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Costa Brava dancing holidays
Reaching all the way from the French/Spanish border to the Catalan town of Blanes, the Costa Brava ‘Rugged Coast’ is one of Spain’s most endearingly popular destinations. Famed for its boom time in the eighties, many of its unspoilt villages have been attracting holidaymakers for more than a hundred years. Explore the coastline like the likes of Picasso, Dali and Miró, all which found the area to inspire their art.
Holidays in Costa Brava will give you unforgettable memories of the Catalan culture, one which is fiercely preserved by its passionate people. To be there is to eat, drink and celebrate as they do, and the name of the game is to dance. While you’re on Costa Brava holidays, remember to take your dancing shoes along with you.
Sardana is a popular pick when it comes to dances, which is done in a circle. Accompanied by a woodwind orchestra, this local dance is a symbol for Catalan nationalism. The Jota is a jumping sort of routine, which takes its name from the latin word to jump.
The dance is popular all over the country and Spaniard’s often wear their national costume as they dance along. The songs can even go into detail about dancers’ sexual escapades. The dance was incorporated into the famous opera Carmen.
The Flamenco is from the south of the country in Andalucia. The Flamenco embraces the epitome of Spanish culture, and is a must-do on your cheap holidays to Spain. It is widely thought to have come from the area’s local Romani-Gypsy people, but its influence and popularity have spread far and wide – there being more Flamenco academies in Japan than there are in the whole of Spain.
Just Drums Nj
Retaining The Safety And Security Of Your Storage Containers
A lot of people don’t understand just how crucial it is to preserve the contained fluids those 55 gallon drums. Due to the fact they seem to be sturdy, we focus on the environmental harm their contents may create rather than the requirement to safeguard the drums’ contents. Read on to find out what measures are needed to keep them safe, and why.
You might lose thousands if your liquids are contaminated from the outside. There are several ways that this could happen, like using a drum as a liquid dispensing surface. So, it is important to secure the surface of your 55 gallon drum.
Not only could this situation make the drum contents unusable, but also, based on the chemical seeping into it, it could cause dangerous reactions leading to either fire or an explosion. And then, there’s a different danger, particularly when drums are stored outside. Liquids can then pool on the container and contaminate the contents in that way.
Fortunately, there’s an easy way to avoid any such issues. This is where a quality drum cover proves its worth. Eagle makes high-quality drum covers that flawlessly fit closed-head and open-head 55-gallon drums. They just snap on securely; no special tools are needed. The version for open drums is slightly bigger than those made for closed top drums, and they are shaped to fit the fasteners of practically any 55 gallon drums. These parts also snap on simply and secure a good fit. With a drum cover it is simple to avoid your 55 gallon drums from becoming contaminated.
To guarantee that they are resistant to the chemicals they are prone to come in contact with, most drum covers will last a very long time due to the fact they are made out of long lasting polyethylene. These drums covers will not crack or split down the middle when you are covering or uncovering drums.
Ensure that the drum covers chosen are shaped like a dome. This stops liquids from pooling atop the drum and causing issues. Not merely are drum covers simple to make use of and a remarkably easy solution to a potentially big problem, but they’re also relatively affordable, especially when you think about just how much they can help you save. So it’s a good idea to make sure to always have some drum covers handy to protect your 55 gallon drums.
just drums nj
Don’t Blame The Drummer: The Fickle Singer/Songwriter
What Do You Think?
There is great irony in a songwriter relying heavily on a drummer, thus minimizing their role in the creation of their own tunes. But that’s what I witnessed when working with many singer/songwriters in the 1990′s. I wonder, to what degree did Gershwin, Beethoven, Hamlish and other notable composers, rely on their drummers/percussionists for the principal ideas of their music? My guess is not much at all. Yet, time and time again, I’d work with singer/songwriters who had no clear vision of arrangement, counter melodies, harmonies or orchestration for their own work. In some instances, the easiest element on which to offer input or suggestions, was the rhythm part. For a drummer, this could be a nightmare.
Why The Fuss?
Sometime in the 1990′s, I was talking with engineer/producer John Sickett at a recording session in Hoboken, NJ. As usual, our conversation centered around the state of the music business, note-worthy new bands and the projects in which we were currently involved. This particular day, we also discussed the current glut of singer/songwriters in the New York area. There was a tidal wave of emerging artists going solo, pedaling their songs in an attempt to get signed to a major record label. I knew this first-hand because I’d been hired by dozens of them for gigs and recordings. “You know, they gotta move away from the beat and get back to the song”, John complained, referring to the current state of songwriting craft. His statement hit me hard. As a matter of fact, in my opinion, most singer/songwriters overly obsessed about the beat and groove, while ignoring the real meat and potatoes of their work; the lyrics, arrangement, orchestration, melody, harmony, etc. However, it wasn’t just the overall groove they dwelled upon, but the physical appearance of the drummer as well. Why the fuss?
Credit Where It’s Due
In those days, the standard approach to fleshing out a song would begin with the writer and musicians assembled in a rehearsal room. The singer/songwriter would usually play their song on a guitar. I’m not sure if you can relate to this, but there was almost a standard singer/songwriter guitar rhythm those days. I describe it as strummed 16th notes with Charleston-like accents on beats one, “an” of two, and four. If you need an aural example, check out that song Breakfast at Tiffany’s. This pattern was a song-killer. Rhythmically speaking, it was too active and did not allow for spaces (which are crucial components of a comprehensive rhythm arrangement). After the initial listen, I would ask questions of the writer, including what mood they wished to convey, or if they could refer to a popular song as a model in this instance. The answers to these questions would give us a framework in which to proceed. Often, however, the answers were vague and incomplete, leaving us painstaking guesswork, or the process of musical trial and error. Other tasks ahead of us were to determine rhythm section parts, arrangements, orchestrations, dynamics, kick drum patterns, etc. The subtext of this situation was usually, “I’m not really sure what should be played in this spot, but what would you guys play here?”, allowing the artist to choose from a smorgasbord of possibilities, before rendering any musical decision. Afterwards, when an initial draft was completed, the singer/song “writer” would usually capture the musicians performance by recording it during the rehearsal, thereby claiming ownership of the tune as its sole creator. It didn’t take long for me to realize that all the musicians involved in this process were contributing to the creation of the composition in some way. Hence, it is my belief that contributing musicians should get commensurate writing credit, and financial remuneration, in this situation.
Eenie Meenie
Needless to say, I wasn’t the only drummer helping singer/songwriters in this manner. As a matter of fact, in the mid-90′s, it seemed that singer/songwriters were becoming increasingly picky about their drummers, as they had an abundance of eager, hungry and affordable tub-thumpers from which to choose; a virtual menu of electronic and traditional drummers, if you will. It was apparent that the drummer’s physical look and style was a factor too. There were drummers who wore hats (mostly to cover a bald spot), dressed in costume for a “look”, or spoke in an affected accent, way out of the bounds of their natural dialect. (There was one hat-wearing drummer from the Mid-West suburbs who put on an accent and dialect as if he was raised in the Southern Baptist Church). There were theatrical drummers who twirled sticks or played standing up. There were the worldly drummers who employed more exotic percussion. These guys would have ethnic drums, frame drums, djembes or vintage percussion in their set up. Sometimes they wore an African dashiki to express their inner ethnicity.
What A Bargain
In any event, singer/songwriters always got the better end of the stick. Always dangling the carrot of later, greater success, they’d become agitated when negotiating terms with musicians, weaving in teasers about the promising future of the project, the immanent record deal, or the numerous industry executives coming to the next gig. As a bargaining blockade, they would sometimes accuse their musicians of being mercenaries. Ouch! Try that with your plumber, dentist, or store clerk when it’s time to pay your next bill. Let me know how that works out.
Exposed
Yet, when things went less than perfect, or the flaws of the artist’s work were exposed, guess which musician would get the blame first? “Did we play the song this slow last time? What happened to that drum fill you used to play in that part? You didn’t play this loud in rehearsal. Is that the drum kit you use on your other gigs? Did you count off the song at the right tempo? My old drummer always set up a conga drum with his kit. Why don’t you bring a shaker or maracas to the next gig?” I could go on and on here. My point is that the artist would say anything EXCEPT, “This song needs to be reworked”, or “I need to come up with a better arrangement for this section”, or “The tempo is too fast for the lyric, so I’ve decided to slow it down”, and so on. In addition, I NEVER heard an artist declare, “This song sucks and is officially cut from our set list. Self-reflection and evaluation of this magnitude was an uncommon attribute in these cases, unfortunately.
Cream of The Crop
To be fair, the singer/songwriters I’m describing for this disussion, were the Bleeker Street, solo breed I observed or encountered in the 1990′s. If you were an active musician during that period, had a pulse, and lived within 100 miles of the Big Apple, I’ll bet you experienced some of this stuff first hand. Happily, I can tell you that I worked with a few incredibly gifted artists from this scene as well. One was Joy Askew. An amazing singer, writer and musician who had previously worked with Peter Gabriel, Joe Jackson and Laurie Anderson, among many others. Another was Hub Moore, a heart-felt lyricist and a expert at the craft of songwriting. Also, there was Ben Folds. Ben, bassist Tom Spagnardi, and I worked on songs in the basement of my Jersey City brownstone, and then showcased them at The Bitter End and Sine. It was at a Sine gig that Ben was discovered by the guy who would be his business manager for many years.
The Silver Lining
Most of the songs, by the Bleeker Street artists I experienced, fell short in many ways. Since I did quite a bit of work in this regard, I found it necessary to make the best of situations–somewhat of a “polisher”, so to speak. As bad as this may sound, there was a wonderful silver lining. In fact, there was no better on-the-job-training for a young drummer, in my opinion. It was making music against all odds, like swimming upstream, jogging with ankle weights or breathing through a straw for long periods of time. By the time you got to the artists with well-written tunes, played by an ensemble of ace musicians, it was as refreshing as a cool breeze on a hot summer day.
About the Author
Brian Doherty is best known as a drummer for groups like They Might Be Giants, XTC, M2M, Freedy Johnston, and Ben Folds. He grew up in Randolph, NJ and earned a Master of Music degree from the Manhattan School of Music. Brian also holds a Master of Teaching degree from The City College of New York. He is currently a music teacher in the Bronx and remains professionally active in the NYC area. Read my story, see rare video, pics and more on my website www.briandoherty.net
What should me and my little brother dancing nickname be?
My first name is Brittany.
My middle name is Shantreese…I thought my dancing nickname should be Shaney.(Shay_Knee) because it’s sorta like my middle name.
We just named our dance crew. I chose the name Mean Motives for our dance crew.
Im light skin.
Im 14 years old.
Im from Newark NJ.
I like dragons.
…What should be my dancing nickname.
And my little brother..His first name is Elijah and his middle name is Darryl Emmanuel..
I thought of the nickname should be “E”
Because his first name. Then I thought of Erock.
I dont know..
He’s also from Newark and he likes to play drums and stuff…
What should his dancing nickname be?
Hi.
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NJ Falls Into The Atlantic – Senses Fail (Drums Cover)
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Just Dance – Multiple Bass Drums (Digital Sheet Music) $3.99 “By Lady GaGa. By Aliaune Thiam, RedOne, and Stefani Germanotta. Arranged by Paul Murtha. Marching band. For Multiple Bass Drums. Pop. Individual instrument part. 1 pages. Published by Hal Leonard – Digital Sheet Music” |
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Just The Way You Are – Drums (Digital Sheet Music) $6 “By Glee Cast and Bruno Mars. By Bruno Mars, Ari Levine, Philip Lawrence, Khalil Walton, and Khari Cain. Edited by Roger Emerson. Arranged by Tim Davis and Adam Anders. Rhythm. Film/TV; Pop. EPak. 2 pages. Duration 3:45. Published by Hal Leonard – Digital Sheet Music” |
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SMT Xtreme Drums Book and CD $11.95 In Xtreme drums, resident sticksman Skins guides you through a 10-lesson programme that covers everything from setting up your kit and holding the sticks correctly to fine-tuning techniques such as fill-ins, backbeats and grace notes. With a free audio-CD, profiles of 10 of the greatest drummers of all time and easy-to-follow guidelines that will help you to play just like them, Xtreme drums arme you with all you need to be able to get the most out of your kit in no time. |
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Drums That Dance in the Dark $19.9 Utse has just realised her sons fate because he danced, violating the taboo of dancing (the third to meet such mysterious circumstances). History is about to repeat itself and the tragedy to come is all too familiar. Her daughter, Gada, sets loose the emotions that come to the fore. But while Utse and her husband, Malleah, fight against the odds, the seeds of betrayal know no bounds. Utse and her husband put the wheels in motion to reinforce the ban, but then behind their every turn, sedition prevails. Utses is the cry of war, war with the family she loves, war on the home front. And when all is done, the men walk free, leaving Utse to come to terms with her innocent daughter. Drums that Dance in the Dark was first written in 1994, performed 1995, as a competition entry entitled The Last Dancers Will, An update version was written in 1997 called: Dancing the Fool, The original performance never made it to the competition because the powers that be had vested interests elsewhere. It is ironic, and disgracefully tragic, that the same ills this play explores come to hold its publication for another 12 years. Author: Onwuegbute, Nduka Binding Type: Paperback Number of Pages: 80 Publication Date: 2007/06/01 Language: English Dimensions: 9.00 x 6.00 x 0.19 inches |
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Roland HD-1 V-Drums Lite $799 Roland HD-1 V-Drums Lite A New All-In-One Drum Kit for the Masses Roland’s V-Drums are the most popular electronic drums in the world, but not everyone has the room or budget for a full V-Drums kit. Introducing the new Roland HD-1. It’s forged from the same technology as its predecessors, but it’s much simpler to use. It’s also incredibly quiet, thanks to the newly designed kick beater, cushioned tom pads, and snare head. The HD-1 is also conveniently compact and stylish – perfect for every home, school, studio, etc. – and it’s priced for the masses. Most of the HD-1′s components are mounted on one stand for easy setup and transport, and for a clean look. Just take it out of the box and play. News! The HD-1 V-Drums Lite received the “Finalists” award of the prestigious 2008 IDEA for its design quality. (Category: Entertainment) Easy set-up and operation Compact and stylish design Great sounds with a variety of kits The following HD-1 optional accessories are available: Personal Drum Monitor: PM-01 V-Drums Accessory Package: DAP-1 V-Drums Mat: TDM-1 Roland HD-1 Details: Small Price, Big Performance It might look small, but the HD-1 sounds and performs impressively large. With Roland’s legendary V-Drum know-how at the core, this little kit is a dream for first-timer or casual players as well as for parents, since the volume level can be completely controlled via volume knob and/or headphones. Play-Along Fun The HD-1 is equipped with an external input for connecting CD-players, iPods®, and the like. Jam along with your favorite songs, and control the blend of music and your live drumming through headphones or an amplifier. Borderless Expression The HD-1 is a great way to enhance musical expression and enjoyment in your home. Used along with other popular instruments such as Roland’s digital pianos, the HD-1 will serve as the nucleus for family fun and musical enrichment. Specifications: Kit Configuration Kick Pedal, Snare, Hi-Hat, Hi-Hat Pedal, Tom x 3, Crash, Ride Drum Kits 10 Patterns 10 Controls Drum Kit button x 5, Variation button, Metronome button, Volume knob, Tempo knob Metronome Tempo (40–220), Sounds (3 types), Volume (3 levels) Connectors Output jack (Stereo miniature phone type) (*1), Headphone jack (Stereo miniature phone type), Mix In jack (Stereo miniature phone type), MIDI Out connector (5-pin DIN type), Trigger Cable connector (DB-25 type): (*1) Output Jack can be connected with headphones. Output Impedance Output jack: 100 ohms, Headphone jack: 100 ohms Power Supply DC 9 V (AC Adaptor) Current Draw 300 mA Accessories Owner’s Manual, Set-up Guide, Video Manual (DVD), AC Adaptor (PSB-1U), Trigger Cable (Prepositioned in Drum Stand), Drum Key, Screwdriver, Screws for Sound Module x 4, Screws for Foot Pipe x 4, Roland Sticker Options Personal Drum Monitor: PM-01, V-Drums Accessory Package: DAP-1, V-Drums Mat: TDM-1 The specifications are subject to change without notice. Get Your Roland HD-1 V-Drums Lite Today! |
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Drums Peel & Stick Chalkboard Wall Decals $39.91 March to the beat of a different drum–or a whole set–with this great chalkboard wall decal. Stick this decal to the wall and write on it as you please. Cleanup is a snap: use an eraser or slightly damp rag to wipe away your art, then start over again. If you need to move the decal, just peel it from the wall and stick it elsewhere. And best of all, for you moms out there… these drums don’t make any noise! Size: Normal Type: Posters Gender: Unisex Age: Child |
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Fxpansion BFD2 Acoustic Drums Module $299.99 Fxpansion BFD2 Acoustic Drum Module is not just a rehash of the same ol’, same ol’ with a little added flavor. The FXpansion team really took a from-the-ground-up rebuild approach, taking the best features of the previous module and offering it to you with a brand new, simplified GUI and a heaping help of new features. Using two pairs of room mics, including a mid/side set, the engineers captured the special essence of the legendary AIR Lyndhurst Studios in London. The drumkits were miked with stereo overheads and mono close directs. Every sonic nuance was routed through a custom Neve desk with Air Montserrat preamps and into PrismSound A/D converters, giving you a 55GB library full of hyper-realistic sounds with multiple articulations recorded at up to 96 velocity layers. There’s plenty of high-quality instruments and sounds to choose from to create your perfect 10-,18-, or 32-piece kit, from Zildjian and Sabian cymbals to Ludwig and Gretsch kicks and toms, Pearl and DW snares to an Oberheim DX Drum Machine and human group claps. The ingenious BFD2 interface gives you absolute freedom over tuning, damping, ambience levels, velocity response, and more. You can layer parts of your kit for modern-sounding hybrid productions or easily choose preset kit-piece profiles of dry, damped and other useful settings. More than just pushing buttons on a sampler, BFD2 gives you the flexibility to configure your drum kit like a real drummer. Do you have stereo sample-sets with multiple velocity layers that you’d like to mix? Or previous BFD and 3rd party expansion packs you’d like to keep in your DAW’s bag of tricks? Not a problem. BFD2 makes it easy to integrate and import while still letting you utilize its new sound-shaping features. The accommodating mixing console makes it possible to play realistic cymbal flourishes, powerful kicks and snare lines, convoluted hi-hat parts, ghost notes. If you can think it up, you can blend, route, submix, and process the mic channels as you would in a real-world recording studio with a professional drummer and BFD2 will bring your ideas to life. You can also manipulate bleed levels, change the ambient mic width, and shape your drums into infinite variations through aux sends and patch sidechain effects. The built-in processors have circuit-modelled dynamics, filters, and distortion for creating your punchier sounds, while the effects like Flanger, Bitcrusher, Ring Mod, and Delay showcase the more subtle timbral varieties of this great software. With 32 outputs, there’s plenty of room for bringing in external reverbs and plug-ins you love, but there’s also an ample amount of presets created by professional studio veterans to browse through that cover diverse genres. The Groove engine simplifies editing patterns, setting up performance modes, and applying humanization effects to “keep it real” soundwise. More than 5,000 stylistically diverse patterns are ready to add into your productions or you can have even more fun slici |
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Fxpansion Bfd2 Acoustic Drums Module $299.99 Fxpansion BFD2 Acoustic Drum Module is not just a rehash of the same ol’, same ol’ with a little added flavor. The FXpansion team really took a from-the-ground-up rebuild approach, taking the best features of the previous module and offering it to you with a brand new, simplified GUI and a heaping help of new features. Using two pairs of room mics, including a mid/side set, the engineers captured the special essence of the legendary AIR Lyndhurst Studios in London. The drumkits were miked with stereo overheads and mono close directs. Every sonic nuance was routed through a custom Neve desk with Air Montserrat preamps and into PrismSound A/D converters, giving you a 55GB library full of hyper-realistic sounds with multiple articulations recorded at up to 96 velocity layers. There’s plenty of high-quality instruments and sounds to choose from to create your perfect 10-,18-, or 32-piece kit, from Zildjian and Sabian cymbals to Ludwig and Gretsch kicks and toms, Pearl and DW snares to an Oberheim DX Drum Machine and human group claps. The ingenious BFD2 interface gives you absolute freedom over tuning, damping, ambience levels, velocity response, and more. You can layer parts of your kit for modern-sounding hybrid productions or easily choose preset kit-piece profiles of dry, damped and other useful settings. More than just pushing buttons on a sampler, BFD2 gives you the flexibility to configure your drum kit like a real drummer. Do you have stereo sample-sets with multiple velocity layers that you’d like to mix? Or previous BFD and 3rd party expansion packs you’d like to keep in your DAW’s bag of tricks? Not a problem. BFD2 makes it easy to integrate and import while still letting you utilize its new sound-shaping features. The accommodating mixing console makes it possible to play realistic cymbal flourishes, powerful kicks and snare lines, convoluted hi-hat parts, ghost notes. If you can think it up, you can blend, route, submix, and process the mic channels as you would in a real-world recording studio with a professional drummer and BFD2 will bring your ideas to life. You can also manipulate bleed levels, change the ambient mic width, and shape your drums into infinite variations through aux sends and patch sidechain effects. The built-in processors have circuit-modelled dynamics, filters, and distortion for creating your punchier sounds, while the effects like Flanger, Bitcrusher, Ring Mod, and Delay showcase the more subtle timbral varieties of this great software. With 32 outputs, there’s plenty of room for bringing in external reverbs and plug-ins you love, but there’s also an ample amount of presets created by professional studio veterans to browse through that cover diverse genres. The Groove engine simplifies editing patterns, setting up performance modes, and applying humanization effects to “keep it real” soundwise. More than 5,000 stylistically diverse patterns are ready to add into your productions or you can have even more fun slici |
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