Saw them in Leicester in early ninties with the Michael Clark Dancers,like a punk rock wagner ballet. Sadly i'm well aware of Rammstein, but not Laibach. What does that say about my sad existence? A little point if I may, I looked up there discography on wikipedia i know, not always anywhere near accurate but it doesn't list this album at all Maybe it's rare gem.
If that's the case, many thanks and many thanks anyways. On an unrelated matter, could you reup the link to the Wet taxi's album. Dying to hear, but Mediafire is being a bitch. All the best from N. But, I had no choice—I come from working-class parents. I feel you — life is very expensive. And you seem like a thoughtful and motivated person, looking to build a future.
I commend you for finding a healthy way to deal with stress music , as opposed to so many negative options that are out there. I also see that you probably are completely unaware of the tone of your response — privileged. My husband and I have our own business and a family to raise — and in this economy things like going to a concert, or eating out or even a night at the movies are very very rare luxuries for us a few times a year right now.
When you state that you are an out of work college student, then I wonder how you are surviving — who is paying for the insurance which so many cannot afford , etc.? As I said, I suspect you are unaware that you sound, well, spoiled… You are not poor.
You may be struggling, but not poor. Both of these artists, despite growing global popularity, saw their incomes collapse in the last decade.
Anybody who knew either of these musicians will tell you that the pair suffered from addiction and depression. You whine about all the costs you incur for your life, car macbook etc, and how can you possibly pay for a CD — Has it even remotely occured to you that musicians have to somehow make their way through real life too, and pay for things just like you?
I love the way you list your expenses like no-one else has them. Saying that your phone and laptop are necessities probably true and thus excusing the expensive choices Macbook and iPhone does not quite make sense. The arrogance and sense of entitlement is just incredible. My disgust knows no bounds. And whoever is paying for your education is being taken for a ride. But I agree that denying a major label these potential revenues is dubious.
But we also eliminated all unrecouped balances, many dating back 30 years! The principal owners of Megaupload have no principles. While I think that you have written a very good argument to illegal downloading, I think that both you and Emily have suffered from some simple misinterpretations.
First, the article that Emily wrote was in response to Bob Boilen deleting his music from his hard drive after being uploaded to the cloud. Transitioning from physical to digital and transitioning from hard drive to cloud are two completely separate experiences. But back to your response.. A few are, admittedly, from a stint in the 5th grade with the file-sharing program Kazaa.
Some are from my family. She also talks about ripping promos and albums from the radio station she works at — which you can hardly fault her for. Part of her job is to study and learn about music, and bands and labels send their music to these stations so that people can become educated about it. Everything I say about being a ethical fan still stands. Then maybe I did the misinterpreting, I read it as to say that she had not been a purchaser of physical music but of downloads.
But if you took the time to clarify with NPR — bravo to you. Her point seems to be that she is not buying physical albums. Thank you for an interesting post and discussion it has generated.
Saw a link to it on the Facebook page of a Finnish musician friend. Russia, of course, is a different environment than the US or Western Europe, both for the public and the musicians, and the question of piracy is here much more multi-faceted also. The scale of the violation is not really that relevant. Surely some of the tracks she got from friends fair use by itself were downloaded by her friends from file sharing sites.
I am 21 years old and over the past 5 years I have purchased hundreds of albums on CD or vinyl. It saddens me to think that Emily thinks our whole generation is in her boat, just paying for convenience. I fear though that people are losing the concept of an album. People are obsessed with playlists and buying single songs.
And soon it will be near impossible for bands to fund making a whole album. That in the future records that are meant to be listened to as one cohesive piece or work will be gone. Thats what I dislike most.
I like the new model of buying music directly from artists and investing heavily in the live music experience. But you have to pay for it. And it matters. Every time. To me. I am a real person who has worked my entire life to be the kind of musician who can walk into a studio or onto a stage and contribute with my cello-y nonsense. Will it not weaken? What of the national chest?
Will it not shrink? Come on! This is another hallmark of these kids — they remind me of people who congratulate themselves on an active and varied sex life because of their vast collection of porn. If you truly love something, be it music or … other activities, you:.
Not doing that, sitting around and expecting music or anything else to be passively poured into your brain, weakens the throat, but it also weakens the mind. And the morals. As a personal preference and it is a personal preference because I do not necessarily consider having something on your computer of cd shelf to be any different from streaming I prefer to stream.
I prefer to listen to the song as and when. That alone is not a decision on morality because I expect the price I am charged to do this to reflect the marginal rate of revenue an artist should receive.
Based on, I dunno, the average price of a full download divided by the average amount someone will listen to that download. As a result I use Spotify and pay for it. My assumption is that the subscription I pay adequately reflects my usage. I treat it like a radio and many music lovers only listen to the radio.
What do you suggest I do? A lot of us want something equivalent to radio to listen to music. But radio is a joke in a lot of local markets and is a shell of what it used to be. So, there is the option of internet radio. But how do you know artists are getting ANY money from those stations? So the bottom line is there is no ethical option out there for those of us wanting a modern alternative to radio?
I respect your preference for streaming, and your original assumption was reasonable—that you were paying enough for the service you use to fairly compensate those who created the music. So, then I presume that all of your music is legally downloaded? Very few people can point fingers on this matter. Her job is unimportant in this scenario. If anything, it should make her more aware of what effects her actions or lack thereof cause.
A teacher, a lawyer, a busdriver. This was an excellent read…thanks. I wanted to point out another important shift in the content-creation business that is another big piece of this puzzle. This is, after all, a very consumer-friendly proposition. Like all dinosaurs at a time of profound change, the dinosaurs cling to their tried-and-true methods with white knuckles.
They only know what the spreadsheets from previous quarters tell them. This is why they did not go out there with MP3 compilations when the format appeared.
This is why they did not open up their own digital storefronts. This is why they did not reduce prices when physical media began to fade. Instead, they hemmed and hawed and ended up shifting their control of the music and by extension, the artists to technology companies in California who could see which way the wind was blowing. It is unfortunate that what has resulted is that the entities that actually sell music today have very little motivation to represent the interests of the actual artists.
And the record companies are left fighting over scraps. These students are also dinosaurs, but there are millions of them. We agree that Spotify is an unsustainable business model for musicians and we encourage artists to remove their music from their service. It suits my listening habits to have a streamable royalty-based service which I and many other people would gladly pay properly. Seriously, I have a day career that pays very well. As an amateur musician, WHY should I even bother putting my stuff out there, no matter if people want to hear it or not?
Collectionpoint, first this an argument that unauthorized file sharers have put forth for a decade; free unlimited access drives sales. Is the cloud coming and can we avoid no.
Do you musicians need to roll over and take the scraps that are offered them? When Spotify is willing to pay musicians market value for their work, fine. Unless Spotify is willing to give musicians an equity stake in the company as they have with the major record labels.
I think you have misunderstood the point. But since you ask:. Wider recognition; a forum outside your current one. I have heard music by artists on Spotify who I seriously doubt have even physically sold one album in my country. Going on Spotify is as effective as you can get, combined with a blog tip-off. If you do it properly you only allow a few songs on Spotify.
You give people a teaser, like radio and singles used to do. Bam — album sales. Album sales to people who would not know a single thing about you otherwise and would not take the risk otherwise.
Plus if we get Spotify right then there is the appropriate level of royalty. How are they screwed over then? Taking music off Spotify individually can only be some sort of self destructive behaviour. Collective bargaining, label solidarity, general industry pressure. You probably will. What bugs me is people conflate the illegal downloading argument with streaming from sites like Spotify. Illegal downloading is a direct competition and threat to legal music purchasing.
Streaming is a substitute, it can also be a facilitator for legal purchasing if you do it properly. If you wanted it to be, it could be the thing that kills off illegal downloading.
Instead of this romantic notion of an-album-as-an-experience, be realistic; find a way to embrace the casual, non-committal consumer. Rather than deride them, find a way to charge them for the way they want to listen to music or lose them to illegal downloading. Lucid analysis — right on! As an artist and the operator of an indy label I agree with everything here. Buying a 45 or an LP was a big deal, required saving money and a somewhat considered decision. When you bought one, you listened to it over and over — literally wearing the grooves out of some well, smoothing the grooves, I suppose.
Almost every musician of my generation who I know has a story of a very small group or series of albums they listened to like this, played along with, learned, internalized.
Now, I wonder, with every song ever recorded available for free, are young listeners having the kind of intimate relationships with the actual music that were created by the limitation of access? Ultimately, how will that affect the quality of music? I spent the majority of my childhood moving around in parts of the country that were dead zones as far as culture is concerned.
My options for music were whatever country, shitty rock and general top 40 stations Clear Channel was willing to pay for. I bought CDs when I had the money but local music stores had lousy selections at best. My parents were big fans of Meat Loaf and The Beatles.
While in high school I won a small iPod and decided to start buying iTunes giftcards so that I could purchase music online. In iTunes had a smaller catalog that it does now but I was exposed to this whole new world of music. I started buying all those albums I had heard about but never gotten to hear. I had a long list of music I would work through every time I collected a paycheck.
Jump ahead 3 years and I found myself in a strange position. I would pirate songs from donation supported invitation only private trackers. I downloaded hundreds of albums a year. I started getting into more experimental music, older music and music with hyper limited releases.
I also pirated a hell of a lot of music. I only found most of those treasures by digging through histories of genres and reading reviews and finding music that was actually moving.
When I could afford it I gave money to those artists. This is way too long for a comment but I think if you ignore the value of allowing a 20 year old to hear out of print jazz or little known turn of the century classical or weird 60s outsider artists or fetishist noise music then are part of the problem of bland mass market corporate garbage.
Yeah we need to pay artists. No piracy is not theft. It is piracy. Believe that I GET that artists need to get paid. If you are making art right now you have to be willing to accept that people will want to experience your shit for free.
Both fans and artists need to work together as a community in order to figure out come up with a model or models that will satisfy the needs of both sides. My favorite albums move me to tears. As an aside, these are the albums that I will continue to purchase physical copies of. Then again, there are also many, many songs that I own which are emotionally disposable to me.
But the music is wonderful and no one seems too bent out of shape about the money aspect. The community is really great actually. Maybe the future will be defined not by a group of professional musicians but by a mass of hobbyists who share their work. Much of the media I consume and create is shared freely with my peers in a loose mutual exchange. I am a sound mixing engineer, and it has gotten very difficult to get gigs, simply because the artists are not making any money.
It makes me really angry to see my generation and younger kids just taking music and not valuing it. I thought you started playing gigs weeknight shows, open mics, whatever you can scrounge , at clubs that hire good sound guys, before you made the decision to invest in studio time.
I have a good job and no debt, but drive everywhere and live in a high cost-of-living area. I live super-frugally in order to afford physical media and live shows.
I am in complete agreement with you! I am a huge fan of having a hard copy of music, i. It is definitely about priorities and respect for artists and small labels.
The Swiss disagree. Per a study that they commissioned people who download free music use that money they saved to buy more entertainment products. In other words the government forced music artists to subsidize the video gaming industry. Totally not fair.
Valley of Steel. I often fear sounding whiny when i talk to folks about the devaluation of the work of artists thanks to entities like spotify, etc. I applaud and admire any one who still pushing to play music Full time here in Austin. Good for your husband and your family. Keep pushing! Reblogged this on David Newhoff. Reblogged this on nathanieljamesgoldblatt. Reblogged this on theosoul and commented: Food for thought….
Is that a sign of collective guilt though? And if it is, does that mean the tide is turning? I agree with what you have said and stand for. Just be true to yourself. There is only one truth for this, and all issues, in regards to the life and soul of a human — seek diligently for that truth and you will find it.
If we had more people on both sides of the equation willing to dedicate this kind of thought to the problem, we might have reached some kind of workable solution by now.
I think this is an issue that pretty much everyone in the arts is wrestling with: writers, artists, filmmakers, photographers, publishers, and of course, musicians. We are, all of us, trying to sell buggy whips in the age of the automobile. Progress has come, the business model has changed, and we must figure out a new way of doing business. It seems we are returning to the days when an artist enjoyed a small following that funded his or her works, and that artist spent the remainder of their time working a proper job to eke out a living.
The very technology that has made it so affordable to produce art has led to a glut of artistic output. Every other person you know is probably either in a band, making amateur films, trying to sell their images or a print-on-demand book.
The mistake we make is that we think the same people who download things for free would otherwise pay for them if there was no other way to get them. You could not be more correct, Aaron. I agree with you that David has presented his case quite well. As someone who has created content as a writer, photographer, record producer, videographer, served as a music publisher, artist manager,. As an artist, I have rarely profited monetarily from my artistic efforts. I have given almost everything away, even though I am currently trying to write a book.
The truth is I have a need to create. It is an obsession that would be tainted if I were to make any substantial money from the creation. It has worked for me. It has made me a better artist. It has earned me a great reputation and numerous friends. The lack of outrageous amounts of money weeds out those not truly dedicated to their art. The author forgets or chooses to ignore the fact that we spent a better part of the last century dismantling monopolies of this sort.
Pre-digital, I could buy albums or tapes from any outlet I chose, play them on any device I chose, purchased from any vendor I chose. Of course, back then radio was worth a damn, so I could also listen to great new music — for free — via the airwaves.
The author may not mind the intrusive assimilation our lives by products like iTunes or FaeceBook, but some of us value our freedom more than convenience. We want freedom, not virtual enslavement to one proprietary technology or another.
It is in fact a part of the problem, not the solution. Is that too much to ask? We all want what we want when we want it. Getting older means coming to terms with how to compromise and accommodate all of us simultaneously being in that space. So some advice? Do unto others. One issue that has uniquely affected generation i is this: the amount of music available to purchase is exponentially higher than it was 15 years ago and previous.
To think that 11, songs is roughly albums is to realize that Emily White owns a significant portion of the inventory of any retail music outlet, with the exception of mega stores only found in large cities. Before this generation, no one could have consumed that much music at such a young age. What anyone who owns this much music will attest to is that, despite having an extensive library of songs, we all have our old standbys.
How many hundred times have I listened to my favorite albums? When people lament the prohibitive cost of buying music, they should really consider the investment they are making. How many people have 2 iphones? That would be absurd—only 1 can be useful at a time. No one would, yet we have allowed music to be so valueless that nearly every person under 25 thinks of downloading songs not as shoplifting but as free sampling. Hence, bands from Radiohead all the way down need to decide how important free exposure is.
How many million people have songs, original or covers, available on youtube for streaming? One of the sad ironies of the music industry is this: for decades, the morally responsible have been denied record contracts in favor of the libertine and the morally pliable ingenues. Had record companies pushed for civic responsibility rather than excess as their means of employing artists, perhaps this debate would be moot.
Since the works that are are almost invariably the subject of these discussions are popular culture of one type or another, the duration of the copyright term is pretty much irrelevant for an ethical discussion. You cannot use this disinformation to support your argument, which I agree has merit. Quite the contrary. From the beginning of music printing around through about the process was that you had to apply for a permit to print music from either your city state or the king of the territory where you lived.
Once fully fledged commercial publishing gets underway in the U. And in the intervening time through about , it was more often than not that both publishers and record companies found ways to get around compulsory kinds of agreements, or simply not to enter into that kind of an agreement with an artist. Management would insure the better contracts that came after World War II, when the demand for music far outstripped the supply. But to say that bad deals for artists seldom happen, even today, is an untruth, and sometimes the deals are bad on the other end as well, such as the business with the Morrises, Mariah Carey and EMI early last decade.
The Copyright office never establishing a copyright for sound recordings until and the elimination of the renewal process are among major contributing factors in this issue in a historical sense.
That the very young — the major target audience for major music industries — feel that it is okay to not pay for music at all is certainly not the right thing, however their apathy has been cultivated, however unintentionally, by major interests.
A 99 cent digital download is not quite the same thing. Thank you, David. Following you on FB I know have been working on this concept for a long time. Many have songs to share, but are not certain how to get their music out to an audience without simply giving it away. First, easy access such as downloading music just gives us more stuff to collect on our devices. Complain as they may, they can listen to songs prior to downloading them—they have that choice.
Back in the olden days, we either purchased the single or the album. We all have our share of disappointments, but were willing to make that financial plunge. A final point: this free-for-all approach to music and the arts has lessened the quality of what we hear. But this is a whole other debate. Music fans become thieves; artists become beggars; but worst of all, the music product has, for the most part, returned to a quality of Edison wax cylinders.
This generation of young people are missing out on so much. Just as reading, dining and traveling broaden other senses, the listening to well produced music — no matter the genre — trains our ears to hear intricacies that deepen the aural experience.
It feeds and challenges the mind. Those of us that design for, equip and staff the recording business have suffered too. We miss the innovation and creativity that happened in the studio. The human brain is designed to hear the difference between crap and superior levels of reproduction. Enough fan demand for professional product would keep the recording industry alive. Senate senate Senator senator senatorial send send-off senile senility Senior senior senior citizen senior high school seniority sensation sensational sensationalism sensationally sense senseless sensibility sensible sensibly sensitive sensitively sensitivity sensor sensory sensual sensuality sensuous sent sentence sentiment sentimental sentimentality sentry separable separate separated separately separation Sept.
September sequel sequence sequential sequoia serenade serene serenely serenity sergeant serial serial killer serial number series serious seriously seriousness sermon serpent serrated serum servant serve server service serviceable service charge serviceman service station servicewoman servile serving servitude session set setback setting settle settled settlement settler setup seven seventeen seventeenth seventh seventieth seventy sever several severance severance pay severe severely severity sew sewage sewer sewing sewing machine sewn sex sexism sexist sexual sexual intercourse sexuality sexually sexy Sgt.
For this job you should have a set of feeler gauges and a tappet adjustment tool. Likewise, if you do not have the tappet adjustment tool, you can use a 9mm wrench and a pair of needle nose pliers. You absolutely need the feeler gauge set for achieving the proper clearance. Start with your scooter engine COLD. The reason you want the engine cold is because as an engine heats up, metal expands. This expansion would most assuredly make the clearance larger once the engine cools.
This would result in too large of a valve lash which would likely not allow the valve to open properly. Put the scooter on the center stand so that the back wheel is off the ground.
Remove the valve cover and place the screws in a small container so they do not get lost. There will be two valves. One is the intake valve and the other is the exhaust valve. At this point, both valves should be fully closed and the valve lash between the rocker arm and valve stem should be at its max. Both rocker arms will be at minimum height positions on the camshaft lobes. To adjust the clearance, use a set of feeler gauges. You should be able to slide the correct sized gauge per manufacturers specifications between the tappet and the top of the valve stem with only the slightest resistance.
Likewise if you can freely pass the gauge through, the clearance is too big. Once you have the correct clearance set, tighten down the lock nut, and re-check it. Now do the same thing again for the other valve.
Source by Justin L Sternad. Good for shoemakers, bad for the spine. Over the next two decades, a succession of two-, three- and four wheeled steam- and gasoline-powered cycles huffed, puffed and sputtered themselves into existence as the evolution of the motorcycle spawned ever newer, and occasionally better, designs across Europe and America.
The stage was set: Munich, Germany, However, politics and empire building were of little interest to brothers Heinrich and Wilhelm Hildebrand. They were busy revolutionizing human transportation.
True, their initial focus had been on building steam powered machines in an effort to conquer the steep inclines of their beloved Bavarian hills, but it was a start, if a hot and bubbly one.
After a period of steamy experimentation, Heinrich and Wilhelm discovered that a bunch of hot air could only take you so far. Being bright and industrious lads, the Hildebrands decided to join forces with two nimble-minded engineers Alois Wolfmuller and Hans Geisenhof, both residents of nearby Langsberg, a few kilometers from Munich.
Geisenhof brought some extra clout to the party as he had been a member of the Benz automobile group and knew his way around powerplants. He met the challenge, designing a much more robust four-stroke engine of parallel twin design. In fact, very shortly after implantation, the weight of the engine snapped the frame. Now they had an engine, but no frame.
The twin-tube, open duplex design nicely accommodated the big four-stroke gas engine. It seemed to be a well-planned out execution including the fuel tank attached neatly to the down-tubes.
In any case it all managed to hold together well enough for the clerks at the Munich patent office to grant their official state stamp of approval. Now all the four inventors had to do market the fruits of their labor. A closer look at the engine uncovers its steam heritage as the design incorporated long connecting rods that linked, in a steam locomotive style, directly to rear wheel spindle cranks that incorporated an epicyclical reduction gear.
The inlet valves themselves were automatic, while long rods and a cam on the rear wheel actuated the two exhaust valves. First innovated by the Englishman Edward Butler and the Frenchman Georges Richard, the fender served not only to keep the rider tidy, but also served as a reservoir for a supply of water used to cool the engine.
In addition one frame tube took the place of an oil tank. Yes, an oil-in-the frame, water-cooled four-stroke engine of almost cc displacement built more than a hundred years ago. It also seems the Munich motorrad was the first motorcycle to come equipped with pneumatic tires, the air-filled rubber treads built by the German company of Veith via the British Dunlop company who had pioneered the tire design in It certainly made for an entertaining and startling sight in the dark hours of night with sparks flying all about.
At least it would give ample warning for pedestrians to make their escape. Gripping the machine you flung it and yourself forward, your legs pumping as fast as they could go until you heard the pop and crack of ignition… there was no clutch by the way…and then you would leap aboard and make all effort to quickly find the thumb-screw operated throttle and then turn it just the right amount to maintain an equal supply of fuel.
In other words, athletic ability akin to Olympic bobsledding and the dexterity of a brain surgeon were helpful. Such was the public demand, and the money in hand, that Hildebrand and Wolfmuller ordered up architectural plans for an all new factory to be erected on the Colosseum Strasse.
Its vast interior would be home to employees not to mention satellite buildings and the contracting of work from many local engineering workshops. Moreover, adding insult to injury, the loud sounds of the exploding Dunlop tires fed rumors that the gasoline powered machines were inherently dangerous.
The machines would speed from the city of Turin to the village of Asti and return, all on the day of May 28, Over hill and dale, the slew of pre cars and motorcycles slid, slipped and surged along the mile course. The problems lay with the hot tube ignition, and the erratic handling of the rear wheel caused by its poor flywheel effect that in turn caused the rider to lurch around violently on his mount.
When things go wrong, they can go wrong all at once and as if nobody had an inkling until it all too late. In effect, the company was operating in the red.
And then it started, the droves of first-time customers, recently acquainted with their new purchases, were writing unpleasant letters about starting problems among other issues.
Worse yet, many wanted their money back. While the marque became another of the many short-lived and long extinct motorcycles, it had well-earned its niche in the history books. In all fairness, the Hildebrand and Wolfmuller should be remembered in the context that it represented the pivotal moment when the so-called motor-bicycle entered the public consciousness as the motorcycle. And like many technological introductions, it had a dramatic effect on the cultural psyche.
The feeling of traveling over the ground without effort was delightful. From that moment I became a staunch believer in the motor-bicycle and predicted a great future for it. Source by Paul Garson. Scooters have been around for a long time.
Razor is one of the companies that have taken the scooter to a whole new level. From kick scooters to electric scooters, Razor has them all. Here we are going to talk about the kick scooters. Razors inventive design and build of the kick scooter has taken the scooter to new levels. Riding ramps and doing freestyle tricks are now a common thing due to the Razor kick scooters, with all this keeping the awesome function of folding for easy transportation.
The A1 is a scooter for the beginner. It is the most inexpensive of the A series and created for a beginner or a young rider. As you get older and better the next scooters are the A2 and the A3. Each of these scooters get a little more expensive then the one before it, but with that the quality and the ride gets better as well. Someone that has been riding for a while would probably be best riding the A2 or A3. Once you are ready to take the next step, the Pro model is waiting. This is a heavy duty professionally designed and built by the Razor team.
This is the board that you can feel confident on riding the ramps and busting out some awesome freestyle tricks and trust that it is going to give you a great ride for a long time. You can check out some insane scooter riding on youtube, and these videos show that scooter riding is not just for kids that can not skateboard well.
Scooters are becoming an extreme sport of there own. Inventive new tricks, crazy stunts, and high speeds are the stuff you see from scooter riders. No longer just a toy to cruise on the sidewalk, but scooter riding is an extreme sport. If you are into cruising and riding hills and sidewalks then razor also has a board built for that.
It is called the Cruiser. The Cruiser is built for just that, cruising. It is designed with a wider deck and larger wheels for a smoother more comfortable ride.
Rocks or cracks in the pavement will not matter one bit because the cruiser will roll right over then and you will hardly feel them. You do not need to worry about hitting a rock in the street when you are cruising at high speeds down the hills. The Carvr is a scooter with two small wheels and a truck in place of the normal single back wheel.
This design makes it easy to balance and ride wherever you want. It has a large wheel much like the Cruiser in the front so that the ride is nice and smooth. The Kiddie Scooters are just that, scooters for the kids. They are built small and with safety in mind.
Made out of plastic they are for very young boys and girls that want to get an early jump on scooter riding. Source by Josh Brennon. The Austin Healey was a British brand of sports car that was last produced in the year The company was established through a joint venture set up in by Leonard Lord of the Austin division of the British Motor Corporation BMC and Donald Healey, a renounced designer and automotive engineer.
In , the joint venture came to an end after their 20 year agreement expired. Healey eventually joined Jensen Motors in and became their chairman in And in a nutshell, this marked the end of a great run of a sports car.
The Austin Healey, however brief this merger proved to be, managed to have three models built between and The models that were built on to were named Austin Healey The next models were built on the year to and were called the Austin Healey It was suppose to be called the "Mille Miglia" after the famous sports car race, but the name stuck instead.
The name comes from its cc engine. The last model, which was the Austin Healey Sprite was built in the year to These models were also alternatively called Frogeye, Bugeye or Spridgets. His short life span, the Austin-Healey still made its mark on popular culture in the UK and overseas. Organizations and events for Austin Healey enthusiasts also exist. Though there are really plans to revive the Austin Healey as of now you still can not buy this car, you can only rent it. And why pass on an opportunity to roll in on one of the most impressive Brit cars in history?
Scoot over to a dealer and rent this sports car at one of the rental cars in the city. By renting it, you get to return to the past and experience one of these classic British sports cars. You may even rent an American sports car built on the same era and get to compare the products from the two different countries. That is what is great about renting, you can have one, two, and even more.
You do not need to wait for this car to be produced in the near future, car rentals are here to give you that experience. Right here, right now. So I guess I'll be seeing you soon in your Austin Healey flying through the asphalt. Source by Paul S Fitzgerald. Computer Repair Services in Hawaii is not so much different than the mainland, especially on the island of Oahu, but there are a few challenges. Having lived on Oahu over 45 years ago in Ewa Beach, and returning just over 7 years ago, the scene has changed drastically.
Things were more rural back then, and of course there was no internet. In Oahu, people seem to work on one side of the island and work on the other. Since there are only 1 or 2 ways to get around, traffic can be extremely congested, and parking can be a challenge.
So while you are looking for a Computer Repair Shop to drop off your computer, or waiting for a Mobile Technician to drive out to you, timing can be a challenge.
For some reason, even in Paradise, things can get pretty busy. With that said, I just wanted to put out my two-cents that affect both the customer and the service provider about computer repair in Oahu. If you live in Waianae, Waialua, Haliewa, or the North Shore, Windward and around Waimanalo, you will have to rely on Mobile Technicians willing to come out to your location, or to drive the distance yourself. The problem with dropping off a sick computer yourself is that most shops open about am and close at 6pm.
You either have to take time off from work, hope traffic is light after getting off work, or just wait until a day off. For some reason, there are no shops I am aware of in Waianae, Haliewa and all through the North Shore. Shops on the Windward side are scarce as well, but I vaguely hear that there may be a shop out in Kaneohe, but they must not do much advertising. If you have a Macintosh, there is definitely a shop in Kailua, just be aware that not all shops repair both PCs and Macs, and while do mobile technicians.
Concern computer repair for our valued Windward customers, I have to rant a little bit. Windward customers in Kaneohe and Kailua are fiercely loyal to their local businesses, which is a good thing. But when it comes to computer repair and they are looking for a mobile technician, they always want someone who looks closer to where they are, which at first, looks to make sense. If they call you and you actually have a physical location and provide both in-shop and mobile services, they get hung-up on your shop's physical location even though they are calling for mobile service.
The truth is, that they have no idea where the technician is coming from. The technician might already be scheduled to be out in that area for another customer and can easily set an appointment for you as well. They are not just just sitting around at home all day waiting for you to call, so you just can not accumulate where they will be dispatched from. That may sound harsh, but it always surprises me when we spend some valuable time over the phone with a prospective customer, trying to understand their computer problems and comfort them with our solution to their problem, and as soon as we mention that our shop is over the hill on the other side of H3, they start backing out of the conversation almost as if they thought they were doing "us" a favor and say thanks but no-thanks, we'll just call someone a little closer.
I do not get it, and even when I can truthfully say that I have a tech in the area already, they do not care. I know other shop owners who get this same response about mobile repair on the Windward side.
The fact is that we are happy to serve customers on the Windward side, and we appreciate their loyalty once they finally hire us to repair their computer. But it is a hurdle starting that relationship.
I might add that it is a beautiful drive to the Windward side, especially if you get to drive back through the Northshore if you have the time. I always look forward to a good Shrimp Plate lunch from one of my favorite shrimp trucks along the way.
If your business or home is located in a reliably populated area away from the areas I just mentioned, you'll have plenty of options for both in-shop and onsite computer repair in Oahu. But if you need service in the congested business areas of downtown or Waikiki, parking is a problem. My suggestion is that if you want prompt service, that you provide information to the technician about the most convenient place to park as well as any parking fees which may be added to your bill.
You might even be able to pre-arrange parking in a reserved area for vendors. And lastly, it even helps to know details such as any vehicle height restrictions for parking garages, or detours due to emergency or special events. When setting an appointment for mobile service, it is vital that you provide an accurate address and phone number.
Many local Hawaii residents prefer to give directions and landmarks than actual addresses, but Mobile Technicians end up learning the island very well and even use GPS devices these days. Some even print out directions with Yahoo or Google before coming out. We would prefer that you just give us your complete address and then maybe a landmark if you live in an obscure hard to find location. We need the address for our invoice anyway. We appreciate the directions, but customers somehow assume we will be driving to their location the same way they do everyday, but the fact is that we might be coming from the other way, and then left become right, and right becomes left and it gets confusing while driving.
As for your phone number, things happen and we may need to call you. We also like to call before we come out to ensure you'll be home. Fortunately, we are not like the cable companies that tell you they will arrive between Mobile Technicians can usually provide you with a minute window. But if you have something come up, we would appreciate if you could call us as soon as possible to postpone.
Also, be sure that you know which Computer Repair company you made the appointment with and have their correct number. Many customers call quite a few shops before they choose who they will make their appointment with and get phone numbers mixed up. Some even call us more than once because we have more than one phone number. It gets quite funny hearing the same person calling again, now using a better description of their problem because of talking to us earlier.
The problem is that it might get confusing to remember who you chose in the end. Now and then I'll get a person calling us by mistake to cancel an appointment that we never made. Imagine the frustration of the technician when he drave out to your home or business just to find out that you said you called and canceled already, why are you here? This basically boils down to price, turn-around time and convenience.
In-shop repair fees are usually flat rate fee based, and takes days to get back, but you will get more thorough service this way. Shops are also more prepared for the extremely difficult problems. With shops, you can just walk-in during normal business hours, although you should call first to get guidance on what to bring. For laptops, you should always bring the AC Adapter battery charger. For desks, we usually only need the computer itself no cables or peripherals, although it would not hurt if you bought your CDs.
Onsite service is usually hourly fee based, and may even have a trip charge. Onsite service by nature is by appointment only, but many problems can be diagnosed and repaired within an hour or two.
With onsite service, it is critical that you describe your computer problem as well as possible, because if it sounds obvious that it might be a hardware problem, your computer may be a better candidate for in-shop repair. It's already difficult enough to get certain types of parts on island such as motherboards and CPUs at a Computer Store, so you can expect that a Mobile Technician will not have every part needed to fix every computer in their vehicle.
Some parts even have to be ordered online and can take a week or so to arrive. Hopefully you can see the complications this may cause with setting another appointment as well as how the technician will bill you for the first and second appointments.
It would just be better to bring these problem computers to a shop. I certainly do not want to knock mobile only technicians, because I got my start that way. But you have to know that these ones can only serve a small finite number of customers in any given day. Many people get attached to their computer guy once trust is established, but it can get frustrating when your trusty Mobile PC Tech can not make it out fast enough.
They might even need to take a vacation and when you get a hold of them on their cell phone, you find out they are on the mainland for a week or two. If you can not wait, you have to find someone else. Mobile repair is limited as well for reasons spelled out in the "In-Shop vs Onsite Computer Maintenance" section above. There are also certain types of maintenance that will never get done onsite due to how long it will take.
If I think I have to perform a surface scan on a hard drive just for starters which can take 2 hours or more in some cases , I almost immediately recommend I take the computer back to the shop to complete at the flat rate. Some computers develop multiple problems and can take hours to repair.
For one, it will save you on further hourly charges, but it will also help the technician to be on time for other appointments after you, since he probably only allotted 2 hours for your appointment.
The complicated part is that a mobile technician may not have a shop to take your computer to, and may only be able to take it to their home. If you are okay with that, then fine, no problem. I would add that a technician that has both in-shop and onsite experience are the best technicians. For mobile only technicians, it can be hard to get this experience because they will rarely get a customer that is willing to pay a technician to spend hours onsite, not to mention having to dedicate their own personal time as well to be there.
But if the technician does not ever get the chance to spend time on the real hard problems, it is unlikely that they will ever progress to become a master technician. If you were choosing a doctor for a complicated surgery, how concerned would you be about his or her experience? The answer is obvious. Anyways, while our computers and online lives might not be life and death situations, we seem dependent on them suddenless.
So I hope this insight into both sides of Computer Maintenance and Repair in Hawaii help you make the right decisions when that inevitable computer problem occurs. That way, you can be armed with the insight to make the best choice available for your computer needs. Source by Dale Powell Jr. To succeed in business or life, I came to realize that we must continually take remedial actions. Putting myself on the line day after day can be extremely draining, especially when things do not work out as I desired.
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Akio Morita , founder of giant electric household products, Sony Corporation, first product was an electric rice cooker, only sold cookers because it burned rice rather than cooking. Source by Kenneth Foo. Some have had fun loving childhoods in which they had a stay-at-home mom, who had home baked cookies ready for them as soon as they walked in from school, clean clothes ready for the next day, and dinner simmering on the stove.
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