightly unrecognizable version from a newer film called “Salam-e-ishk.” Its only when they played the main chorus did I recognize it. The women and the men danced, the father and the mother of the groom, his brother, cousins, their wives, friends and your truly too. I must add there were gorgeous, well toned, woman dancing most beautifully, though the men boisterously dominated the scene. Even the groom joined us after a while, there’s nothing like dancing before getting married, is there?

These wedding band musicians were malnourished and poverty stricken, so for them playing loudly for over an hour can be taxing. To keep them going money was flashed by the brothers of the groom. For the band guys it was big money, they would eye the mullah and play a little louder. The tunes would get tuneful while the drummer set up quite a beat. Live music in any form is great, so everyone would dance wildly. As soon as they would fall a little flat again, the money was flashed, and the band would perk up and get going.

A blind beggar came towards us celebrators and tapped his stick hard. To shoo him off and perhaps to get a minuscule blessing, he was quickly given some money. Everybody looked at us; though most cursed us for the traffic jam we had caused with our exuberance. Everybody was happy at this moment, especially the groom-no trepidations in his heart.

The wedding venue was a five star hotel, which would not allow such a riff-raff band in its lobby. Just before entering this elegant place, the band raised up the volumes as more spare cash floated their way. Finally, the scratchy clarinet shut up and the drummer shook up quite a beat. Everyone did their most inelegant steps, before they got in to a more formal place.

Then the band stopped, much to my regret. This was a big wedding, and I hope they made good money. Cheers to them!

While I was watching the general merriment of this wedding, I just hoped that this young couple would stay forever in love, and don’t fall prey to cynicism that life brings with it. We are creatures who are perhaps not meant to be alone…may the joy of the band live with them forever.



By: Shyama Dutta
























About the Author:

Lesser Known Voices of 2008

By Jason Goldtrap 12.10.08

As the year draws to a close, let us remember the lesser known voices of 2008; those who contributed to American culture.   Maudie Hopkins, 93, was America's last Civil War widow.  Harry Richard Landis, 108, American's second to last World War 1 vet. Jacob DeShazer, 95, participated in the Doolittle Raid.  RAF pilot Bertram James, 92, survived "The Great Escape" which was planned by Eric Dowling, 92.   Col. Donald Blakeslee, 89, flew more missions against the Luftwaffe than any other American fighter pilot.  Joseph M. Juran, 103, was a quality control innovator in post-war Japan.

Dirth Pran, 65, Cambodian born American journalist, survivor of the Killing Fields.  Frank Piasecki, 88, invented the tandem rotor placement for Chinook helicopters.  Col. John Ripley, 69, prevented an attack by 20,000 enemy troops by blowing up the Dong Ha Bridge.  Bernie Boston, 74, took a photo in 1967 of a protestor placing a carnation in the barrel of a riffle. Maj. Andrew J. Olmsted, 37, was an Army blogger from Iraq.

David Kahn, 98, wrote the theme to "Leave It to Beaver," Bob LeMond. 94, was the announcer.  Earl Hagen, 88, composed the theme for "The Andy Griffith Show."  Shell Kepler, 49, played Nurse Vining on "General Hospital."  Manuel Padilla Jr., 51, was a Pharaoh in "American Graffiti."  Dick Martin, 86, co-hosted "Laugh-In."  Rob Knox, 18, is in the upcoming "Harry Potter and the Half-Blood Prince."

Richard Wright, 65, co-founded Pink Floyd.  John Stewart, 68, sang with The Kingston Trio which was co-founded with Nick Reynolds, 75.  Larry Norman, 60, Christian rock pioneer.  Dottie Rambo, 74, was a gospel singer.  Paul Davis, 60, confessed "I Go Crazy (You know when I look in your eyes)."  Mike Smith, 64, sang for The Dave Clark Five.  Jerry Wallace, 79, walked down "Primrose Lane." Jim Hagar, 61, sang on "Hee Haw."  Dennis Yost, 65, sang "Spooky" with the Classics IV.  Gloria Shayne Baker, 84, wrote "Do You Hear What I Hear?"

Norman "Hurricane" Smith, 85, "Oh Babe, What Would You Say?"  Rod Allen, 63, of The Fortunes sang "You've Got Your Troubles (I've Got Mine)."  Lita Roza, 82, sang "How Much is that Doggie in the Window?"

Maharishi Mahesh Yogi, 91, Beatles guru.  Levi Stubbs, 72, of the Four Tops sang "Baby I Need Your Lovin'." 

Cliff Nobel, 64, had an instrumental hit in 1968, "The Horse."  Al Gallodoro, 95, played a soulful clarinet introduction to "Rhapsody in Blue."  LeRoi Moore, 46, saxophonist, Dave Matthews Band. Mitch Mitchel, 62, played drums on "The Wind Cries Mary."  Don Helms, 81, played steel-guitar in "Your Cheatin' Heart."

Kurt Eberling, Sr., 77, invented SpaghettiOs.  Herb Peterson, 89, invented the Egg McMuffin.  Al Copeland, 64, founded Popeyes Chicken.  Lovie Yancey, 96, founder of Fatburger.  Carl Karcher, 90, founded Carl's Jr..  Irv Robbins, 90, co-founded of Baskin-Robbins.  Fred Baur, 89, invented the Pringles can.  Wilbur Hardee, 89, founded Hardees.

Joan Winston, 77, helped organize the first "Star Trek" convention.  Alexander Courage, 88, wrote the theme for "Star Trek" and even made the "Whoosh" sound as the Enterprises passes.  Ray Ellis, 82, composed the music for the animated series.  Dr. Alvin Marks, 97, gave us 3D glasses. Ben Chapman, 79, The Creature from the Black Lagoon.  Gary Gygax, 69, co-creator of "Dungeons and Dragons"

Harry Lange, 77, designed a future that should have been in "2001: A Space Odyssey."  Roy Scheider, 75, and Natasha Shneider, 52, shared a tender scene as the spaceship Leonov air-braked around Jupiter in "2010".  Maila Nurmi, 86, was Vampira in "Plan 9 from Outer Space", a film partially financed by Reverend Lynn Lemon, 90, Baptist minister in Hollywood.  Roberta Collins, 64, was Matilda the Hun in "Death Race 2000."  John Phillip Law, 70, was the angel Pygar in "Barbarella."  Beverly Gardland, 82, was in "The Alligator People" whose score was composed by Irvng Gertz, 93.  Priscilla Allen, 70, said "Get ready for a surprise" in "Total Recall."

Derek Wadsworth, 69, wrote the theme to "Space: 1999" which starred Barry Morse, 89.  Neal Hefti, 85, composed the "Batman" theme.  Forrest J. Ackerman, 92, published Famous Monsters of Filmland magazine.   Don Davis, 65, was Gen. Hammond on "Stargate SG-1."  Stan Winston, 62, amazed Sci-fi fans with his monstrous make-up.

David Groh, 68, Joe Gerard on Rhoda.  Christopher Allport, 60, appeared in Mad Men.  Lois Nettleton, 80, was more than just "A Face in the Crowd."  Allan Melvin, 84, was Sam the Butcher in "The Brady Bunch."  Joy Page, 83, was Annina Brandel in "Casablanca."  Nina Foch, 84 was in "Executive Suite."  Robert J. Anderson, 75, was a young George Bailey in "It's A Wonderful Life."  Mel Ferrer, 90, was Paul Berthalet in "Lili."  Charles H. Gray, 86, was Clay Forrester in "Rawhide."  Julius Carry, 56, was Lord Bowler in "The Adventures of Brisco County Jr.".  Larry Haines, 89, was Stu Bergman on "Search for Tomorrow."  Estelle Reiner, 94, said "I'll have what she's having."

Steve Gerber, 60, created Howard the Duck.  The classic arcade game "Paperboy" was developed by Mark Haigh-Hutchinson, 43.  Ollie Johnston, 95, was the last of Walt Disney's "Nine Old Men."  Kermit Scott, 71, was a philosophy professor and namesake of Kermit the Frog, who was designed by Kermit Love, 91.  Dick Sutcliffe, 90, created "Davey and Goliath."     Ted Key, 95, created the cartoon "Hazel."  Michael Silberkleit, 76, published "Archie" comics.  Irving Belcher, 94, helped write the screenplay for "The Wizard of Oz."  Wonderful Smith, 97, gave directions for Spinal Tap to get to the stage.

Margaret Truman, 83, was a novelist and the daughter of President Harry Truman.  Secret Service agent, Floyd Boring, 92, helped foil Truman assassination attempt.  Hamilton Jordan, 63, was Jimmy Carter's Chief of Staff. Ike Pappas, 75, "There's a shot! Oswald has been shot!"  Cecil W. Stoughton, 88, photographed Lyndon Johnson's swearing-in aboard Air Force One in Dallas.  Marty Kenney, 90, was a beloved caller on the Sean Hannity Show.

John Archibald Wheeler, 96, coined the term "black hole."  Michael Golomb, 98, was one of the first mathematicians to apply normed vector spaces in numerical analysis. (I dunno what that is either.)  Richard Knerr, 82, invented the Frisbee.  Philip Saffman, 76, advanced fluid mechanics.  Hugh Butt, 98, treated hemorrhaging with Vitamin K.  Robert Nason Beck, 80, helped give us the CAT Scan. Andrew McKelvey, 74, helped found Monster.com.  Carl D. Keith, 88, co-invented the catalytic converter.

Dick Barrymore, 74, filmed skiing.  Hugh Bradner, 92, invented the wet suit.  Bud Browne, 96, filmed surfers.  Ralph White, 66, filmed the wrecked Titanic.   Mildred Callahan Jones, 64, brought us decorative flags.  John Burnside, 91, gave us the teleidoscope.

Louis Teicher, 83, popularized classical piano.  Larry Harmon, 83, was Bozo the Clown. Don LaFontaine, 68, was "the voice" of innumerable movie trailers. Bill Melendez, 91, was the voice of Snoopy.

Marie Smith Jones, 89, was the last known speaker of the Eyak language.  Sandy Allen, 53, stood 7 ft. 7 inches.  Jorn Utzon, 90, designed the Sydney Opera House.  Christopher Bowman, 40, was an Olympic figure skater.  Brandi Hawbaker, 26, played in the 2007 World Series of Poker.  Frank Rosenthal, 79, was a colorful Vegas sports handicapper and talk show host.

Joyce Carloson, 84, designed the dolls for It's a Small World.  Robin Moore, 82, authored The French Connection.  James L. Sorenson, 86, invented disposable surgical masks. David Watkin, 82, brought soft light to cinematography.  John McWethy, 60, was a fixture for ABC News.  Ruth Peale, 101, was Norman's bride.  Gay Severin, 81, designed space suits for Cosmonauts.  Aeronautics hero Steve Fossett, 63, declared dead Feb. 15. 



By: Jason Goldtrap
























About the Author:

The exceptionally talented Rock group Dave Matthews Band have released their CD entitled Everyday. I am very confident and happy to announce that I believe Dave Matthews Band fans, and Rock fans alike will be pleased with this one. With the release of Everyday their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that’s exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

Listen to this CD and I believe you’ll find there's not much to dis-like about it. The songs are inspired, the production is simply outstanding, and this is clearly the work of a group of musicians in top form. So much so that if you're even mildly into Rock music you'll enjoy this album.

While the entire album is really very good some of my favorites are track 1 - I Did It, track 2 - When The World Ends, and track 12 - Everyday

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 4 - Dreams Of Our Fathers. This is a great track!

Everyday Release Notes:

Dave Matthews Band originally released Everyday on February 27, 2001 on the RCA Records label.

CD Track List Follows:

1. I Did It 2. When The World Ends 3. Space Between, The 4. Dreams Of Our Fathers 5. So Right 6. If I Had It All 7. What You Are 8. Angel 9. Fool To Think 10. Sleep To Dream Her 11. Mother Father 12. Everyday

Dave Matthews Band: Dave Matthews (vocals, acoustic & electric guitars, baritone guitar); Leroi Moore (flute, contra bass clarinet, alto & tenor saxophone, background vocals); Boyd Tinsley (violin, background vocals); Stefan Lessard (electric bass); Carter Beauford (vibraphone, drums, bongos, congas, background vocals). Additional personnel: Vusi Mahlasela (vocals); Carlos Santana (electric guitar); Glen Ballard (keyboards, programming). Recorded at Conway Studios, Hollywood, California.



By: Clyde Lee Dennis
























About the Author: