Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

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The classical guitar is a difficult instrument to learn how to play. It takes perseverance and a lot of practice but with some practical tips you can make the transition from beginner to intermediate very quickly.

Have Discipline – The most important thing you have to do in order to advance in your skill with the classical guitar is to practice regularly. This of course you already understand but in order to do this you might want to make yourself a schedule and stick to it. Decide in advance what days of the week you can practice, pick a time and stick to it. Block out at least one hour for each session. If you can do this at least five days a week your ability with the guitar will advance very rapidly.

Listen to the music The biggest problem for a beginner is the physical challenge of learning how to use your hands and fingers; so almost all of your focus is on this. The intermediate guitarist learns the finger position then focuses on how to play the music with feeling. You should make this a priority early in your playing. One of the best ways to do this is to run a tape recorder while you are playing then listen to it afterwards. This way you can concentrate on how the music sounds without having to focus on your hands.

Establish a repertoire You should establish a set of pieces that you will memorize. This can be as few as five pieces or as many as ten. But you should decide that you will memorize these pieces and then you should practice them, with memorization in mind, at every sitting.

Use Different Learning Techniques Everybody learns differently and we all have strong ways and weak ways of learning. You should try different learning techniques and see which ones work best for you. You also get the benefit of bringing a well-rounded approach to your learning.

Here are some different techniques you should try: Reading sheet music This is a great, but slow, way to learn the language of music and will over time dramatically enhance your ability to play. Work with an instructor Some people establish a rapport with an instructor and do very well when they have someone they can ask questions. Practice with friends camaraderie is a great motivator. It will keep you playing. Purchase a book with a cd or dvd Having the sheet music along with a video or cd that plays the music will engage more of your mental faculties at the same time. Download instructional videos You may be a very visually oriented person and how a classical guitarist places his fingers may be an excellent way for you to learn Try learning pieces directly from music you hear on CDs this is an excellent but difficult technique. If you put some time into this your ear for the guitar will improve dramatically.

There are many ways you can quickly develop your skill as a classical guitarist. The two most important things to remember are that you should have the discipline to practice regularly and that you should try different techniques because some techniques will work better for you than others.

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While Wolfgang Mozart showed an amazing aptitude for music very early in life, he also displayed an absolute affinity for women. His charm was alluring, earning him the title, The Most Kissed Boy in Europe.

Unfortunately, his adorable charm began to fade when, at age seven, he proposed to the future queen of France, Marie Antoinette, and was rejected. Things got worse when his girlfriend and the love of his life forgot him after his absence during a musical tour of Europe. She didn’t even recognize him when he entered the room. Ouch.

Imagine, were he alive today, young Mozart could have tried courting 21st Century-style with a date at the movies. This teen was the type of courter who, eager to scoop a handful of bosom in the dark theatre, would employ the stretch and clutch maneuver.

This is a smooth and delicate movement where the suave pubescent pretends his arms need a stretch. After slowly lifting his limb closest to his target, he reaches around to her furthest shoulder and casually rests his hand there. Little by little he begins to feel the overwhelming force of earth’s gravity as his hand creeps down.

This tactic sometimes backfires, leaving a buttery hand print across the attacker’s doleful face and an angry phone call from the girl’s father. In the event his device failed, he would have simply pursued her sister. It worked for him back in the 1700′s!

Well, sort of.

His wife, the sister of the first forgetful girl, was described by him as not ugly, but in no means a beauty. He went on to write, She is not witty but has enough sound common sense to enable her to fulfill her duties as a wife and mother. Again, ouch!

Enough of Wolfgang. One fellow who never had any romantic charm to begin with was Franz Schubert, nicknamed Little Mushroom for his chubby stature, little round glasses, and shy, geeky nature. A crummy catch for most girls , he was a poor composer who couldn’t even afford his own piano and composed his piano works on a cheap guitar.

At one point he thought the best way to woo a potential sweetheart was to write her a love song. Unfortunately, he couldn’t sing to save his life ever since his voice broke at age 16. He devised a scheme where his friend, Schober, a handsome tenor, sang the tune to the girl with Schubert’s piano accompaniment. Much to the mushroom’s dismay, when the song was finished, the girl embraced Schober!

If only he were born in the mid-1900′s, Schubert would have been much more successful in catching girls with his music. All he would have to do was holler out the song himself, strum a few chords on his Fender and gaze at her through his groovy, John Lennon-style glasses. The guy would have been a babe magnet, and I’d still love his music, be it changed.

Peter Tchaikovsky had disastrous relationships. His first marriage lasted only 9 weeks, which resulted in him trying to kill himself. Other affairs didn’t get much better. He finally met a wealthy 46-year-old widow, but their relationship never went past writing letters for 14 years. They met once by pure accident and were so embarrassed that they ran in opposite directions.

Peter would have done very well had he the chance to date on the Internet. Thousands of on-line dating and matchmaker services offer a highly selective process in which the seekers specify the personality, physical appearance , income bracket and other details of themselves and their potential mates. Peter was a handsome lawyer who dressed very well and had expensive taste. This successful and famous musician was also sensitive guy who wasn’t afraid to cry. This hunk would have cleaned house on www.composerdate.com.

Even if he chose to continue his relationship with the widow on-line, it would’ve saved him oodles in postage stamps and would have been much quicker than mail delivery in 1880′s Russia. Maybe he could’ve gone a step further and picked up the phone, or even hopped on a plane to take a visit! It’s these modern-day miracles in technology that could have bridged an awkward gap in poor Tchaikovsky’s love life.

As I write this I think of what my love life would have been like if I lived in the time of the great composers. Chances are, I would’ve married for money, or worse, against my will, and life as a woman would have meant serving my husband and fifteen-plus children. At least my corset would’ve had me too breathless to complain…

Even though life seems to be more complicated in the 21st Century than ever before, I’m blessed to have a relatively simple life with endless opportunities and to have found love. It’s not romantic, but it’s simple, it’s real and it’s mine.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years.

She currently writes columns for two Canadian publications and Australia’s Music Teacher Magazine. Writing allows her to teach people that the world of music is as fun as you spin it to be!

Rhiannon’s business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her commitment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

Rhiannon is also Founding President of the Shuswap Violin Society which promotes violin & fiddle music and helps young musicians in need: http://www.violinsociety.ca

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Twenty five years ago, the birth of a darker side of music was forming. Straight out of the loins of fast, furious punk, came the sombre approach to life and death in the form of Goth. It was initially the delights of North London in such suburbs as Camden Town that was first blamed. Pointed at by conservative bony fingers for the introduction to such macabre ways of thinking, it was actually Nottingham and the surrounding areas, it has been said, first took the giant steps into a brave new witchcraft -like world. Even though Nottingham didnt achieve great Goth status in the eyes of the rest of the English speaking world, (no claim on Joy Division, Im afraid) they did mange to put in their pennys worth as far as other music was to go.

So, we know that every town can have a stab at a claim to fame on the generating genre list. Its not difficult for the Liverpudlians to shout Cilla Black or Gerry and the Pacemakers in front of a passing tourist. They dont even have to mention the B word too much these days. Even Leeds can boast the more recent Sisters Of Mercy; probably one of the most innovative bands from the Goth movement, but, hold fast, there are more obscure places to go and find the birth of great names. What about Cobham in Surrey who gave us Peter Gabriel and who can forget Stanmore in Middlesex who gave us Billy Idol? So who have we been able to identify as more than just a blotch on the British music industry from this historic city?

Well, delving through the deepest depths of the back of my mind, I came up with two bands who have graced us with their enigmatic presence. The first of these bands are almost certainly going to be figures of the Sixties generation. Back in the midst of the psychedelic decade, long haired, introverted students were busily working away on their own stunning slants of already secure music themes. It wasnt just The Beatles that we got all unnecessary about by any stretch of the imagination. The youth of the day were shifting into a pattern of generating their own angles of music that their parents had been brought up on. The British Blues scene took its turn at peaking around the late Sixties with such sounds from John Mayall, Eric Clapton and Peter Green. Born out of the inspiration of the ever changing social acceptance of free thinking, a certain band flung themselves onto the general public from Nottingham and they eventually called themselves, Ten Years After. Appearing as though they had all failed the audition for Easy Rider, and with Leo Lyons, their bass guitarist looking more like Frank Zappa, these three individuals came together an created some of the greatest British born Blues around.

Although they may not light up any seasonal fire crackers in your minds, they will have made their presences felt throughout the revolutionary British Blues scene. Solidifying true Southern U.S blues with a predominately white guitar feel, they embarked on a historic career that has never really ended. Even though British Blues artists had been smouldering away in the privacy of their own bedrooms since the late Fifties, it was, strangely and literally, ten years after that this sound from the now, heavenly regarded, artists of that time, really came to the fore. It was great musicians like Alvin Lee, of Ten Years After, that gave us the backbone of a lot of the rock music we still listen to today.

Thankfully, they are still going strong and sounding just as exciting and revolutionary as they did forty years before, they just look like our dads now; bearded, friendly and trusting like a well behaved Spinal Tap, they undoubtedly, can still rock. For future gigs and contact, please go to www.ten-years-after.com.

The next influential band to come out of the Robin Hood city was a band that need no formal introduction. Tindersticks plunged head first into our ears initially as the strangely titled, Asphalt Ribbons. Quite where this name originated, I dont know, and even so, it was not under this name that they found any great success. Yet, it was the three musicians plus three more that gave us the name that stayed fast. Although, they never appeared to conger up any real critical acclaim, they did have a fairly memorable album, The Second Tindersticks Album, that landed the position of number 13 in April 1995. Describing them to a complete stranger is rather a difficult task as they did seem to create a genre all of their own. Not quite fitting into a known category, other than chamber pop, they may have been brushed casually with the title of Goth Gods, although this would have been better felt to be at the most extreme end of the scale where Goth may have met Country on a unique and totally accidental night

One thing was for certain, they somehow found the same frequency as a few other darkly spirited romantics floating around at the time. As the colourful craziness of the Eighties came to an abrupt halt and the more monochromed moroseness of the Nineties began, Tindersticks found themselves an audience that was surprisingly and completely at their mercy. Their depressingly precise lyrics and heart aching melodic music was quite the tonic for the faint hearted. Even though they were fundamentally a band who produced meaningful prose and wistful string arrangements, they were not unlike the pensive side of Lou Reeds Velvet Underground. The brooding vocals of Stuart Staples in Tindersticks was enough to melt the most coldest of souls. His emotion altering lyrics shifted darkly and absorbingly through the aching tunes and mournful chords, that the listener felt quite dragged in to his doom and gloom world. Perhaps making what we knew as mainstream Goth more along the lines of Stock, Aitken and Waterman..

Despite their bleak outlook, their beauty came from their traditionally perfected arrangements. Their music, although noose-needing, spelt out a theme that probably applies to us all at some stage in our lives. What Tindersticks gave us was an alleyway; destitute and deathly as it was, but a path when, on such down trodden moments, we might just find a guiding light. These glamorously laced themes dripping with personal failure were beautifully crafted with such musical skill that the songs seem practically timeless. It could well be argued that there never was, nor will there ever be, a band with such a gentle, inoffensive sound quite like Tindersticks. Find out more about this uniquely accomplished band at www.tindersticks.co.uk.

Since the two above mentioned bands slot into the filing cabinet of our minds of bands from Nottingham, they couldnt really be any further apart in the genre sense. Yet they are just as important to mention as any other, more famous name from anywhere esle. Both just as inspirational now to up and coming bands as others were to them in past decades. With this in mind, and with these two enchantingly professional groups, perhaps it is about time that we were graced with another band or artist from this city

michelle duffy 2006

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(1) The BMG Music Service offers the best deal you’ll find — 11 CDs for the price of shipping ($2.79 each) when you buy one CD at full club price, which is typically about $15 plus shipping. That works out to about $4 per CD. Its chief competitor, Columbia House, has an offer that works out to about $8 per CD.

(2) When you join, you will receive a catalog in the mail about every three weeks, along with a postcard that highlights a featured selection in the genre you selected when you joined. You must return this postcard by the due date or the club will send you the selection. You can decline online, however, by logging into your account. This makes the process much easier.

(3) If you forget to return the card and receive a CD you don’t want, the clubs are good about letting you return it. But the beauty of this system for the clubs is that this happens often enough and many people don’t bother sending it back. They just pay the invoice.

(4) If you don’t see the CDs you want in a newspaper or magazine advertisement visit the club’s site to browse. Copy down the item number of the CDs into the form (some titles will not be available as free selections and this will be indicated). Also, the clubs usually do not have the latest and greatest albums until months after their release.

(5) The clubs press their own CDs, which some people feel makes them inferior. But if you can hear the difference, you have better senses than most humans.

(6) The clubs no longer have toll-free numbers, so the best way to contact them is by email. Always include your account number. The current phone number and email address is listed each month in your membership catalog.

William Pilgrim has been a member of both BMG and Columbia House. You can read more about the clubs and their history at http://www.dealdude.com by searching for keyword cd clubs. Copyright 2005 cc Media, Inc.

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~Continued from Part 1~

As Selena’s popularity grew placing additional demands on the band (e.g. travel), Abraham removed Selena from the 8th grade, drawing immediate unwarranted criticism. Some accused him of violating Child Labor laws while others warned that he was ruining his kids. They’ll be surrounded by drinking and drugs and it’s going to have an effect on them, the critics incorrectly predicted.[1

Despite the skeptics, Selena remained unaffected. She continued to have fun and enjoy singing. She kept her down-to-earth personality and refused to snub anyone, believing that if you treat people good, it [will come back in the end.[2 Accordingly, Selena always maintained a great repertoire with her fans and audience.[3 At the same time, she also kept up with her academics and earned a G.E.D. from a Chicago-based Correspondence School at 17.

As Selena was growing into a star, her brother, A.B. III was becoming an accomplished songwriter and producer, after originally taking it up to supply his youngest sister with the quality, original material that the band lacked. One of his first songs, Dame Un Beso enjoyed moderate success. Before long, A.B. III supplanted his father as the band’s leading songwriter. In addition, Ricky Vela, another band member also assisted with music composition.

When the bands second album, Alpha was released, it brought Selena her first music honors. She won Female Vocalist of the Year at the 1987 West Texas Hispanic Music Awards and KFLZ Awards ceremonies and was voted Female Vocalist of the Year and Performer of the Year at the Tejano Music Awards. This recognition introduced Selena to two influential people: Rick Trevino, founder of the Tejano Music Awards and Johnny Canales, a television personality on one of the top-rated Spanish shows. Their efforts gave Selena much needed publicity, expanding the horizons for Selena Y Los Dinos.

Two more albums, Preciosa and Dulce Amor were released in 1988 earning Selena greater recognition. With album sales exceeding 20,000, Selenas name began to spread beyond Texas. Not surprisingly, Selena was a finalist for Female Vocalist of the Year for 1988 and Terco Corazon and A.B. III were nominated for Single of the Year and Songwriter of the Year, respectively, at the Tejano Music Awards.

Despite Selenas growing fame, the Quintanillas lifestyle had not changed much. They continued to live on beans and hamburgers and shared just about everything. As a result, they had Nobody You Know written at the top of the bands bus, Big Berthas front windshield.

Their fortunes, though, changed dramatically when Selena was signed by Jose Behar, the former head of Sonys Latin music division and creator of the Capitol/EMI Latin label in 1989. The signing came about when Behar and a friend, Mario Ruiz, who became President of EMI Mexico attended the 1989 Tejano Music Awards searching for new talent and discovered Selena. The events went as follows according to the account by Jose Behar:

…We were standing at the back of the auditorium when we saw her. Mario and I looked at each other like, ‘Wow. This is special.’

…I said, ‘It’s interesting. Women don’t sell in the Tejano market.’ And they really hadn’t. Yet I said to myself, ‘This is the crossover act I’m looking for.[4

Afterwards, Behar, believing that he had found the next Gloria Estefan, a popular and successful crossover Latin artist went backstage and met and signed Selena after talking to her father. At the time, Behar never imagined how many records Selena would eventually sell.

Despite her signing with Capitol/EMI Latin and her taking Female Vocalist of the Year honors at the 1989 and 1990 Tejano Music Awards, and also Female Entertainer of the Year at the 1990 Tejano Music Awards, Selena’s first few new releases did little better than her previous ones. However, another breakthrough came in 1991 when she was paired with Alvaro Torres in Buenos Amigos. Their video soared to #1 on the Billboard Latin Tracks Chart giving Selena national exposure. An appearance on Donde Quiero Que Estes with the Barrio Boyzz, an immensely popular Latin band further enhanced Selena’s rising stature, enabling her to enter the international Latin market with her solo hits, La Carcacha and Como La Flor.

Johnny Canales then helped make Selena an instant Celebrity in Mexico leading to an offer star in a leading role in a Mexican Soap opera, which she turned down because of its steamy scenes. Though determined to make it big, Selena wasn’t about to sacrifice her principles. She valued her appeal to her broad audience that consisted of young children and grandparents alike.

Performing in skin-tight pants, low-cut bustiers, and shiny outfits was her limit. Unlike many others, Selena did not need to forego her morals for fame. Her natural-born talent was sufficient. In addition, when Johnny Canales compared Selena to Madonna, Whitney Houston, and Janet Jackson, all pop stars, he declared, I’d say [Selena was like those people, but better. Those people never sang Tejano. She could do what they do, but it would be hard for them to do what she does.[5

Also during this time, the Los Dinos Band was expanding, providing Selena with some of her happiest moments. Pete Astudillo, a Laredo, Texas native and talented artist joined in 1989. Together, he and Selena went on to perform hit duets like Yo Te Amo and Amame, Quiereme.[6 Accordingly the pair were twice nominated for Vocal Duo of the Year at the Tejano Music Awards.

A second great addition was Chris Perez, who briefly joined Los Dinos in 1988, left a year later to try it on his own, and then returned in 1990. Chris was a talented guitarist who eventually became Selena’s husband. They were married on April 2, 1992.

Although Selena’s father initially opposed the marriage, he soon viewed Chris as a son.[7 Afterwards, Selena and Chris shared a nearby house, with her parents living next door in one house and her brother, A.B. III and his wife and children in another. Between the three houses there were nine dogs, five of which belonged to Selena, an avid animal lover. Later the pair bought a piece of land a little further away with plans to build a larger house to start a family and run a small farm. Prior to her death, Selena had already picked out the furniture.

As Selena’s career took off, she released two hit albums: Ven Conmigo featuring the hit song Baila Esta Cumbia in 1990 and Entre A Mi Mundo featuring the hit songs La Carcacha and Como La Flor in 1992. The great success of these albums completed Selena’s transformation from unknown to star. Then a show featuring Selena, La Mafia, and Emilia Navaira at the Summit in Houston in the summer of 1991 drew more than 9000 people. Next followed Selena Live in 1993, which gave the young singer her first Grammy along with three Tejano Awards, opening the door to mainstream pop.

After four years of attempts, Jim Behar, using Selenas soaring popularity and sales to their advantage, finally convinced EMI’s pop division to give her the crossover chance she had been dreaming of. Prior to 1993, Behar had faced repeated setbacks and had to start over each time when key executives left the Company. As one EMI executive, Nancy Brennan, Vice President of Artist and Repertoire summarized, All he [Behar ever talked about was Selena. He was like a broken record, ‘Selena, Selena…’[8

Brennan was exposed to Selena when she attended a Billboard Latin Music Convention in Las Vegas, Nevada to see Jon Secada, an immensely popular EMI artist. There, Selena’s opening made a lasting impression. By December 1993, Selena had been signed by EMI’s SBK subsidiary to begin her crossover album, which took a year-and-a-half to produce due to the tedious effort of finding the right songs and producers.

The 1994 Amor Prohibido success also added to the crossover delays since Selena was requested to appear everywhere. Nancy Brennan recounted one such episode when had been forced to postpone a recording session: This is the first time I have ever made a debut album by an artist who was too busy to record for me. How can you tell someone, ‘No I don’t want you to play the Astrodome for 60,000 people; I want you to work on your record. Everyone wants her.[9

The Amor Prohibido album featuring four #1 Latin Singles (title track Amor Prohibido No Me Queda Mas, Bidi Bidi Bom Bom, and Fotos Y Recuerdos launched Selena’s greatest year to date. When Amor Prohibido came out, it promptly replaced Gloria Estefan’s Mi Tierra at #1 on Billboards Latin Tracks Charts and even made the top 200 on Billboard’s Pop Charts. It led to six awards at the Tejano Music Awards ceremony attended by more than 45,000 people Female Entertainer of the Year, Female Vocalist of the Year, Orchestra Album of the Year, Record of the Year, Bidi Bidi Bom Bom Song of the Year, and Techno Cumbia, Crossover Song of the Year. More than 400,000 copies had sold at the time of Selena’s death less than a year after its release.

Selena also realized two more dreams in 1994. First, she opened a boutique/salon in Corpus Christi called Selena Etc. Since childhood, Selena had dreamed of designing clothing and jewelry. Second, she played a bit-role Don Juan DeMarco, a film released in early 1995 that starred Marlon Brando and Johnny Depp and offered the potential of leading to greater and perhaps leading roles. Acting had been a recent dream of Selena’s.

With the impending release of Selena’s cross-over album, Dreaming of You, her wide-spread fame and rocketing demand, a million-dollar record deal, a Grammy Award, endorsements from sponsors like Coca Cola and her own line of clothing, it seemed like Selena’s meteoric career could only rise higher. By this time, Selena had been named one of the most successful Latin entertainers in the world by Hispanic Business magazine.

The sold-out Astrodome Concert for the Houston Livestock and Rodeo February 1995 with a crowd of 61,000 , at the time, the largest in Astrodome history only strengthened this belief. Yet ironically and almost prophetically, when Selena was asked to speculate on her future during a July 1994 interview, she modestly stated, I just hope still to be alive, hopefully singing still and later on, maybe 10 years yonder, I hope to have a family by then.[10

Four years earlier, Yolanda Saldivar, a self-professed biggest Selena fan had come into Selena’s life after persistently requesting to start a fan club in her honor. Although Abraham had initially refused, he eventually gave in when Yolanda agreed to make it not-for-profit and donate leftover proceeds to charity. Eventually Yolanda’s relationship with the Quintanillas deepened when Selena named her Operations Manager to handle sales, customer-relations, and Selena Etc.s finances.

At the time, no one saw Saldivar’s dark obsession. Furthermore, no one had been aware that Yolanda had failed to pay off a $5300 student loan, left her nursing job under suspicious circumstances, been turned down by Shelly Lares, a prominent, young Tejano singer to form a Shelly Lares Fan Club, and been accused of stealing $9200 from a dermatologist she had worked for.

However, by early 1995, Abraham Quintanilla began to receive complaints from upset fans who reported that they were not receiving the Selena packets, consisting of a T-shirt, baseball cap, cassette/CD, and autographed poster they had paid for in membership dues. Money also began to go missing from the boutiques. With their suspicions growing, the Quintanillas conducted an investigation and discovered that Yolanda had written four checks, including one to herself for $3000 from the Fan Club’s books. Selenas father then angrily confronted Yolanda who claimed she could explain everything if given some time. Afterwards, Saldivar purchased a .38 caliber gun.

Yet despite the mounting evidence, Selena sent Yolanda to Mexico to assist with opening a Selena Etc. boutique in Monterrey. Hopeful that they could remain friends after the confrontation, Selena was willing to give Saldivar the chance she had requested to prove her innocence and find the missing papers.

Then while in Mexico, Yolanda phoned Selena to hysterically report that the car containing the documents had been stolen and that she had been raped. Yet Yolanda refused medical care when she returned to Corpus Christi. Instead, she requested that Selena meet her at the Day’s Inn motel in Corpus Christi. When Selena and her husband arrived, Yolanda failed to produce any documents.

Afterwards, Yolanda called Selena around midnight on the morning of March 31, 1995 claiming that she was suffering from internal bleeding caused by the rape. During the phone conversation, Saldivar pleaded for Selena to return alone, which she did in the morning.

Once there, Selena drove Yolanda to the hospital where she retracted her rape story. Afterwards Selena drove her back to the motel where they both argued after, it is believed, Selena fired her and planned to return a Faberge Egg ring funded by all of the boutique employees, which she had been misled into believing that Yolanda had generously given to her as a gift.

Upon hearing the argument and a gunshot, a maid cleaning a nearby room looked out the window and saw Selena clutching her chest, screaming for help as she fled from Yolanda who clutched the .38 in her right hand, aimed and fired again.

When Selena made it to the lobby, she collapsed, bleeding profusely from her wound. Although the desk clerk locked the door and called 911 for an ambulance, it was too late. Efforts to revive Selena, despite a blood infusion and electric shocks that briefly restarted her heart, were to no avail. She was pronounced dead at 1:05 PM. Afterwards, tens of thousands filed past Selenas open coffin to pay their last respects as her body lay in state.

Today, nearly 12 years after her death, Selenas legacy lives on. Despite the tragedy, Selena made the crossover into mainstream and is an icon whose spirit still lives. Reminders of Selenas warmth, generosity, and indelible beauty are all around Corpus Christi. Mirador de la Flor stands along the Gulf shore while a museum dedicated to her career stands only a few miles away. Each year thousands visit Selenas grave, Mirador de la Flor, and the Selena Museum. Selena memorabilia remains popular with rare autographs going at times for more than a $1000. With her continued fame and popularity, it would not be surprising if the United States Post Office eventually issued a stamp to honor Selenas enduring legacy.

[1 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[2 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[3 Bill Hewitt, et al. People Weekly. (Chicago, April 17, 1995) 49.

[4 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[5 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[6 Himilce Novas. Remembering Selena: A Tribute in Pictures and Words. (St. Martins Griffin: New York, 1995) 43-44.

[7 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[8 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[9 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[10 Bruce Hagan, Producer; Joshua Kuvin, Editor, et. al. Dateline NBC Obsession. (April 7, 1995).

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Selena Quintanilla-Perez, now an icon in Tejano and mainstream Latino, Texas and pop culture, was born on April 16, 1971 to Abraham (II) and Marcella Quintanilla at Freeport Community Hospital, just outside their hometown of Lake Jackson, a small Texas community of 23,000, 75 miles from Houston. At the time of Selena’s birth, the Quintanillas had two other children, Abraham (A.B.) III, 8, and Suzette, 4.

Initially when Marcella began experiencing pregnancy symptoms, a doctor misdiagnosed her, declaring that she had a tumor that needed to be removed. Only after the Quintanillas went for a second opinion, did they receive an accurate diagnosis.

Upon learning of the pregnancy, both parents picked Marc Antony as the name for their baby, convinced that they were going to have a boy. Then when Marcella gave birth to a healthy, 5-pound baby girl, they chose Selena at the suggestion of her hospital roommate.

At the time of Selenas birth, Abraham worked in the shipping department of Dow Chemical, the anchor company of their community with a strong passion for music. Earlier, during the late 1950s and early 1960s, he and a few friends had formed a band Los Dinos and performed a mix of rock ‘n’ roll and traditional Mexican songs at nightclubs and restaurants in Corpus Christi. However, due to limited opportunities, Abraham had to give up the band when he married and took the job at Dow Chemical to support his family. Even though he gave up the band, Abraham’s passion for music didn’t die. Accordingly he taught his children how to play an instrument at an early age. A.B. III was taught bass and Suzette, the drums.

By the time Selena was three, Abraham spent many hours working with A.B. III and Suzette. Feeling excluded, Selena confronted her father, demanding to know why she couldn’t learn an instrument. When told that she was too young, Selena decided to sing.

Before long Abraham was convinced that Selena had a special talent. He was especially influenced by her sheer determination. Abraham’s belief was further enhanced when one day, Selena, then only 5, came up to him and began to sing with purity and perfect pitch as he strummed his guitar. Her rendition of a song sung by the Little Anthony and the Imperials over the radio was amazing.

I always wanted to go back into the music business, but I felt like I was already getting too old, and my kids were growing up, Selena’s father later reflected in an interview. When I found out Selena could sing, that’s when the wheels started turning in my mind. I saw the chance to get back in the music world through my kids.[1

A year later, Abraham was convinced that Selena was destined to be a star, especially since she shared his passion for music and her voice had a special quality to it. …She had that extra thing that makes an artist. Of course, nobody believed me at the time, he recalled.[2

Then with Marcella’s blessing, Abraham converted the family garage into a soundproof studio. He bought a set of drums and obtained a used bass from a friend. Afterwards, he taught Selena how to sing in Spanish. At first she sung using phonetics but quickly progressed until she could sing flawlessly with emotion.

Prior to being taught how to sing in Spanish, English had been Selenas first and only language. However, afterwards when she could sing with perfection in Spanish, Selena still found it difficult to converse fluently in that language. Her thinking was slow and her word selection awkward. As a result, Selena relied on her effervescent personality, radiant smile and interpreters to get by with Spanish-language interviews. Because of Selenas laughter at her own mistakes, the Spanish media overlooked her difficulties.

Prior to Selenas enrollment in an intensive Spanish course to gain proficiency, her parents were terrified at the prospect of their daughter facing 30 Mexican reporters in a Monterrey, Mexico press conference coordinated by EMI Mexico. Afterwards, although Selenas answers sounded ridiculous, she had won every reporters heart by hugging each one of them. As a result they wrote kindly of her, declaring that she was an artist of the people.[3 Nevertheless, by December 1994, Selena had mastered the Spanish language.

Once everyone was proficient at their musical tasks — A.B. III on bass, Suzette on the drums and 9 year-old Selena at singing, Abraham formed a family band called Selena Y Los Dinos. Afterwards they practiced almost every night.

Initially Selena was the only one who enjoyed the rehearsals; A.B. III and Suzette preferred to play with their friends. Later on, though, all of the Quintanilla children got into music. Before long they were creating extemporaneous compositions.

When Selena attended Oran M. Roberts Elementary School, she tried to excel at and participate in everything. She tried really hard at whatever she was doing and was eager to learn the kind of student you always like to have, Selena’s first grade teacher, Nina McGlashan recalled.[4

As a child, Selena was upbeat with a big smile and constantly cheerful. She was also extroverted and athletic with a gift of bringing others together in the playground. She was well liked by her peers and excelled in several of the class games running faster and jumping further than most.

Though athletic, Selena also enjoyed playing with dolls. She liked to work with their hair and dress them in custom outfits she made, a prelude to her dream of opening a boutique. Even the one occasion when Selena badly burned a doll’s hair while using a curling iron, did not deter her.

In addition, Selena exercised maturity and respectfulness when in the company of adults, always addressing them with Yes/No sir/maam. Although she got into mischief once in a while, Selena, with her strict upbringing in a well-disciplined family that looked out for each other, knew when to behave and be polite.

In the summer of 1980, Abraham Quintanilla quit his job at Dow Chemical and opened Papa Gayos, a family-run restaurant that featured quality meals and live entertainment. In an attempt to succeed, Abraham poured all of his life-savings into it and everyone pitched in to help.

Papa Gayo’s also gave Selena Y Los Dinos their first real public exposure, as they frequently performed in front of patrons during evenings. Selena became an instant favorite. One patron commented, It was so unusual. You wouldn’t expect to see a kid get up and sing in a restaurant like that. …she always had a lot of enthusiasm.[5 Soon every patron shared Abraham’s belief that Selena was destined for stardom.

Initially during their performances at Papa Gayo’s, Selena Y Los Dinos sung renditions of current Top 40 mainstream hits in English and occasional pop oldies using Spanish lyrics that Abraham had written. However, just when things were about to take off, the recession of 1980-81 struck forcing many oil wells, the life-blood of Texas, to shut down. With people out of work, Papa Gayo’s along with the other businesses lost many customers. With mounting debts and little hope of recovery, Abraham was forced to close the restaurant and move the family back to Corpus Christi.

Yet despite their desperation, Abraham never gave up. He continued to believe in Selena’s talent and did whatever he could to assist her. Music became the Quintanilla’s sole source of income as Selena Y Los Dinos traveled to various clubs and restaurants and performed at weddings and other special occasions. During those times, even if each made only $5 or $10, they were happy since they could eat and go shopping.

Gradually their hard work and determination began to pay dividends. Selena Y Los Dinos recorded their first album, Mis Primeras Grabaciones in 1984 under the Freddie Records Label. However, aside from some radio play of the Ya Se Va track, Mis Primeras Grabaciones didn’t do very well and was not released until 11 years later when Abraham purchased the rights.

Although during Mis Primeras Grabaciones recording sessions Selena needed fewer cuts than many, Freddie Records felt she needed more time to develop. Abraham rejected this and moved the band first to Cara Records and then to the Manny Label.

~Continued in Part 2~

[1 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[2 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

[3 Joe Nick Patoski. Selena: Como La Flor. (Boulevard Books: New York, 1996) 124.

[4 Clint Richmond. Selena! The Phenomenal Life and Tragic Death of the Tejano Music Queen. (Pocket Books: New York, 1995) 24.

[5 Rick Mitchell. Interactive Corpus Christi Caller Times Biography. (Houston Chronicle), 1995.

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When I saw this title, I was afraid and Im still afraid regarding my opinion about the subject. The subject is complex and difficult so I cannot resolve it overnight. I am an African. I do things the African way. I cannot write about African American music like a Western scholar. In my culture we live the past and the future in the present. When I listen to some African American music I can feel the past, the present and the future all at the same time. Now, the best way for me to handle this subject is to work by questions and answers.

[Question Yaya! Who do you think you are?

Yaya Diallo – I don’t think! I am Farafin, which means I am a dark skin man. The word Africa is the Arabic name for our continent. In Bambara we call the so-called Africa Farafina. Farafina means the land of dark skin people. I am from Farafina and I am proud of it. I don’t want to be somebody else. People in general say African American. I would say American Farafin, which means dark skin human being who lives in America.

[Question What is your African background?

Yaya Diallo – I come from far away. I was born in 1946 in Fienso (French Sudan), now Mali. My parents were nomadic. When I was very young I used to travel a lot. I grew up in the bush far from any western civilization. The music that I heard was very traditional and played live. I did not have a radio or TV. I had the opportunity to listen to the music of the different ethnic groups from the Ivory Coast, Burkina and Ghana. In some villages I heard Muslim songs coming from the mosques. By night, I would enjoy the frog symphonic orchestras. From 1946 to 1960 I was living in complete nature. My musical training is a long story but you can learn more from my book The Healing Drum.

[Question What are your feelings about the civilized world?

Yaya Diallo – In the city I had strange feelings. I saw people listen to music through what I thought was two kinds of boxes. The first was a radio. You could change the singer with the tuning button, I thought. The second needed records. It read 78, 45 and 33 1/2. You had to adjust everything with something but I did not have a clue as to what. Even still, the only music that I heard was the Beatles, Rolling Stones and Johnny Holliday.

[Question What do you think about the word African American?

Yaya Diallo – Dark skin people living in America are not different from people I met in Africa (Farafina). To me they are just different ethnic groups like the Yoruba, the Bantou, the Zoulou or the Touareg. Africa is not one culture. We have thousands and thousands of languages and different music. My wife is an African American from Louisville, KY. Her mother is from Dark Corner, MS and her father from Jackson, TN. Like my wife and family there was one African American man, James Brown, who saved my life with his music.

[Question How can an African American man save the life of a traditional African?

Yaya Diallo – In 1967 I left my country to go to Montreal, Canada. On my way, in Paris, I saw a big picture of James Brown in the Olympia Theater. In my mind I thought, Oh! A black man in Olympia in Paris, France. In Montreal I was looking for a place to dance or listen to the music that I loved. One day I found a radio station that played black music. I heard James Brown and felt at home.

[Question What do you think about African American music?

Yaya Diallo – I always say that I don’t think, I feel. When we talk about African American music we talk about Spirituals, Blues, Funk, Jazz, Gospel, Rap, dance music, etc. I want to talk on each one by one.

When people in Canada were dancing the twist, jerk and go-go, in my country a French man named Johnny Holliday was playing bad versions of Wilson Pickett and Ray Charles music in French. In America I found out this French man was a robber. He stole the music, sang it in French and looked like a genius for us Africans.

[Question What did you feel when you started to dance?

Yaya Diallo – I used to go out to dance to Wilson Pickett, James Brown, and Sly and the Family Stones music. For me they were Africans. They had good beats, good feelings and most important, African Soul. I did not feel that from Chinese or European music. In the 70s I discovered the Funk music, The O’Jays, Parliament, Ohio Players, Kool and the Gang and JR Walker and the All Stars. I felt I was at home when I knew the Motown Family (Smokey Robinson, Diana Ross and the Supremes, the Temptations and Stevie Wonder). I could survive because I had those kinds of musicians.

[Question In terms of music, what is the link between African and African Americans?

Yaya Diallo – African Americans are Africans from the village and sadly they just don’t know it! When you listen to the music you can find out. Kool and The Gang played Funky Stuff. When you listen to the drum part you will get the Dounouba part of the dance Sounou. Sounou was played in the 15th century and today is the dance young people love. In Africa we learn the past in the present and teach it to the next generation. The African Americans sometimes do not know how African they are.

[Question Why can you say that they are African?

Yaya Diallo – The first time I heard the Four Tops I thought I was listening to the Bambara Farmers in the evening after a hard working day. The Temptations reminded me of the men Fire dancers and singers. I can listen to Temptations but I am afraid to see them. I am not initiated to the Fire dance and the music brings out memories about the secret ceremonies that happened afar in the village. Aretha Franklin is for me a great Djeli-mousso coming from the Empire of Mali in the 13th century. When I listen to African American music I don’t worry about the meaning, only what I feel.

[Question What do you think about Jazz?

Yaya Diallo – Really, to tell the truth, I don’t feel jazz. Many people coming from Africa feel the same way. I learned about jazz in 1980 when I recorded my first album, Nangape, on Onzou Records. That opened the door for me with jazz. Jazz magazines like Cadence and Down Beat wrote articles on me like I was a jazz man. I was invited to do workshops at the Creative Music Studio in Woodstock, NY. I met jazz big names like Art Blakey. He said, Yaya is the only African that I can jazz, that I can play with and be comfortable. I completed a trio with Don Cherry and Ed Blackwell in the Symphony Space in New York.

[Question What about Gospel?

Yaya Diallo – To me gospel means religion or church but my father-in-law changed my mind. When going to church with him I saw a big band and a big choir. People were singing and I forgot that I was in church. I was surprised; I saw ladies in a trance like in my village but they called it shouting. This reminded me of the Mania Secret Society where only woman go into a trance when praising god (See The Healing Drum).

[Question What is rap?

Yaya Diallo – I love rap! I use to lie about buying rap and say that it was for my children. Rap is the old tradition of the Fulani people in Mali. It tells life stories through poetry that is recited quickly. Nomadic people have to explain their daily journey through this same quick form, but without the foul language. Today, the young people think that they have reinvented the wheel.

[Question Yaya, what is wrong with African American music today?

Yaya Diallo – Today everything is easy. Instead of buying a drum set you buy a drum machine. Computers do everything. You can get almost every sound by pressing a button. This is the type of world that we live in today. The young Africans love it like we used to love James Brown. Time is the only thing that has changed!

[Question How did African American music change American Society?

Yaya Diallo – We changed everything! We changed the style of dance; we created new sounds, new styles, and new way to dress … EVERYTHING! Country music is the white version of the Blues. Rock-n-roll comes from our music. People forget that Jimmie Hendricks was a Blues player that just changed his sound and look. Without James Brown, Sly and Family Stone and the Motown Family there would be no Madonna, no Celiene Dion, no techno, and no disco. African Americans brought this to the world. It is sad because people do not recognize it. We changed the world and it will never be the same again.

[Question How do people know you in America?

Yaya Diallo – I am the author of two books, The Healing Drum and At the Threshold of the African Soul. I have four CDs, Nanagape, The Healing Drum, Dombaa Folee, and Dounoukan. I thank Onzou Records, the first company that trusted me to make my first album in 1980. That was not easy!

The History of African American Music by Malian musician/author Yaya Diallo was written to celebrate Black History Month. The article is translated into English by LaKesha Churn and edited for English grammar and clarification by Stephen Conroy, Producer/Publisher of the independent label to first produce Yaya Diallo in 1980 on Onzou records, http://www.onzou.com

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Daddy Yankee is one of the best reggaeton artist today. He has won a Grammy and has sold over one million albums and has traveled around the world. He was born in Puerto Rico and raised there. He once got shot for being with a groups of people that were bad but he recovered and left that life to follow his dream of being a great reggaeton artist and he made it.

Daddy Yankee is now very successful and he says he has much more to accomplish in his life and is working in lots of projects. He did a album with other new artist called Sangre Nueva and it is selling very well.

Now Daddy Yankee has out his new album Barrio Fino En Directo. He says that he wants to make more music so one day people could say that Daddy Yankee was the one who open the doors for reggaeton music.

Another album he is working hard is Cartel Which he is making with other great artist and he says he is very proud of this album that is going to come out very soon.

Daddy Yankee is one very successful artist and has many more dreams to accomplish. More information at Daddy-Yankee

Sara Aponte has a blog at Daddy-Yankee. Vist here website for more great information on Daddy Yankee. You are free to publish this article on your website with a live link.

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In many articles on the net on learning to play guitar you will find many article authors stressing the importance of setting goals. Well, it would be interesting to find out if you can learn to play guitar without goals. Let us investigate the matter!

I have many memories of my first attemps to play the guitar. Like many boys I had many interests like reading, playing piano, singing, listening to music, athletics, chess, stamp collecting, painting and other things at different times. Playing guitar was just one of them.

I remember that I had my own way of practicing guitar playing. I always had my guitar on my bed waiting for me. I sat down on my bed many times everyday playing for a while and then starting to do other things.

Sometimes I felt inspired to play guitar for an hour or two and other times just for a minute. Did I have goals or not?

I know that I was developing as a guitarist quite fast and I think it must have been something in my way of playing and practicing guitar that was good.

I believe that some of the reasons for my progress during those early days of my learn to play guitar career were:

1. I felt no pressure to become an accomplished guitarist. I just felt the joy of sitting down with my guitar trying to find out the treasuries in the land of music.

2. My father was a guitar teacher giving me lessons at times and I always heard him play guitar in our home. Other guitarists visited our home many times and these visits inspired me a lot.

3. I never felt a pressure to play fast and thereby building tensions by playing too fast. This is one of the big mistakes beginning guitarist and even accomplished guitarists sometimes make.

4. As I mentioned previously I did a lot of other things besides playing guitar and I guess all these things I was involved in kept my mind quite healthy and helped me retain my joy when I learned to play guitar.

I guess in a sense I had goals that was not so apparent to me that directed me towards somewhere even if I was quite content being on the road of progress towards guitar land.

Can you learn something from my early guitar experiences? At least you can learn the following:

1. When learning to play guitar always remember to enjoy the act of playing without thinking too much on what you can or cannot do as a guitarist.

2. Try to associate with good musicians and guitarists that inspire you to play musically and that give you the motivation to learn to play new things on your guitar.

3. Beware of playing too fast on your guitar. There is a risk of building up muscle tensions and thereby actually reducing your ability to play fast. A remedy for this and a way to tame yourself is to use a metronome at a low tempo to reduce your speed to a level where you can play your guitar in a relaxed manner.

4. To become an interesting guitarist and musician you might benefit from being involved in other activities like listening to good music, having another hobby, reading good books, assiciate with other people and more.

Do you have to have goals to become a good guitarist? Well, even if you don’t have learn to play guitar goals in the ordinary sense you can help yourself to play everyday by having easy access to your guitar.

I had my guitar on my bed. Maybe you want to have your guitar in your favorite armchair. I guess you understand the principle….

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play guitar resources at http://www.capotastomusic.com

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