Sometimes, each owner is obliged to do small fix-it jobs around home. Not all the owners is a full-fledged "handyman," but it is always important to have a small tool kit that is clean, organized, and a Good Condition. Here are the 10 tools that every owner of the toolbox should contain:
January. Hammer A hammer is called for driving nails or nails. Hammers come in different sizes, usually by companies ounces of the head. A 12-ounce hammer is fairly light and a unit of brad hang a picture, but if you have any nail for driving on a piece of wood, a 16-ounce hammer is much more useful.
Two. Head Screwdriver page You will need a slot with an average range of 1 / 4 inch head. The end of the screwdriver should be good and the place for security reasons. If you can afford, the purchase of a small group of 3 or 4 different size screwdriver.
3. Philips Head Screw For the average homeowner, a # 2, the point will be more useful because it suits most of the screws. If you use a screwdriver Also, be sure to inspect the state of the art. There should be things good and sharp.
4. Key An adjustable wrench (often erroneously, as a key) is an essential part of any toolbox. It should be square and hex nuts 1 / 4 inches usually up to 1 inch. If you prefer, you can buy a wrench to tighten bolts more than 1 inch in diameter.
5. Slip Joint Pliers The hole in one side of a pair of pliers look like a figure 8. This is the clip can hold two different sizes of handles, large and small. Remember that if you use a pair of tweezers to grasp or open the tap, it is important to first get a good grip. If the sliding clamp, the head of the wrench or nut will be damaged and will never set a password again.
6. Crocodile clips This tool is often a set of plumbing tools, but can be useful for average homeowner, too. alligator clips allow you to take larger items, usually ranging from 1 / 4 inch to 1-1/2 inches square maybe.
7. Scissors Each tool kit owners should have a set of good quality scissors.
8. Side Knives lateral blades resemble a pair of forceps jaw cup. It cut the rope or wire much easier than scissors.
9. Assorted ribbons An assortment of different bands are also useful. Some types include duct tape, masking tape and clear packing tape.
10. Hardware Kit A hardware kit is a part essential part of your toolbox and can be easily purchased at any hardware store. Equipment material contains an assortment of items: pins to hang pictures and taps, screws and nuts, screws, bolts and plates to fix up many household items.
Your owner's toolbox can be as small as the elements listed above or large as you want. Many owners begin to consider the items listed above, and then let your kit to grow naturally over time. Whatever the size of the tool box you have, if it contains 10 essential items you will be ready for most minor repairs home.
The NEW Butter Bell Crock sets feature a built-in knife holder that keeps the matching butter spreader alongside the crock for everyday enjoyment of smooth, creamy butter on toast, rolls, homemade breads and more...
These are the inner replacement sealing lids to the Leifheit preserving jars and screw rings. They provide a true vacuum seal and are rustproof and corrosion resistant.
Get On The Kit
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This science kit introduces kids to the basic of electric circuitry. The kit teaches you to make your own electric bell, buzzer and telegraph.*Teaches kids about the basics of electric circuitry *Create your own bell, buzzer and telegraph *Recommended for children ages 8 and up *Meets or exceeds ASTM F 963 *Requires one (1) D battery *(not included) Package Includes*Base *Bobbin *U-bracket *Plastic support *Two (2) plastic battery straps *Magnet holder *Contact adjusting screw *Four (4) battery terminals *Magnet wire *Sandpaper *Bell *Screwdriver *Compass needle *Metal flipper *Bell hammer *Paper clip *Push button *Cover *Spring *Contact *Two (2) contact terminals *Instruction booklet Warning: Choking hazard -- small parts. Not for children under 3 years.
BELL CRANK KIT Replaces broken, worn out or defective OEM partReplaces original part perfectly-no modifications needed! Build to standards exceeding OEM specifications Keeps your vehicle running in top condition Order quality replacement parts at great prices! SAVE MONEY when you do the job yourself.
The Tinker Bell Fun Kit has everything a Disney Fairies fan could want: three amazing coloring and activity books, a box of crayons, more than 75 beautiful stickers, and collector cards starring all the fairies! And it all comes in one sturdy box with a plastic handle.
Have you always wished to play the world's oldest instrument but have little knowledge in choosing the best kit? These tips will guide you in choosing the appropriate kit for playing a beat.
Tip 1: Most importantly, get a kit that best suit you - the look and sound that you want and the music that you want to play.
Tip 2: Spend as much money as your budget will allow. Drum kits can be expensive but with proper care, they can last for years. It is worth spending the money on a good instrument to begin with.
Tip 3: The Drum Kit – it is very important to comprehend how drums work, especially getting the best sound out of your drum kit.
There are two (2) types of percussion instruments that make up the drum kit:
1. 1. Drums
A Drum is made of the following parts:
* The Shell – the size of the drum shell and the materials it is made of have a great impact on the sound or tone produced. * The Drum Heads or Skins – a drum has one head on the top and another one on the bottom that are fastened tightly around the drum shell, so when hitting them creates a vibration. * The Rims and Lugs – the rims are metal rings that fastened the drum heads on to the shells. Lugs are screws that attach the rims and therefore the heads to the shell. This allows you to loosen or tighten the heads which tunes the drums.
1. 2. Cymbals
The Cymbals are the other major component of the drum kit.
* Cymbals are thin round disk made from a variety of metals, including brass, bronze and silver. When struck, cymbals create distinct types of shimmering and bright sounds. * Cymbals are composed of the bell and the body. Each part creates a unique and distinctive sound.
THE PARTS OF A DRUM KIT - A standard drum kit is made up of the following drums and cymbals:
Bass Drums
* The largest and deepest drum in the kit. This played with the foot using a foot pedal, also known as ‘kick drum'.
Toms
* There are three toms on a standard drum kit. The toms can be mounted on the Bass Drum (mounted toms) or on a stand or rack (rack toms). They can also be seated on the floor and this is known as floor toms.
Snare Drums
* This part plays a very vital role. It differs from the other drums because it has a group of curled wires (snares) which is stretched across the bottom head.
Hi-hat
* Composed of two cymbals, a stand and a foot pedal which produces different sounds when set-up.
* The crash cymbal comes in many different sizes that are used to make a loud, crashing-sound. They are usually used to indicate changes or accents in the music. * The ride cymbal is the heaviest and largest among the cymbals. This is played in a constant rhythm to go with the music.
Hardware
* In addition to the drums and cymbals, the drum kit comes with hardware holding all the parts together. * Drum Hardware consists of cymbal stands, the hi-hat stand, the bass Drum Pedal and tom mounts.
Tip 4: Choosing your first drum kit is very exciting! But, it is important to take time and be patient.
Tip 5: Do some research before you decide on purchasing a Drum Set.
The bronze finish and tapered stem of this floor lamp create a sophisticated silhouette. The dual-layered circular base features a spherical center from which the tapered stem originates. A beige bell drum shade tops the design, lending it an elegant air...
March. By John Philip Sousa. Arranged by August Helmecke. Concert Band. For Flute I, Flute II, Piccolo, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Bass Saxophone, Cornet I, Cornet II, Cornet III, Trumpet I, Trumpet II, Horn I, Horn II, Horn III, Horn IV, Baritone (Treble Clef), Euphonium (Bass Clef), Tenor I, Tenor II, Tenor III, Basses, Contrabass, Timpani, Bass Drum and Cymbals, Small Drum. Score and Set of Parts. 7 pages. Published by Theodore Presser Company.
The Mounted A-Go-Go Bells are played with a stick in a drum set. Each bell is hand tuned in intervals of major and minor 3rds, 4ths or 5ths. Based on Brazilian A-Go-Go Bells.
Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc.
Make Your office or house look beautiful with an exquisite collection of metal fittings. Filing cabinets are manufactured from wood or steel at times. Metal cabinet filings are considered stronger, lighter and durable out of the two forms of filing cabinets. It comes with a guarantee of 5 and 15 years, based on the quality of filing cabinet supplied. Their hinges are the key to millions of kitchen to function properly.
Users must note that the drawer bases in filing cabinets especially those in wooden filing cabinets are not used to support heavy weight, and hence such filing cabinets should not be used for any normal drawer. It also includes fitting conversions which allows for an A4 size one to be stored.
In case of a cabinet lighting, a curio cabinet wall is made up of dark wood, glass so that light passes through the floor of the cabinet without any hassle of reflexes. You can even consider traditional curio cabinet lights and spend on any linear strips phantom of low voltage. Such lighting strips provide two things, firstly a right fit to the vertical, horizontal and radio, secondly a low profile design which is hidden from normal viewing angles.
Shelving units, cupboards, cabinets are ideally suited for offices. Such fittings are offered in a wide variety such as antique fittings, brass fittings, wooden ones and metal ones. Black antique iron mongery door fittings, iron mongery accessories. Cup board knobs, drawer pulls, hooks on plate, wire knobs and chest handles are used for such fittings. One can even opt for rustic iron knobs that have a protective coating of beeswax. Minimal maintenance is required; simply polish occasionally with a brush or cloth to give that shine. Reach the experts for the right design and finish!
Large rusty cabinet pulls in different design can be found online. Avail lovely pulls made of rusted metal. Lay your hands on a range of quality Fittings - ideal for Wardrobes, metal drawer sides and a wide range of kitchen accessories and appliances. Make use of traditional wood finishing sundries and reach out to Suppliers of black metal iron castings, traditional door knockers etc.
It is said that in order to organize your large storage space, you can buy pantry fittings. These wire racks fit the entire inside space of your pantry. They have shelves and baskets to hold about anything you want to store. You can get them in a variety of sizes. Whatever your needs, you are not too far from the online stores.
About the Author
Kirthy Shetty Platinum author,Get all your tips related to cabinet accessories from: Cabinet fittings metal
Large-capacity 1200-watt 4-slice toaster ovenBake, broil, bagel, toast, and keep-warm functionsAdjustable temperature up to 450 degrees F30-minute timer; slide-out crumb tray; baking pan includedMeasures approximately 12-2/5 by 18-8/9 by 15 inches
You will receive a total of 2 speaker stands. Dimension: 11.88"W x 10.88"D x 49.25"H Weight Limit: 2 lbs per each Finish: Black Material: Cast Iron Set of 2 Adjustable Speaker Stands in Black Finish Satellite Speaker Stands set feature heavy duty cast iron construction...
Order of the Black
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2010 release from former Ozzy guitarist Zakk Wylde and BLS. Order of the Black will feature Black Label at its best with frontman/lead axeman Wylde's signature guitar virtuosity and howling vocals, as well as a propulsive rhythm section, courtesy of bassist J...
Metallica
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No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 12-AUG-1991
A Black Forest Decor Exclusive - Powder-coated scrolled black metal with rustic bear and tree detailing frames the Black Bear Metal Scroll Mirror that makes a elegant centerpiece in your cabin bath or hallway. Measures 21"W x 1/2"D x 37"H. ~ Ships from the manufacturer. Allow 2 to 4 weeks. Cannot express ship or ship to Alaska or Canada.
A Black Forest Decor Exclusive - A black bear and mountain design is laser cut in cold-rolled steel with a black powder coat finish to accent the Black Bear Metal Art Mirror that adds drama to any wall. Made in the USA. Measures 15"W x 1/2"D x 23"H. ~ Ships from the manufacturer. Allow 3 weeks. Cannot express ship or ship to Alaska or Canada.
A Black Forest Decor Exclusive - Delicate pine needles and detailed pinecones combine with gently twisted metal in a rich, dark brown finish to create the Metal Pinecone Towel Bar. Measures 26"W x 2 1/4"D x 6 1/2"H. ~
A Black Forest Decor Exclusive - Delicate pine needles and detailed pinecones combine with gently twisted metal in a rich, dark brown finish to create the Metal Pinecone Towel Ring. Measures 8"W x 2"D x 13"H. ~
A Black Forest Decor Exclusive - Dramatic and bold, the hammered Metal Bear Paw Hook with a dark brown finish and dual tone definition makes a statement. Measures 5 1/4"W x 1 1/2"D x 9 3/4"H. ~
A Black Forest Decor Exclusive - Entirely handcrafted in the USA, the plasma-cut, 18-gauge steel Metal Art 3-D Moose is pre-rusted for authenticity and makes a great accent piece in any space. Measures 4 1/2"W x 10 1/4"D x 10"H. ~
A Black Forest Decor Exclusive - The Trout Metal Art Wall Hanging features brilliantly colored painted metal trout to create an incredibly eye-catching wall art piece. Measures 37"W x 1 4/5"D x 33"H. ~
A Black Forest Decor Exclusive - Delicate pine needles and detailed pinecones combine with gently twisted metal in a rich, dark brown finish to create the Metal Pinecone Toilet Paper Holder. Measures 7 3/4"W x 3"D x 6 1/2"H. ~
The Metal Art Bear Sconce, with softly undulating edges, is made in the USA using steel with choice of black or rust finish. Measures 8 1/2 Inch wide, 4 1/2 Inch deep and 10 3/4 InchHigh. Available in right or left facing designs (Left facing is shown). Lamp with Parchment Liner uses one 60-watt bulb. Portable wired. ~Allow 3-4 weeks for delivery. Cannot express ship or ship to Alaska or Canada.
The Bear Paw & Black Forest Bear Wall Mount Metal Art brings rustic outdoor style to your decor with its brilliantly finished bear paw in metal art that has been enhanced with a Jackie Thoes original hand-painted bear head. Individually handcrafted in the USA from cold-rolled steel. Measures 12 Inch. Acrylic lacquer sealed for long lasting protection. ~ Allow 1-3 weeks for delivery. Cannot express ship or ship to Alaska or Canada.
An Interview With Koko Dozo: Bringing a Little Madness - and Lots of Teamwork - Into the Mix
The rock and roll super group - a group made of musicians who are well-known for being in other groups, or, solo stars who band together into one entity, like the comic book heroes X-men or The Avengers - has a long history in rock music. The super group Blind Faith was comprised of guitar giant Eric Clapton and drummer Ginger Baker from Cream, joined with Steve Winwood of Traffic. Clapton also joined with legendary Allman Brother Duane Allman and super drummer Jim Gordon to form Derek and the Dominoes, who recorded the classic rock album 'Layla and Other Assorted Love Songs.'
Oftentimes in jazz, musicians from different groups (who are great solo artists in their own right) will come together and create great music. However, this is not always the case. Groups made up of great performers - those used to working alone or being the "star" - can sometimes be less than the sum of their parts, as egos clash and the group becomes like a bad basketball team, where everyone wants to score and nobody wants to pass or play defense. Koko Dozo, however, is a dream team. Each member of the group, which includes Polarity/1, Rubio and Amy Douglas, is an equal contributor, with the entire group utilizing each member's skills and talents. Once more, there are no egos clashing. Quite the opposite occurs, as the members provide support and encouragement for one another. On the group's debut 'Illegal Space Aliens,' Koko Dozo shows that individual and group expression can meld into one, and - just like a good jazz band, baseball team or this year's Boston Celtics - can result in something even greater than the sum of its parts.
[Mark Kirby] What kind of music was played in your homes when you were growing up?
[Polarity/1] I started off with my dad's records. My earliest faves were Cab Calloway, Tito Rodriguez and other salsa music, Elvis, James Brown, Chuck Berry, Beatles and Led Zeppelin. Then there was the radio and television shows like American Bandstand, Soul Train and the Ed Sullivan Show.
[Rubio] My parents were fundamentalists and went through this period of being afraid of having any secular music in the house, so for a while we had nothing but this old 8-track with Pat Boone and Bob Dylan's one Christian album. No, I'm not making this up. I used to stay up nights just surfing the dial on this crappy transistor radio I had and absorbing everything I could get my ears on.
[Amy Douglas] I come from a family that played instruments. Growing up, I was fortunate to have parents that liked music quite a bit. My dad was all about jazz - Thelonious Monk, John Coltrane, Miles Davis, Brubeck, Duke, Bird and Diz, etc. - so I get my love of jazz from him and my grandparents. My mom was a huge fan of artists like Carol King, Joni Mitchell, James Taylor, Paul Simon, Jim Croce and Elton John (still one of my personal heroes to this day). She was also a huge fan of Smokey Robinson and the Miracles, The Temptations, Philly soul, and anything Gamble and Huff touched, from Harold Melvin and the Blue Notes to the Spinners and all in-between. She liked Black music in general. Also heavily on rotation in the house growing up was Aretha Franklin, who served as my initial influence into opening up my head and wailing away, and Stevie Wonder, who was one of my greatest influences of all.
[Mark Kirby] What incident or moment ignited your passion to perform or otherwise get into music?
[Polarity/1] When I was in high school I discovered Brazilian music, Appalachian folk, Eric Dolphy, 16th century Japanese court music, Bob Dylan and Mahavishnu Orchestra. My thing with Dylan got me to buy a guitar so I could express my rage over the inconveniences of life on earth. Within weeks I was writing clueless protest songs about important political issues I never bothered to read about.
[Rubio] I've had a passion for music as long as I can remember. I used to go nuts over it even as an infant apparently. I started taking lessons at age four. When I was 11, I formally made a decision to dedicate myself to music. I was classically trained on piano and organ as a kid. As a teenager, I started getting heavily into metal and prog rock and things like that.
[Amy Douglas] I think growing up as a child in the 1970s served as a constant source of inspiration and was a catalyst. From just listening constantly to my parents' music, and then turning on the TV or radio, it seems like virtually EVERYTHING influenced me. But if I had to narrow it down to a few choice moments, I'd say playing Stevie Wonder's "Songs in the Key of Life," seeing Chaka Khan on Soul Train, seeing Bowie everywhere on TV, hearing all the Beatles' albums, and most important, hearing Led Zeppelin, my favorite band of all time. Between the TV shows Soul Train, Midnight Special and Don Kirshner's Rock Concert, there was no shortage of good stuff to draw on. I think the combination of hearing all this stuff as a child was like a bomb going off. Certainly, I take almost all my visual cues from Donna Summer, P-Funk and Chaka.
[Mark Kirby] Describe your musical backgrounds. Did you study formally in school? Or take lessons?
[Polarity/1] When I was 14 I bought a plywood guitar with a book of tunes that had chord diagrams, and then I starting writing my own songs. A couple of years later I took a few lessons and learned how to play major and minor seventh chords so I could add some jazz and bossa nova flavor to my songs.
I spent a semester at Berklee School of Music in Boston, which was a weird move, being that I couldn't functionally read music and my brain isn't wired for formal learning. But I could write notation a little bit and tried to prove that I was Berklee-worthy by hot-dogging the homework projects - like scoring an arrangement of Monk's "Epistrophy in 7/4," which nobody could play. I was redeemed a few years ago when I notated a 7/4 thing for Pete McCann and Gregg Bendian to play on "Munton's Revenge" on the Polarity/1 'Speechless' album. They nailed it pretty quickly. What was good about the year at Berklee was that even though I couldn't learn in a normal way, [with] what they were throwing at me, I was able to sort of "visualize" all these concepts like chord functions and voicings. It all came in handy much later on in unexpected ways when I would create quite complex things without "knowing how" and be taken seriously. In that sense I've had a very real musical training.
[Rubio] I had lessons up until I was 16, mostly classical music. When I was younger, we had a deal where I got free lessons in return for performing for Kawai, showcasing their instruments in malls and conventions. Because of that, I had some performance training as well. By my 17th birthday I was playing full-time with bands and earning my keep.
[Amy Douglas] I started doing music from age six onward. I first discovered I could sing when my elementary school teacher wrote my mom a letter saying, "Ask Amy to sing for you sometime." My grandmother taught me piano initially, and from there I took lessons. From 6th grade on, I was one of those disgusting "Music Big Concert School" kids. I started learning music theory in junior high and I got a lot of credit from the state of New York, won the Louis Armstrong and Eubie Blake music scholarships and then went to study Jazz Theory and Composition at New York University. UUUUUUGH.
[Mark Kirby] What were some of your earliest musical experiences?
[Polarity/1] My earliest gigging experiences in high school were great antidotes for bad looks and bad conversation-starting skills. Music-making has been all good except for one rough period where I got a real-world lesson about where my strengths and weaknesses were. My songs started off in folk and rock. Then they got jazzy and funky. Then I wanted to bring elements of the late John Coltrane, Mingus and Mahavishnu. So I created a band with all jazz guys instead of folk-rockers which was most[ly] cool - except that I wasn't that kind of player with that kind of training. Since my only interest in the guitar was for songwriting, I had no chops and couldn't contribute much on the instrumentals the other guys were writing. And they needed a serious jazz/metal guitar player. So I got fired from my own band. It triggered a move into a radically different direction, where I had to start from scratch and discover what my own creative process was, make a commitment to it and then succeed on my own terms. And with that kind of focus, I found that there were a whole lot of different things that I did really well with my own vision and method and developed big chops with it.
[Rubio] It was rough from age 11 to 16 because I basically had to disappear into a hole and hibernate in order to switch from organ to piano, and didn't perform live at all during that time. It was a definite case of withdrawal. My first few rock bands were rough, too. I was nicknamed "Wendel" because that was Gomer Pyle's actual first name in the TV show. I'm sorry to say that at the time the name fit perfectly. I was more than a bit naive. I'm very grateful for those times, though, because I learned a lot very quickly.
[Amy Douglas] I played my first pro gig at age 12 and did my first pro session at 13. I told my parents I didn't want to go to school anymore. From then onwards, it got darker. My first pro gig was at a supper club on Long Island. Between dishes of steak and shrimp, I sang a combination of jazz standards and disco classics. It was a blast.
[Mark Kirby] Describe your individual musical journeys from the first bands to Koko Dozo.
[Polarity/1] I started off writing songs until I hooked up with the SIM (Studio For Interrelated Media) department at Mass Art (Massachusetts College of Art) when I was discovering Cage, Xenakis, George Crumb, Joan LaBarbera, Steve Reich and others. I made a decision to not use melody, harmony or rhythm in any way that resembled songs or jazz. And since I was also a visual artist at that time, the art scene provided venues for this new direction. So my visual stuff, music and lyric-writing got re-channeled into performance art and composing for choreographers and experimental theater. I also formed a group called Vocal Repercussions that did totally improvised vocals-only performances, where abstract vocal sounds morphed into words, free-associated texts, rhythms and harmonies. Then I moved to NYC and got obsessed with groove. I studied African drumming, played in samba bands and had a hip-hop thing with rapper D.A.V. called Medicine Crew. Hip-hop was an easy transition because I was already into looping and collaging, but in an abstract mode, and my performance poetry worked in a rap format. I was always into groove since I was little - funk, salsa, African drumming, calypso, samba and reggae. A couple years later I got back into songwriting and all that stuff merged into songs and electronica when I became Polarity/1. And that led to film scoring and collaborating with Rubio on Audioplasm, which led to Koko Dozo. And recently I circled back to the art scene, scoring for Battery Dance Company and Quorum Ballet from Lisbon.
[Rubio] My very first band I was in was ruled with an iron fist by this absolute tyrant and it was a real wakeup call. Those were also very fun times, of course. After a couple years in my hometown of Winnipeg, Canada, I moved to Toronto for six years before coming to NYC in 1997. I've done just about every kind of gig you can think of in that time, both live and in the studio.
[Amy Douglas] I had been gigging steadily in my own bands, ranging from funk to rock. I was part of a group of downtown artists known as the "Homocorp" scene. I was [also] a part-time member of the Squeezebox Band - the same Squeezebox they recently released a film about at this year's Tribeca Film Festival - and basically spent my 20s either gigging, doing sessions or hanging with drag queens and getting into trouble.
[Mark Kirby] How did the three of you meet and get together?
[Rubio] I had met Polar in 2003 through a mutual friend, a drummer called Curtis Watts, with whom we had a mutual interest in samba. We hit it off and started working together sporadically. In the fall of 2005 we decided to completely redesign Polar's studio with my help and work on each other's projects. That blossomed into us working together on some production stuff, mainly soundtracks for documentaries, and an instrumental collaboration called Audioplasm.
[Polarity/1] Rubio and I were working on the Heavy Meadow album at the same time he was working with Amy in her "Red Hot Mama" show. He suggested the three [of us] get together to see if we could come up with something interesting.
[Amy Douglas] I had a show called "Red Hot Mama," which was a rock vaudeville show, and I had hired Rubio as the keyboardist, and we really hit it off. When the show folded, he introduced me to Polar, the two of them having done a project called Audioplasm. I am way happier in Koko Dozo than I've been in just about anything I've ever done. We got together on a super hot summer day in 2007 and realized we had a great capacity to make incredible music based on our collective musical passions and influences, which also include a group devotion to Brazilian music, Afrobeat, and Latin music, so we really had quite a stewpot brewin' by the time we started to write songs.
[Mark Kirby] How did you arrive at the name Koko Dozo?
[Amy Douglas] At the risk of hurting myself by patting myself on the back, I have to take the credit for it. My ex-boyfriend had mentioned wanting to do an avant-garde project and he threw out Koko Dozo as a trial name. When we were thinking about names, I threw it out there, and the guys liked it. I think it's fab. [My ex-boyfriend] did so little for me while we were together, [so] at least he gave the band a great name.
[Mark Kirby] What is the musical concept of the band?
[Amy Douglas] It's a really huge one. First and foremost it's to virtually force people to have to really listen to what we do, and to help audiences that have been pandered to and been reduced to some sort of lowest common denominator grow some brain cells back. The music is obviously a ton of fun, it puts you in the mood to do some serious dancing and there's more than a healthy dose of silly swirling around in the mix. But really listen to the words and you'll hear that we have some deep issues we're struggling with and we do address them in our songs, ranging from our distrust of our government, to the polarization of culture in our home of New York City and a whole bunch of other things. Our musical concept is to shrink the globe as well; the internet has made the world a smaller place and we wanted to find a way to fuse cultures, languages, styles and influences together in a way that reeks of New York City life, but will appeal to an audience that is truly global.
[Rubio] Generally, Polar handles the arrangements and the drum and percussion elements. I come up with harmonic ideas, play most of the keyboard/bass-type things and mix the tracks. Amy is the voice of the project and handles melodies. Obviously, there is a lot of overlap. There is one song I arranged and produced ("Boomchi"). Polar and I each do one lead vocal ("Kokodozonomics" and "The Heart," respectively). There are songs where Amy did the chord structure and played keyboards. Polar is very avant-garde and always pushing the envelope. Amy is very melodic and tends to create things that are catchy and mass-appealing. I'm kind of in the middle.
[Polarity/1] We have an open source attitude about music. Between us, we've worked just about every genre category there is and we don't feel any compulsion to restrict where we go. Each song has a strong identity of its own but they all sound like Koko Dozo. Conventional wisdom dictates that our way of working will guarantee that we'll never find an audience. But we know that's bullshit. The post-corporate online music business has made it okay for people to trust their intuitions about the music they discover. An amazing variety of people are responding. We're reaching young electro heads, world-beaters, dance-clubbers, boomers, electronica geeks, and po-po-pomo gonzoid hairy-backed noiz gimps living in the basement of the basement on diets of sticky buns and penis butter and toe jam sandwiches. The parents and the kiddies like us too. And we write in different languages (English, Spanish and Portuguese) which reaches out even further. Also we have this whole bargain-basement-space vibe that makes things really fun.
[Mark Kirby] What is the story behind the Sun Ra-esque (a new word!) dress and alien mythology?
[Polarity/1] Here's the story: we came from outer space and landed on Earth to exploit its resources - and for other reasons that we'd rather not discuss. We're from the low-rent part of the universe where you wear whatever is lying around in the alley on garbage pickup day. That, coincidentally, is the same galaxy where Sun Ra came from.
[Amy Douglas] {Laughter} Well...the word "alien" permeates much of what we do and we like to riff on the term. Alien, as we mean it internally, is the feeling of not being comfortable in one's skin, feeling out of synch with the world around you, feeling like the constant outsider. And we decided to really play with the word, and we decided that a space age "alien" theme would suit us wackos pretty well! Besides, it gives me an excuse to wear wigs and glitter, which I feel I was born to do.
[Rubio] We really wanted to put the fun and craziness back in music. Too many projects take themselves too seriously these days, which is BEYOND ironic.
[Mark Kirby] Describe the writing, recording and producing process for this CD. Were you all in the same studio at the same time?
[Polarity/1] Since we work in my studio, I'm there for the whole process. Generally, I show Amy and Rubio a track that I think would work for Koko Dozo. It might be just a sketch, almost complete, or anything in between. I might have complete lyrics as well ("Face On The Dancefloor," "Kokodozonomics") or just a rough idea for lyrics that Amy and I will collaborate on ("Shine"). Or Amy and/or Rubio will take one of my tracks and turn it into a song ("Second Time," "The Heart"). Sometimes Amy has a song and I build a track around her chord changes, melody and vibe and help with the lyrics ("Down"). Rubio and Amy wrote "Boomchi" together and Rubio produced that track.
Rubio is the guy with the engine-ear. He comes in when a track is pretty much laid out and starts tweaking things. Then he'll add his keyboard solos, sometimes bass and the more harmonically dense keyboard stuff. I do keyboard parts that don't require big chops. Then Amy comes in and we track vocals. Rubio and I finish the mixes with Rubio in the big chair. Joe Lambert masters everything at Trutone Studios. He's done all the Polarity/1 stuff and Heavy Meadow too. Lately Amy has been playing some keyboard parts.
[Rubio] As far as recording, we were generally all there. I personally NEVER record final voices without someone else in the room to give me a sense of perspective. Polar did a lot of editing on his own but often that job fell to me as well. The mixes were generally done with Polar and me, and we would send roughs to Amy for her input.
[Mark Kirby] What is your live show like? Is there a full band?
[Amy Douglas] It's a full-on brigade of madness! We operate as a trio, currently using our tracks and the addition of live keys and guitar, bass and percussion.
[Rubio] I would love to have a live band, but right now circumstances and logistics just don't allow it. The three of us do perform live, though. Polar plays Electronic Drums, guitar and hand percussion, I play keyboards live and we all sing. We use versions of the tracks that are customized for live shows, so what you hear on stage is not necessarily exactly what you'd hear on the studio version.
[Polarity/1] Our shows are fun for us, and I suppose audiences love to watch grown people making funny noises up there and bouncing around like homeless space mutants. Amy's wigs and Rubio's Viking helmet are worth the price of admission. And gazing at my psychedelic death-ray yarmulke is a life-affirming way to blow off shabbos.
Latin Trio - Tango by Woodstock Precussion. Our Tango Chime reflects the last notes of Tango's most famous melody, La Cumparsita. The Tango began in Argentina in the early 19th century, and has gone through many changes...
Great seller item assorted lot of 24 pieces. Amazon rattles come in 6 color assortments and measure 8". Fair trade item from Peru made by Francisco Quispe
Great sound!
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An original vintage magazine ad print from the year published. Print ads make unique gift items that can be framed as artwork. Shipped flat un-framed in plastic sleeve with backing board.
Classic Meets Cuba
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Top Percussion
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In the history of recorded music, there are a few albums that define a genre. Among them are Glenn Gould's 1955 recording of Bach's Goldberg Variations and Miles Davis's hypnotic Kind of Blue. In that select realm, timbalero Tito Puente's 1957 Top Percussion is the most influential Latin jazz recording of all time...
Latin rhythms abound in this book! Beats, charts and examples are given for the mambo, cha-cha, xongo, calypso, merengue, samba, bomba, and rumba, as well as Afro-Cuban beats and patterns. Percussion notation is included for conga, timbale, clave, bongo,
By Featuring Wilson "Chembo" Corniel. Featuring Wilson "Chembo" Corniel. For Drum. Percussion - Drum DVD. Latin. DVD. Published by Latin Percussion.
The LP LP332 Percussion Stand from Latin Percussion is designed to hold a variety of mountable percussion on one convenient, sturdy stand. It has a 21" long, 3/8" diameter telescoping knurled rod that can hold LP Jam Blocks, Bar Chimes and Cow Bells all at once with room to spare. The LP Percussion Stand features chrome-plated steel construction and double braced legs for stability, and large rubber feet to control slipping.
By Dominick Moio. By Dominick Moio. For Drum Set. Rhythm/Backup. Archive Edition. Latin American. Level: Beginning-Intermediate. Book. 64 pages. Published by Mel Bay Publications, Inc.
The Stick Bag Book of Latin Rhythm & Percussion is the ultimate resource for drummers and musicians. It features the most influential styles, rhythms and techniques - all in one handy, easy-to-use reference guide. Whether you are a percussionist, producer, arranger, or songwriter, a strong knowledge of these rhythms will add to your overall versatility as a drummer and musician.
