The guitar strap is made out of 8 oz. leather that is tanned and
softened to be an easily worn for hours upon end. The strap has screw
holes cut out for a variety of mounting options and adjusts from 46"
inches to 65" inches. If you are looking for a specific length, just let
us know upon checkout and we can get the strap set up to your exact
specs for a perfect right out of the shipping box.
For this
guitar strap we use vintage black denim as the fabric, which is then
glued and stitched to the heavyweight leather strap.
The guitar strap is 2.5" inches wide at full width and then tapers on both ends.
Creating a custom motorcycle seat is a lot of work and design ideas, but when it all comes together, there is no better feeling. Functional art is what drives us daily and make a seat that will reside on a custom motorcycle is one of our favorite endeavors. Want to buy this seat? Hop over to our Etsy page
The Bonneville Salt Flats are one of Utah’s most iconic landscapes, covering more than 30,000 acres of BLM-managed land in the Salt Lake Field Office. Since 1914, this majestic landscape has served as the racing grounds for generations of land speed racers from around the world. For decades, these passionate racers have tested themselves, each other, and their vehicles in an ever-escalating contest to go faster than ever before.
The area gets its name from the prehistoric Lake Bonneville that extended over 19,000 square miles and reached depths of over 1,000 feet. The salt flats are a remnant of this ancient lake – where evaporation left large concentrations of dissolved minerals in the surrounding soils. In the winter, groundwater and regional storms flood the Salt Flats – creating a salty, shallow lake. When temperatures rise in the summer months, the water evaporates, leaving behind the iconic white salt crust – sought after by landspeed racers for the hard and flat surface it forms. The salt is also influenced by changes in weather patterns. For example, mid-summer rains in 2014 and 2015 flooded the salt and forced cancellations of the late-summer land speed racing events.
Beyond these seasonal changes, there are additional and complex dynamics that drive this geological system, of which we have only scratched the surface on scientific understanding. Adding to the challenge is the complexity raised by a changing climate in the Great Basin. To help unravel the system, the BLM has partnered with Dr. Brenda Bowen at the University of Utah on a long-term scientific study.
BLMers, scientists, and landspeed racers are all “gunning” to preserve the Bonneville Salt Flats. These scientific studies will help the BLM in making challenging management decisions and will undoubtedly uncover further questions regarding the dynamics of this unusual geologic system.
Two
hard rock bands, one young and one old, walk into a bar. The bartender
asks to see the older band’s ID. “Welcome,” she says. “I loved your
music when I was a college student in the 90s.” The younger band hands
the bartender its ID. “Sorry,” she says, fiddling with the knob on her
FM radio, “you’re far too young to be in here. Go get a few radio hits
and come back in a decade or two.”
Ghost BC, a.k.a. Ghost, one of the few metal bands with songs popular at both Pandora and hard rock stations.
Such
is the dilemma for young hard rock and metal bands. Radio has all but
turned its back on the hard rock and metal stars of tomorrow. It’s a
shame. Radio has remained the most common source of music discovery,
according to numerous surveys over the years. The old-fashioned format
is tied with friends/family at 68 percent, according to Edison Research and Triton Digital.
Where do fans of metal and hard rock go for new music? Not commercial
radio. Metal, and its umbrella genre, hard rock, has become a format for
the middle-aged listener. People wanting to find new, hard music will
find what they’re looking for at Pandora.
But
hard rock and metal do well at Pandora, a democratic platform that
rewards songs for their listeners’ positive reactions, not the decisions
of radio program directors. Metal,
a sub-genre of the more popular rock category, is tied for 13th in
monthly time spent listening and currently gets over 6 million unique
listeners per month. Rock,
which includes hard rock and other types of rock music, has the most
monthly listening hours on Pandora, ranks 2nd in monthly time spent
listening and gets 50 million unique listeners each month.
The
numbers show the severity of hard rock radio’s problem. According to
Nielsen BDS data, only 10.5 percent of hard/active rock stations’
playlists are current tracks while 82.9 percent are legacy/golden tracks
and 6.6 percent are recurrents (“active rock” stations have an emphasis
on hard rock, “recurrents” are former current songs that still get
spins). For comparison, current songs are 85 percent of music played at
both pop and rhythmic (a catchall spanning upbeat rhythmic pop, hip hop
and upbeat R&B) and 68 percent at country.
Instrument 1 is a MIDI controller, a tool for generating the
standard digital music file. But whereas most MIDI controllers are
keyboards hooked up to inscrutable boxes, Instrument 1 is shaped like a
purposefully vague string instrument.
Typing notes into software can’t capture the totality of
writing and performing music. The physical act of hitting a drum or
plucking a string or moving yours hands up and down piano keys, on stage
or in a tour bus, is crucial to the experience. Instrument 1 wants to
replicate that. Pressure sensitive buttons let you strum, press frets,
or even hold the device up on your shoulder like a violin. And if you
lay it on a surface, the neck acts as a piano/drum kit.
The band X Japan in the 1980s, as seen in the documentary "We Are X." Photo: Drafthouse Films
As a kid, Yoshiki always wondered if he were from somewhere else — like Mars.
A misfit child scarred by his father’s suicide, Yoshiki, trained in classical music, grew up to become a David Bowie-like
man who fell to Earth. He revolutionized heavy metal music in Japan
and, still going at 50, is trying to break into the American
consciousness.
Stephen Kijak’s documentary “We Are X” is a broad but surprisingly personal portrait of Yoshiki and his band, X Japan,
which formed in 1982, broke up in 1997 and re-formed in 2007. The band
began a push into the U.S. market about five years ago, and interviews
include American friends and fans such as Kiss front man Gene Simmons and Marilyn Manson.
Ryan Clackner and Lucy Cochran (sometimes separately, sometimes
together) have toured, performed or recorded with Bob Wayne, Fifth on
the Floor, Shooter Jennings, JD Wilkes, The Legendary Shack Shakers,
Sarah Gayle Meech, Red Simpson, Travis Harris and many others. They’ve
opened for Social Distortion, Tiger Army, Hank III, George Thorogood,
Unknown Hinson, Roger Clyne, JJ Grey, Scott Biram and more. Ryan has
appeared in multiple music videos, including “Hush Hush” by The Pistol
Annies. The purpose of Stump Tail Dolly is to mess your head up with an
off-center mix of metal and country with other influences snuck in for
good measure. We are thrilled to have Ryan Clackner and Lucy Cochran of Stump Tail Dolly as our guest today in 10 questions.
Have you ever imagined what an animated tattoo would look like? What if the black ink carved into your skin could suddenly materialize into a moving image? Well, say hello toInk Mapping, Video Mapping on Tattoos.
In The Politics of Punk: Protests and Revolts From the Streets(Rowman & Littlefield Publishers), Houston Press
writer David Ensminger probes the conscience of punk by documenting its
ongoing activism and outreach. Creating a people’s history of the
movement's social, cultural, aesthetic and political life, the book
features interviews with members of Dead Kennedys, Dead Boys, MDC,
Really Red, Scream, Minutemen, TSOL, the Avengers and many more. In
doing so, Ensminger highlights punk's community involvement and its
broad, long support for political action groups, gays and lesbians, the
homeless, the disabled, environmental issues, health research and other
causes. Reprinted with permission of the publisher, the following
excerpt is from the chapter "Undead Legacies."
Flexible phones aren’t exactly a new concept as they have been seen in demonstration and prototype form several times. The last flexible smartphone that Slash Gear talked about was from Lenovo
and the flexible phones it showed off were cool. Over at Queen’s
University’s Human Media Lab some of the researchers have developed a
device called the WhammyPhone. It’s being called the world’s first
musical instrument for a flexible smartphone.
