There are histories of the double bass and, though there is still debate on the subject - Paul Brun's recent book 'A New History of the Double Bass' questions the general assumption that the bass is descended from the viol. As with most musical instruments, there is no 'inventor' - the instrument evolved over many years from ancient predecessors. As for making, there's a fascinating board describing someone's project of making his first double bass, which gives many insights into the construction process. Yes, sorry, I can see where our extended humor wasn't muich help. I don't think we can do any better than the links TSP provided you with in the first reply to your question. I'm no historical expert on it by any means, but I agree with the notion that no one particular person invented it. Musical instruments almost all have evolved from very simple, prehistoric devices (gut strings stretched across a plank, a ram's horn, etc.) to more refined ones that we use today, and I think it's pretty hard to identify an inventor. My musical dictionary says the double bass was 'derived from the violone,' but then goes on to say there isn't universal agreement about what exactly the 'violone' was: 'In the 16th and 17th centuries, the double bass viol was often called the violone, but some writers used the term to mean ordinary bass viol, and Corelli and Handel used it as a synonym for cello. Many violones had six strings, were fretted and tuned like violin.' So, you see how imprecise it all is/was. The above quote was from the Concise Oxford Dictionary of Music, Third Edition, 1980. Others out there, do you know of hisotrical sources on development of the double bass that Hall Monitor could use? Download a history of the double bass or read online here in PDF or EPUB. Please click button to get a history of the double bass book now. Paul Brun Language: en. A New History Of The Double Bass. A new history of the double bass ♣ Name Author: Paul Brun. 'A New History of the Isle of Man will provide a new. Click to expand.Here in the USA we started building contrabasses about 1819. Abraham Prescott copied European examples by Klotz (German) in order to accompany Protestant choirs. Prior to that, New England Puritan Ministers accompanied themselves on a small bass 'church bass' a little larger than a 'cello. Puritans considered most instruments 'impure' because they could not distinquish quarter tones, such as the difference between Eb and D#. Most Americans couldn't care less about this fine point and played even the evil fretted instruments. However, unfretted instruments do sound better. Or as ignorant Americans dismiss the subject: 'Ya can't beat strings'. See my research on the subject: Click here below: Also click here: to read my Article published by the American Musical Instrument Society NEWSLETTER, Page 13. Good luck, Don Carrigan. Bob Gollihur's Double Bass Links Page and and Back in 1996, I posted a list on my website (pulled from my personal bookmarks) of double bass resources I'd found, simply to share them with other players. Over the years, I've maintained this collection - adding new resources, removing dead links when I can, and taking lots of link suggestions from the site's many visitors. Now, more than 10 years later, the list has continued to grow, and what you see below is the fruits of my labor. When I had custom software written for Gollihur Music in 2007, we included database driven Links and Luthiers Directory software so we could more easily maintain the information. This list changes and grows on almost a daily basis due to new discoveries and submissions. There are a ton of 'Electric Bass Links' pages out there, so I've narrowed my entries to those that appeal specifically to the Double Bass side of the world. Please jot me a note in our if you find broken links, have a comment, or have a URB-related link suggestion. If it's your own page, a reciprocal link is always appreciated; I'll be delighted to add links to personal pages where the upright predominates under the 'Players' section. Thanks and enjoy! Please add a link to this resource on your web page! It's my pleasure to share my links with you -- and you can help by telling others about this page. Cut and paste the code below to add this linked graphic to your website. Here's the code: The growing was moved from the bottom of this page to its own, separate page, to lessen the load time of this page. This list is a great resource not only for repairs, but new and used instruments. Please read about the project and contribute information about your favorite luthier so others can find him or her! We also now host a new (summer 2013) so that you can locate a bass instructor near you. Click to visit each category below. Although studying is considered a legitimate scientific nowadays, it is still a very young one. In the early 1970s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity. One of Guilford’s most famous studies was the nine-dot puzzle. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page. Today many people are familiar with this puzzle and its solution. In the 1970s, however, very few were even aware of its existence, even though it had been around for almost a century. If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square. The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots. At the first stages, all the participants in Guilford’s original study censored their own thinking by limiting the possible solutions to those within the imaginary square (even those who eventually solved the puzzle). Even though they weren’t instructed to restrain themselves from considering such a solution, they were unable to “see” the white space beyond the square’s boundaries. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots. The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box. The idea went viral (via 1970s-era media and word of mouth, of course). Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Consultants in the 1970s and 1980s even used this puzzle when making sales pitches to prospective clients. Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves. Because they hadn’t, they were obviously not as creative or smart as they had previously thought, and needed to call in creative experts. Or so their consultants would have them believe. The nine-dot puzzle and the phrase “thinking outside the box” became metaphors for creativity and spread like wildfire in, management, psychology, the creative arts, engineering, and personal improvement circles. There seemed to be no end to the insights that could be offered under the banner of thinking outside the box. Speakers, trainers, training program developers, organizational consultants, and university professors all had much to say about the vast benefits of outside-the-box thinking. It was an appealing and apparently convincing message. Indeed, the concept enjoyed such strong popularity and intuitive appeal that no one bothered to check the facts. No one, that is, before two different research —Clarke Burnham with Kenneth Davis, and Joseph Alba with Robert Weisberg—ran another experiment using the same puzzle but a different research procedure. Both teams followed the same protocol of dividing participants into two groups. The first group was given the same instructions as the participants in Guilford’s experiment. The second group was told that the solution required the lines to be drawn outside the imaginary box bordering the dot array. In other words, the “trick” was revealed in advance. Would you like to guess the percentage of the participants in the second group who solved the puzzle correctly? Most people assume that 60 percent to 90 percent of the group given the clue would solve the puzzle easily. In fact, only a meager 25 percent did. What’s more, in statistical terms, this 5 percent improvement over the subjects of Guilford’s original study is insignificant. In other words, the difference could easily be due to what statisticians call sampling error. Let’s look a little more closely at these surprising results. Solving this problem requires people to literally think outside the box. Yet participants’ performance was not improved even when they were given specific instructions to do so. That is, direct and explicit instructions to think outside the box did not help. That this advice is useless when actually trying to solve a problem involving a real box should effectively have killed off the much widely disseminated—and therefore, much more dangerous—metaphor that out-of-the-box thinking spurs creativity. After all, with one simple yet brilliant experiment, researchers had proven that the conceptual link between thinking outside the box and creativity was a myth. Of course, in real life you won’t find boxes. But you will find numerous situations where a creative breakthrough is staring you in the face. They are much more common than you probably think. *From Copyright 2014 Drew Boyd. There are many theories of creativity. What the latest experiment proves is not that creativity lacks any association to thinking outside-the-box, but that such is not conditioned by acquired knowledge, i.e., environmental concerns. For example, there have been some theories such as those of Schopenhauer (see his remarks about Genius) and Freud (see his remarks about Sublimation) that propose creativity is something more like a capacity provided by nature rather than one acquired or learned from the environment. Rather than disproving the myth, in other words, the experiment might instead offer evidence that creativity is an ability that one is born with, or born lacking, hence why information from the environment didn't impact the results at all. It's an interesting experiment, but the author's conclusion cannot possibly follow from the results of it. I conduct soft skills training and outbound training for Corporates and individuals. To enhance creativity we motivate the participants to approach the problems from variety of vantage points. Even repeatedly checking the boundary conditions we are able to come up with variety of ways of solving the problem. This is akin to checking the walls of the box. Looking inside the box for additional information, additional resources also helps. Looking at the box from bird's eye view triggers some different creative solutions. Let us not get tied down to the mechanics but free ourselves to find the solution. I will give an example. You are playing football with family and friends at a distant ground and someone gets bruised badly. No first aid kit is available. Your priority is to get the person to a hospital ( at a distance of 2 hours ). The wound is bleeding and needs to be kept clean and bacteria free till the person reaches the hospital. What will you do? Think of a solution. It is quite close to you. With all due respect, Professor Boyd, your argument is not at all compelling. It seems that you are taking the 'thinking outside the box' (TOTB) metaphor much more literally than it is intended (or, at least, as I and may others infer). Let me point out a few false and/or negligent statements that you make: 1. To refer to TOTB as 'dangerous' is naive, at best. I, personally, have seen the positive, tranformative effects of not only the 9-dots exercise, but also the occasional use of the term to remind individuals after-the-fact about the value of thinking differently. The experiment you refer to doesn't even come close to proving what you suggest that it does. To use the term 'proving' in an argument like this is laughable. In real life, you absolutely WILL find boxes.that is, if you understand what the term 'box' refers to. Here, the term is not literal; rather, it refers to a mindset, a perspective, a belief, or an assumption. It is precisely how the human mind works. We all think in boxes all the time. The 'sin,' if you will, is not in thinking inside of a box.but the neglect to readily switch from one box to another, nimbly (see Alan Iny's new book, 'Thinking in New Boxes'). A different -- and very healthy, positive, and productive -- way to think about TOTB is to understand that it merely represents an insight that can remind an individual to consciously become aware of limiting assumptions. And, upon such awareness, to open ones mind and imagination to actively explore new possibilities beyond the obvious or initial answer. If you don't regard this as valid contribution to creativity, then I suggest you consider spending a bit more time outside of that 'box' that you've presented here. I couldn't have said it any better. TOTB is a beautiful skill to have. We are born into multiple boxes that are created upon social agreements (e.g. Illustrated by the hermeneutic circle) but the ones who dare to think outside of what is considered as social or scientific correct (all the boxes together) are the minds whom are absolute free and open towards new moralities, paradigms, innovations and creativity in general. Saying that TOTB is a negative thing is a very conservative statement and someone who has such a belief is scared of change, scared of diversity and scared of anything that is abstract and out of order. I'm all about TOTB and the best way to TOTB is to fully understand the box in the first place and why some people are scared of TOTB hence also lacking the ability to do so. Fold the paper so all the dots ovelap. Use four lines to connect four dots. Hold the folded paper up to the light.all dots connected; Thinking outside The Box. For that matter, you could fold the paper until all the dots overlapped and you would not need to waste any pencil lead; Thinking outside The Box. Use a very wide pencil lead or charcoal block for that matter, connect all the dots in one fell swoop; Thinking outside The Box. Forego a pencil altogether and use a bucket of paint to create a huge blot over all the dots; Thinking outside The Box. Question the dots and why they need to be connected in the first place; Thinking outside The Box. Erase the dots; they are a distraction to Thinking outside The Box. Create your own dots and lines in any fashion you desire; Thinking outside The Box. People that say, it's a misguided idea,, do not know how to think outside the box, I can look /listen/ at anything an tell you how to fix it. I play chess with my pc, an beat it all the time, and the reasoning is I do not think logically, like the pc does. It has a set of rules that it was programed with an you were in college, I do not play by the rules, I can play without the queen.Also when you go the a school that teaches how to think about something, that is all you know how to do.I have had engineers come to my deck, hand me a set of blueprints, because that was the way they were taught. They are never taught to look at it, in there mind to see it working. What I do is show them how wrong they are, an ask them what tool in the world can cut a square hole inside the middle of two long tubes. They can not think outside the box, that they were taught to do. If was going to tell you about an airplane the TR-3B, it travels a little bit under light speed, an it uses nuclear fusion, which turns into plasma an powers the craft, that was built outside the box. An if you do not believe me type it into your search engine, you can also look it up at the library of congress under new patients. You my brother, do not have the inkling of understanding to think outside the box. That's why you are a psychologist an nothing more.
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Nationally, that translates to about one-third of those responding, compared to only 16 percent of peers not in medical school, and double the rate of alcohol abuse or dependence of surgeons, U.S. Physicians or the general public based on earlier research by this team. MEDIA CONTACT: Bob Nellis, Mayo Clinic Public Affairs, 507-284-5005, email: Burnout factors such as emotional exhaustion or feelings of depersonalization were all highly associated with alcohol abuse or dependence among the medical students. Three other factors were independently associated: • A younger age than most peers in medical school • Being unmarried • Amount of educational debt No statistical difference was found between differing years of medical school or between men and women. Researchers say the average cost of medical school from 1995 to 2014 increased by 209 percent at private colleges and 286 percent at public schools. 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Our focus has been stopping the attack from getting in.but rooting out the bad guys is a better way to spend money on prevention.' Have a comment on this story? Please click 'Discuss' below. If you'd like to contact Dark Reading's editors directly,. Kelly Jackson Higgins is Executive Editor at DarkReading.com. She is an award-winning veteran technology and business journalist with more than two decades of experience in reporting and editing for various publications, including Network Computing, Secure Enterprise. Salvage drones plus an MTU are awesome. The MTU will suck in the wrecks, and the salvage drones will continually salvage the wrecks without you targeting anything. You can even continue to kill all of the rats or whatever. Just shove them in your brutix or Ishtar. All you have to do to salvage automatically is deploy drones, unlock everything, right click the profile your drones are saved in (the folder) and press salvage. IF you're not targeting anything they'll just go salvage anything within drone range - hassle free. Mobile Tractor Unit. It's a 100m3 deployable (I think it's about that big) which pulls every wreck within 100km or so in and loots it for you, leaving it in the middle of a cloud of empty wrecks, making it much quicker for the salvage drones to do their thing. The rats will ignore it. Don't forget to bookmark your MTU when you deploy it. Salvaging is pretty decent ISK (not epic, but every little bit helps), but if I'm salvaging I'm usually going to be doing it on a second character while the first one's moved on to the next mission/anomaly. Yeah yeah, I know. Not everyone has multiple accounts. But they do start to come in really handy. You deploy it directly from your cargo hold on your ship, it pops up right next to you in space, and it begins to pull in every wreck or cargo container within 125km which belongs to you. If the container/wreck has loot in it, the MTU automatically transfers it to its own cargo hold, at which point you can loot it all from the MTU. When you're done clearing the area, you scoop the MTU to your cargo hold and head out. If there is any loot left in the MTU when you scoop it to your cargo hold, it will jetison the remaining loot into a separate cargo container in space. The general approach to high-sec mission running currently seems to be to run a marauder with a bastion module, warp into a mission, enable the bastion module, start lighting up the surrounding enemies, and at some point, drop your MTU and salvage drones to clean everything up while you continue to pop bad guys. It saves you the return trip of having to loot and salvage everything with a separate ship. You still have to look out for people trying to drop in uninvited into your mission area of course. When I was ratting in null I did it this way: • Run the first anom, when I was done drop and bookmark an MTU • Repeat a second and third time • Dock up, switch out my ratting ship for an algos with salvagers and salvage drones. • Salvage the bookmarks in order: 1, 2, 3 • Dock up, switch to a T1 industrial hauler • pick up the loot / MTU's The reason I didn't drop an MTU until after I was done is often people are looking for ratting ships + MTU's when trying to gank ratters (MTU's are easy to probe down). When a hostile entered system, I would dock up with my expensive ratting ship, and then fly out in my cheap T1 hauler to pick up my MTU's. The T1 hauler was worth way less than even the MTU, so the risk was small. I was always fast at it. I never actually got caught in my hauler (luck is a factor here). You don't have to worry about either of these things in high sec. This guy told me salvaging was worth it but that normal loot wasn't. Was he wrong? How does this Noctis thing work? 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In true Jojo Mayer style, everything is broken down very well, has a lot of style, and is easy enough to understand. The instructional video is broken up into 3 separate DVD’s designed to teach and entertain you. Note: This DVD does not go into double bass drum technique, although you could definitely apply everything learned to it if you wished. Disc One: Basic Approach to Foot Technique The first disc in the series discusses basic foot techniques from literally A-Z. While it says basic, don’t be fooled, this is a very comprehensive explanation. Pretty much every different style of bass drum playing is discussed here. Even if you do not play your bass drum with any of the styles presented, it is still incredibly interesting to learn about how others play. Ever wondered how some of your favorite drummers play their bass drum pedals, well now you can get a first hand look at what they are all doing. Disc Two: A complete History of the Bass Drum Pedal The second disc may be the coolest one out of the three. Jojo gives a complete history of the bass drum pedal, from it’s inception to how it is today. You may not think it would be interesting, but it really is. Not only does he give you a history, but he explains in detail how to setup your pedal, and how to adjust it. You’d be surprised what you end up learning about your bass drum pedal by the end of this little history lesson. In fact, after watching the disc, you may feel inclined to go to your drums and make a few adjustments yourself. Disc Three: HiHat Techniques in Coordination with the Bass Drum If you thought this DVD would be a breeze, think again. In typical Jojo Mayer style, disc three features a bunch of exercises designed to incorporate the hi-hat and the bass drum together. Not surprisingly, some of these exercises are brutal to pull off, and will actually take you quite a bit of practice time. Luckily, since you’ve been through the first two discs, you’ll be halfway there since you’ve probably set it up properly, and you understand how to play it properly. Overall, Jojo’s exercises are fun, challenging, and will definitely get your feet in shape. Verdict: So Good it Hurts Here at The New Drummer, we try to review only products that we think are worthwhile for our readers. Jojo Mayer’s second DVD, “Secret Weapons for the Modern Drummer Part 2” fits the bill perfectly. Seeds:0 Leech:2 7.74 Gb Jojo Mayer Secret Weapons For The Modern Drummer. Video torrent downloaded demonoid jojo drummer mayer secret. Tommy Igoe Groove Essentials. JoJo Mayer Secret Weapons for the Modern Drummer. Imagine someone who isn't a big name and on the cover of MODERN DRUMMER. Just look at the huge amount of 5-star reviews on Amazon. The information is broken down so beautifully, you will forget you are watching an instructional video. And while the DVD is mostly technique based, it is presented in an interesting and challenging way. Even if you don’t play drums, you’ll probably find this stuff interesting. Of course, you may not be interested in purchasing a physical DVD. Currently, Drumeo offers a that you can also check out. This is definitely a recommended buy, you will not regret it. Hey Everyone! My name is Duran, and this is my drum blog. I've been a professional drummer for over 15 years. I have a degree in jazz performance from the University of North Texas, toured internationally to over 90 countries, and I've got a few awards to my name. I love drumming, but more importantly I love helping other drummers reach their goals. If you have any questions or feel like I'm missing something, don't be afraid to let me know: [email protected] Search for: Ugly Holiday Tee!! Find a Smokey Robinson And The Miracles - Special Occasion first pressing or reissue. Complete your Smokey Robinson And The Miracles collection. Shop Vinyl and CDs. Mar 22, 2013 Mix - Special Occasion Smokey Robinson And The Miracles 1968 YouTube. Smokey Robinson & the Miracles 'Special Occasion. For the album's title song, see. For other uses, see. Special Occasion by Released August 26, 1968 Recorded 1967–1968 Studio,, Length 32: 23 TS-290 chronology (1968) 1968 Special Occasion (1968) (1969) 1969 Professional ratings Review scores Source Rating Special Occasion is an album by released in 1968. It contains three Top 40 hits: ', 'Yester Love', and '. Also included are versions of the Motown hits ' and ' (both made popular by ) and ' '. The album's biggest hit was the uptempo 'If You Can Want', which just missed the Pop Top 10, peaking at # 11,and was performed by the group on their first appearance on in 1968. The Miracles were actually the first group to record 'I Heard It Through the Grapevine', before the later hit versions by and were done, although the master used on this album is a re-recorded version prepared following the release of the Pips' version.This album also includes the popular Miracles regional hit 'B' sides, Much Better Off (which inspired a cover version by late rapper ), and Give Her Up. Give Her Up first appeared on 1963 album as Give Him Up. FEATURED PHOTO: MOTOWN AT THE WHITE HOUSE CONTRIBUTION Photo by Martha Reeves courtesy of Community Voices column writer Larry Buford WASHINGTON D.C.-Claudette Robinson original member of Motowns The Miracles and former wife of Smokey Robinson, and their granddaughter Lyric Ontiveros attending the celebration of Motown music at the White House, February 24, 2011. Says Claudette: I was deeply touched and honored to receive a personal invitation from the White House. The event was in honor of the Motown Sound for Black History Month. Going to the White House is a once-in-a- lifetime opportunity, and I thoroughly enjoyed the performances of the other artists at the iconic event. What a thrill [it was] to actually be in the White House with the President [Obama] and the First Lady along with Jamie Foxx, Jordan Sparks, Nick Jonas, Seal, John Legend, Sheryl Crowe, Ledisi, Amber Riley and Mark Salling of Glee, Natasha Bedingfield, Greg Phillinganes (music director), Berry Gordy, Smokey Robinson, Stevie Wonder, and Martha Reeves. Motown is truly the soundtrack of Young America.. THE TEMPTATIONS OTIS WILLIAMS GRATEFUL FOR HEROES & LEGENDS HONOR By Larry Buford LOS ANGELES (CALIF.)-Otis Williams, the sole survivor of the original line-up of The Temptations Motowns premier male vocal group that helped build a Black-American musical empire is still going strong! He says, I carry it on for them in reference (and with reverence) to his fallen brothers Melvin Franklin, David Ruffin, Eddie Kendricks, and Paul Williams. Without missing a beat he says he just got word the day before that Icon a recently released compilation CD of classic Temptations songs like My Girl and Just My Imagination just sold over one hundred thousand copies. He says no other group can boast the duration and adaptability of The Temptations who won Motowns fist Grammy with the success of their recording Cloud Nine. This year the Heroes and Legends (HAL) Awards Scholarship Foundation will be acknowledging The Temptations for their unending and tireless work extended over five decades in the music industry. Williams says when they signed the contract at Motown in May of 1961, he never in his wildest dreams thought it would go this far. After 50 years, the group is still touring, and their latest album Still Here says it all. Along with Williams, the current Tempts line-up includes Ron Tyson, Terry Weeks, Joe Herndon, and Bruce Williamson. The HAL Awards, founded by veteran Motown songwriter Janie Bradford who co-wrote such hits as Money and Too Busy Thinking About My Baby, has a twofold primary purpose; first, to help talented young people realize their lofty-but-attainable dreams of shaping careers for themselves in one of the many performing arts through scholarship funding; and second, to spotlight positive role models from many diverse backgrounds including leaders in the fields of music, theatre, motion pictures, and business each year. Additional honorees this year will be Bobby Womack, Ray Parker, Jay Brown, and Sonja Norwood among others. Its a wonderful acknowledgement (for the group) says Williams. About 10 or 12 years ago I was recognized (by HAL) as the sole survivor, but its wonderful for the group to be acknowledged. Cornelius Grant who was The Temptations Music Director for nearly 20 years says of Williams: For a person to have weathered such a storm and to have emerged in good health and still performing is amazing! It still does me proud to have been a part of such a stellar legacy. I still feel connected when I watch The Temptations mini-series, and their live stage performances, which include some of the songs I co-wrote for them. Its interesting to note that both Grant and Williams were born in Texas, but both consider Detroit as home. As a world traveler and performer, Williams says he is humbled and grateful that The Temptations songs are recognized globally. He says Music is boundless and colorless we have gone to countries like in Gdansk Poland they may not speak English, but they know My Girl word for word. Those songs have taken on another life. When we walk out on stage we get a standing ovation, and it brings me to tears blessings to God. Speaking on the downside of success, Williams says We [the Tempts] made a promise we would not let success ruin us like Frankie Lymon, The Cadillacs, and others. We shot ourselves in the foot, but we were young and we made mistakes. Williams gives a lot of credit to songwriter and producer Norman Whitfield for musically retooling and redirecting The Temptations musically after Ruffin was replaced by Dennis Edwards in 1968. They garnered another Grammy in the early 70s with the blockbuster Papa Was A Rolling Stone. About Detroit he says, We played there about three weeks ago, and I was hurt by what they had done to my city. I still call it my city. Although I was born in Texas, Detroit was my home. Detroit was a beautiful city of about two million people. Now its about seven or eight hundred thousand. He says early Motown songs used to go perfectly with the seasons there in Detroit. He recalls recording the album Christmas Card that contained their phenomenal version of Rudolph The Red-Nosed Reindeer (among others) in the Spring, and when it was released in time for Christmas it was magical! Williams says hes been somewhat of a wordsmith since age 15. Hes known for such one-liner words of wisdom like You cannot use yourself as a yardstick to measure yourself by and Itll do in a rush, but whos in a rush? He plans to collect all of his writings and sayings in a book someday. Motown founder Berry Gordy is currently working on a Broadway play about the Motown story. Williams says there is a possibility in perhaps a couple years or so, that Mr. Gordy may produce a play on the life story of The Temptations. Well stay tuned for that. On the Temptations.com website Williams says, Our challenge is to live in the present while respecting the past. Our past is filled with riches that only a fool would discard. At the same time we thrive on competition. As a Motowner, I grew up in the most competitive musical environment imaginable. But we also understand that for a group with history, no matter how glorious that history might be, reinvention is the name of the game. The HAL Awards festivities will take place from September 23-25 in Beverly Hills, Calif. For more information please contact the foundation at (310) 274-1609, or send an e-mail to. A list of past honorees may be found on the internet. Larry Buford is a Los Angeles-based freelance writer. Author of Things Are Gettin Outta Hand (Steuben Pub). Available at Smileys Bookstore in Carson CA, and Chaucers in Santa Barbara CA. Visit the author. VELVELETTE REMEMBER TEMPTATION SINGER By Cal Street Ali 'Ollie' Woodson *Cal Street, lead singer of the Motown singing group, The Velvelettes, has fond memories of other Motown artists. She reflects on the passing of Ali Ollie Woodson, a member of the Temptations. Woodson helped lead such hits as, Lady Soul, Treat Her Like a Lady and Sail Away. He died on June 1 at the age of 58. As I sat down to watch the basketball playoff games with my son, Ricky, he shared how he had just shown his son a movie. The movie was about the Temptations, which included my ex-husband and Rickys father, Richard Street Sr. Richard was a member of the Temptations for more than 20 years from the 1970s through the early 90s. Ricky said he remembers when he was 12 years old Ali Ollie Woodson joined the group when he was visiting his father in California. Ricky said when he first heard Ollie sing he couldnt believe his ears. I said to Dad, Wow, he (Woodson) has a great voice! Ricky recalled. His father said thats why we picked him from the audition of several vocalists that wanted a spot in the Temptations. I told Ricky that I couldnt believe his voice either. Ali was an outstanding vocalist, and when he sang, everyone sat up and took notice. He could also act, as he was in a few plays/musicals, that toured the country and one came through Kalamazoo. Ali did commendable jobs acting and singing in the musicals. I last saw Ollie at Levi Stubbs (lead singer for the Four Tops) funeral in Detroit in 2009. Ali did not look well then, even though he sang the song, Walk Around Heaven All Day with such power and sentiment that there was not a dry eye in the church. I could not help but think, I wonder what all is on Ollies mind? In 2009 during a gig with Ollie in Southfield (Michigan) at Arturos Supper Club, he had confided in my sister Mildred (member of the Velvelettes), who is also a nurse. While we were applying our make-up and getting ready to go on stage, Mildred told us that Ollie was a very sick man and that he had leukemia and had to periodically undergo transfusions. Mildred then said that she did not think Ollie would live much longer because the treatments were painful and made him very tired. To that end, I feel honored to have had the opportunity to work with Ali Ollie Woodson. FEATURED PHOTO: MOTOWN AT THE WHITE HOUSE CONTRIBUTION Photo by Martha Reeves courtesy of Community Voices column writer Larry Buford WASHINGTON D.C.-Claudette Robinson original member of Motowns The Miracles and former wife of Smokey Robinson, and their granddaughter Lyric Ontiveros attending the celebration of Motown music at the White House, February 24, 2011. Says Claudette: I was deeply touched and honored to receive a personal invitation from the White House. The event was in honor of the Motown Sound for Black History Month. Going to the White House is a once-in-a- lifetime opportunity, and I thoroughly enjoyed the performances of the other artists at the iconic event. What a thrill [it was] to actually be in the White House with the President [Obama] and the First Lady along with Jamie Foxx, Jordan Sparks, Nick Jonas, Seal, John Legend, Sheryl Crowe, Ledisi, Amber Riley and Mark Salling of Glee, Natasha Bedingfield, Greg Phillinganes (music director), Berry Gordy, Smokey Robinson, Stevie Wonder, and Martha Reeves. Motown is truly the soundtrack of Young America.. VELVELETTE REMEMBER TEMPTATION SINGER By Cal Street Ali 'Ollie' Woodson *Cal Street, lead singer of the Motown singing group, The Velvelettes, has fond memories of other Motown artists. She reflects on the passing of Ali “Ollie” Woodson, a member of the Temptations. Woodson helped lead such hits as, “Lady Soul,” “Treat Her Like a Lady” and “Sail Away.” He died on June 1 at the age of 58. As I sat down to watch the basketball playoff games with my son, Ricky, he shared how he had just shown his son a movie. The movie was about the Temptations, which included my ex-husband and Ricky’s father, Richard Street Sr. Richard was a member of the Temptations for more than 20 years from the 1970s through the early 90s. Ricky said he remembers when he was 12 years old Ali “Ollie” Woodson joined the group when he was visiting his father in California. Ricky said when he first heard Ollie sing he couldn’t believe his ears. “I said to Dad, Wow, he (Woodson) has a great voice!” Ricky recalled. His father said “that’s why we picked him from the audition of several vocalists that wanted a spot in the Temptations.” I told Ricky that I couldn’t believe his voice either. Ali was an outstanding vocalist, and when he sang, everyone sat up and took notice. He could also act, as he was in a few plays/musicals, that toured the country– and one came through Kalamazoo. Ali did commendable jobs acting and singing in the musicals. I last saw Ollie at Levi Stubbs’ (lead singer for the Four Tops) funeral in Detroit in 2009. Ali did not look well then, even though he sang the song, Walk Around Heaven All Day with such power and sentiment that there was not a dry eye in the church. I could not help but think, ‘I wonder what all is on Ollie’s mind?’ In 2009 during a gig with Ollie in Southfield (Michigan) at Arturos Supper Club, he had confided in my sister Mildred (member of the Velvelettes), who is also a nurse. While we were applying our make-up and getting ready to go on stage, Mildred told us that Ollie was a very sick man and that he had leukemia and had to periodically undergo transfusions. Mildred then said that she did not think Ollie would live much longer because the treatments were painful and made him very tired. To that end, I feel honored to have had the opportunity to work with Ali “Ollie” Woodson. Click to expand.I read that Anna & Gwen Gordy were the it girls of Detroit in the 40s & 50s.:yes: that is so true!!! So did Anna Marvin and the niece plan this baby? Yes they planned it that Denise Gordy (Anna's blood niece) and her late brother George's daughter would sleep with Marvin.(The Gordy family was in on the plan. Denise spoke out years ago saying she didn't see what the big deal was her aunt and uncle wanted a baby and couldn't have one.so she had a baby for them.(Anna is the one who couldn't have kids not Marvin):Sleeping with Ur Uncle (that's married to Ur aunt)? Has Marvin always had a thing for teenage girls?[/QUOTE] Yes and he just loved women. He had a love/hate relationship with them,though Anna was 37 years old and Marvin only 20 when he married her. Janis was 16 years old when they met and he was 33 years old. He would encourage her 2 go with other men.and would get angry if she didn't obey him.Marvin Mom said. Janis had affairs with Frankie Beverley, Rick James & Teddy Pendergrass & many others!! We Remember: Former Motown Producer Frank Wilson Dies at 71. Frank Wilson, who sang the sought-after Northern Soul single Do I Love You (Indeed I Do) and produced a string of Motown hits, has died aged 71. The Houston native wrote and produced for artists such as Marvin Gaye, The Supremes and The Temptations but only released one single as a vocalist. Just two or three copies survived one of which sold at auction for more than £25,000 in 2009. Wilson had fought a long battle with prostate cancer but died on Thursday. Just 250 demo copies of Do I Love You (Indeed I Do) were pressed on 7-inch vinyl, but Wilson decided he would rather focus on producing, so they were trashed. A rare remaining copy which changed hands in 2009 is the most expensive record ever sold at auction. A prized item among collectors, the song is regarded as a Northern Soul classic in the UK. Its always seen as the epitome of the Northern Soul style, said promoter Ady Croasdell who runs the 6Ts Northern Soul All-Nighter at Londons 100 Club. It probably is the most iconic record of the lot, because it does have all the qualities that a classic Northern Soul record should have. Croasdell revealed news of Wilsons death on the Soul Source website, after being emailed by mutual friend, Los Angeles producer HB Barnum. Crossdell told the BBC: He was a much-loved man with a friendly disposition who was delighted and humbled by the Northern soul scenes admiration of his singing. Motown hits Wilson was more widely known for his work as a producer and joined Motown in 1965, when the record label set up an office in Los Angeles where he lived. That year he co-wrote Patrice Holloway track Stevie, the first single to be released by Motowns west coast operation. The release of Frank Wilsons Do I Love You (Indeed I Do) was pulled after he plumped to be a producer instead of an artist, so only the handful of demo copies were ever pressed. A decade later the soul fanatics of the UKs Northern Soul scene discovered a copy and the vitality, excellence and craftsmanship of the uptempo slab of soul saw it acclaimed as the biggest record at the biggest ever venue in its heyday, Wigan Casino. He was a much-loved man with a friendly disposition who was delighted and humbled by the Northern Soul scenes admiration of his singing. He then re-located to their studios in Detroit, where he worked with artists such as Brenda Holloway, The Four Tops and Eddie Kendricks. He co-wrote tracks including Love Child and Stoned Love by the Supremes, All I Need by The Temptations, Chained by Marvin Gaye and Whole Lot of Shakin in My Heart by Smokey Robinson & the Miracles. He was born Frank Edward Wilson on 5 December 1940 in Houston to James Wilson and Samantha Gibbs, but moved to Los Angeles with his family while he was a teenager. Wilson left Motown in 1976 and became a born again Christian. After being ordained as a minister, he wrote books and gave speaking tours around the US with his wife Bunny Wilson. He was also involved in producing gospel music and founded the New Dawn Christian Village in Los Angeles. His books include The Master Degree Majoring in Your Marriage; and Unmasking the Lone Ranger. He also appeared on TV programmes such as The Oprah Winfrey Show. The Motown Story By David Edwards and Mike Callahan Last update: August 8, 2012 Reet Petite The Motown story is the story of Berry Gordy, Jr., who was born in Detroit Michigan on November 28, 1929. He was the seventh of eight children of Berry Gordy II and Bertha Gordy. His parents had migrated to Detroit from Milledgeville, Georgia in 1922. His father ran a plastering contracting business and his mother sold insurance and real estate; they also ran a grocery store and print shop. Berry Gordy, Jr. Dropped out of school after his junior year to become a professional boxer; he decided to get out of the fight game at about the time the Army drafted him in 1951. During his stint in the Army, he obtained his high school equivalency degree. In 1953, he married Thelma Coleman and in 1954 his first child was born, a daughter Hazel Joy. They had two other children, named Berry IV and Terry, but were divorced in 1959. When Berry got out of the Army 1953, he opened a jazz-oriented record store called the 3-D Record Mart that was financed by the Berry family. By 1955, the store had failed and Berry was working on the Ford automobile assembly line. While working on the line, Berry constantly wrote songs, submitting them to magazines, contests and singers. His first success as a songwriter came in 1957 when Jackie Wilson recorded 'Reet Petite', a song he, his sister Gwen and Billy Davis (under the pseudonym of Tyran Carlo) had written. 'Reet Petite' became a modest hit and netted Berry $1000 for the song. Over the next two years he co-wrote four more hits for Wilson, 'To Be Loved', 'Lonely Teardrops', 'That's Why' and 'I'll Be Satisfied'. Berry later chose the title To Be Loved for his autobiography. Successful as a songwriter, Berry decided to produce his songs himself. His first production was titled 'Ooh Shucks' by the Five Stars, which was released on George Goldner's Mark X label in 1957. Gordy had an extraordinary ability to recognize talent. In 1957 at a Detroit talent show, he saw a group the Miracles and decided to record them. The Miracles consisted of Claudette Rogers, Ronnie White, Pete Moore, Bobby Rogers and the lead singer William 'Smokey' Robinson. Berry's first production for the Miracles was an answer record to the Silhouettes 'Get a Job,' titled 'Got a Job,' which he leased to Goldner for release on End records. The record got some airplay, but then died a quick death, as did the Miracles follow-up on End titled 'I Cry.' In 1958, Berry produced a record by Eddie Holland titled 'You,' which was leased to Mercury records. Also that year, Kudo Records issued 4 more Gordy productions, two of which are significant to the Motown story: the first Marv Johnson release, titled 'My Baby O,' and a Brian Holland (Eddie's brother) vocal, titled 'Shock'. With Smokey Robinson and the Holland brothers, Berry had discovered three incredible songwriters and producers. Also in 1958, he produced a record by Herman Griffin titled 'I Need You' on the H.O.B. Label, which is notable in that it was the first song to be published by Berry's publishing company called Jobete (pronounced 'jo-BET'), named after his three children, Hazel Joy [Jo], Berry IV[Be], and Terry [Te]. 'I Need You' was also the first record to credit the Rayber Voices, background singers named after Berry's second wife, Raynoma, and himself. Gordy decided to take total control of his songs, so on January 12, 1959, he borrowed $800 from his family's loan fund to start his own record label, called Tamla. He had originally wanted to call his label 'Tammy,' after a Debbie Reynolds film, but that title was already taken. Tamla Records was located at 1719 Gladstone Street in Detroit, and the first release was Marv Johnson's 'Come to Me' [Tamla 101]. The song was picked up by United Artists and it became a mid-sized hit. United Artists signed Marv Johnson to a recording contract and Berry Gordy continued to produce him for that label. In 1959, Marv Johnson's 'You Got What It Takes' became his first production to break into the pop Top 10 The third Miracles release was issued on a second label Berry formed, called Motown. The record was called 'Bad Girl' and was pressed in minuscule numbers before being leased to Chess records of Chicago, where it was a moderate hit. In early 1960, Tamla released 'Money' by Barrett Strong. Gordy knew he had a hit, so he leased it to Anna Records who had a distribution agreement with Chess. Anna Records was a Detroit-based company that was owned by Berry's sisters Anna and Gwen Gordy and Billy Davis. The label operated from 1958 to 1961, when it was absorbed into Motown. 'Money' was a hit, reaching the #23 position, but more importantly, Barrett Strong joined Motown as a staff songwriter. He stayed with Motown until 1973. By the late 1950s, Detroit was perhaps the largest city in the United States that did not have a strong independent record company. With the establishment of Motown, the local talent had an outlet, and they starting showing up at the Motown offices. In 1960, a local girl singing group named the Primettes auditioned for Gordy. He was impressed with the group, but asked them to finish school and then come back. The Primettes came back to Motown after graduating, and were signed in January 1961. The group's name was changed to the Supremes, and they had their first release on Tamla in April of 1961. In 1960, Gordy met singer Mary Wells at a club where she sang for him, and he suggested she come to the office the next day. Berry signed her immediately and released a song she had written called 'Bye Bye Baby' in December of that year. Mary Wells proved to be the first real 'star' for the label, with a long string of pop hits. Berry discovered another singing group called the Distants, who changed their name to the Temptations, and released their first record on a new subsidiary label called Miracle in 1961. Their success was not to be as immediate as Mary Wells,' but it would eventually eclipse hers and be far longer lasting. Also in 1960, Gordy acquired the contract of a young Washington, DC-based singer named Marvin Gaye from his brother-in-law, Harvey Fuqua. Harvey was the leader of the Moonglows, who had had several hits for Chess before making some personnel changes in the late 1950s, and Gaye was a current member of that group. Gaye's first record was 'Let Your Conscience Be Your Guide' in 1961. He had his first hit in 1962 with 'Stubborn Kind of Fellow.' Gaye was another performer whose road to fame was marked by only moderate success for many years before finally becoming a huge 1970s star. A common trivia question about Motown is, 'What is the name of the first white group to record for Motown?' The not-often-heard correct answer is 'Nick and the Jaguars,' a trio from Pontiac, Michigan featuring drummer Nick Ferro and lead guitarist Marvin Weyer. Nick's dad, Johnny Ferro, brought the group to Berry Gordy in 1959. They recorded instrumentals 'Ich-I-Bon #1'/'Cool and Crazy' at the Motown studio, and the tunes were released as a single on Tamla 5501 that year, before the normal 55500 Tamla series even got started. The first white vocal group was the Valadiers. This group was recommended to Berry Gordy by his pal Jackie Wilson. The Valadiers had one very minor hit in 'Greetings (This is Uncle Sam)' on the Miracle label in 1961, and two other releases on the new Gordy subsidiary that was formed in 1962. The song 'Greetings (This is Uncle Sam)' became a bigger hit for the Monitors in 1966 on Motown's subsidiary label, V.I.P., during the Vietnam war. Motown producer Robert Bateman discovered the Marvelettes at a talent show at Inkster High School. In August 1961, Bateman and Brian Holland co-produced the Marvelettes' first record, 'Please Mr. Postman,' and it became the first of Berry Gordy's records to reach the pop charts' #1 position. During that same year, 'Shop Around' by the Miracles became the first Tamla record to sell a million copies, as it reached the #2 position. In 1959, a young blues singer named Martha Reeves met Mickey Stevenson, the Head of the Motown A&R department, and he hired her as a secretary. When Mary Wells missed a recording session, Martha called a vocal group she was in, the Del-Phis, to fill in. They recorded 'There He Is (At My Door),' which was released on the Melody subsidiary. The record was a flop, but the group continued to be used for background vocal work. In 1962, with a new name the Vandellas, they backed Marvin Gaye on his hit 'Stubborn Kind of Fellow'. In 1963, production of the group was given over to Brian and Eddie Holland with their new partner Lamont Dozier. The Holland-Dozier-Holland production of 'Come and Get These Memories' released in early 1963 (as Martha and the Vandellas on the Gordy subsidiary) is often credited as being the beginning of 'The Motown Sound'. Ronnie White, a member of the Miracles, arranged for an audition for an eleven year old, blind singer named Stevland Morris. Gordy was impressed with his talent, and said the boy was a 'wonder'. Signed to a Motown contract, Morris, renamed 'Little Stevie Wonder,' had a live recording from the Regal theater in Chicago released titled 'Fingertips, Part 2' which reached the #1 spot on the pop charts in 1963. [An interesting thing happens on the record near the end, when a band member yells out 'What key, what key?' The band backing Stevie thought he was finished and left the stage, and a second band was taking their place, when Stevie, responding to the audience applause, came back out for a short reprise. As he started playing his harmonica, the new band members didn't know what key the song was in, so in desperation yelled out for it.] The album containing 'Fingertips, Part 2' [Tamla 240] titled 12 Year Old Genius became the first Motown album to reach the number 1 spot on the pop album charts. Berry Gordy formed a jazz subsidiary called Workshop Jazz in 1962. The formation of the label was not because Berry thought he could sell many jazz records; the failure of his 3-D Record Mart had shown him that. He established the label in order to convince the most talented jazz musicians in Detroit to play on his pop music sessions, and Berry enticed them with promises of album releases on the Workshop Jazz label. Gordy knew that even the most successful jazz album sales would be minuscule compared to the numbers he could generate in the popular music field. But Berry kept his promise to the musicians, and the 11 albums released on the label are some of the rarest albums on any Motown label. In 1963, Berry met a group that had released their first single in 1954 when they were called the Four Aims. By 1956, when they released a single on Chess, the group had changed its name to the Four Tops. Initially, Gordy was going to record them on his Workshop Jazz subsidiary, and an album was prepared for that label. This album has been the subject of much speculation over the years. Titled Breaking Though with the Four Tops, it is pictured on an early Motown inner sleeve. Whether the album was ever released is subject to debate; if it was, it would certainly be the most valuable Motown collectable in existence. The Four Tops were quickly switched to the Motown label and turned over to Holland-Dozier-Holland for production. 'Baby I Need Your Loving' in August 1964 became their first chart hit. Any thought of more jazz recordings died with the success of that record. Gordy had established the foundation for the success of Motown for many years to come. With the Miracles, Four Tops, Marvelettes, Martha and the Vandellas, Supremes (still hitless to this point) and the Temptations, he had 6 of the best vocal groups on record. Added to these groups were solo singers Marvin Gaye, Stevie Wonder and Mary Wells. With himself, Mickey Stevenson, Smokey Robinson, and Holland-Dozier-Holland, he had proven songwriters and producers who knew how to make popular record hits. No story about Motown would be complete without talking about the Funk Brothers. They were the core of backing musicians that played on almost every Motown recording in the 1960s. The bass player was the incomparable James Jamerson. The drummer was Benny (Papa Zita) Benjamin, who was so good that Motown had to use two drummers (Richard 'Pistol' Allen and Uriel Jones) to replace him when he died in 1968 of a stroke. Allen and Jones had been with Motown for some time, and in fact on some songs (Marvin Gaye's 'I Heard It Through The Grapevine' for example), all three can be heard. The core members of the Funk Brothers were about a dozen musicians: Benjamin, Jamerson, Allen, Jones, guitarist Robert White, keyboardist Earl Van ****, trombonist Paul Riser, guitarist Eddie Willis, bandleader Joe Hunter, guitarist Joe Messina, percussionist Jack Ashford, vibraphonist Jack Brokensha, percussionist Eddie (Bongo) Brown, and keyboardist Johnny Griffith. In the early '60s, Gordy paid each of them between twenty five and fifty thousand dollars a year to keep them at the company; they were Motown's 'most valuable players' and the foundation of the distinctive Motown sound. For many years, Smokey Robinson was the only artist that Gordy would allow to produce his own work. Although it certainly wasn't a hard and fast rule, in general Berry assigned specific artists to specific producers. Smokey produced Mary Wells, the Temptations and the Miracles. Holland-Dozier-Holland produced the Four Tops and the Supremes. Mickey Stevenson produced Marvin Gaye and the Marvelettes. Clarence Paul produced Stevie Wonder. Martha and the Vandellas were produced by both Mickey Stevenson and Holland-Dozier-Holland. Other Motown producers included Henry Cosby, Harvey Fuqua, Joe Hunter, Earl Van ****, and Johnny Griffith. Berry also produced many of his artists on occasion. In 1963, Motown had 6 records in the top 10, 'You've Really Got a Hold on Me' and 'Mickey's Monkey' by the Miracles, 'Pride and Joy' by Marvin Gaye, 'Fingertips Part 2' by Stevie Wonder, and 'Heat Wave' and 'Quicksand' by Martha and the Vandellas. Technically, Motown progressed through the years by putting new equipment in the hands of the engineers and producers. Until late 1964, masters were recorded on three tracks. Track one was for basic rhythm, track two the 'sweetening' (strings, brass, etc.), and track three was for the vocals, which were overdubbed after the instrumental parts had been recorded to everyone's satisfaction. Mixdowns, whether mono or stereo, were done by the engineers, with the producers having little input at this point. In autumn, 1964, Motown progressed to eight tracks, using a machine designed and built in-house by Motown's Head of Engineering, Mike McLean. There were other 8-track machines in existence (notably at Atlantic and RCA in New York), but the industry standard at that time was 4-track and in England, the standard was still mono! By early 1965, there was a definite increase in sophistication of the Motown sound. It was possibly this new capability that led to the re-recording of some of the early hits for the Motown collections that began appearing in stereo in 1965 and 1966. He Supremes were unsuccessful with their first six singles (actually, 'Let Me Go the Right Way' had reached #26 on the R&B charts, but only #90 pop, and Gordy had much higher expectations for the group). These six early singles were produced by either Berry Gordy or Smokey Robinson. In late 1963, the group was given over to Holland-Dozier-Holland, and they produced their seventh single, 'When the Lovelight Starts Shining Through His Eyes' which reached a respectable #23 on the pop charts while making #2 R&B. Their follow-up song, 'Run Run Run' flopped, but in July 1964, they began a run of five consecutive #1 pop hits, 'Where Did Our Love Go,' 'Baby Love,' 'Come See About Me,' 'Stop! In the Name of Love,' and 'Back In My Arms Again.' Based on record sales, the Supremes went on to become the third largest selling artists in recording history, behind the Beatles and Elvis Presley. In 1964, Smokey Robinson produced 'My Guy' by Mary Wells, which also went to #1. Motown reached the #2 spot with the Holland-Dozier-Holland produced 'Dancing in the Street' by Martha and the Vandellas. The label certainly deserved the title painted on the front of their headquarters at 2648 West Grand Blvd., 'Hitsville, U.S.A., The Motown Sound, The Sound of Young America'. Berry Gordy formed two more subsidiary labels in 1964, Soul and V.I.P. He hits just kept coming in 1965, with five #1 hits: the Smokey Robinson produced 'My Girl' by the Temptations, the Holland-Dozier-Holland produced 'Stop! In the Name of Love', 'Back in My Arms Again' and 'I Hear a Symphony' by the Supremes, and 'I Can't Help Myself' by the Four Tops. Motown had six other releases reach the top 10. In 1965, saxophonist Junior Walker and the All Stars had the first hit on the new Soul label, the top-ten 'Shotgun'. In 1966, Motown signed Gladys Knight and the Pips, a group from Atlanta, Georgia, to the Soul label. It was a journeyman group that had hit in 1961 with 'Every Beat of My Heart' on the Vee Jay and Fury labels. They were assigned to a young producer named Norman Whitfield. He had recorded Marvin Gaye on a song that Whitfield and Barrett Strong had written called 'I Heard It Through the Grapevine.' When Berry Gordy refused to release the Marvin Gaye version of the song, Whitfield recorded it with Gladys Knight and the Pips, and the song went to #2. Gladys Knight and the Pips stayed with Motown for seven years, and had a few more hits. (Their biggest hit came after leaving Motown, when they reached #1 with 'Midnight Train to Georgia' on the Buddah label.) When the Marvin Gaye version of 'I Heard It Through the Grapevine' was finally released on an album in 1968, the Whitfield-produced song immediately got airplay, forcing its release as a single. The song went all the way to #1, and today is remembered as the definitive version of a classic song. For 1966, Motown produced 14 songs that reached the Top 10, with 'You Can't Hurry Love' and 'You Keep Me Hanging On' by the Supremes and 'Reach Out I'll Be There' by the Four Tops reaching #1. That year, Gordy signed the Isley Brothers to Tamla. The brothers had hit with 'Shout' on RCA and 'Twist and Shout' on Wand in 1959 and 1962, respectively, but had been largely unsuccessful on the charts otherwise. Their biggest hit for Motown was the H-D-H produced 'This Old Heart (Is Weak for You)' in 1966, but their future superstar success some years later came after they established their own record label, T-Neck. Also in 1966, Norman Whitfield took over production responsibilities for the Temptations from Smokey Robinson. His first production for the Temptations was 'Ain't Too Proud to Beg,' which he co-wrote with Eddie Holland. Eddie and Norman continued to write a string of hits for the Temps, including 'Beauty is Only Skin Deep', '(I Know) I'm Losing You', and '(Loneliness Made Me Realize) It's You That I Need'. He teamed with Roger Penzabene for the Temptations next hit, 'I Wish It Would Rain'. In mid-1968, Dennis Edwards replaced David Ruffin as the lead singer for the Temptations. When Whitfield teamed with Barrett Strong to write for the Temptations, the result was a new sound for Motown called 'Psychedelic Soul'. 'Cloud Nine' was just the first of several Whitfield-Strong compositions to go Top 10, including 'Run Away Child, Running Wild', the #1 hit 'I Can't Get Next To You,' 'Psychedelic Shack,' and Ball of Confusion (That's What the World is Today).' In 1967, thirteen Motown singles reached the Top 10 charts; 'Love is Here and Now You're Gone' and 'The Happening' by the Supremes reached #1. Motown had five major labels active: Motown, Tamla, Gordy, Soul, and V.I.P. In a move that would have tremendous significance for the future of Motown, Berry Gordy purchased a home in Los Angeles, California in 1967. In 1968, Motown had 10 singles in the Top 10, with 'Love Child' by Diana Ross and the Supremes and 'I Heard It Through the Grapevine' by Marvin Gaye reaching #1. Berry Gordy moved into his new home in Los Angeles, and the Motown Los Angeles branch offices were expanded. A tremendous loss for Motown occurred about that time, when arguably the most successful producers in history, Holland, Dozier, and Holland, left the company. The three were perhaps the only producers other than Phil Spector to become as big a name as the artists they recorded. The Holland-Dozier-Holland team was forced into inactivity from 1968 to 1970 due to lawsuits concerning their departure from Motown. They established two labels in 1970, Hot Wax and Invictus, and had moderate success with acts such as Chairmen of the Board, Flaming Ember, Freda Payne, and others, but they didn't establish the kind of hit-after-hit success they had enjoyed at Motown. N its tenth year of operation, 1969, Motown continued to roll along. Bobby Taylor (lead singer with a group called the Vancouvers) brought a family singing group from Gary, Indiana, to Berry Gordy's attention. The Jackson 5 were signed to Motown and 4 of their first six singles released between late 1969 and mid 1971 went to #1 on the pop charts, with the two that missed the #1 spot reaching #2. In order to prevent the creation of new superstar producers, like Holland-Dozier-Holland, Gordy credited writing and production on Jackson 5 records to 'The Corporation', which was a team consisting of Berry Gordy, Freddie Perren, Deke Richards and Fonzie Mizell. For 1969, Motown had 12 singles in the Top 10, with 'I Can't Get Next to You' by the Temptations, 'Someday We'll Be Together' by Diana Ross and the Supremes and 'I Want You Back' by the Jackson 5 reaching #1. Also in 1969, Motown established the Rare Earth label to issue white psychedelic rock music and other alternatives to R&B. The label was handled by the West Coast offices of Motown. Rare Earth (the label) was named for the first group signed to the label, a Detroit group originally formed in 1961 as the Sunliners. Their first album contained a twenty-minute-plus version of the Temptations' hit, 'Get Ready.' The Rare Earth label was also used for material leased from EMI in England, including the Pretty Things and Love Sculpture. The Rare Earth label was not too successful, but it limped along until 1976. In 1969, Motown acquired the distribution rights to the Chisa Label which was founded by Hugh Masekela and Stewart Levine. In 1970, six of the 14 Motown singles that reached the Top 10 went to #1. They were 'ABC' and 'The Love You Save' by the Jackson 5, 'War' one of the more politically topical songs that were beginning to appear on Motown by Edwin Star, 'The Tears of a Clown' by Smokey Robinson and the Miracles, and 'Ain't No Mountain High Enough' by Diana Ross, now without the Supremes. The final performance of Diana Ross and the Supremes occurred at the Frontier Hotel in Las Vegas, which was recorded and issued as an album. Jean Terrell replaced Diana Ross as lead singer of the Supremes. Motown became more cognizant of its roots by establishing a new subsidiary label called Black Forum in 1970, releasing spoken word records by Dr. Martin Luther King, Jr., Stokely Carmichael and black poets Langston Hughes and Margaret Danner. The label was active until 1973. In 1971, Motown has 11 singles reach the Top 10 with 'Just My Imagination (Running Away with Me)' by the Temptations reaching the #1 spot. During this year, Motown moved increasingly into TV production, producing Diana! A television special with Diana Ross, and Goin' Back to Indiana, a Jackson 5 special. A cartoon series about the Jackson 5 also started in 1971. A new subsidiary was established called Mowest and the first release was 'What the World Needs Now Is Love/Abraham, Martin, and John' a sweet-sounding medley interspersed with jarring recordings drawn from politically relevant topics such as war and assassination put together by Los Angeles deejay Tom Clay. The Mowest label was controlled by the west coast office of Motown and was used for talent developed by that office. By 1971, Marvin Gaye had been given creative control of his recordings, in that year he made an album titled What's Going On [Tamla 310], for which he wrote, produced, sang and played piano. At first, Gordy did not want to release the album, feeling that the album's hard-hitting, socially critical lyrics on songs like 'Inner City Blues' would offend traditional Motown fans. Only after Gaye threatened to never make another record for Motown did Gordy relent and release the album. It is often acknowledged as one of the greatest albums ever made. What's Going On sold over a million copies and spawned three R&B number one hits, 'Mercy Mercy Me (The Ecology)', 'What's Going On' and 'Inner City Blues (Make Me Wanna Holler)'. All three songs also made the popular music Top 10 lists. The music on the album is spacey, spiritual and soulful, totally different than any album ever released on Motown until then. With What's Goin' On, Gaye had moved Motown music to a whole new level, and also made album sales a significant factor to a company that had always chased the hit single. 1972 was somewhat of a down year for Motown, with only 4 singles reaching the pop Top 10. Two of them, however, did go to #1: 'Papa Was a Rollin' Stone' by the Temptations and 'Ben' by Michael Jackson. Stevie Wonder, who by 1970 had been granted complete artistic freedom to produce his own albums, produced Talking Book [Tamla 319] in 1972, when he toured with the Rolling Stones as their opening act. Diana Ross began her film career with Lady Sings the Blues, receiving an Academy Award nomination for her portrayal of Billie Holiday. As the Los Angeles offices continued to grow and the Detroit headquarters shrank, a company newsletter in March, 1972, stated, 'There are no plans at present to phase out the Detroit operations, as many rumors suggest'. In June, Motown announced that it was closing its Detroit offices and moving its headquarters to Los Angeles. While the move probably made sense because of the increasing emphasis Berry Gordy was putting into making movies and television shows, many Motown fans believe the company's heart and soul was lost when it abandoned Detroit, that its most creative days were the 13 years from 1959 to 1972. In 1973, Berry Gordy resigned as President of Motown Records to become Chairman of the Board of Motown Industries, which included the record, motion picture, television and publishing divisions. Ewart Abner II, a Motown Vice President for six years (and former exec with Vee-Jay) became President of Motown Records. Motown had five #1 pop singles in the year, including, 'Let's Get It On' by Marvin Gaye, 'Keep on Truckin' by Eddie Kendricks, 'Touch Me In the Morning' by Diana Ross and 'You Are the Sunshine of My Life' and 'Superstition' by Stevie Wonder. Wonder's new album, called Innervisions [Tamla 326], was released and won five Grammy awards. In 1974, only four Motown singles reached the Top 10 and only Stevie Wonder's 'You Haven't Done Nothin' reached the #1 spot. Wonder's new album titled Fulfillingness' First Finale [Tamla 332], became the #1 album within three weeks of its release and also won five Grammys. Motown formed a country subsidiary label called Melodyland and signed T.G. Sheppard, Pat Boone, Dorsey Burnette and Ronnie Dove among others. A legal dispute over the label name arose in 1976 and the name was changed to Hitsville. The Hitsville label folded in 1977. A new group, the Commodores, had their first album released, titled Machine Gun. It went gold in five countries. In retrospect, the title track, an instrumental, was quite uncharacteristic of the smooth ballads featuring the voice of Lionel Richie that later became the groups' mainstays. The Commodores went on to become Motown's best selling act during the 1970s. For the period of 1974 to 1980, they averaged two million album sales per year. 1975 was another low point in Motown history, as only one Motown release 'Boogie On Reggae Woman' by Stevie Wonder made the Top 10. The Jackson 5 left Motown for Epic records; actually the Jackson 4 went to Epic as 'The Jacksons' and Jermaine, who had married Berry Gordy's daughter, stayed with Motown. Ewart Abner II resigned as President of Motown Records and Berry Gordy temporarily replaced him. Barney Ales, a former Vice President of the company, who had stayed in Detroit when the company moved to Los Angeles, rejoined the company when Motown purchased his Prodigal Label. During the year, Diana Ross starred in her second movie, Mahogany but it was certainly not as well received as Lady Sings the Blues. In 1976, the fortunes of the company rebounded with six Motown releases reaching the Top 10, including two hits by the Commodores. Three of the companies releases reached #1, including 'Love Hangover' and 'Do You Know Where You're Going To' by Diana Ross and 'Love Machine (Part 1)' by the Miracles. Stevie Wonder released his Songs In the Key of Life album, which entered the pop charts at #1. He picked up four more Grammys for the album. Berry Gordy and Mike Curb formed a new country label named MC, which inherited many of the same artists that were on Melodyland/Hitsville, but the new label achieved little success. In 1977, Motown had three #1 pop hits, 'Sir Duke' and 'I Wish' by Stevie Wonder, and 'Got to Give It Up (Part 1)' by Marvin Gaye, the latter one of the most infectious dance songs of all time. Two more singles by the Commodores also made the Top 10 that year. The next year, about the only single chart action for Motown was by the Commodores, who had the hit 'Three Times a Lady.' Their albums continued to sell in record numbers. Rick James was signed to the Gordy label and his first album Come and Get It [Gordy 981] eventually went on to sell 2 million copies. James' breakthrough album was 1981's Street Songs [Gordy 1002], which sold over three million copies. Motown Pictures produced The Wiz starring Diana Ross in 1978. In 1979, the Commodores 'Still' was the only #1 pop hit for the year, and the group also had half the Top 10 singles with 'Sail On'. 'Send One Your Love' by Stevie Wonder also reached the Top 10 in 1979. During the 1980's, Motown continued to sell massive numbers of albums, culminating with Lionel Richie's 1984 Can't Slow Down [Motown 6059], which became the largest selling album in the company's history when it sold 10 million copies worldwide. In 1982, Motown went to a consolidated numbering system for all albums released on the three remaining active labels, Motown, Gordy and Tamla, starting with Motown 6000ML by Bettye Lavette. In addition to the 3 major labels, Motown also released albums in the 6000 series on the Latino label, which was Motown's attempt at a Hispanic label, and Morocco, which stood for Motown Rock Company. In June 1988, Berry Gordy sold Motown Records to a partnership between MCA and Boston Ventures, with Gordy retaining the ownership of the Jobete Publishing catalog. Berry Gordy was always the consummate businessman. As good as he was as a judge of talent and hit songs, he was most of all an entrepreneur who transformed a $800 loan into the largest black owned business in United States history. In 1976, he pretty much summed it up when he said, 'I earned 367 million dollars in 16 years. I must be doing something right'! Even though Motown sold millions more albums during the 1970s and 1980s then it had in the 1960s, Motown will always be remembered for the music it created during the 1960s that was heard on the tinny radios in automobiles as teenagers cruised the streets and highways. Never in history has one company produced so many top ten hits as Motown did during that marvelous decade. Today's commercials and movies are testimony to the great Motown songs of the '60s which are heard more than ever before. I read that Anna & Gwen Gordy were the it girls of Detroit in the 40s & 50s.:yes: that is so true!!! So did Anna Marvin and the niece plan this baby? Yes they planned it that Denise Gordy (Anna's blood niece) and her late brother George's daughter would sleep with Marvin.(The Gordy family was in on the plan. Denise spoke out years ago saying she didn't see what the big deal was her aunt and uncle wanted a baby and couldn't have one.so she had a baby for them.(Anna is the one who couldn't have kids not Marvin):Sleeping with Ur Uncle (that's married to Ur aunt)? Has Marvin always had a thing for teenage girls? Jimmy Ruffin b. Jimmy Ruffin, 7th May 1939, Collinsville, Mississippi, U.S.A. Jimmy Ruffin is a Soul singer, who is the older brother of the late, ex-Temptation, David Ruffin. Jimmy is, perhaps, best known for his Soul ballad 'What Becomes Of The Broken Hearted', a hugely popular slow dancer. He was born in Collinsville, Mississippi, the son of a minister, born two years before his younger brother. His cousin is Melvin Franklin, also of the Temptations. The dixie nightingales As siblings, the brothers began singing with the gospel group, the Dixie Nightingales (later to become Ollie and the Nightingales). Jimmy turned to a more secular career in the early 60's, joining the Motown stable in 1961, for one single before he was drafted for national service. Don't feel sorry for me - 1961 / i want her love - 1964 Whilst at Motown, he sang on various sessions, including sides for the Miracle imprint ('Don't Feel Sorry For Me' b/w 'Heart' in 1961). During his period in the service, he became part of a group called the Four Hollidays, (who released 3 sides for the Master and Markie labels). After three years in the military, he returned to Motown, and was asked to join the Temptations, replacing Elbridge Bryant. Jimmy suggested that his brother might want to audition for the replacement role. Preferring to start a solo career, Jimmy Ruffin recorded for the Motown subsidiary, Soul. At Soul, Jimmy recorded 'What Becomes' along with several other sides between 1964 and 1972. The Soul sides were to see the light of day at the Motown main imprint via a couple of later compilations. In 1966, 'What Becomes Of The Broken Hearted' became a tune destined for the group the Detroit Spinners. Jimmy persuaded the writers (Weatherspoon, Riser & Dean) to allow him to record the record. Jimmy's version of the song reached number 7 on the Billboard Hot 100 and number 6 on the R&B Chart. The song also reached number 10 on the U.K. Singles chart, rising to number 4 when it was reissued in the UK in 1974. A follow up song was readied, entitled, 'East Side West Side', which was written by Ron Welser and Flamingos' member Terry 'Buzzy' Johnson, and was released only in Australia. Top ten - 1967 / the jimmy ruffin way - 1967. Funeral Arrangements for former Motown Ex Producer/Songwritter Frank Wilson. Funeral arrangements are as follows: Services for former Motown songwriter/producer Frank Wilson are scheduled as follows: Viewing: Thursday, October 4, 2012 4:00 p.m. INGLEWOOD CEMETERY 3801 W. Manchester Boulevard Inglewood, CA 90305 FAITHFUL CENTRAL BIBLE CHURCH (The Tabernacle) Friday, October 5, 2012 Viewing: 9:30 a.m. Homegoing Celebration: 10:30 a.m. Eucalyptus Avenue (west of LaBrea) Inglewood, CA 90302 In lieu of flowers the family has requested that donations to be made to: FRANK WILSON MINISTRIES P.O. Box 1004 Pasadena, CA 91102 [ame='Wilson - Do I Love You (Indeed I Do) - YouTube[/ame]. Continue.with Jimmy Ruffin Other Stateside releases did well, including 'I've Passed This Way Before' and 'Gonna Give Her All the Love I've Got' which reached the U.S. Charts in late 1966 and early 1967, songs were later recorded by his brother and the Temptations. Ruff 'n' ready - 1969 / i am my brothers keeper - 1970 the groove governor - 1970 / jimmy ruffin.forever - 1973 Jimmy's own sound proved popular in the U.K., and in 1970, 'Farewell Is A Lonely Sound', 'I'll Say Forever My Love' and 'It's Wonderful' all made the U.K. He also teamed up with brother David to record the album 'I Am My Brother's Keeper', for Motown that included a hit cover of Ben E. King's 'Stand By Me'. Sunrise - 1980 / the foolish thing to do - 1986/12' He then left Motown, and recorded for the Polydor ('Tell Me What You Want'), Atco ('Tears Of Joy'), Epic ('Fallin' In Love With You') and Chess ('What You See (Ain't Always What You Get)' imprints, before success returned in 1980 when Robin Gibb of the Bee Gees produced his album 'Sunrise', which featured the hit single 'Hold On To My Love', which reached number 10 in the U.S. And number 7 in the U.K., for the RSO label. During the 1980's Jimmy relocated to Britain, where he continued to perform successfully. In 1986 he collaborated with the British pop group Heaven 17, singing 'A Foolish Thing To Do' and 'My Sensitivity' on a 12' single. Jimmy joined lan Levine's Motor City label in 1988, and recorded two singles with Brenda Holloway (including 'On The Rebound'), along with some additional work with Maxine Nightingale ('Turn To Me' b/w Give A Little Love (To Me)' for the Highrise label in 1982). In 1984, he recorded a duet with Jackson Moore entitled 'I'm Gonna Love You Forever' for the ERC label. Later, Jimmy hosted a radio show in the U.K. For a time, and became an anti-drug campaigner, following the death of his brother David in 1991. He still resides in the U.K., where he continues to tour and perform. Albums: solo: Top Ten (Soul Records 1967) The Jimmy Ruffin Way (Soul Records 1967) Ruff 'n' Ready (Soul Records 1969) The Groove Governor (Soul Records 1970) with David Ruffin: I Am My Brother's Keeper (Motown Records 1970) solo: Forever (Motown Records1973) Greatest Hits (Motown Records 1974) Love Is All We Need (Polydor Records 1975) Sunrise (RSO Records 1980). October 4, 2012 at 2:12 pm Rock Hall of Fame taps Motown's Marvelettes By Susan Whitall Detroit News Music Writer The Rock and Roll Hall of Fame announced nominees for its class of 2013, and it's good news for Detroiters and Motown fans. Inkster's own Marvelettes, who had Motown's first No. 1 hit with 'Please, Mr. Postman' back in 1961, are on the ballot for the first time after years of being overlooked in favor of more recent acts. The other 2013 nominees are: The Paul Butterfield Blues Band, Chic, Deep Purple, Heart, Joan Jett and the Blackhearts, Albert King, Kraftwerk, The Meters, Randy Newman, N.W.A., Procol Harum, Public Enemy, Rush and Donna Summer The Marvelettes' Katherine Anderson Schaffner pronounced herself 'thrilled,' once the news sunk in, but quipped, 'Better late than never!' She was just 15 when the group was formed to compete in an Inkster High School talent show. 'I remember reading in 'Jet' that Shirley of the Shirelles said, when they finally got in, 'You know what? It's about damn time.' I feel the same way,' Schaffner said with a laugh. 'We want to be honored, too. We did our work according to the rules, as well as anybody else.' Apart from 'Postman,' which helped kick off the girl group craze of the early '60s, the Marvelettes scored with 'Beechwood 4-5789,' and later in the '60s, under Smokey Robinson's direction, they hit with 'Don't Mess With Bill,' 'The Hunter Gets Captured By the Game' and 'My Baby Must Be a Magician.' Sadly, several members of the group have passed on, including lead singer Gladys Horton, who died in Los Angeles last year. Over the years, the Marvelettes have had more than their share of bad luck, despite the fact that 'Please Mr. Postman' filled the fledgling record company's coffers just when it needed a boost. As Motown's first girl group, they were too early for Motown's famous grooming by Artist Development, or for the designer gowns afforded to the Supremes and other acts. In the early '60s, the girls had to sleep on the Dick Clark Caravan of Stars bus, and put together their own dance moves for their show. Several members left to attend to their growing families, and lead singer Horton tried to keep the group going, but had to compete with a group of non-original Marvelettes whose manager had gained the rights to the name. Wanda Young, who sang lead on 'Don't Mess With Bill' and some of the group's later hits, battled personal problems that kept her out of the public eye for years. As for whether the Marvelettes will make it through the voting process, 'we'll hope for the best,' Schaffner said. To be nominated, a musical act must have released its first single or album 25 years earlier, thus the Marvelettes have been eligible for decades. The other news coming out of today's announcement is that Canada's Rush is finally up for induction. Fans of progressive rock have long complained that acts such as Rush and Yes are overlooked in favor of less popular rock and rap acts, a bias many see as reflecting the views of the rock critic establishment, including Rock Hall founder Jann Wenner of Rolling Stone. Because of a new policy, fan favorites such as Rush and the Marvelettes might have a better chance of being voted in. Now through December 5, fans can vote at for their favorite acts among the nominees. The top five acts from those votes will be part of a 'fans' ballot' that will be included in the final tally, alongside the votes of the 600 music industry professionals who vote every year. The Rock and Roll Hall of Fame induction ceremony will be held in Los Angeles on April 18, 2013, and broadcast at a later date on HBO. Young Maravelets^^^^^^ starting out!! Apart from 'Postman,' which helped kick off the girl group craze of the early '60s, the Marvelettes scored with 'Beechwood 4-5789,' and later in the '60s, under Smokey Robinson's direction, they hit with 'Don't Mess With Bill,' 'The Hunter Gets Captured By the Game,' and 'My Baby Must Be a Musician.' Zoom Apart from 'Postman,' which helped kick off the girl group craze of the early '60s, the Marvelettes scored with 'Beechwood 4-5789,' and later in the '60s, under Smokey Robinson's direction, they hit with 'Don't Mess With Bill,' 'The Hunter Gets Captured By the Game,' and 'My Baby Must Be a Musician.' Not sure if this has been posted anywhere else on the site yet but just read that the new season of Unsung starts in January and Eddie Kendricks is going to have his own episode!!! I cannot believe it!!! I'M SOO EXCITED!!!!!!: ******************************************* Great news for SoulTrackers and other lovers of the greatest show on television, TV One's 'Unsung.' It was announced today that the music biography show has been renewed for a sixth season that will begin in January. This time around, artists who will be Unsung'ed will include Eddie Kendricks, The Whispers, EPMD, Lou Rawls, Midnight Star and Isaac Hayes and six others to be named. As always the shows will be narrated by actor Gary Anthony Williams. As TV One explains it, 'Unsung focuses on profiling gifted musical talents who have played an important role in recent music history, but have not necessarily become household names. The featured artists have contributed significantly to popular culture and have compelling life stories, the details of which have largely remained untold.' We couldn't have said it better ourselves. And we can't wait for January! The Temptations Eddie Kendricks Remembered (Watch Him Perform) October 15, 2012 By Larry Buford. It's been 20 years but his voice and memory live on! By Larry Buford *It was January 1992 when I got the call from Tunis Wilson who had been the road manager for the former trio of lead singers of The Temptations David Ruffin (who had died just seven months prior), Eddie Kendricks, and Dennis Edwards. He said Eddie wanted me to come down to a location in the South Bay of California to talk about some songs I had written. Eddie Kendrick. Eddie Kendricks.>>>>>. This would not be the first time wed met. Back in the 70s he and Ruffin had become aware of my songwriting abilities. We had kept in touch through the years. After Ruffin died I had met with Eddie where he was performing at The Strand in Redondo Beach and gave him a copy of several of my songs, so I was looking forward to his call. It was a great meeting even though I could see that Eddie was pretty exhausted. We reminisced, and played some old Temptations songs. He was surprised that I really loved his performance on the Smokey Robinson tune Youre Not An Ordinary Girl which was the B side of Beautys Only Skin Deep. We talked about old friends, and some of the hang-outs in Detroit. We high-fived, joked laughed at some things, cussed about some others. I remember telling Eddie that he and all his other Motown co-horts were so busy making history that they did not really fully grasp the impact theyd made. I promised him I would do whatever I could to try and let the world know of their sacrifices and hard work, and the struggles they went through to bring us their wonderful music how it encouraged and elevated us. He thanked me for that. As we were listening to my songs he nodded and gave his feedback told me which ones he liked then when the tribute song I wrote for Ruffin called Soul Man (A Song For David) came on, he really responded to it and said he wanted to record it! He even autographed the lyric sheet of the song that I still have. Sadly, I was told by Wilson that Eddie had been working on the song but had not finished it at the time of his death several months later. Eddie (center) with Temptations Eddies voice came on the national scene as a lead singer with The Way You Do The Things You Do. What many fans dont know is that on another Smokey Robinson-penned tune Two Lovers by Mary Wells, it was Eddie harmonizing with her on the chorus (listen to it again with new ears). Eddie went on to record Girl Why You Wanna Make Me Blue, The Girls Alright With Me, What Love Has Joined Together, Get Ready, Just My Imagination, and many, many other hits with The Temptations. His duet with Ruffin on Youre My Everything is classic (See Eddie and the Temptations perform the song below)! And who can forget his timeless inimitable version of Rudolph The Red-Nosed Reindeer. Its been reported that during one period, Eddie was the top grossing male solo artist on the Motown roster. Afterwards, he had a stream of hits as a soloist with Can I, Keep On Truckin, Boogie Down, Happy, and so many others. Its been reported that during one period, Eddie was the top grossing male solo artist on the Motown roster. One song he recorded that I love so much I first heard it in October 1974 is Tell Her Love Has Felt The Need. My Aunt Jacqui brought the song over to our house on her birthday October 5th and played it for us. It was a rainy October night there in Detroit, and Eddies voice his emotion in that song will live on in my mind forever. Eddie died October 5th 1992. God bless him, and may his music live forever. Larry Buford is a Los Angeles-based freelance writer. Author of Things Are Gettin Outta Hand (Steuben Pub). Articles frequently appear (among others) in the Los Angeles Sentinel Op-Ed section. Visit the author. [ame=Temptations - You're My Everything - YouTube[/ame] [ame=& Oates with Eddie Kendricks & David Ruffin - Soul Medley - YouTube[/ame] [ame=Ruffin and Eddie Kendricks Losing You Live - YouTube[/ame]. FileFixation.com is a new file sharing web service which gives you access to literally hundreds of thousands of direct downloads including software, games, movies, tv shows, mp3 albums, ebooks and more! Our downloads database is updated daily to provide the latest download releases on offer. To celebrate our launch we are offering unlimited full download access for $0.99! This is a limited offer and will soon expire and revert back to the normal member price. We now have 386,445 downloads in the member section. Take the FileFixation now for more detailed information! The word 'keygen' means a small program that can generate a cd key, activation number, license code, serial number, or registration number for a piece of software. KeyGen is a shortened word for Key Generator. A keygen is made available through crack groups free to download. When writing a keygen, the author will identify the algorithm used in creating a valid cd key. Once the algorithm is identified they can then incorporate this into the keygen. If you search a download site for Dx4win Keygen, this often means your download includes a keygen. Please click on the Version History link above to see the most recently released version. The best way to update the DX4WIN country file is to use the the. The country file has been verified to work with DX4WIN versions 4.0x and later. It has also been tested with 3.05, but the information in the distance/bearing field in the upper-right of the QSO window will be blank. The country file contains version information. If you try to log the callsign “VERSION” (without the quotes) and hit the tab or space key, look at the “QSL Mgr” field in the logbook. This will be the release date of the QSL manager database, and will usually match the release date of the country file, unless you have imported a different QSL manager database. To see the actual revision date of the country file, go to Files| Databases| Countries. The entry for 1A0, Sov. Military Order of Malta should appear. DX4WIN.CTY #17.13 – 22 November 2017. Posted on November 22, 2017 by AD1C Version entity is Antarctica, CE9. Entities: 401. Prefixes: 4,630. Callsigns: 23,378. Managers: 76,190. Addresses: 11,249. [download] Continue reading →. Posted in DX4WIN. Welcome to the DX4WIN home page. DX4WIN is an easy to use, yet powerful logging program for every ham. It has been designed for the serious and the casual DXer. Click on the Callsigns tab, and the callsign “VERSION” should appear in the window. The “Start date” is the date the country file was created/released. • • • • • What’s in the Country File? The country file unifies many smaller databases that are essential for DX4WIN: • DXCC entities • DXCC prefix to entity mapping • DXCC callsign to entity mapping • QSL managers • QSL manager addresses • (IOTA) • US States (latitude/longitude) • CT state abbreviation to US state mapping • US Counties The country file updates are cumulative, not incremental. Each new version has all of the previous version’s data (plus/minus any corrections), plus the new data for that particular release. Installation instructions The new country file can be used “as-is”. First, exit DX4WIN (File| Exit); you may be prompted to save your log. Download the ZIP file by clicking on the Version History link at the top of this page, then on the page that comes up, click on the [download] link of release you want. Copy your existing DX4WIN.CTY file (from your DX4W### SAVE) directory to a safe place (like your DX4W### BACKUP directory, see, under the section Analyzing country file differences). Using a utility like WinZip, open the ZIP file you just downloaded, and save (extract) the new DX4WIN.CTY file into your DX4W### SAVE directory. The ZIP file contains another file, ADIF.PMP. This file is used to map QSOs in imported and exported ADIF files to the correct country (this includes eQSL and ARRL Logbook of the World). This file must be updated any time that DX4WIN.CTY is updated – the files have to be in-sync with each other. Assuming the ZIP file is still open from the step above, save (extract) the ADIF.PMP file to your DX4W### IMPORT directory. By far, the easiest way to update is to use the. This updates all DX4WIN data files, including the country file. Please see the section below. You may want to save your old QSL manager file before installing the new country file. Merging country files If you want to keep a customized country file, but still get the latest updates, then merging might be the best solution. Using the new country file “as-is” usually results in the fewest problems, however. Only the following components of the country file can/will be merged: • Exception calls • IOTAs • QSL managers • QSL addresses This means entities and prefixes are NOT merged. Therefore, it is almost always necessary to merge your old DX4WIN.CTY file into the new one, not the other way around. This gets your the prefixes and entities that may have been added to the new country file. First, exit DX4WIN. Then move your existing DX4WIN.CTY file to a safe place, preferably somewhere like DX4W### BACKUP. If you don’t have a BACKUP directory, then create one. Next, download the new country file and extract DX4WIN.CTY to your SAVE directory. Start DX4WIN, and ensure you have the new country file by trying to log the callsign VERSION and checking the date in the “QSL Mgr” field. Close your log using File| Close. If you have made no changes (expected) it should not prompt you to save the file. To merge, choose Files| Databases| Countries from the main DX4WIN menu bar. When the Country Editor window comes up, choose File| Merge Other Country File. Navigate to the BACKUP directory, or to wherever you moved your old DX4WIN.CTY file. Select the file named DX4WIN.CTY, then click on the Open button. You will be prompted before merging each of the four components listed above. When the merge is complete, check for errors by choosing File| Check for Errors in the Country Editor window. When the merging is done and there are no errors, choose File| Save Changes and Exit in the Country Editor window. After the country database is saved, you can re-open your logbook. Do whatever test(s) you need to ensure the merge succeeded. Importing QSL manager data If you decide you want to use this new file, you may want to import your QSL manager data from your old DX4WIN.CTY file into it. Using your old country file, go to File| Databases| QSL Managers. Then File| Export QSL manager data. Pick a file name and save it. Do the same thing for File| Databases| Manager Addresses. Then you can exit from the QSL database manager. After installing the new DX4WIN.CTY file, go to File| Databases| QSL Managers. Then File| Import QSL manager data. Use the same name as you saved before. When it asks you if you want to delete the existing data, answer Yes. Do the same thing for File| Databases| Manager Addresses. Then you can exit from the QSL database manager. NOTE: Importing QSL manager data into version 6.02 causes unusual dates. This is fixed in version 6.03. DX4WIN Info Page DX4WIN -- Logging Software About DX4WIN English (USA) DX4WIN is an easy to use, yet powerful logging program for every ham. It has been designed for the the serious and the casual DXer. It has a number of features that make operating in a contest fun from the DXers perspective, and if you use a contesting program, DX4WIN can import your log after the contest. DX4WIN operates under Windows/95/98 and Windows/NT/2000/XP. DX4WIN offers more in features and speed than any other logging program on the market today at a very affordable price. We have built an excellent reputation for our responsiveness and support and updates have been distributed for FREE. The DX4WIN reflector is a great resource to ask questions about DX4WIN, and with the hundreds of subscribers, someone will know the answer. We also use the reflector to announce new versions etc. To see the collection of prior postings to the list, visit the. Using DX4WIN To post a message to all the list members, send email to. You can subscribe to the list, or change your existing subscription, in the sections below. Subscribing to DX4WIN Subscribe to DX4WIN by filling out the following form. You will be sent email requesting confirmation, to prevent others from gratuitously subscribing you. This is a private list, which means that the list of members is not available to non-members. Your email address: Your name (optional): You may enter a privacy password below. This provides only mild security, but should prevent others from messing with your subscription. Do not use a valuable password as it will occasionally be emailed back to you in cleartext. If you choose not to enter a password, one will be automatically generated for you, and it will be sent to you once you've confirmed your subscription. You can always request a mail-back of your password when you edit your personal options. Pick a password: Reenter password to confirm: Which language do you prefer to display your messages? English (USA) Would you like to receive list mail batched in a daily digest? No Yes ( The subscribers list is only available to the list members.) Enter your address and password to visit the subscribers list: Address: Password: To unsubscribe from DX4WIN, get a password reminder, or change your subscription options enter your subscription email address: If you leave the field blank, you will be prompted for your email address list run by (requires authorization) version 2.1.12. Author by: Verity Smith Language: en Publisher by: Routledge Format Available: PDF, ePub, Mobi Total Read: 18 Total Download: 391 File Size: 48,7 Mb Description: A comprehensive, encyclopedic guide to the authors, works, and topics crucial to the literature of Central and South America and the Caribbean, the Encyclopedia of Latin American Literature includes over 400 entries written by experts in the field of Latin American studies. Most entries are of 1500 words but the encyclopedia also includes survey articles of up to 10,000 words on the literature of individual countries, of the colonial period, and of ethnic minorities, including the Hispanic communities in the United States. Besides presenting and illuminating the traditional canon, the encyclopedia also stresses the contribution made by women authors and by contemporary writers. Outstanding Reference Source Outstanding Reference Book. Author by: Manlio Argueta Language: en Publisher by: Format Available: PDF, ePub, Mobi Total Read: 82 Total Download: 977 File Size: 42,7 Mb Description: Little Red Riding Hood in the Red Light District is Manlio Argueta's most popular novel in El Salvador. It has gone through eight editions and has been newly revised by the author for this English translation. The story revolves around the relationship of two young lovers in a time of political upheaval Manlio Argueta's novels have earned him an international reputation and have endeared him to the Salvadoran people. Caperucita en la zona roja received the Casa de las Americas Prize in 1977. Manlio Argueta currently lives in San Salvador. Author by: Sandra L. Beckett Language: en Publisher by: Wayne State University Press Format Available: PDF, ePub, Mobi Total Read: 90 Total Download: 734 File Size: 49,6 Mb Description: Across various time periods, audiences, aesthetics, and cultural landscapes, Little Red Riding Hood is a universal icon, and her story is one of the world's most retold tales. In Revisioning Red Riding Hood Around the World: An Anthology of International Retellings, Sandra L. Beckett presents over fifty notable modern retellings, only two of which have appeared previously in English. The tales include works published in twenty-four countries and sixteen languages, in texts that span more than a century, but with the majority written in the last fifty years. They include retellings for children, adolescents, and adults, as well as crossover works intended for an audience of all ages. The tales in this volume progress from works that recast the story of Little Red Riding Hood from traditional perspectives through more playful versions to more unconventional approaches. Download caperucita en la zona roja or read online here in PDF or EPUB. Please click button to get caperucita en la zona roja book now. Manlio Argueta Languange: en. Jun 10, 2011 Manlio Argueta - Un Dia En La Vida // Zona Franca TVX - Duration: 22:44. Aerometal1973 3,747 views. La Caperucita Roja.AUDIO.LATINO. Seven sections are arranged thematically: Cautionary Tales for Modern Riding Hoods, Contemporary Riding Hoods Come of Age, Playing with the Story of Red Riding Hood and the Wolf, Rehabilitating the Wolf, The Wolf's Story, The Wolf Within, and Running with the Wolves. Beckett provides an interpretative introduction to each text and insightful information on its author and/or illustrator. A variety of genres are represented, including fairy tale, short story, novella, novel, poetry, illustrated books, and picture books. More than 90 illustrations, both color plates and black-and-white images, reveal further narrative layers of meaning. The number and diversity of retellings in Revisioning Red Riding Hood demonstrate the tale's remarkable versatility and its exceptional status in the collective unconscious and in literary culture, even beyond the confines of the Western world. This unique anthology contributes to cross-cultural exchange and facilitates comparative study of the tale for readers interested in fairy-tale studies, cultural studies, and literary history. Author by: Raymond Williams Language: en Publisher by: Columbia University Press Format Available: PDF, ePub, Mobi Total Read: 9 Total Download: 582 File Size: 40,7 Mb Description: In this expertly crafted, richly detailed guide, Raymond Leslie Williams explores the cultural, political, and historical events that have shaped the Latin American and Caribbean novel since the end of World War II. In addition to works originally composed in English, Williams covers novels written in Spanish, Portuguese, French, Dutch, and Haitian Creole, and traces the profound influence of modernization, revolution, and democratization on the writing of this era. Beginning in 1945, Williams introduces major trends by region, including the Caribbean and U.S. Latino novel, the Mexican and Central American novel, the Andean novel, the Southern Cone novel, and the novel of Brazil. He discusses the rise of the modernist novel in the 1940s, led by Jorge Luis Borges's reaffirmation of the right of invention, and covers the advent of the postmodern generation of the 1990s in Brazil, the Generation of the 'Crack' in Mexico, and the McOndo generation in other parts of Latin America. An alphabetical guide offers biographies of authors, coverage of major topics, and brief introductions to individual novels. It also addresses such areas as women's writing, Afro-Latin American writing, and magic realism. The guide's final section includes an annotated bibliography of introductory studies on the Latin American and Caribbean novel, national literary traditions, and the work of individual authors. From early attempts to synthesize postcolonial concerns with modernist aesthetics to the current focus on urban violence and globalization, The Columbia Guide to the Latin American Novel Since 1945 presents a comprehensive, accessible portrait of a thoroughly diverse and complex branch of world literature. Argueta.pdf - 2 and Romboli grabbed Argueta and pushed him towards the police cruiser, repeatedly asking him if he was drunk. Argueta denied being drunk and told the officers that. Download our un dia en la vida manlio argueta pdf eBooks for free and learn more about un dia en la vida manlio argueta pdf. These books contain exercises and tutorials to improve your practical skills, at all levels! Author by: Raymond Williams Language: en Publisher by: Columbia University Press Format Available: PDF, ePub, Mobi Total Read: 64 Total Download: 341 File Size: 48,5 Mb Description: In this expertly crafted, richly detailed guide, Raymond Leslie Williams explores the cultural, political, and historical events that have shaped the Latin American and Caribbean novel since the end of World War II. In addition to works originally composed in English, Williams covers novels written in Spanish, Portuguese, French, Dutch, and Haitian Creole, and traces the profound influence of modernization, revolution, and democratization on the writing of this era. Beginning in 1945, Williams introduces major trends by region, including the Caribbean and U.S. Latino novel, the Mexican and Central American novel, the Andean novel, the Southern Cone novel, and the novel of Brazil. He discusses the rise of the modernist novel in the 1940s, led by Jorge Luis Borges's reaffirmation of the right of invention, and covers the advent of the postmodern generation of the 1990s in Brazil, the Generation of the 'Crack' in Mexico, and the McOndo generation in other parts of Latin America. An alphabetical guide offers biographies of authors, coverage of major topics, and brief introductions to individual novels. It also addresses such areas as women's writing, Afro-Latin American writing, and magic realism. The guide's final section includes an annotated bibliography of introductory studies on the Latin American and Caribbean novel, national literary traditions, and the work of individual authors. From early attempts to synthesize postcolonial concerns with modernist aesthetics to the current focus on urban violence and globalization, The Columbia Guide to the Latin American Novel Since 1945 presents a comprehensive, accessible portrait of a thoroughly diverse and complex branch of world literature. Author by: Verity Smith Language: en Publisher by: Routledge Format Available: PDF, ePub, Mobi Total Read: 34 Total Download: 596 File Size: 41,9 Mb Description: A comprehensive, encyclopedic guide to the authors, works, and topics crucial to the literature of Central and South America and the Caribbean, the Encyclopedia of Latin American Literature includes over 400 entries written by experts in the field of Latin American studies. Most entries are of 1500 words but the encyclopedia also includes survey articles of up to 10,000 words on the literature of individual countries, of the colonial period, and of ethnic minorities, including the Hispanic communities in the United States. Besides presenting and illuminating the traditional canon, the encyclopedia also stresses the contribution made by women authors and by contemporary writers. Outstanding Reference Source Outstanding Reference Book. Author by: Sandra L. Beckett Language: en Publisher by: Wayne State University Press Format Available: PDF, ePub, Mobi Total Read: 48 Total Download: 381 File Size: 43,9 Mb Description: Across various time periods, audiences, aesthetics, and cultural landscapes, Little Red Riding Hood is a universal icon, and her story is one of the world's most retold tales. In Revisioning Red Riding Hood Around the World: An Anthology of International Retellings, Sandra L. Beckett presents over fifty notable modern retellings, only two of which have appeared previously in English. The tales include works published in twenty-four countries and sixteen languages, in texts that span more than a century, but with the majority written in the last fifty years. They include retellings for children, adolescents, and adults, as well as crossover works intended for an audience of all ages. The tales in this volume progress from works that recast the story of Little Red Riding Hood from traditional perspectives through more playful versions to more unconventional approaches. Seven sections are arranged thematically: Cautionary Tales for Modern Riding Hoods, Contemporary Riding Hoods Come of Age, Playing with the Story of Red Riding Hood and the Wolf, Rehabilitating the Wolf, The Wolf's Story, The Wolf Within, and Running with the Wolves. Beckett provides an interpretative introduction to each text and insightful information on its author and/or illustrator. A variety of genres are represented, including fairy tale, short story, novella, novel, poetry, illustrated books, and picture books. More than 90 illustrations, both color plates and black-and-white images, reveal further narrative layers of meaning. The number and diversity of retellings in Revisioning Red Riding Hood demonstrate the tale's remarkable versatility and its exceptional status in the collective unconscious and in literary culture, even beyond the confines of the Western world. This unique anthology contributes to cross-cultural exchange and facilitates comparative study of the tale for readers interested in fairy-tale studies, cultural studies, and literary history. Author by: Manlio Argueta Language: en Publisher by: Format Available: PDF, ePub, Mobi Total Read: 62 Total Download: 587 File Size: 43,6 Mb Description: Little Red Riding Hood in the Red Light District is Manlio Argueta's most popular novel in El Salvador. It has gone through eight editions and has been newly revised by the author for this English translation. The story revolves around the relationship of two young lovers in a time of political upheaval Manlio Argueta's novels have earned him an international reputation and have endeared him to the Salvadoran people. Caperucita en la zona roja received the Casa de las Americas Prize in 1977. Manlio Argueta currently lives in San Salvador. How to use our Wii ISOs Nintendo is known for being a family-friendly company and the Nintendo Wii takes this even further. The Wii games we have available for download include a ton of multiplayer and party games. Some great examples are the classic and the slightly more mature. Naturally, the Wii continues the famous Zelda game series from both the N64 and GameCube with. The best way to play our Wii ISOs (a game is called an ISO when it's stored on a disc and a ROM when it's stored on a cart) is by softmodding your real Wii console. There are various procedures depending on the version of the software on your Wii. 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