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Greatest Underrated Guitar Players
Ask anybody who the greatest guitar players in the history of rock music are, and youll likely get the standard answers. The big three, Clapton, Beck and Page; certainly Eddie Van Halen; maybe Stevie Ray Vaughn. The metal-heads will cite Randy Rhodes and George Lynch. These are all valid answers, but if you would put forth names like Elliot Easton and Andy Summers, you might be likely to get a blank stare in return. Too often great guitarists are overlooked simply because they lack the flash of a star like Eddie Van Halen or because they are part of a group that simply has an overabundance of talent and they tend to be moved to the background. Take Andy Summers, guitarist for the Police. Everybody knows who Sting is, and there is no doubt that he is tremendously talented, as is drummer Stewart Copeland. As part of that unit, however, Summers was often overlooked. What is so amazing about Andy Summers is not only his command of the instrument, but his overwhelming versatility. From ska to punk to reggae to straight ahead rock and roll, nothing is outside of his ability. His style has been described as minimalist, but that minimalism is a plus, and he is to be credited for not falling prey to his critics and trying to overplay to compensate for a lack of complex layers of sound. Below, in no particular order, Ive listed some of my favorite underappreciated players, and the reasons why I consider them to be great.
Elliot Easton (The Cars): Elliot Easton is probably the greatest reason for the success of The Cars. Without Eastons accessible rock guitar cutting through the synth driven Cars sound, they never would have found the mainstream acceptance that they did. Imagine the spacey pair of Ric Ocasik and Greg Hawkes playing over an equally new-wave influenced guitarist and you have a style of music that would not appeal to people on a large scale. Eastons Buddy Hollyesque sound, however, served to make The Cars commercially viable. My Best Friends Girl from their debut album is an excellent example of how Eastons contribution was essential in creating hit records for The Cars.
Warren DiMartini (Ratt): What impresses me most about DiMartini is that fact that despite being known as a speed demon who is content to throw a startling flurry of notes at the listener, is that he knows the value of a rest. Too many metal artists try to play as fast as possible, and DiMartini can keep up with the best of them, but Im more taken with the fact that on songs like Lay it Down, Wanted Man and Round and Round, its DiMartinis artful use of pauses and mutings to lend depth and character to what would otherwise be just another ripping metal tune.
Kathy Valentine (The Go-Gos/solo): The Go-Gos will never be known for stunning musicianship, but Kathy Valentines reputation suffered from being thrown together with a group of girls who were far less proficient in their playing. Not to say that the Go-Gos were not any good. Their style of music was based on catchy beats and fun lyrics, so being technically perfect was not a requirement. Unfortunately, the fact that this was an easily exploitable fault that the critics could grab a hold of, the band was unfairly criticized for being a bunch of girls who could barely play their instruments. If they had bothered to check, they would have found the Valentine was actually an experienced and talented guitarist, making the switch to bass to fill the spot with the Go-Gos. Actually, a casual listen will show that Valentines bass playing stands out more that Charlotte Caffeys or Jane Wiedlins guitar work. At times its almost melodic. Since the Go-Gos Valentine has gone solo, along with a side project called the Delpines. I would strongly urge you to check out Valentines appealing mix of rock and punk on her Light Years album.
Slash (Guns N Roses/Velvet Revolver): Guns N Roses now Velvet Revolver bassist Duff McKagan once claimed that Slash had the fastest right hand Ive ever seen. While it may be argued that the left (fretting) hand is more important for a guitarist, after hearing Slash play, there can be no discounting the value of a fast right hand. Sweet Child of Mine, Paradise City and Welcome to the Jungle received more radio play, but to hear one of the best examples of Slashs work, check out Mr. Brownstone on Appetite for Destruction.
Steve Steamin Clark (Def Leppard): It seems that all great artists have their demons and Steve Clark was no exception. Before alcohol claimed his life at too young an age, Steve Clark had built up a legacy of fine work that will live on. Steves gift was an ability to build spatial separation into his phrasing. It was almost as if he was playing in a huge empty amphitheater in which each note rang out perfectly and separately and yet, along with the complimentary work of bandmate Phil Colin, fit tightly together like pieces in a puzzle. The song Love Bites from the Hysteria album perfectly illustrates this point. Unlike previous member Pete Willis, Colin provided a perfect foil for Clark to play off of. Unfortunately, Def Leppard seemed to be associated more with the fact that drummer Rick Allen played with one arm, the result of a 1984 auto accident, taking some of the attention away from the fact that Clarks playing made Def Leppard one of the finest pop metal bands of the 80s.
Howard Leese (Heart): Fated to share the stage with two of the most beautiful and talented women of the rock era, Howard Leese continued to lend his creative talents to Heart long after its other founding members had departed. It was Nancy with her beautiful blond tresses that stole the spotlight, but it was Howards guitar that powered the group. Secure in the knowledge that he was a key component in Hearts driving guitar based sound, he was never bitter about the fact that his name was only recognizable amongst true fans of the group. Listen to Barracuda or Magic Man or Even it Up and you are instantly struck by the inherent coolness of the opening riffs, and his mastery of harmonic overtones is second to none.
Mick Mars (Motley Cre): Mostly thought of as a fair to middling heavy metal guitarist, Mick Mars phrasing is perfect for the Cres sound. Chunky, dirty and staccato at times, it still manages to be melodic. Upstaged by Vince Neil, Nikki Sixx and Tommy Lee and their bad-boy images, Mick stays cool and aloof behind his powerful music. Despite the darkness inherent in some of their tunes, you cannot fail to be uplifted by Mick Mars musical skills.
Really there are so many worthy players that I could go on and on, but this is just a listing of those few that have bugging me for years. Its true that people have their own tastes, and for some, these guys wouldnt even make the top 10, but it makes me feel better to have my sentiments known. If Im lucky there may be a few of you out there just a few who will say, Man, Ive been saying for years that he (or she) has never got enough credit.
Kenny Auyoung: Webmaster @ GetMeABand.com - Looking for a band? Search through thousands of musicians profiles to find the right band members in your local area. Find musicians, start a band, and play music - http://www.getmeaband.com
best salsa musicTurkish Belly Dance - A Beautiful Mystery!
One of the more fascinating styles is the Turkish belly dance. The dance music is characterized by the sounds of the oboe, clarinet, kanoon, finger cymbals and hand drums. Turkish dance costumes are among the more risqu of the cabaret styles, baring plenty of leg and cleavage. Similar to Greek and Armenian it is usually faster than Egyptian dance music, and often there are less rhythmic changes. Turkish belly dancers spread their traditional dance around the wider world, and enchanted their audiences when they appeared on dance stages in countries from America to Argentina; from the Arabian Peninsula to England and from Japan to Italy.
Turkish belly dance has been at least 500 years of history. The most important influence on it came from the Roma (Gypsies) people of Turkey. Today this style of dancing often struggles against the morals of a Muslim country but is generally still accepted because of its deep history. As artists they dare to see how far they can take sensuality into sexuality. The costumes consist of a bra, a belt and a skirt. Among current designs, hip accentuation's are built directly onto the skirt in lieu of a belt.
Turkish belly dance is something that is quite closely related to that of the cabaret style and is recognizable in that reference. The dresses that are usually used in this form of dance are quite embellished and adorned with different sorts of glittering objects such as jewels and beads. Turkish Belly dance is a dance style with a long and significant history in Turkey. It has exerted a considerable influence on the development of modern American cabaret style belly dance. A good description is that it is very earthy, and tends to have more weighted and even suggestive moves.
As you become aware of the many facets of oriental dance, keep in mind that there is no specific style considered right, or correct. All of the various styles are beautiful, inspirational and can elevate our thinking and even ourselves to a higher level. As you learn to dance it is up to you to develop the style, the expression and moves that most reflect your inner being. The only way to know this is to expose yourself to as many styles as you can. If you make sure you study with the best teachers and use the best tools you will find that your expression of this wonderful dance will shine through and entice those who have come to watch you dance.
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Ten Unlikely Hit Songs That Broke the Rules
Few songs that break the rules of pop songwriting ever achieve mainstream success. Deviate from the predictable verse/chorus structure in 4/4 time arranged for a basic grouping of guitar/keyboards, bass and drums, and you can pretty much guarantee being marginalized. During a 20-year period from roughly 1965-1985, however - a period that witnessed a flowering of musical creativity and widespread openness to experimentation - it was possible to break the rules and have a hit record. Here are ten unlikely hits from that period.
Good Vibrations - Beach Boys - 1966, #1
Brian Wilson spent six months and an unheard of $50,000 perfecting this pop masterpiece. While it starts out with the usual verse/chorus alternation, it moves into a contrasting section that could be a bridge except that it moves on to something yet different. The music quiets down to a hush - highly unusual for the middle of an uptempo song - before the voices launch back into the chorus. Rather than fade out on the chorus at this point (the standard formula), a completely new section intercedes before the outer space theremin from the chorus returns minus the vocals to lead the fade-out.
White Rabbit - Jefferson Airplane - 1967, #8
This quintessential example of pyschedelia is built on an unusual AAB structure. In the first half, the melody follows a folk song pattern: rather than a chorus, the two verses each conclude with a melodic tag. The song then breaks free from this structured section and moves into something that feels more improvisatory. The melody rises higher as the music intensifies and climaxes with the final phrase repeated twice.
Suite Judy Blue Eyes - Crosby, Stills & Nash - 1969, #21
True to its name, this is a mini-suite of four contrasting sections: ABCD. There are no choruses, only a changing sequence of verses. After slowing in the B section, the rhythm picks up in the C section. The sequence of verses becomes condensed in section D, propelling the music to its climax.
Black Dog - Led Zeppelin - 1969, #15
A song in which the music keeps stopping and starting breaks the rule of continuity, but there is a play between symmetry and asymmetry in the structure of "Black Dog" that is both surprising and satisfying. The structure is: A (verse three times) / B (instrumental) / A (verse two times plus "ah ah" melody) / C (contrasting bridge). Then the entire structure is repeated.
Uncle Albert/Admiral Halsey - Paul McCartney & Wings - 1971, #1
Two disparate songs were combined to create this study in contrasts. The opening, slower "Uncle Albert" song is comprised of three verses, two sung and one spoken. The second song, "Admiral Halsey," by contrast, is uptempo and uses a verse/chorus structure. But McCartney further plays with our expectations by putting the chorus first, and instead of a second verse he goes into a third contrasting section in an even faster tempo ("little little be a gypsy"), before returning to the chorus.
Living in the Past - Jethro Tull - recorded 1969 but released 1972, #11
Money - Pink Floyd - 1973, #13
These two songs used unorthodox time signatures: 5/4 and 7/4 respectively (Apparently the irregular beat did not interfere with general public's ability to enjoy the music). The clever use of cash register sounds to set the rhythm in "Money" is also an unusual introduction for a song.
Bohemian Rhapsody - Queen - 1975, #2
The blending of a soulful ballad, a rousing rock-out section, and a tongue-in-cheek opera make this virtuosic song an unlikely hit, but it has become one of the most enduring songs of the 20th century. Probably no other popular song has captured the essence of the surreal so well.
O Superman - Laurie Anderson - 1981, #2 (U.K.)
Everything about this song, from its half sung/half spoken lyrics to its vocoder vocals to its minimalist arrangement and rhythmic pulse built from repetitions of the sound "ha" cry out "anti-pop." Yet its eccentricity was its charm. Groups like Kraftwerk, the B52s and Devo were also having success with eccentric, anti-pop music during this period.
When Doves Cry - Prince - 1984, #1
Prince had to fight hard to stand his ground against Warner executives who could not imagine that a dance song without a bass part could be successful. But the brilliant omission of the bass line heightens the plangent, high register cries of his voice at the end of each chorus. With the minimal arrangement - drums, vocals and simple keyboard motive (augmented by strings in the final chorus) - Prince distills the music into its most basic elements: the percussive rhythm and the expressive lament of the voice.
While many artists continue to write music that isn't a slave to pop song format, such songs have largely vanished from the hit charts since the mid 1980s. Musically, the public has become much more conventional, shifting its focus from musicality to image and celebrity, which increases the pressure on artists to stick to the formula. Perhaps we'll someday see a resurgence of mainstream music that isn't afraid to break the rules.
More music articles at Song of Fire (obergh.net/songoffire)
dance music chartsGetting The Most Out Of Your Salsa Lessons
This may sound simple but you simply must take lessons and if possible take two or even three a week if you can; especially at the start.
Why do we recommend you take so many lessons each week? Salsa music is complicated, may beats interwoven, and it takes time to tune your ears and feet to the rhythms.
By taking so many lessons at the beginning it reinforces what you are learning and will pay big dividends later on in the learning process.
When starting to learn Salsa its better to join a group lesson; private lessons are great for working on specific parts of your dancing but you will not get them most out of them until you have the basics down.
When joining a group lesson pick one for your level; its better to under estimate your ability than over estimate it.
There is nothing more off putting then arriving at your first lesson and find yourself out of your depth; surrounded by come dancing contestants!
Some tips on choosing the right group to learn with.
1) A class that runs for 6 to 10 weeks at least once a week.
2) The lessons are progressive; this is where you build up each week on the moves learned.
In your firs couple of months you should look too:
2 progressive classes each week
1 night out practice session at a club or event
1 private lesson after approx 5 weeks or more not essential but great to work on specifics.
Your First Lesson
Well done you have made it to your first class. May be you have come on your own or brought a dance partner. One thing we can guaranty is that you are feeling nervous.
You are worried that you have no rhythm, that you have two left feet which are on backwards. Most of all you are worried about falling flat on your face not able to dance Salsa.
As this is a beginners class look around you will see every one is looking and feeling exactly the same. You are not alone.
Remember its about having fun Its not a competition.
Here are some basic rules about lessons you should stick to what ever your level.
1. Find a teacher that suits you, its not one size fits all. There are many Salsa teachers and many ways to teach Salsa each person needs different things to enable them to learn. If your first teacher dose not do it for you find another. Your learning so get the most out of it by having a teacher and class that suits you.
2. Stay focused on what is being taught. This may sound a little simple but if you only have an hour to learn why waste it on chatting; you can do that after at the bar.
There are 1000s of distractions in class, your partner, other class members, that new cute dance partner that your about to dance with. Remember youre paying to learn Salsa; get your moneys worth.
3. Swap partner during the lesson. Yes thats right dance with different people. You may have come with a friend or significant other and want to dance with them. If the instructor is asking you to rotate your partners join in.
Why do this? it will speed up the learning process and get you used to dancing with different people; you will be doing this in the clubs. The major benefit is learning to lead and read a lead; by changing partners it will teach you to make the connection with your dance partner which will make your Salsa experiences much more pleasurable.
4. Face the same way as the instructor you are trying to follow. This will simply help you pick up the moves they are teaching much quicker. Sounds simple but you will be amazed out how many people dont do this.
5. Count out loud yes in the classes count out loud this is the one thing you should do all the time in class. I stress do this in the class so you dont have to do it in the Salsa club where it would not be accepted.
Both you and your partner should do this in the classes. Dancing in time to the rhythm is the most important part of dancing salsa. The simplest of moves or sequences look amazing when danced in time with the music.
6. Write down the move or sequence. Give your self time at the end of the class to write down what you have learnt. You will quickly develop a short hand for the different turns and moves that make up a sequence.
Dont ever stop doing this at what ever level you are at. I bet your instructor writes down the new sequences they learn. Again a very simple idea but it will speed up your learning no end.
Ok here is something that you need to understand it will take approximately 2 months to start find you feet. Some people are quicker but every one has that moment of enlightenment eventually when they feel the Salsa rhythm in their sole and the feet begin to follow.
We have said this before its about having fun not competing.
Lee has been dancing salsa for over 3 years and enjoys travelling all over the world to learn more about salsa dancing. He is the webmaster for http://youcansalsa.co.uk a Cuban Salsa dance website.
Did you find these tips useful? If you would like to find out more about Salsa dancing please visit http://youcansalsa.co.uk and discover how you can learn to dance salsa and be a hit on the dance floor!
top dance musicParent Volunteers Can Help With Natural Stage Fright Before Ballet Recitals
If your young ballerina, tap dancer or hip-hop performer starts to express more anxiety than excitement there are ways to help.
Firstly, you may be hearing expressions of natural stage fright, which almost everyone feels when the reality of opening night strikes - even if just for a few moments.
If you have a child that worries, let her/his teacher know that he/she needs encouragement as well as corrections. Remind your child of compliments regarding their dancing you may have overheard from the studio or stage area.
Some dance teachers like to provide each student with the music of their dances, so that they can practice mentally. When they are resting with their sore feet up at home, they can visualize and feel themselves performing, applying their corrections over and over. The earlier they learn this the better. It is a method that actually helps develop neural pathways and better performance. This is a great way to increase confidence, without getting exhausted, or spraining and straining muscles.
Having a couple of soft ice packs handy at home eases aches and pains.
For older children, remind them about good nutrition. While a lot of sugar can be a tranquilizer, it also weakens the muscles. And for many children sugar is an irritant and increases nervousness.
Fruit is a wonderful source of the minerals that get lost in excessive perspiring....and that, along with good water, is something that students can have with them during long rehearsal days. Replacing minerals and staying hydrated (frequent sips, don't wait until your throat is dry) also helps prevent muscle spasms.
Backstage volunteers can help by remaining cheerful and calm no matter what happens. If a child freezes up in the wings, deep breathing can remedy it. Practicing deep breathing is a good idea during staging rehearsals, while kids are in the wings waiting for their entrances.
Speaking of waiting... modern theaters are often chilly with air conditioning. Your child will need leg warmers, even sweats, to keep their muscles warm during the staging rehearsals.
Having them ready with everything they will need in the dressing room, with some Band Aids, a sewing kit, extra hair pins and nets - anything that could be suddenly required - will reassure a worrier that all angles are covered. Aside from that, it is a good professional habit to ingrain in aspiring dancers.
Natural stage fright turns into exhaltation when the performances are done and well received - and hopefully that won't wear off for a while. And parent volunteers get to share that with the joy of seeing their child close a year of hard work at the barre by getting to dance for you!
Click here and find out how to get exactly the right fit in ballet shoes and pointe shoes, how to prevent dance injuries, how to get The Perfect Pointe Book, The Ballet Bible, and details about classical ballet technique. Dianne M. Buxton trained at The National Ballet School of Canada, The Martha Graham School of Contemporary Dance and Toronto Dance Theater.
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San Francisco/Bay Area Salsa & Latin Jazz: Radio Programs
Web Radio & TV. SaborSalsa. El Paledium. La Musica . SalSol (PR) live365 ... Alma Latina . With Jesus Orozco, Flora Agosto, Vicky Robledo, Steve Cervantes. ...
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Are Free Music Download Programs-FREE
Before you use one of those free music download programs you may want to compare them with the legal file-sharing programs to help you make a decision.There are many free music download software programs available to download free music online. It seems like there are new "Ares download, free music download web sites" entering the Web everyday.
Getting a free KaZaA music download is all I here my students talk about in class. Asking each other where to download free music or download and burn free music. They talk about sites to find Inuyasha music downloads, Final Fantasy music downloads, even cell phone music downloads.Are free music download programs...FREE?It all depends on what you want. Some offer Pro versions which have no ads or pop-ups. But do be cautious with most of the free music download software, they will have adware, spyware and pop-ups.KaZaA music download-KaZa Lite music download
Limewire music download
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WinMX music download
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Free Grokster Download
PoisonedThese programs are free... but they have some problems.
Basically, the difference between free file-sharing programs and file-sharing programs that you pay for is as follows. With the pay programs such as Mp3 Advance, MP3 Music Subscription and DownloadShield, you get technical support, no pop ups, no adware or spyware, most offer privacy protection, and your money back if you're not happy with the program. With the totally free music download programs, unless you buy their Pro version, which some of them are more expensive than the pay programs mentioned above, you're pretty much on your own along with the ads and pop ups and don't forget the spyware. It's your choice.
John Rivers has been involved with music for over 30 years as a student, performer and teacher. His site The-NetGuide-for-MusicDownloads.com helps individuals to find safe and legal Music and Movie download sites. Subscribe to "NetMusic News" and receive Free music downloads each month.
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Chuck Loeb "Ebop" Smooth Jazz Music CD Review
Very talented Smooth Jazz artist Chuck Loeb has released his latest album titled Ebop and Wow! Its really a good one.
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 thats exactly what I must say about this one. There simply isnt a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.
This is a first rate CD, delivering a little something for everyone. I give it two thumbs up. Its quite simply great listening. A must buy for the Smooth Jazz fan.
While the entire album is outstanding the truly standout tunes are Back At The Bistro [track 3], Bring It [track 5], and Stained Glass [track 8].
My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 6, Fool Proof. Good stuff!
Ebop Release Notes:
Chuck Loeb originally released Ebop on Jul 08, 2003 on the Shanachie Records label.
CD Track List Follows:
1. Ebop
2. Brainstorm
3. Back At The Bistro
4. Back Then
5. Bring It
6. Fool Proof
7. New Wheels
8. Stained Glass
9. Smash
10. Parallax
Personnel: Chuck Loeb (keyboards, guitar, bass, programming); Gary Keller (tenor saxophone, flute); Chris Potter (tenor saxophone); Tony Kadleck, Randy Brecker (trumpet, flugelhorn); Mike Ricchiuti (piano, keyboards, programming); Melvin Davis, Will Lee, Mike Pope (bass); Zach Danziger, Brian Dunne (drums). Producers: Chuck Loeb, Carmen Cuesta, Mike Ricchiuti. Recorded at The Lighthouse, Irvington, New York and Fat Mikey's 9th Avenue Recording and Bistro, New York, New York. Includes liner notes by Thomas Staudter.
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Timing - How To Dance Cha-Cha
Cha-Cha music is 4/4 time, and also has 4 steps to a bar of music. The last bar screams for you to step to the left and close your feet so this step has the characteristics of moving the foot to the side and closing the feet, which in turn produces the "cha-cha" sound, which is the name of the dance.
If you are having trouble understanding the basic movement of Cha-Cha which is usually said to be slow, slow, quick-quick, slow, then rephrasing it to "rock, rock, side-close, side", makes it far easier to grasp.
Most Latino dances consist of moving your step on the second beat and change the weight from one lef to the other between beats, but in cha cha your feel always move only on the first, second and fourth beats of the music. This little switch of weight makes the look and feel of the dance occur on the first and second beats, then on the third and halway through the fourth and first beat.
Count from the second beat of music to make it simple. Count "Two-Three, Cha-Cha, One" - if you know the basic movements you'll soon see this becoming meaningful.
There are more than one part to timing, TWO. There is a static metronome beat that flows though the entire track, which in turn dictates when it's time to move your feet. Another one is the actual tempo of the song. The tempo is what makes you take a certain step, pause for a period of time or how fast you should spin and turn. Understanding this will make you a preferable cha cha dancer.
You can't mistake a Cha Cha beat in a song. You hear the two slow beats and the three quicker beats. Then when you hear the quick beats you move side and close, cha cha cha.
latin music downloadsWedding Dance
Normally, we call it march in. I feel wedding can be a very special one when the wedding couple dances into the ballroom rather than the normal march in.
My cousin had his wedding and surprisingly, there was this segment when he danced with his bride.
The dance served as an entertainment for us too.
Soon after, other guests joined them and we had our first dance too. The aisle was packed with dancing couples.
Even my aunties and uncles who are already in their sixties joined in too.
Rather an amazing sight to see. One of the very few in Singapore's wedding indeed.
If you are planning your wedding and have a special piece of music for your all important first dance, you may want to sign up your very first wedding dance lesson in a dance studio.
Through a course of private lessons, the dance teacher may be able to customise the dance lesson for you.
As you know, we all have different calibre. For me, I'm sure I'm not a good dancer because I can't coordinate the dancing steps well.
However, it is always worth a try.
At the dance studio, the experienced teachers can choreograph an individual dance to fit your music perfectly.
There are different type of wedding dances:
1. traditional Waltz,
2. sexy Argentine Tango
3. passionate Rumba
Dancing isn't as easy as what it seemed. We all saw from television programs which show dancing competition and how graceful the dancers were.
They were dancing as one. They were moving their bodies as one.
However, do you know they may have learnt and practice for ten over years just to be able to qualify for the dancing contest?
But, wedding couples do not have so much time.
Whatever you do, if you are going to dance at your wedding, just enjoy yourself and I'm sure all the guests will feel very proud of how happy the wedding couple is!
Jhong Ren owns an authority wedding blog and he aims to provide 1 million wedding couples wedding planning help and relationship problem advice. His Wedding Blog is at Romance-Fire.com Jhong Ren is the best selling author of the Wedding Series - "Plan Your Fabulous Wedding" at PlanFabulousWedding.com
best salsa musicFirst Cruise
My significant other told me a year or so ago that he would like to take a cruise once in his lifetime. Neither of us had ever been on one and were unsure for how long, or to where we should go the first time. Since he was financing the trip, I let him make the decisions; other than whether I thought I would like anything longer than a few days to see whether I'd like it. We decided on a Royal Caribbean Enchantment of the Seas, 3 night, 4 day, Western Caribbean cruise leaving from Fort Lauderdale, Florida, with stops at Key West, Florida and Cozumel, Mexico.
Getting ready for boarding and actual boarding were quite an experience in themselves, mostly involving waiting in line, and showing our passports and identification. Once we got on board, it was a four hour wait for our luggage to arrive at our stateroom. We had a reasonably nice stateroom, although the tiny shower and bathroom took some getting used to, as were the excessive prices for a bottle of water or a can of soda. Once we had checked into our room, we were invited to partake of the Windjammer Cafe's wide selection of buffet-style foods of every type. This cafe was one of the highlights of the trip, the food selection varied throughout the day from breakfast to supper, with something always available to whet the appetite.
On board the ship were various forms of entertainment including music, shopping, spas, live lounge shows, casino, colorful drinks, and pools for either swimming or sunbathing, to name a few. Much of what was offered was not to our taste; although we enjoyed the Windjammer, the live music and dance/singing shows at the Orpheum Theater, the more formal sit down dinners in the evening, and the site seeing on the ship.
We were happy that we decided to take this one cruise, just to see what it would be like, but I seriously doubt we will ever take another. It was an exciting experience, but a rather expensive one for something we were not totally thrilled with. We took advantage of the over-abundance of good food, a drink or two, listened to some good music, and saw some beautiful sites, but I think it was a once in a lifetime experience for both of us.
I work from home. For more information, click here:
http://trylneror2blog.blogspot.com
latin music lyricsBandera, Texas: Cowboy Capital of the World
Wanna be a cowboy? That's an easy order to fill in Bandera, Texas, nicknamed "The Cowboy Capital of the World." In this community, located 50 miles northwest of San Antonio on TX 16, you cant toss a horseshoe without hitting a dude ranch, rodeo ground, western wear store, or dance hall.
Banderas Western heritage is a big draw to todays travelers but its roots date back to the founding days of Texas. Bandera Pass, located twelve miles north on TX 173, was first the site of numerous battles between the Spanish conquistadors and both Apache and Comanche Indians. According to one local legend, a flag (or bandera in Spanish) was placed here to mark the border between the forces.
Today the Wild West atmosphere lives on both in town and in the surrounding dude ranches. Whether youd like to "cowboy up" for a few days at a dude ranch or just grab some boots and dance to Western tunes along Main Street, Bandera has plenty of opportunities to get in touch with your inner cowboy.
Dude Ranches: Bandera is well known for its many dude ranches, the perfect way for you and your family to experience life as a cowboy for a few days. Properties like the Flying L Guest Ranch, the Mayan Ranch, Dixie Dude Ranch, and Twin Elm Guest Ranch will keep you busy with horseback rides, hayrides, fishing, cookouts, and more. You dont have to have any previous riding experience to enjoy the ranches. Typically the guest rates include three meals a day as well as Western entertainment and even supervised kids' programs. During the peak summer months, expect a minimum stay at many ranches.
Rodeos: Bandera is also synonymous with rodeos. One favorite held every Tuesday and Friday through the summer is at the Twin Elm Guest Ranch. For professional action, check out the Cowboy Capital PRCA Rodeo, held in May.
Honky Tonks: Another city might call them nightclubs, but there's nothing fancy about Bandera; this town proudly calls their downtown bars honky tonks. Live country music can be found most nights. One of the best known is Arkey Blues Silver Dollar. Dont miss the sawdust-covered floor (to encourage plenty of boot-scootin). Also on Main Street, the Cabaret Dancehall has shook to the sounds of country music for seven decades and often hosts many big name acts.
Cowboys on Main: During the warm weather months, downtown Bandera is transformed with a Saturday event called Cowboys on Main. Scheduled from 1 p.m. to 4 p.m. right on Main Street, the event features horseback riding cowboys, storytellers, trick ropers, musicians, and a lot more. The event is sponsored by the Frontier Times Museums Living History Project. Save some time for a sop at the Frontier Times Museum. The museum dates back to 1927 and is a good place to learn more about Bandera's early days through cowboy paraphernalia, Native American arrowheads, and prehistoric artifacts.
For more information on vacationing in Bandera, call the Bandera Convention and Visitors Bureau at 800.364.3833 or 830.796.3045.
Paris Permenter and John Bigley are Texas guidebook authors and the editors of TexasTripper.com Travel Guide, an online guide to vacationing in Texas.
dj latin musicCommon Usage Errors
i.e. vs. e.g.
Use i.e. , to re-name, restate, or to clarify, as in, "He fell out of the window, i.e., down." This is an abbreviated Latin term (id est) that roughly translates as, "which is to say..." or "meaning..."
Use e.g., to provide examples, as in, "He liked falling from heights, e.g., out of windows, from airplanes, off of ladders." This is an abbreviated Latin term (exempli gratia) that translates as "For example..."
[And don't forget the comma after either one.]
Data is plural
Example: "The data are complete; we conclude that falling is dangerous." [We hear data used as a singular noun so often that the mistake seems right, but it isn't.]
Like vs. Such as
Use like to show similarities, as in, "He was falling like a rotten tomato that missed the stage."
Use such as to provide examples, as in, "Everything falls at times, such as tomatoes and bodies from windows." [Not: "Everything falls at times, like tomatoes and bodies from windows." Another correct way to say this is "Everything falls at times, e.g., tomatoes and bodies from windows."]
Everyone is singular
Example: "Everyone needs to jump out of his window." [Not: "Everyone needs to jump out of their window." You could use "his or her" to be politically correct.]
Comprise vs. Compose
Comprise means to gather multiple parts into a single whole. A good synonym is assemble. For example, "The band comprised [assembled] many different players." [Not: "The band was comprised of many different players."] Here, you have a whole and are describing its parts.
Compose means to make a whole by putting together multiple parts. A good synonym is create. For example, "The band was composed [created] of many different players." Here, you have the parts and are showing how they are put together to make a whole.
The difference is subtle, but what you need to consider is whether you are emphasizing the whole (the band) or the parts (the members of the band).
Staff is not a person
Use staff to refer to the entire group of employees and colleagues, and it is singular (the plural is staffs). A good synonym is team. For example: "The staff [team] is upset with the pay raise."
Use staff person or staff member to refer to an individual person on the staff. So, you would write, "Six staff members are not coming to work today." This refers to the individual people. If you want to refer to the entire staff at once, you would write, "The staff is not coming to work today."
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