The 1980s was a time of rapid change in the music industry. We saw the compact disc facilitate a massive paradigm shift in the way music was created and marketed. The first wave of punk sputtered out and was replaced in the zeitgeist by new genres that often had the synthesizer or the turntable as the fulcrum. But despite this, guitar remained an influential part of the musical landscape, especially with hard rocking bands who pushed the boundaries of both guitar playing and fashion. Among this new generation of shredders, there was one brand that ruled the 1980s – Kramer Guitars. But despite being forever associated with the 80s and hair metal, the story of Kramer Guitars actually starts in the 70s and a very different type of guitar. Travis Bean’s name has become synonymous with the unconventional aluminium-necked guitars that bore his name, not to mention their iconic hollow T headstock. But Travis Bean Guitars was not a one-man operation when it started out in California in 1974, in fact Bean started the company with two business partners – Marc McElwee and Gary Kramer. According to Kramer, the business deal with Travis Bean began to sour when he applied for a patent in his own name rather than the name of the company. Business relationships were strained further when, according to Kramer, guitar construction started to be edged out by Bean’s new passion, drumming. Again, according to Kramer, Bean had converted a large section of the production floor space into a garage style-recording studio, complete with hundreds of egg cartons on the wall during a weekend when he was supposed to be filling orders to meet the incredible demand for the instrument bearing his name. One thing that we are certain of is that Kramer left Travis Bean in 1976 to found his own company along with a friend of Bean’s from New York, Dennis Berardi – Kramer Guitars was born, The initial Kramer prototypes were built by a man named Phillip J. Petillo who was also responsible for the Travis Bean prototypes. Kramer also sought out investors and found one in Henry Vaccaro. Vaccaro later sold his shares of the company in 1993 to Jackson Communications Inc, formed by the family of superstar Michael Jackson (which resulted in a cascade of legal issues that we simply don’t have the space to go into here!). Between 1976 and 1981, the guitars built under the Kramer banner had some strong resemblance to Travis Bean Guitars – most notably the aluminum necks and the forked headstock design. But Kramer necks featured an important distinction – instead of being built completely out of aluminum, Kramer Guitar necks had wooden inserts placed into the aluminum. This was done for two reasons – weight relief, and to make the necks feel a bit more akin to traditional guitar necks. There may have been some tonal implications to the decision as well. If you’ve ever used an aluminum necked guitar, you may notice that the first time you pick it up, the neck feels a bit cold. Aluminum conducts heat very well so when you first grab an aluminum neck, it draws the heat from your hand, giving you that cooling sensation, even at room temperature. The wooden inserts, set in epoxy, were usually walnut or maple, while the bodies were made of curly or Birdseye Maple, Koa, Afromosia, Swietenia, Shedua, and Bubinga. The bridges and tuning pegs were made by Schaller and the pickups were supplied by DiMarzio. The cavity covers on the guitars were made of aluminum. In late 1981, Kramer Guitars ditched the aluminum necks in favor of a more traditional construction design. There has been a lot of speculation as to what prompted this move, but like most things in the guitar business, it’s likely had to do with sales, or a lack of them. During the years leading up to 1981, the aluminum necked bass guitars were outselling guitars at a rate of about four to one, we can speculate that this was because bass players were more willing to try something new during that era. In any case, the first batches of guitars to come out with wooden necks featured Fender-shaped headstocks, much like the Charvels of that era. After only a thousand or so instruments were built, in May 1981, Kramer received a cease-and-desist order from Fender to halt the production of guitars with the headstock shape, which would lead Kramer to switch to a “beak” headstock. During this era, the production of guitar components was moved out of the US. The bodies were made in various factories in Eastern Asia. Tuners and tremolos were made by Gotoh in Japan, and the necks were made by Japan’s ESP Guitars, which started making replacement guitar parts and importing them to the US around the same time – they also made guitar parts for Schecter during that era. All the parts were shipped to New Jersey where they were assembled, and the guitars were finished. The executive team at Kramer were wise enough to see the trends that were brewing within the music industry, which included the Eddie Van Halen-driven desire for guitars with tremolo systems. Kramer partnered with a German inventor named Helmut Rockinger to build tremolos for their guitars but soon after, in 1982, they partnered with Floyd Rose to build tremolos as well and by 1983 Floyd Rose tremolo equipped guitars were flying off the shelves. Kramer was using Schaller to produce tuning pegs and they arranged for the company to start producing Floyd Rose tremolos as well. Crucially, Kramer was the only guitar company offering Original Floyd Rose tremolos stock on their production guitars at the time, giving them a massive EVH-sharpened edge when it came to marketing. In late 1983, Kramer again switched up their headstock design to the somewhat-Gibson Explorer-like “hockey stick” design. Around this time, Kramer came out with a new model, the Baretta which was used on stage by Eddie Van Halen. The EVH partnership with Kramer stemmed from a chance meeting between Dennis Berardi and Eddie Van Halen’s managers when they found themselves on the same flight – but it was an association that would define the brand. Kramer Guitars continued to evolve to incorporate popular changes in technology such as introducing Seymour Duncan pickups in late 1985 and embracing the bright flashy colors of the glam movement for finishes in the mid to late 80s. Following Eddie Van Halen’s lead, a lot of prominent guitarists were seen using Kramers such as Mick Mars and Vivian Campbell. Kramer understood the trends of the market and the power of celebrity and combined the two to become the best-selling brand of 1985 and 1986. The wave crashed in 1991 when the decline of hair metal (thanks in no small part to Slash) combined with an insurmountable number of financial issues, including a lawsuit from Floyd Rose. The company declared bankruptcy and was sold to Gibson.
In the years since Kramer guitars have continued to be made – albeit in small numbers and only in Gibson’s Asian factories, but in the years since the KKR-backed takeover of Gibson Brands following its bankruptcy in 2018, the Kramer band has become more visible. As shred guitar continues to enjoy a renaissance, the future for Kramer might be brighter than it has been in decades.
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Bernie Marsden – former Whitesnake guitarist and a legend in the blue-rock sphere – has died at the age of 72. The news, first broken by bassist and friend of Marsden Neil Murray, has since been confirmed by Marsden’s record label Conquest Music, which writes: “On behalf of his family, it is with deep sadness we announce the death of Bernie Marsden. Bernie died peacefully on Thursday evening with his wife, Fran, and daughters, Charlotte and Olivia, by his side.” “Bernie never lost his passion for music, writing and recording new songs until the end,” the label adds.
Born in Buckinghamshire, England on May 7, 1951, Bernard John Marsden landed his first professional guitar gig with UFO in 1972. Thereafter, he worked with Glenn Cornick’s Wild Turkey, Cozy Powell’s band Cozy Powell’s Hammer, and Babe Ruth, with whom he played on two releases: Stealin’ Home (1975) and Kid’s Stuff (1976).
He later played in short-lived band Paice Ashton Lord, which was formed of former Deep Purple members Ian Paice and Jon Lord with singer Tony Ashton. But the gig he perhaps became best known for came in 1978, when he formed a new band with David Coverdale and guitarist Mick Moody, originally named David Coverdale’s Whitesnake. The band later changed their name to simply Whitesnake. Marsden was a member of Whitesnake between 1978 and 1982, during which time he appeared on the band’s first EP, first five albums and a live album: Snakebite (1978), Trouble (1978), Lovehunter (1979), Ready & Willing (1980), Live In The Heart Of The City (1980), Come An’ Get It (1981) and Saints & Sinners (1982). Saints & Sinners would see Marsden, alongside Coverdale, pen the biggest hit of his career: the anthemic Here I Go Again. Rocker Alice Cooper described “gender-affirming” medical procedures for children as a “fad” in an interview with Stereogum magazine on Wednesday, drawing criticism from Billboard and other establishment outlets.
Cooper, whose on-stage look features theatrical costumes, long hair and plenty of eyeliner, acknowledged that “there are cases of transgender,” but argued it was “also a fad,” with “a lot of people claiming to be this just because they want to be that.” He criticized adults who he said are planting the idea in children’s heads and confusing them at a vulnerable time, explaining: “You’re still trying to find your identity, and yet here’s this thing going on, saying, ‘Yeah, but you can be anything you want. You can be a cat if you want to be.’” Cooper, whose real name is Vincent Furnier, continued with a broader swipe at “the whole woke thing,” questioning who was “making the rules” that imposed politically-correct neologisms on the English-speaking population. “Is there a building somewhere in New York where people sit down every day and say, ‘OK, we can’t say ‘mother’ now. We have to say ‘birthing person.’ ‘Get that out on the wire right now’? Who is this person that’s making these rules?” he asked, dismissing the phenomenon as an absurdist “comedy.” While the interviewer mentioned other glam rockers who had opined on the trans issue and then eaten their words after public backlash, Cooper insisted he was not being “old school” in his views but simply “logical,” arguing his opinions were those of the vast majority. The 75-year-old rock star said that biological males identifying as women could pose a threat to women and girls in public bathrooms, saying that a predator could “just say ‘I just feel like I’m a woman today’ and have the time of his life in there.” “Somebody’s going to get raped,” he warned. Transgender activists have attempted to downplay such incidents, and a Virginia school district even moved a supposedly gender-nonconforming pupil who assaulted a girl in the restroom to another school – only for him to reoffend. Kiss guitarist Paul Stanley was excoriated earlier this year over comments on the “dangerous fad” of gender-affirming care for children. When Twisted Sister frontman Dee Snider retweeted those comments, he was similarly attacked and even had his invitation to march as a grand marshal with the San Francisco Gay Pride Parade retracted due to his alleged transphobia, despite insisting he supports the community. Ibanez and Paul Gilbert go way back. It is one of the most essential brand-artist collaborations in the world of electric guitar, and that world has just gotten a little bigger with the release of two more built-for-speed signature guitars, the PGM50 and PGM1000T. These might look familiar as Ibanez and Paul Gilbert revert to the sharpened offset S-style RG body shape with the painted-on f-holes, but there are some surprises in store. Let's start with the limited edition PGM1000T. It arrives in a buttery yellow Aged Cream Burst finish and, in a first for the series, it has a neck-through build. Gilbert’s PGM models, including this new PGM50 in Black, have all been bolt-ons. His FRM300 having a set-neck. The PGM1000T’s three-piece maple neck thus extends right through the body and is flanked by two ash wings. It is equipped with a pair of DiMarzio Air Classics – Gilbert’s favourite DiMarzio humbucker – that are selected via a three-way blade switch that alongside a single black volume pot is discretely positioned on that ornamental f-hole. You could even say the Air Classics, voiced perfectly for creamy high-gain rock tones, match the finish. Gilbert has gone for a 16.9” radius ebony fingerboard with abalone dot inlays, 22 jumbo frets with J Custom edge treatment to make it feel even more smooth. His signature neck profile is whip-thin, measuring just 18.5mm at the first fret and 20.5mm at the 12th. This really is a high-performance electric. Elsewhere, the PGM1000T has a 25.5” scale, a Duracon nut, black hardware, Gotoh tuners and a Gotoh GTC101 hard-tail bridge and gold pickup coverings. The PGM50, meanwhile, follows a more familiar recipe with a bolt-on five-piece maple and walnut neck, an American basswood body, a rosewood fingerboard with white dot inlays, 22 medium frets and Premium fret edge treatment. The neck is listed on the Ibanez site has measuring 20mm at the 1st fret, 22mm at the 12th, with a fingerboard radius of 15.7”. Again we have a pair of DiMarzio Air Classics at the neck and bridge, with a DiMarzio PGM single-coil in the middle position, and a five-way switch to make this one versatile shred platform.
Complementing the black finish nicely, the no-fuss F106 hard-tail bridge and Gotoh MG-T locking tuners are finished in gold. The PGM1000T ships in a hardshell guitar case, price TBC, while the PGM50 ships in a gig-bag and has a street price of $1,399. For more details, head over to Ibanez. And for a face-melting demonstration of what these guitars can do when played through a dimed Marshall guitar amp, check out Paul Gilbert demoing them in the video at the top of the page. In the realm of music, there are few figures as influential, innovative, and versatile as Nile Rodgers. A guitarist, composer, producer, and co-founder of the legendary disco band Chic, Nile Rodgers has left an indelible mark on the landscape of popular music. His prolific career spans decades and genres, leaving an enduring legacy that continues to inspire artists and captivate audiences around the world.
Born on September 19, 1952, in New York City, Nile Gregory Rodgers Jr. was exposed to music from an early age. Raised by his mother, who worked as a seamstress, Rodgers found solace in music during his formative years. His first foray into the world of music began with learning to play the guitar, which would become his lifelong passion and the cornerstone of his musical journey. Rodgers' breakthrough moment arrived in the mid-1970s when he co-founded Chic, a band that would soon become synonymous with the disco era. Chic's distinctive blend of funk, soul, and disco rhythms set them apart in an era marked by exuberant dance music. The band's debut single, "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)," released in 1977, was an instant hit and established Rodgers' prowess as a songwriter, guitarist, and producer. Chic's meteoric rise continued with their chart-topping hits like "Le Freak" and "Good Times." Nile Rodgers' guitar work, characterized by its rhythmic precision and infectious grooves, became a defining element of the band's sound. The crisp guitar riffs on tracks like "Le Freak" and "Everybody Dance" showcased his ability to craft instantly recognizable hooks that resonated with listeners. However, Nile Rodgers' impact extended beyond his work with Chic. He became an in-demand producer, collaborating with a diverse range of artists across genres. One of his most iconic collaborations was with David Bowie on the album "Let's Dance," released in 1983. The album's title track and "Modern Love" not only marked a departure from Bowie's previous sound but also highlighted Rodgers' ability to adapt his production style to suit different artists' visions. Rodgers' production work extended to other luminaries such as Madonna, Duran Duran, and Diana Ross, among others. His productions were marked by their polished sound, infectious grooves, and a knack for creating timeless hits. His work in the 1980s, often characterized by its fusion of pop, funk, and dance elements, left an indelible imprint on the music of the era. Nile Rodgers' influence is not confined to a particular time period. His ability to evolve with the changing musical landscape is a testament to his versatility and innovative spirit. In recent years, he has continued to collaborate with contemporary artists, infusing his signature style into their work. His collaboration with Daft Punk on the hit single "Get Lucky" reintroduced his music to a new generation, reminding the world of his enduring impact. Beyond his musical achievements, Nile Rodgers' journey has been one of resilience and triumph over adversity. He faced health challenges, including a battle with cancer, which he emerged from with renewed determination. His autobiography, "Le Freak: An Upside Down Story of Family, Disco, and Destiny," delves into his life's ups and downs, providing insights into the man behind the music. The writing and creation of the well known song "Get Lucky" involved collaboration between several talented musicians. Thomas Bangalter and Guy-Manuel de Homem-Christo, the members of Daft Punk, initiated the project with the intention of paying homage to the disco and funk music of the 1970s and 1980s. They wanted to capture the essence of those eras while infusing their signature electronic style. The duo began by creating the instrumental base of the track, which features Nile Rodgers' distinctive guitar playing. Nile Rodgers, a renowned musician, songwriter, and producer known for his work with the band Chic, contributed the iconic guitar riff that became a hallmark of "Get Lucky." His funky guitar work added a rich layer of groovy authenticity to the song. Pharrell Williams, a highly acclaimed singer, songwriter, and producer, was brought in to provide the vocals. Pharrell's smooth and soulful voice perfectly complemented the retro-inspired sound that Daft Punk was aiming for. The lyrics of the song center around themes of celebration, fun, and the joy of living in the moment, which further contributed to the song's infectious appeal. The collaborative effort resulted in a captivating and danceable track that blended electronic elements with live instrumentation. The production of "Get Lucky" emphasized a meticulous attention to detail, with Daft Punk's signature electronic manipulation combined with Nile Rodgers' guitar, Pharrell's vocals, and other subtle sonic layers. Upon its release, "Get Lucky" achieved widespread success, topping charts in multiple countries and becoming one of the best-selling digital singles of all time. The song's retro and infectious vibe resonated with listeners across different generations, making it a staple at parties and dance floors. Its popularity was further boosted by its inclusion in various media, commercials, and live performances. "Get Lucky" not only solidified Daft Punk's status as electronic music pioneers but also demonstrated their ability to seamlessly blend different musical genres to create a fresh and accessible sound. The song's success reaffirmed the timeless appeal of disco and funk influences, and its impact continues to be felt in the music landscape even years after its release. In conclusion, Nile Rodgers' life and work represent a multifaceted tapestry of creativity, innovation, and influence. From his formative years in Chic, through his groundbreaking collaborations, to his enduring relevance in contemporary music, he has left an indelible mark on the industry. Nile Rodgers' guitar prowess, production genius, and ability to craft timeless hits have cemented his place as a true musical luminary. As his music continues to resonate with new generations, his legacy remains an inspiration for aspiring artists and a testament to the transformative power of music. A 1980s Ibanez TS808 Tube Screamer that once belonged to Stevie Ray Vaughan has been sold for an undisclosed amount, just days after it was listed. The well-worn vintage overdrive pedal surfaced in a listing via Chicago Music Exchange last week (27 July). It is thought to have been one of several used by Vaughan and passed on to his guitar tech Cesar Diaz (who has certified its authenticity). In addition, the sale also includes a note from an unnamed previous owner, stating: “This TS-808 Ser # N/A was owned by SRV (Stevie Ray Vaughan). I purchased it as a pair along with TS-808 #111179 from Cesar Diaz. We were friends and I paid $5,000 for the pedal, I also paid $5,000 for the #111179 as well. These were used for recordings, gigs etc. “When Stevie passed it was a shock and Cesar had these in his house. This is exactly the shape, condition etc. that I bought it years ago. Has been in bank vault and is a sweet pedal. Enjoy!" The store hosted the sale at an unlisted price via its site and also demoed it in a YouTube clip – comparing it to a vintage Maxon OD-808 (the first Tube Screamer build, produced from 1979 before it was licensed to Ibanez) and a modern day TS808 reissue. In the clip, you can see Chicago Music Exchange’s vintage/used buyer Dan Lump discuss the item acknowledging that it was one of a few. As Lump puts it: “If he stepped on his pedals the same way he played guitar, I imagine he broke quite a few.” CME demo man Nathaniel Murphy then puts it through its paces and contrasts it with the vintage and modern equivalents with a 1960 Fender Stratocaster and 1966 Super Reverb amp for the full SRV flavor – extracting a very convincing take on ‘that’ tone, in the process.
Randy Meisner, a founding member of the Eagles who added high harmonies to such favorites as "Take It Easy" and "The Best of My Love" and stepped out front for the waltz-time ballad "Take It to the Limit," has died, the band said Thursday. Meisner died Wednesday night in Los Angeles of complications from chronic obstructive pulmonary disease, the Eagles said in a statement. He was 77.
The bassist had endured numerous afflictions in recent years and personal tragedy in 2016 when his wife, Lana Rae Meisner, accidentally shot herself and died. Meanwhile, Randy Meisner had been diagnosed with bipolar disorder and had severe issues with alcohol, according to court records and comments made during a 2015 hearing in which a judge ordered Meisner to receive constant medical care. Called "the sweetest man in the music business" by former bandmate Don Felder, the baby-faced Meisner joined Don Henley, Glenn Frey and Bernie Leadon in the early 1970s to form a quintessential Los Angeles band and one of the most popular acts in history. "Randy was an integral part of the Eagles and instrumental in the early success of the band," the Eagles' statement said. "His vocal range was astonishing, as is evident on his signature ballad, 'Take It to the Limit.'" Evolving from country rock to hard rock, the Eagles turned out a run of hit singles and albums over the next decade, starting with "Take It Easy" and continuing with "Desperado," "Hotel California" and "Life In the Fast Lane" among others. Although chastised by many critics as slick and superficial, the Eagles released two of the most popular albums of all time, "Hotel California" and "Their Greatest Hits (1971-1975)," which with sales at 38 million the Recording Industry Association of America ranked with Michael Jackson's "Thriller" as the No. 1 seller. Led by singer-songwriters Henley and Frey, the Eagles were initially branded as "mellow" and "easy listening." But by their third album, the 1974 release "On the Border," they had added a rock guitarist, Felder, and were turning away from country and bluegrass. Leadon, an old-fashioned bluegrass picker, was unhappy with the new sound and left after the 1975 album "One of These Nights." (He was replaced by another rock guitarist, Joe Walsh.) Meisner stayed on through the 1976 release of "Hotel California," the band's most acclaimed record, but was gone soon after. His departure, ironically, was touched off by the song he cowrote and was best known for, "Take It to the Limit." A shy Nebraskan torn between fame and family life, Meisner had been ill and homesick during the "Hotel California" tour (his first marriage was breaking up) and was reluctant to have the spotlight for "Take It to the Limit," a showcase for his nasally tenor. His objections during a Knoxville, Tennessee, concert in the summer of 1977 so angered Frey that the two argued backstage and Meisner left soon after. His replacement, Timothy B. Schmit, remained with the group over the following decades, along with Henley, Walsh and Frey, who died in 2016. As a solo artist, Meisner never approached the success of the Eagles, but did have hits with "Hearts On Fire" and "Deep Inside My Heart" and played on records by Walsh, James Taylor and Dan Fogelberg among others. Meanwhile, the Eagles ended a 14-year hiatus in 1994 and toured with Schmit even though Meisner had played on all but one of their earlier studio albums. He did join group members past and present in 1998 when they were inducted into the Rock and Roll Hall of Fame and performed "Take It Easy" and "Hotel California." For a decade, he was part of World Classic Rockers, a touring act that at various times included Donovan, Spencer Davis and Denny Laine. Meisner was married twice, the first time when he was still in his teens, and had three kids. The son of sharecroppers and grandson of a classical violinist, Meisner was playing in local bands as a teenager and by the end of the 1960s had moved to California and joined a country rock group, Poco, along with Richie Furay and Jimmy Messina. But he would remember being angered that Furay wouldn't let him listen to the studio mix of their first album and left the group before it came out: His successor was Timothy B. Schmit. Meisner backed Ricky Nelson, played on Taylor's "Sweet Baby James" album and befriended Henley and Frey when all were performing in Linda Ronstadt's band. With Ronstadt's blessing, they formed the Eagles, were signed up by David Geffen for his Asylum Records label and released their self-titled debut album in 1972. Frey and Henley sang lead most of the time, but Meisner was the key behind "Take It the Limit." It appeared on the "One of These Nights" album from 1975 and became a top 5 single, a weary, plaintive song later covered by Etta James and as a duet by Willie Nelson and Waylon Jennings. "The purpose of the whole Eagles thing to me was that combination and the chemistry that made all the harmonies just sound perfect," Meisner told the music web site www.lobstergottalent.com in 2015. "The funny thing is after we made those albums I never listened to them and it is only when someone comes over or I am at somebody's house and it gets played in the background that is when I'll tell myself, 'Damn, these records are good.'" Tony Bennett, the award-winning pop and jazz singer whose extensive career saw him collaborate with stars ranging from Frank Sinatra to Lady Gaga, has died at the age of 96, his publicist Sylvia Weiner announced on Friday.
Bennett passed away in his hometown of New York, Weiner told the Associated Press. She did not specify the cause of death, but Bennett had been diagnosed with Alzheimer’s disease in 2016. Often considered to be the last of America’s great crooners, Bennett released more than 70 albums and is regarded as the only performer to have had new material reach the US charts in every decade between the 1950s and the 2020s. In 2014, he became the oldest living artist to reach number one in the Billboard 200 album charts – breaking his own record in the process. His 1962 hit ‘(I Left My Heart) In San Francisco’ earned Bennett the first two of what would ultimately be 20 Grammy awards across his career, including a lifetime achievement accolade. He will also be remembered for a string of other hits, including ‘The Way You Look Tonight’ and ‘Body and Soul’ – both of which became 20th century pop standards. Frank Sinatra, who was Bennett’s childhood idol, described him in a 1965 interview with Life magazine as “the best singer in the business.” Sinatra added: “He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.” Bennett’s age throughout the latter part of his career was not a barrier to his creativity. He was in his late 80s when he recorded a duet album with American pop star Lady Gaga, and also collaborated with the likes of Aretha Franklin, Paul McCartney, Willie Nelson and U2’s frontman Bono. A 2011 duet with the late English singer Amy Winehouse was the final song she recorded before her death. The veteran singer, a lifelong Democrat, was also a strong supporter of the civil rights movement in the United States, and refused invitations to perform in South Africa during apartheid. He was drafted into the US Army in the final stages of World War II in November 1944, and in March 1945 fought on the front line as US forces moved through France and into Germany. Soon after his 90th birthday, Bennett told the New York Times: “I could have retired 16 years ago, but I just love what I’m doing.” He performed his final concert in New York’s Radio City Music Hall on August 5, 2021 alongside Lady Gaga – six years after his Alzheimer’s diagnosis.
Robert Jensen's career as a Dutch media personality has been defined by his provocative style, daring to challenge the mainstream and giving voice to alternative perspectives. While his unapologetic approach has garnered both admiration and criticism, there is no denying the significant impact he has had on the Dutch media landscape. Jensen's willingness to address taboo topics, invite dissenting voices, and question prevailing narratives has played a crucial role in promoting open dialogue and critical thinking. As the media landscape continues to evolve, Robert Jensen's influence will be remembered as a force that pushed boundaries and sparked important conversations.
The telecaster guitar, renowned for its distinctive tone and timeless design, has cemented its place in the pantheon of electric guitars. While Fender’s telecasters have long been synonymous with the instrument, several other guitar manufacturers have also embraced its iconic features. In this article, we explore a selection of the best telecaster guitars, showcasing the craftsmanship and innovation from a range of brands that extend beyond Fender. 1. Fender American Professional II Telecaster It would be remiss to ignore Fender altogether, as their American Professional II Telecaster continues to set the standard for this beloved instrument. With its impeccable build quality, versatile pickups, and comfortable playability, this telecaster delivers the classic Fender sound and feel that has captivated generations of guitarists. 2. G&L Fullerton Deluxe ASAT Classic Founded by Leo Fender himself, G&L guitars have inherited his innovative spirit. The Fullerton Deluxe ASAT Classic pays homage to the original telecaster design while adding modern enhancements. Its impeccable craftsmanship, impeccable pickups, and superb playability make it a standout choice for guitarists seeking a vintage-inspired instrument with a contemporary edge. 3. Reverend Pete Anderson Eastsider T Reverend Guitars has gained a reputation for their innovative designs and exceptional playability. The Pete Anderson Eastsider T is no exception. Reverend’s take on the telecaster incorporates unique features like the chambered korina body and the innovative Bass Contour control, allowing for a wide tonal palette. This guitar is a perfect choice for guitarists seeking versatility and a distinctive voice. 4. Suhr Classic T Pro Suhr Guitars has built a reputation for crafting high-end instruments for discerning musicians. The Classic T Pro is a testament to their commitment to quality. Featuring impeccable build quality, flawless finishes, and Suhr’s exceptional pickups, this telecaster delivers impeccable tones across a wide range of musical styles. The Classic T Pro embodies elegance and performance. 5. Sandberg Electra DC The Sandberg Electra DC is a German-made telecaster that brings a unique twist to the classic design. With its double-cutaway body, ergonomic contours, and top-notch craftsmanship, the Electra DC offers players enhanced comfort and playability. The combination of high-quality tonewoods, versatile pickups, and superior build quality make this telecaster a standout option for those seeking a modern take on the iconic instrument. 6. G&L Tribute ASAT Classic For players on a budget, G&L’s Tribute ASAT Classic offers an incredible value without compromising on quality. Crafted overseas, this telecaster model retains the essence of G&L’s American-made instruments. It features excellent build quality, superb pickups, and a comfortable neck profile, delivering that signature telecaster sound and feel at an affordable price point. 7. Squier Classic Vibe ’50s Telecaster Squier, a subsidiary of Fender, offers the Classic Vibe ’50s Telecaster, which pays tribute to the vintage telecaster models of the 1950s. With its retro aesthetics, quality craftsmanship, and remarkable affordability, this telecaster captures the essence of its iconic predecessors. The Classic Vibe ’50s Telecaster is an excellent option for players seeking a vintage-inspired instrument without breaking the bank. While Fender may be synonymous with the telecaster, the guitar world has seen a surge in manufacturers offering their own interpretations of this iconic instrument. From the enduring quality of Fender to the innovative designs of G&L, Reverend, Suhr, Sandberg and even Squier, the best telecasters offer a diverse range of options for guitarists seeking that quintessential telecaster sound and feel.
Whether you’re a traditionalist or a seeker of new tonal possibilities, these exceptional instruments showcase the enduring appeal and evolution of the telecaster in the modern era. In remembrance of Herbie Herbert (February 5, 1948 – October 25, 2021) Herbie Herbert is a legendary music manager and promoter known for his significant contributions to the music industry. Born on [birthdate], he developed a passion for music from a young age and dreamed of making a mark in the entertainment world.
In his early career, Herbie started by managing local bands and organizing small events. His exceptional organizational skills and keen eye for talent soon caught the attention of bigger names in the industry. In the 1970s, Herbie had the opportunity to manage The Steve Miller Band, one of the most popular rock bands of that era. Under his guidance, the band achieved immense success and reached new heights in their career. Herbie's reputation as a talented manager spread across borders, and he soon found himself involved with Swedish music groups Roxette and Europe. Roxette, formed by Marie Fredriksson and Per Gessle, gained international recognition with hits like "The Look" and "Listen to Your Heart." Herbie's strategic planning and dedication to promoting the group contributed significantly to their worldwide success. Similarly, Europe, a Swedish rock band, achieved fame during the 1980s with their chart-topping single "The Final Countdown." Herbie played a crucial role in expanding the band's reach beyond Europe and into the United States, making them a global sensation. Continuing his successful streak, Herbie co-managed Mr. Big, an American rock band known for hits like "To Be with You" and "Just Take My Heart." With his expertise, Mr. Big rose to prominence in the early 1990s and secured their place in the hearts of rock music enthusiasts. Herbie Herbert's managerial skills extended beyond just managing bands. He was a visionary and understood the importance of concert production and staging. As a result, he played a pivotal role in producing large-scale concerts and events, making them unforgettable experiences for fans and artists alike. Throughout his career, Herbie remained dedicated to his passion for music and supported numerous artists in achieving their dreams. He was not only a manager but also a mentor and a friend to many musicians. As the years passed, Herbie's impact on the music industry continued to grow. His innovative ideas and ability to adapt to changing music trends ensured his success and the success of the artists he worked with. Despite facing challenges and obstacles in the fast-paced music industry, Herbie Herbert's determination and dedication never wavered. His life story serves as an inspiration to aspiring music managers and musicians worldwide, showing that with hard work, talent, and a genuine love for music, one can make a lasting impact in the ever-evolving world of entertainment. The Origins of the Guitar
The history of the guitar is a fascinating journey that spans centuries and continents. Its roots can be traced back to ancient times, where early civilizations crafted primitive stringed instruments. One of the earliest ancestors of the modern guitar was the ancient Greek kithara, which featured a box-shaped body and several strings. Medieval and Renaissance Era During the Middle Ages and the Renaissance, the guitar began to take shape as we recognize it today. In Europe, the guitar evolved from the Moorish oud, an instrument introduced by the Moors during their occupation of the Iberian Peninsula. The European version of the guitar had a rounded back, a sound hole, and frets. The Baroque Era and Classical Guitar In the 17th and 18th centuries, the guitar gained popularity as an instrument for both solo and ensemble performances. During the Baroque era, the guitar underwent significant changes, including the addition of a sixth string and the standardization of its tuning. Composers like Johann Sebastian Bach and Fernando Sor wrote intricate pieces for the guitar, elevating its status as a serious instrument. The Rise of the Steel-String Guitar In the early 19th century, the guitar experienced a significant transformation with the introduction of metal strings. The steel-string guitar provided a brighter and louder sound, making it suitable for genres like folk, country, and blues. This innovation marked a turning point in the guitar's history, as it opened up new possibilities for musical expression. The Birth of the Electric Guitar The electric guitar revolutionized the world of music in the 20th century. Inventors and musicians experimented with amplifying the sound of the guitar, ultimately leading to the development of the first electric guitars in the 1930s. Innovations by individuals like Les Paul and Leo Fender paved the way for the widespread adoption of electric guitars in various genres, including rock 'n' roll, jazz, and blues. Guitar Icons and Cultural Impact The guitar became an emblem of rebellion, self-expression, and popular culture. Legendary guitarists like Jimi Hendrix, Eric Clapton, and Jimmy Page pushed the boundaries of what could be achieved with the instrument, inspiring generations of aspiring musicians. The guitar's versatility and ability to evoke emotions made it an essential element of countless iconic songs and performances. Contemporary Developments In recent decades, the guitar continues to evolve, incorporating new technologies and materials. Advancements in guitar design, including the introduction of composite materials and computer-aided manufacturing techniques, have led to the creation of guitars with improved playability, tone, and durability. Global Influence and Variations Throughout its history, the guitar has spread across the globe, adapting to various musical traditions and cultures. Different regions have developed their unique guitar styles and variations. Flamenco guitar in Spain, the ukulele in Hawaii, and the sitar in India are just a few examples of how the guitar has been modified to suit different musical aesthetics. The Future of the Guitar As we look to the future, the guitar's popularity shows no signs of waning. Advancements in digital technology, such as modeling amplifiers and digital effects, offer new avenues for guitarists to explore. The guitar will undoubtedly continue to evolve and adapt, remaining a beloved instrument cherished by musicians and audiences worldwide. In conclusion, the history of the guitar is a rich tapestry of innovation, cultural exchange, and artistic expression. From its ancient origins to the modern electric and digital incarnations, the guitar has left an indelible mark on the world of music. Its timeless appeal and versatility ensure that it will remain Vietnam has banned the Hollywood live-action comedy ‘Barbie’ after state film censors took issue with scenes in which a map of the disputed South China Sea is drawn to favor China, Vietnamese media reported on Monday.
“The film review board watched the film and made the decision to ban the screening of this movie in Vietnam due to a violation regarding the ‘nine-dash line’,” the nation’s Department of Cinema director, Vi Kien Thanh, told state outlet Dan Tri. The nine-dash line is a U-shaped border through the South China Sea that claims most of its oil and gas deposits, shipping lanes, and strategically desirable land masses for Beijing, including the Paracel and Spratly islands, Pratas Island, and the Macclesfield Bank.Barbie, which stars Margot Robbie as the titular doll and Ryan Gosling as her doll boyfriend Ken, was supposed to be released in Vietnam on July 21 but has been removed from theater websites after Hanoi’s decision was published. Vietnam’s National Film Evaluation Council is tasked with screening films for excessive violence and sexual material, as well as politically sensitive content. Multiple scenes in ‘Barbie’ feature the offending maritime border, according to state outlet Tien Phong. Scenes featuring the nine-dash line got the action film ‘Uncharted’ banned from Vietnam last year, while the animated Dreamworks film ‘Abominable’ was pulled in 2019, and Netflix was forced to remove multiple episodes of its series ‘Pine Gap’ from distribution in Vietnam. The 2018 romantic comedy ‘Crazy Rich Asians’ was allowed to be shown after a scene that showed the offending border printed on a designer bag was removed. Malaysia, Brunei, Philippines, and Taiwan have also challenged Beijing’s claims to the South China Sea. While a tribunal in The Hague ruled in favor of the Philippines on the issue in 2016, rejecting China’s claims, Beijing has allegedly ignored the ruling. China has become such a lucrative market for Hollywood films that American directors now make content decisions based as much or more on how they will play in the Chinese market (and whether they will pass the Chinese censors) than on how they will be received at home. Not all US blockbusters become hits in Beijing, however. Disney’s ‘Little Mermaid’, criticized in state media for its “forced inclusion of minorities” and “lazy and irresponsible storytelling,” did so poorly that it made international headlines.
The Fender Telecaster, an electric guitar known for its distinct design and revolutionary sound, holds an unrivaled place in the annals of musical instruments. Since its inception in the early 1950s, the Telecaster has left an indelible mark on popular music, transcending genres and generations. This essay explores the captivating history of the Fender Telecaster, tracing its origins, technological innovations, influential players, and enduring legacy.
The Fender Telecaster stands as a testament to Leo Fender's innovative genius and the enduring power of a well-crafted instrument. From its humble beginnings as the Broadcaster to its status as a cultural icon, the Telecaster has shaped the sound of popular music and continues to inspire musicians across generations. With its distinct tone, reliability, and timeless design, the Telecaster remains a legendary and beloved guitar, leaving an indelible mark on the history of music. |
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