Archive for the ‘Music’ Category


Hip hop is a form of musical expression and artistic subculture that originated in African-American and Hispanic-American communities during the 1970s in New York City, specifically within the Bronx. The term often refers to hip hop music, which consists of poetry that is spoken – rather than sung – over either original or sampled instrumental recordings mixed with new original sounds from drum machines, and/or other instruments. However, the culture has expanded far beyond its original roots, and now is considered a worldwide subculture comprising rapping, DJing, hip hop dance, and graffiti art – known collectively as “Four Pillars of Hip Hop”.

The block parties of DJ Kool Herc at 1520 Sedgwick Avenue, where Herc would mix samples of existing records with his own shouts to the crowd and dancers, are generally considered the birthplace of hip hop. Kool Herc is credited as the ‘father’ of the art form. DJ Afrika Bambaataa of the hip-hop collective Zulu Nation outlined the four pillars of hip hop culture: MCing, DJing, B-boying and graffiti writing. Since its emergence in the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world. Hip hop music first emerged with Kool Herc and contemporary disc jockeys and imitators creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by “rap”, a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ’s. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture.

The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop were evolving as art forms, with a heavy overlap between those who wrote graffiti and those who practiced other elements of the culture. Today, graffiti remains part of hip hop, while crossing into the mainstream art world with renowned exhibits in galleries throughout the world.

Hip Hop is simultaneously a new and old phenomenon. It follows in the footsteps of previous American musical genres like Blues, and its equivalents jazz and rock roll. Where it differs from its predecessors is in the range of distinct art forms (MC-ing, DJ-ing, B-Boying, Graffiti and their derivatives) generated in the culture, and in the fact that, for the first time, its architects control its dissemination, whereas its predecessors have been integrated into the mainstream, the most pertinent example being Rock & Roll. At its best, Hip Hop has given a voice to the voiceless & showcased their artistic ingenuity and talent on a global scale; at its worst Hip Hop has mirrored the worst aspects of the mainstream culture that it once challenged: materialism, sexism, homophobia, an internalized racism and an apathy towards intellectualism (the most crucial element in the culture according to its most celebrated founder Afrika Bambataa).


Woodstock

Posted: November 13, 2011 in Cool, Entertainment, History, Legendary, Music

Woodstock Music & Art Fair (informally, Woodstock or The Woodstock Festival) was a music festival, billed as “An Aquarian Exposition: 3 Days of Peace & Music”. It was held at Max Yasgur’s 600-acre (2.4 km²; 240 ha, 0.94 mi²) dairy farm in the Catskills near the hamlet of White Lake in the town of Bethel, New York, from August 15 to August 18, 1969. Bethel, in Sullivan County, is 43 miles (69 km) southwest of the town of Woodstock, New York, in adjoining Ulster County.

During the sometimes rainy weekend, thirty-two acts performed outdoors in front of 500,000 concert-goers. It is widely regarded as one of the most pivotal moments in popular music history and was listed among Rolling Stone’s 50 Moments That Changed the History of Rock and Roll.

The event was captured in the 1970 documentary movie Woodstock, an accompanying soundtrack album, and Joni Mitchell’s song “Woodstock” which commemorated the event and became a major hit for Crosby, Stills, Nash & Young.

100 Life Tips by The Beatles

Posted: October 2, 2011 in Cool, Creative, Life, Music

Fender

Posted: September 27, 2011 in Cool, Fact, History, Industries, Legendary, Music

Fender Musical Instruments Corporation, commonly referred to as simply Fender, of Scottsdale, Arizona is a manufacturer of stringed instruments and amplifiers, such as solid-body electric guitars, including the Stratocaster and the Telecaster. The company, previously named the Fender Electric Instrument Manufacturing Company, was founded in Fullerton, California, by Clarence Leonidas “Leo” Fender in 1946.[1] Leo Fender also designed one of the first commercially successful solid-body electric basses, the Precision Bass (P-Bass), which has become known in rock, jazz, country, Motown, funk, and other types of music.

The company is a privately held corporation, with the controlling majority of its stock owned by a group of its own company officers and managers. Larry Thomas is Chief Executive Officer and James Broenen is Chief Financial Officer.

Fender’s headquarters is in Scottsdale, Arizona with manufacturing facilities in Corona, California (USA) and Ensenada, Baja California (Mexico).

Fender offered the first mass-produced solid-body Spanish-style electric guitar, the Telecaster (originally named the ‘Broadcaster’; ‘Esquire’ is a single pickup version)[2] the first mass-produced electric bass, the Precision Bass (P-Bass); and the popular Stratocaster (Strat) guitar. While Fender was not the first to manufacture electric guitars, as other companies and luthiers had produced electric guitars since the late 1920s, none was as commercially successful as Fender’s. Furthermore, while nearly all other electric guitars then were either hollow-body guitars or more specialized instruments such as Rickenbacker’s solid-body Hawaiian guitars, Fender had created versatile solid-body electric guitars. These guitars were and still are popular for musicians in a variety of genres. Many bands still use Fender guitars today. Some notable Fender players were Jimi Hendrix, Ritchie Blackmore, Yngwie Malmsteen, Waylon Jennings, Kurt Cobain, George Harrison, John Frusciante, Keith Richards, Bruce Springsteen, Hank Marvin, Eric Clapton, Mark Knopfler, David Gilmour, Charles Brown, and others.

The company also makes and / or distributes acoustic guitars, electric basses, mandolins, banjos, and electric violins, as well as guitar amplifiers, bass amplifiers, and PA (public address) equipment. Other Fender brands include Squier (entry level/budget), Guild (acoustic and electric guitars and amplifiers), SWR (bass amplification), Passport Tacoma, Jackson, Charvel, Gretsch guitars and collaborated with Eddie Van Halen to make the EVH guitars and amplifiers.

On February 11, 1994 the Fender manufacturing plant based in Ensenada, Mexico burned down. Fender President Bill Shultz decided to temporarily move production from the Mexico plant to the U.S. plant. These Fender guitars are fairly rare and can be identified by the unique serial number.

On October 28, 2007, Fender announced its intention to buy Kaman Music Corporation (owners of Hamer Guitars, Ovation Guitars, Genz Benz amplifiers, Gibraltar Hardware, along with many others, and exclusive distributor for Sabian cymbals and Takamine Guitars).

Other Fender instruments include the Mustang, Jazzmaster, Jaguar, Starcaster, Duo-Sonic, Telecaster, Stratocaster, Toronado and Bronco guitars; basses such as the Jazz Bass, the ‘Telecaster Bass’ reissue of the original 1950s Precision Bass; a line of lap steels; three models of electric violin, and the Fender Rhodes electric piano.

The company began as Fender’s Radio Service in late 1938 in Fullerton, California, USA. As a qualified electronics technician, Leo Fender had been asked to repair not only radios, but phonograph players, home audio amplifiers, public address systems and musical instrument amplifiers. (At the time, most of these were just variations on a few simple vacuum-tube circuits.) All designs were based on research developed and released to the public domain by Western Electric in the ’30s, and used vacuum tubes for amplification. The business also sidelined in carrying records for sale and the rental of self-designed-and-built PA systems. Leo became intrigued by design flaws in current musical instrument amplifiers, and he began custom-building a few amplifiers based on his own designs or modifications to designs.

By the early 1940s, he had partnered with another local electronics enthusiast named Clayton Orr “Doc” Kauffman, and together they formed a company named K & F Manufacturing Corp. to design, manufacture and sell electric instruments and amplifiers. Production began in 1945 with Hawaiian lap steel guitars (incorporating a patented pickup) and amplifiers, which were sold as sets. By the end of the year, Fender had become convinced that manufacturing was more profitable than repair, and he decided to concentrate on that business. Kauffman remained unconvinced, however, and they had amicably parted ways by early 1946. At that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947.

The first big series of amplifiers were built in 1948. These were known as tweed amps, because they were covered in the same kind of cloth used for luggage at the time. These amps varied in output from 3 watts to 75 watts. This period was one of innovation and changes; While Leo made a Tweed Princeton in 1948 for his Professional 8 string Lap Steel guitar [very short lived, as later he would focus on 6 string Student models] later the Princeton would become a push-pull class AB tube amp, in 1948 it was a single ended Class A amplifier similar to the Fender Champ, with the output transformer mounted to the speaker frame and bereft of any negative feedback. Also, in 1964, the Tweed Champ amp would be reissued in black tolex in small numbers along with the newer model with the slant front panel and controls; the stacked plywood boxes Leo used often went uninventoried. In late 1963, he found a couple hundred Tweed Champ chassis boxes in these bins. He had had them chromed and printed in 1958; being frugal, he built them in black tolex with a chrome and black Champ nameplate, as he had money tied up in them already.

Fender moved to Tolex coverings for the brownface amps in 1960, with the exception of the Champ which kept its tweed until 1964. Fender also began using Oxford, Utah and CTS speakers interchangeably with the Jensens; generally the speaker that could be supplied most economically would be used. Jensens and Oxfords remained the most common during this period. By 1963 Fender amplifiers had a black Tolex covering, silver grille cloth, and black forward-facing control panel. The tremolo was changed to a simpler circuit based on an optical coupler and requiring only one tube. The amps still spanned the spectrum from 4 watts to 85, but the difference in volume was larger, due to the improved, clean tone of the 85w Twin.

Fender owed its early success not only to its founder and talented associates such as musician/product engineer Freddie Tavares but also to the efforts of sales chief, senior partner and marketing genius Don Randall. According to The Stratocaster Chronicles (a book by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108), Mr. Randall assembled what Mr. Fender’s original partner Doc Kauffman called “a sales distributorship like nobody had ever seen in the world.” Randall worked closely with the immensely talented photographer/designer Bob Perine. Their catalogs and ads — such as the inspired “You Won’t Part With Yours Either” campaign, which portrayed people surfing, skiing, skydiving, and climbing into jet planes, all while holding Jazzmasters and Stratocasters — elevated once-staid guitar merchandising to an art form. In Fender guitar literature of the 1960s, attractive, guitar-toting teenagers were posed with surfboards and Perine’s classic Thunderbird convertible at local beachside settings, firmly integrating Fender into the surfin’/hot rod/sports car culture of Southern California celebrated by the Beach Boys, beach movies, and surf music. (The Stratocaster Chronicles, by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108). This early success is dramatically illustrated by the growth of Fender’s manufacturing capacity through the 1950s and 1960s.

In early 1965, Leo Fender sold his companies to the Columbia Broadcasting System, or CBS for $13 million.[3] This was almost two million more than they paid for The New York Yankees a year before. CBS entered the musical instruments field by acquiring the Fender companies (Fender Sales, Inc., Fender Electric Instrument Company, Inc., Fender Acoustic Instrument Company, Inc., Fender-Rhodes, Inc., Terrafen, Inc., Clef-Tronix, Inc., Randall Publishing Co., Inc., and V.C. Squier Company), as well as Electro-Music Inc. (Leslie speakers), Rogers drums, Steinway pianos, Gemeinhardt flutes, Lyon & Healy harps, Rodgers (institutional) organs, and Gulbransen home organs.

This had far-reaching implications. The sale was taken as a positive development, considering CBS’s ability to bring in money and personnel who acquired a large inventory of Fender parts and unassembled guitars that were assembled and put to market. However, the sale also led to a reduction of the quality of Fender’s guitars while under the management of “cost-cutting” CBS. Several cosmetic changes occurred after 1965/1966, such as a larger headstock shape on certain guitars. Bound necks with block shaped position markers were introduced in 1966. A bolder black headstock logo, as well as a brushed aluminum face plate with blue or red labels (depending the model) for the guitar and bass amplifiers became standard features, starting in 1968. These cosmetic changes were followed by a new “tailless” Fender amp decal and a sparkling orange grillcloth on certain amplifiers in the mid-1970s. Regarding guitars, in the early 1970s the usual four-bolt neck joint was changed to one using only three bolts, and a second string tree for the two middle (G and D) strings was added in late 1972. These changes were said to have been made to save money: while it suited the new ‘improved’ micro-tilt adjustment of the neck (previously requiring neck removal and shimming), the “Bullet” truss-rod system, and a 5-way pickup selector on most models, it also resulted in a greater propensity toward mechanical failure of the guitars.

During the CBS era, the company did introduce some new instrument and amplifier designs. The Fender Starcaster was particularly unusual because of its semi-hollow body design, still retaining the Fender bolt-on neck, and a completely different headstock. The Starcaster also incorporated a new Humbucking pickup designed by Seth Lover. This pickup also gave rise to 3 new incarnations of the classic Telecaster. Though more recent use by Jonny Greenwood of Radiohead has raised the Starcaster’s profile, CBS-era instruments are generally much less coveted or collectable than the “pre-CBS” models created by Leo Fender prior to selling the Fender companies to CBS in 1965.

The culmination of the CBS “cost-cutting” may have occurred in 1983, when the Fender Stratocaster received a short-lived redesign lacking a second tone control and a bare-bones output jack, as well as redesigned single-coil pickups, active electronics, and three push-push buttons for pickup selection (Elite Series). Additionally, previous models such as the Swinger (also known as Musiclander) and Custom (also known as Maverick) were perceived by some musicians as little more than attempts to squeeze profits out of factory stock. The so-called “pre-CBS cult” refers to the popularity of Fenders made before the sale.

After selling the Fender company, Leo Fender founded Music Man in 1975, and later founded the G&L Musical Instruments company, which manufactures electric guitars and basses based on his later designs.

In 1985, in a campaign initiated by then CBS Musical Instruments division president William Schultz (1926–2006), the Fender Electric Instrument Manufacturing Company employees purchased the company from CBS and renamed it the Fender Musical Instruments Corporation. Behind the Fender name, the Fender Musical Instruments Corporation has retained Fender’s older models along with newer designs and concepts.

Fender manufactures its highest quality, most expensive guitars at its Corona factory in California and manufactures a variety of other mid-to-high quality guitars at its Ensenada factory in Baja California, Mexico. Channing Ward is the lead designer of the 2009 Stratocaster. Fender also contracts Asian guitar builders to manufacture Fender guitars and the economy priced entry-level Squier guitars. Older vintage and U.S.A. built Fender guitars are generally the most favoured, but pre-1990 Fender Japan guitars are now highly regarded as well. Fender guitars built in Ensenada, Mexico now fulfill the primary export role formerly held by Japanese made Fenders. Japanese Fenders are now manufactured specifically for the Japanese market, with only a small number marked for export.

Squier was a string manufacturer subsequently acquired by Fender. The Squier brand has been used by Fender since 1982 to market inexpensive variants of Fender guitars intended to compete with the rise of Stratocaster copies, as the Stratocaster was slowly becoming more popular. Squier guitars have been manufactured in Japan, Korea, Mexico, India, Indonesia and China. The Squier name adorns many inexpensive guitars based on Fender designs but with generally cheaper hardware, bridges and electronics.

In recent years, Fender Musical Instruments Corporation has branched out into making and selling steel-string acoustic guitars, and has purchased a number of other instrument firms, including the Guild Guitar Company, the Sunn Amplifier Company, and other brands such as SWR Sound Corporation. In early 2003, Fender Musical Instruments Corporation made a deal with Gretsch and began manufacturing and distributing new Gretsch guitars. Fender also owns: Jackson, Charvel, Olympia, Orpheum, Tacoma Guitars (based in Seattle, WA), Squier and Brand X amps. The Californian guitar giant has recently purchased Kaman Music Corporation, which owns Ovation acoustic guitars, LP and Toca hand percussion products, Gibraltar Hardware, Genz Benz Amplification, Hamer Guitars and is the exclusive U.S. sales representative for Sabian Cymbals and exclusive worldwide distributor of Takamine Guitars and Gretsch Drums.

In February 2007 Fender announced that it would produce an illustrated product guide in place of its traditional annual Frontline magazine. This change was made in large part due to the costs associated with paying royalties in both print and the Internet. With the new illustrated product guide, this removed print issues. The new guide contains its entire range of instruments and amplifiers along with color pictures and basic specifications. The New Fender Frontline In-Home will be produced during the year, keeping customers up to date with new products. These will be available through guitar publications and will be directly mailed to customers who sign up to the Fender website. As well as these printed formats, Fender Frontline Live was launched at the winter NAMM show in January 2007 as a new online reference point, containing information on new products and live footage from the show.

Heavy Metal

Posted: September 14, 2011 in Cool, Movies, Music, Robot, Sex

Heavy Metal is a 1981 Canadian animated film from executive producer Leonard Mogel, who was the publisher of Heavy Metal magazine. With Ivan Reitman producing and Gerald Potterton directing, the work was expedited by having several animation houses working simultaneously on different segments, including CinéGroupe and Atkinson Film-Arts.

The film is an anthology of various science fiction and fantasy stories adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film has a great deal of graphic violence, nudity, and sexuality.

A stand-alone homage titled Heavy Metal 2000 was released in 2000.

You Had A Bad Day

Posted: September 6, 2011 in Music

Where is the moment we needed the most
You kick up the leaves and the magic is lost
They tell me your blue skies fade to gray
They tell me your passion’s gone away
And I don’t need no carryin’ on

You stand in the line just to hit a new low
You’re faking a smile with the coffee you go
You tell me your life’s been way off line
You’re falling to pieces every time
And I don’t need no carryin’ on

Because you had a bad day
You’re taking one down
You sing a sad song just to turn it around
You say you don’t know
You tell me don’t lie
You work at a smile and you go for a ride
You had a bad day
The camera don’t lie
You’re coming back down and you really don’t mind
You had a bad day
You had a bad day

Will you need a blue sky holiday?
The point is they laugh at what you say
And I don’t need no carryin’ on

You had a bad day
You’re taking one down
You sing a sad song just to turn it around
You say you don’t know
You tell me don’t lie
You work at a smile and you go for a ride
You had a bad day
The camera don’t lie
You’re coming back down and you really don’t mind
You had a bad day

(Oooh.. a holiday..)

Sometimes the system goes on the blink
And the whole thing turns out wrong
You might not make it back and you know
That you could be well oh that strong
And I’m not wrong

(yeah…)

So where is the passion when you need it the most
Oh you and I
You kick up the leaves and the magic is lost

Cause you had a bad day
You’re taking one down
You sing a sad song just to turn it around
You say you don’t know
You tell me don’t lie
You work at a smile and you go for a ride
You had a bad day
You’ve seen what you like
And how does it feel for one more time
You had a bad day
You had a bad day