Monday, August 4, 2008

Art Poster Print - Coldplay (Group B&W) - Artist: Anon - Poster Size: 24 X 36

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Eric Bachman played the Casbah Thursday to an emptier house than he is accustomed to. He was traveling solo this time. He played a handful of new songs and some of his classic Crooked Fingers pieces. It was very interesting to see him play solo.

He started the night off playing electric guitar with his pod effect pedal that allowed him to get a loop going that he played over. I was hoping to hear more of that.

You know, more layers of sound. Playing solo and listening to soloists can be terribly difficult and boring. We've all seen our share of guitars and singers. But, Eric's voice is what warms your heart. He sings songs of love and horror. Mature lyrics coupled with his experience of being on the road forever.

He picked up his nylon string guitar and played a handful of new songs that were both great and difficult. In the full band of Crooked Fingers you can get this amazing drone of sound, loud sound. With the nylon string guitar he would approach these driving songs and sometimes hit and sometimes miss. The fragility itself was riveting. The out of key notes added flavor.

This man knows what it means to play live and soloing for anyone is a challenge. I had an interesting night of thinking listening to his songs.

Blog San Diego is an online resource for live music reviews, cd reviews, music news & features.

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The traditional record labels dominated music market is coming to an end. If you haven't noticed the latest MP3 download services on Amazon.com, you're missing the beginning of the end of traditional music distribution era.

The big players now are teaming with social networking sites such as MySpace.com to find new ways to sell music. Why? They can't help it. People don't want to pay for CDs anymore. Plus, there's no need to buy CDs when you can download them for free somewhere on the internet. After several years of battling, the big labels finally realized the trend is irreversible.

However, this is not new for the independent/unsigned musicians. Independent musicians have long been promoting their recordings via unconventional channels. The entry of the big record labels on the internet music communities will have an impact on the indie musicians. But unsigned musicians still have one obvious advantage over the big labels - giving out music for free.

Why should you give away free music on the internet? One obvious reason is that people don't want to pay any more. People I mean by teenagers and generation Y and beyond. Those are the audiences who don't understand life without the internet. You probably can find a free copy of any given song on the internet if you dig far enough.

The latest proof to this is that big record labels are teaming up with the social networking sites to promote and distribute music. This is the marketing niche where independent musicians have had since the beginning of the internet usage. So how much impact will indie musicians feel? Big. The social networking communities have been independent musicians' marketing channel, the entry of big players will certainly push the small bands to the back burners. For independent musicians to achieve any form of success on the Internet, they have to take radical steps that big labels won't take such as giving away music for free. At this point we don't know how the record label/social networking music alliance will work out, but one thing for certain is that the music won't be all for free downloading.

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What's the deal with so many white music artists singing black music? Why do white artists who sing black music get better promotion than black artists? Why is R&B music now synonymous with Hip-Hop?

These are some of the hot topics that often come up in private conversations with my industry associates and colleagues. I will attempt to shed some much needed light on these delicate, sensitive and somewhat controversial issues.

To really understand the phenomenon of white music artists singing R&B, you should begin with an examination of the motivation and purpose behind the establishment of black music divisions at record companies in the 60s. While the success of Motown as a black owned operation has been well-documented and highly publicized, many of the competing record labels of that time lacked the personnel to adequately exploit the abundance of musically talented black teens.

White owned record companies shrewdly appointed black music executives who were more in tune and in touch with black music (and the black artists that created and performed it), to help interface with them. This was, after all, a time when race relations were tentative and strained.

Many record companies and radio stations took note of the increasing popularity of R&B music among white teenagers and attempted to preserve racial barriers by denying them access to it. Their denial constituted a potential economic problem since the music industry (like most industries) thrives on supply and demand. Their solution: provide their darling teenaged kids with a "white" alternative; someone who "sounded" black and performed "black" music, a la Elvis Presley, whose popularity was soaring. It wasn't uncommon for records in that era often to have two different versions - a white version and a black version - which was serviced to the appropriate audience.

In the 70's, the push toward equality and peace gave birth to a more gregarious and unified music industry. Top bands like Sly & The Family Stone, Tower of Power, Earth Wind & Fire, and The Commodores emerged and enjoyed success throughout the 70s, but many lacked crossover appeal and forced black music executives to search for other viable options in order to save their jobs. One option was Disco - the hot novelty genre.

Disco was more than a new genre; it was a cultural release from the lingering social anxieties and racial tensions of the 60s and emerged as the dominant format because of its mass market appeal and universal acceptance. The music industry eventually sobered up from the lecherous activities and rampant drug abuse of the disco era in 1979, just in time to endure the worst financial year of its existence.

With slumping record sales and a gluttony of music acts that were signed to perform disco songs, the R&B music community returned to its soulful roots and searched desperately for an answer to rectify the problems that plagued it. The answer wasn't written on the wall, but it was found in the album "Off The Wall" by Michael Jackson, which helped to transition successful R&B music back into a more "Pop-friendly" format that was comparable to R&B in its last heyday of the Motown era.

While Michael captured the hearts and imaginations of white America with his unhuman dance moves, there were plenty of black music pioneers upholding the funky values and virtues of black music as we we marched into the techno era of the 80's. R&B music seemed to undergo a much needed resurgence.

The R&B bands of the 70s started to downsize in personnel as more emphasis was being placed on solo acts (a la Michael Jackson) and vocal groups. For the R&B music artist, the advent of technology superseded the need to be backed up by a band, ushering in the producer era which R&B music is heavily predicated on today.

It was also at this time that many record companies began merging and restructuring, which resulted in the loss of hundreds of jobs for black music executives who were worked in the black music divisions.

Shortly thereafter, we witnessed the birth of "blue-eyed soul" as white music artists who were performing R&B music begun to receive heavy and steady financial backing by their record labels. Hall & Oates enjoyed unprecedented success in the early and mid-80s and proved to be a litmus test for the acceptance of white artists performing R&B under the guise of Pop music.

While Hall & Oates may have raised a few eyebrows in the R&B music community, eyes were opened widely when George Michael, a former member of Pop teen group Wham!, won a Grammy for the best "black" album in 1989. It was the first time in history that a white solo music artist topped the R&B charts. The R&B music community was outraged as veteran black music artists Freddie Jackson and Gladys Knight denounced the political voting practices of the Academy that renders the nominations.

While the award was well-deserved in terms of record sales and radio airplay, the color lines of who qualified as a "black" music artist had been re-defined. When the smoke cleared, the music industry in general, and R&B music community in particular, would both be changed forever.

As we stood on the doorsteps of the 90s, more black music executives lost their jobs as record companies continued the trend of merging, restructuring and downsizing in an effort to diversify their business interests and increase their profits.

Rap music was (finally) being fully embraced as a commercially viable genre and record companies moved quickly to cash in on it. The appeal of low investments, and (potentially) high returns, constituted a major shift in business practices at record companies, and black music artists found themselves jockeying for position on the revamped priority lists of their now predominantly white music executives. After all, Rap was already achieving a high level of "underground" sales with DJs and word-of-mouth serving as its primary means of promotion.

All the record companies needed to do was to bring it to the surface and supply their distribution and marketing resources. Since much of the music was already recorded, they could also circumvent many of the recording costs as well. While the music industry made an overt and deliberate attempt to position itself to supply what appeared to be an insatiable demand for Rap music, it lost sight of the distinction between R&B and Rap.

R&B music lovers helplessly watched as orders came down from white music executives to incorporate elements of Rap music into R&B songs to make them more competitive with Rap, since Rap music artists posed a clear and tangible threat to the record sales of R&B music artists.

At the time, Mariah Carey and Color Me Badd were enjoying newfound stardom that came (once again) as a result of white music executives pushing a novelty agenda of white music artists performing R&B music. Both of the aforementioned acts were initially viewed (by black audiences) as alternatives to their black competitors (Whitney Houston and Boyz II Men respectively), but with such strong marketing and promotional support, both Mariah Carey and Color Me Badd were able to establish their own identity at a faster rate.

Today, the trend continues with white music executives diligently marketing and promoting white music artists such as Justin Timberlake, Christina Aguilera, Joss Stone, Anastacia, etc. singing R&B. Some insiders say that the music industry continues to deliberately and intentionally find alternatives to black music artists to service to white audiences. Industry insiders say that Britney Spears is essentially a white clone of Janet Jackson; emulating her Pop/R&B format, choreographed dance moves, and calculated sex appeal.

It's suspect when newcomers like American Idol's Elliot Yamin are quickly embraced and heralded as "great" R&B singers when juxtaposed against longtime R&B survivors like Brian McKnight, Joe, and Anthony Hamilton.

While some will argue that it's not a simple matter of black versus white since since some of the artists mentioned in this article are not "white," but are of different ethnicities or even part black. The fact is that the widely held opinion in the black community is that if you don't look black (possessing obvious African American features), then you are not. You are something else other than black; and "white" becomes a reference to, or a description of, an undetermined racial category.

The new business model of the music industry has created new opportunities for black entrepreneurs, but many of them lack the financial resources to take advantage of them. As a result they are often forced to participate in the production of Rap music, or R&B music with Rap production as they try to manufacture or supply product and artists that will enable them to embark upon partnerships and joint ventures with the same record companies that dissolved their black music divisions in the first place.

History and research show that the music industry has continued to systematically reduce the role of the black music executive, as they are fired and laid off with greater frequency (and less justification) than their white counterparts. Many of those who remain are often relegated to the now dispensable role of liaison, gatekeeper and hand-holder for troubled Rap acts in this new Hip-Hop era. A far cry from a time when they were once responsible for finding, developing and supporting premier black music artists who created some of the greatest music that we now view as the soundtrack to the this country's history.

Those songs are still the choice of middle-aged Americans who tune into oldie radio stations across the country that have adopted "Classic Soul" as a new format. Where does that leave R&B music artists of today? They are left to compete or join forces with Rap artists since they have been lumped into the same "Urban" or "Hip-Hop" music category.

The formulaic use of R&B to inject a commercial element into Rap music has contributed significantly to the fusion, and confusion regarding the distinction of both genres. This can be traced back to the 80s when R&B acts such as Lakeside, Confunksion, and Teena Marie had huge hits with songs that incorporated Rap ("Fantastic Voyage," "Electric Lady," and "Square Biz"), R&B music embarked upon a trial marriage that turned out to be a permanent one.

R&B is now used to bolster the talent level perception, black audience appeal, and record sales of white music artists in every genre. Even Country (a genre that is guarded by a closed-knit circle of protective white executives), borrows heavily from R&B.

Country is a genre that is ripe for infiltration by conventional R&B artists, but unlike R&B music - which has become a community genre with no one race retaining the inherent rights to perform it - the likelihood of that occurring is slim because of the unquestioned and unchallenged exclusion of other races.

The significant issue in white R&B music artists versus black R&B music artists can be narrowed down to one question: who gets the greater commitment and promotion from their record companies to service a larger audience of consumers?

When one considers the commitment level, dedicated resources, and promotional opportunities which are more abundant for white R&B music artists, and that blacks only account for 15 percent of the population, and that white music artists inherit a larger audience to begin with, understanding the green side of white R&B becomes much easier.

Gian Fiero is a seasoned educator, speaker and consultant with a focus on business development and music/entertainment industry operations. He currently teaches at San Francisco State University where he conducts courses on Music Industry Career Planning and Publicity/Public Relations. His affiliations include National Association Of Record Industry Professionals (associate director); CLA (speaker); West Coast Songwriters (consultant); The Muse's Muse (producer of the Muse's Muse Awards); and SBA (business advisor).

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Learn Portuguese in Brazil and discover the capital of carnival, samba music, joy and rhythm. Enjoy incredible beach parties, colourful fests and the most outrageous cloth designs and costumes as you learn Portuguese in Brazil.

Carnival tradition comes from Greek and Roman tradition in Europe. The so called Carnivale was the time before Lent in Easter. The Lent is a period of spiritual preparation for the resurrection of Jesus Christ. During this time body pleasures are forbidden, including meat eating. So the carnivale was a profane celebration so as to say goodbye to the flesh temptations and receive the Easter time. Learn Portuguese in Brazil and discover the country with much of the Portuguese influence of the carnivale.

Brazil also received much of the African dancing tradition through slaves in early centuries. As you learn Portuguese in Brazil you will discover both, European and African traditions mixed up in the carnivals and the samba dance.

Samba dance was first practiced by lower classes and black people, later on it was spread all over the population and it has now become the main attraction for those coming to learn Portuguese in Brazil.

Carnival time in Brazil takes place in the incredible city of Rio de Janeiro, though if you learn Portuguese in Brazil you will encounter different fests along the whole country. The parade is organized on the streets so that everyone gets the chance to see it. Learn Portuguese in Brazil and enjoy the thousands of chariots that march along the street. Each chariot is accompanied by a group of people dresses up according to a specific theme. As you learn Portuguese in Brazil watch as each block of people dances samba and the sound of drums never stops.

Carnivals last four days and take place in February or March, dates vary. So you will have the chance to learn Portuguese in Brazil and enjoy these incredible parades.

Outrageous masks, colorful and giant feathers, glittering and shiny clothes, golden outfits and stilts. See all of them together in the funniest party in the world.

Brazil offers visitors and incredible number of Samba schools that take part in the annual carnivals. While you learn Portuguese in Brazil, start a Samba course and let the beat conquer your soul.

Other regions in Brazil where carnivals are slightly different are Bahia and Pernambuco. Enjoy both cities as you learn Portuguese in Brazil and find in Bahia a particular fest with an incredible mix of music that includes reggae and axe. In Pernambuco the carnival starts sooner and does not count with the competition between parade groups.

Learn Portuguese in Brazil and enjoy the city and the carnival of San Diego with shows of capoeira dance and batucada. Learn Portuguese in Brazil, visit Rio de Janeiro and encounter the famous "Sambadrome", a competition building where all Samba Schools in Brazil presents their shows and fight for the first place every year. Learn Portuguese in Brazil and pick your perfect destination to party all day long.

Learn more about travel abroad destinations athttp://www.easygolanguages.com , making it easy to learn a language. A target="_new" complete guide; learn a language and study abroad programs. Enrique Helmbrecht is the president of EasyGO Languages and an experienced traveler and language learner.

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Did you always want to learn to dance, but never had the time? With college and career, marriage and children, and then your kids' college and careers, and their marriage and children, the years have a way of spinning away from us. Before you know it, you've gone from being a young adult to an empty nester in the blink of an eye. You and your spouse may find yourselves retired, looking at each other over the breakfast table saying, "What should we do now?"

If one of the things you and your spouse always meant to do but never got a chance to, was learn to dance, don't push that aside, thinking you're too old. You are never too old to learn to dance.

Dancing is excellent low-impact exercise. You are up and moving, getting your blood pumping a little. Dancing helps to increasing your stamina and strength. It improves balance and coordination, and it helps to relieve stress.

Dancing is not only great exercise, it's also a lot of fun. Taking dance lessons is such a fun thing to do that many people don't really consider it in the same category as taking an exercise class like aerobics, for example.

Aerobics and dancing are actually very much the same. The difference lies in the intent behind the movement. People usually take aerobics because they want to see a result after the class is over. The movements are done in order to be able to see an eventual change in their bodies; a change on the scale, on the tape measure or in the way clothes fit. The enjoyment of aerobics isn't within the class, but afterward. In a dance class, the focus is on the movement itself. The enjoyment is in the mirror as you are moving, not afterward. Any changes that happen after a dance class are a side benefit. But the joy and fun of learning to dance is the class itself.

Dancing is also very romantic. As we live our normal lives with jobs, kids and the activities of everyday life, we can lose touch with this part of ourselves and this part of our love relationship. Think back to when you and your spouse were dating. There was probably a little dancing involved, wasn't there? Believe it or not, that flirtation and fun that you shared when you were dating is still there within both of you. You just have to give it an opportunity to be expressed.

Knowing how to dance is a great way to connect with each other as well as enjoy more of what life has to offer. Going out for dinner and dancing with friends is a great way to spend any evening. Even the old family summer barbeque that you've been having for years can be livened up by setting up a small dance floor and some music.

So if you and your spouse have ever thought that you would like to learn to dance, there has never been a better time to do it. Learning to dance is something you'll never regret.

If you have ever wanted to learn how to dance it's time to take action. Some people talk about starting a new hobby or learning a new skill for years and but never do. Don't fall victim to inaction. Seize the day.

It far easier then you think to get started. Simply book some dance lessons and turn up. It's the only way you will find out if it's something you really want to do or not. At the end of your life you won't regret the things you did - you will regret the things you didn't do. Learn how to get started here: http://www.dancevogue.com.au/

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If you are interested in beats, then you are sure to be interested in other instruments besides the usual drums that can give you the right beats. Well then let us discuss bongos and congas from the family of drums.

Bongo is a small version of drums. Actually it is a compilation of two open-ended drums. These two drums are joined with each other. Drum heads are normally made of animal skins, but plastic made drum heads are also available. The body is made of metal, wood and sometimes with ceramic also. Both the bongos are of different size. And for that reason each of them sounds different. You have to coordinate between both of them, to play it well.

A pair of simple bongos does not have those stretchable drum heads that can be tuned to play different notes from different parts. But the better quality bongos have this option. Their heads are adjustable. These heads are fixed firmly with metal made bars.

The way of playing bongos is very interesting. You have to use your finger strips, heel of your hand and thumbs. You need to strike the heads with the help of these hand parts. Striking different place of the head will produce different sound. Special drum oil is necessary to protect the head of the bongo. Otherwise your hand and the air will absorb all the moisture of the bongo skin. This will make the bongo skin dry. It can also pave way for cracks.

The best thing about bongo is that it is small, and not very much expensive. And if you know how to play it and if you have some friends who can play bongo, then you can form a band. If all of you play together some small groove then it will sound amazing.

Conga is almost like bongo. But it measures quite high in comparison to other drums. It is slim build and single headed. It is a Cuban drum but probably it is derived from Africa.

The shells of most of the congas are made of wood or fiberglass. The playing system of conga is almost like bongo. They are normally 75cm tall.

Congas are used in both popular and folk music. African music has a varied use of congas. This instrument is also very popular in Rumba, Afro Caribbean, Latin and salsa music.

Bongos and congas are almost similar kind of instrument. But former are smaller than latter. There sound is not totally similar but they are not that much different also.

Both are rhythm instruments. Their playing style is almost same. Both of them are very popular. They can be used in almost every kind of music.

But there are some difference between bongos and congas. Bongos are easy to carry. But congas are not. Both of them have a different look also. Congo just looks a bigger version of bongo usually. But if you watch closely and minutely, then you can trace the difference. But whatever is the difference is, it can be said that both bongos and congas are brilliant instruments. And both of them can change the way a particular song sounds.

Victor Epand is an expert consultant for guitars, drums, and synthesizers. You can find the best marketplace for guitars, drums, and synthesizers at these 3 sites: guitars, drums, bongo, conga, drum heads, and synthesizers, keyboards.

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