Rodgers II TB -4 - Zgodovina

Rodgers II TB -4 - Zgodovina


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Rodgers II

(TB-4: dp. 142 (n.); 1 l60 '; h. 16'l "; dr. 5' (povprečno); s. 25 k .;
cpl. 20; a. 3 1-pdrs., 3 tt .; cl. Noga)

Drugi Rodgers (TB-4) je postavil Kolumbij
Iron Works & Dry Dock Co., Baltimore, Md., 6. maj 1896; začela 10. novembra 1896 in 2. aprila 1898 poveljevala podpolkovnika J. L. Jaynea.

Rodgers, opremljen v Norfolku, je sredi aprila začel trenirati v zalivu Chesapeake. 24. kongres je napovedal vojno Španiji, 5 dni kasneje pa je torpedni čoln začel delovati za Karibe. Ko je 9. maja prispela v Key West, se je 21. vkrcala na blokade, ki so blokirala Havano, ostala z njimi do 23., nato pa odplula, da bi se pridružila floti, ki pluje ob severni obali Kube, da bi preprečila, da bi španska flota dosegla blokirano enost iz vzhodu. Zaposlena predvsem kot odpremni čoln, se je v začetku junija vrnila v Key West, da bi se 15. ponovno odpravila na pošiljko floti, ki je vojsko generalmajorja Shafterja poslala v Santiago. Ko se je srečala 16., je ostala v sili do 21., ko se je preselila vzdolž obale v zaliv Guantanamo za dostavo pošiljk. 22. junija se je vrnila v Santiago na pohod za vhod v pristanišče, vendar se je 23. junija 22. juija vrnila v zaliv Guantanamo na popravila. Kratek odpremni rok je bil pred drugim obdobjem popravila, 24. julijem-14. avgusta, do takrat je Rodgers prejel naročila nazaj v ZDA. Na Hampton Roadsu do 26. je nadaljevala pot v New York in 31. prispela na remont dvorišča.

Torpedni čoln je ostal v pristanišču večino naslednjih 8 let, občasno pa se je za kratek čas aktiviral s 3d torpedno flotilo in eskadriljo vzhodne obale. V sorinzu leta 1906 so jo premestili v rezervat TorDedo Flotilla, 1. novembra pa so jo razrešili v Norfolku.

Rodgers je bil leta 1908 premeščen v Charleston, 14. maja 1910 pa je bil dodeljen vojaški milici Massachusettsa. Od 8. junija, ko je bila dostavljena v to organizacijo, do leta 1916 je izvajala križarjenja za usposabljanje iz Bostona vzdolž južne obale Nove Anglije. Med letoma 1916 in 1918 je razširila svoj obseg operacij in opravljala obalne patrulje vse do severa do Pomorskih gora.

Preimenovana v torpedni čoln Coast Torpedo št. 2, 1. avgusta 1918, je bila zadnjič razgrajena 12. marca 1919, izbrisana s seznama Navv 28. oktobra 1919 in prodana ameriški družbi Rail & Salvage Corp., Newburgh, NY, leta 1920.

Rodgers (DD-170) se je 23. decembra 1918 preimenoval v Kalk (DD-170).


Rodgers II TB -4 - Zgodovina

"Za tiste, ki mislijo, da je vso pomembno arhitekturo, proizvedeno na Floridi v dvajsetih in tridesetih letih prejšnjega stoletja, mogoče najti v Miamiju, Miami Beachu, Coral Gables ali Palm Beachu, knjiga McClanesa dodaja novo mesto-Winter Park-in drugo arhitekt-James Gamble Rogers II-mešanici. Rogers je pustil arhitekturno dediščino sloga, prefinjenosti in resnične vsebine. "-Donald W. Curl, avtor knjige Miznerjeva Florida: ameriška arhitektura letovišča

"" Čarobni svinčnik "Gamble Rogersa ustvarja likovno umetnost arhitekture, njegova zgodba gradi skupnost in daje dušo arhitekturi Floride. Vsak, ki bo prebral to knjigo, se bo želel preseliti v Winter Park in živeti v hiši, ki jo je zasnoval Gamble Rogers." --Elsbeth K. Gordon, avtorica Kolonialna arhitektura Floride

Ta dobro ilustrirana knjiga osvetljuje življenje in kariero enega vodilnih arhitektov na Floridi, katerega elegantni domovi in ​​oblikovalska estetika so oblikovali arhitekturni značaj Winter Parka in vplivali na urbani razvoj po vsej osrednji Floridi.

James Gamble Rogers II (1901-1990) je ustvaril domove, znane po svojem človeškem obsegu in deležu ter po ustreznosti okolju. To delo poudarja dvanajst od teh stanovanj, zasnovanih za Winter Park, čudovito majhno mesto ob Orlandu in sedež arhitekturnega podjetja družine Rogers, Rogers, Lovelock in Fritz, ki danes obstaja pod vodstvom Rogersjevega sina. Domišljijsko zadovoljujejo posebne potrebe podnebja Floride-toploto, vlago, nadzor termitov in kroženje zraka-rezidence vsebujejo podrobnosti iz različnih zgodovinskih stilov, vključno z ekletičnimi in pristnimi značilnostmi, ki posnemajo domače španske kmečke hiše in vile.

Knjiga vključuje kritike vsakega oblikovanja in njegovega razvoja, podrobnosti o spletnem mestu ter zgodbe o življenju in okusu strank-moških in žensk bogatega statusa, ki so v dvajsetih in tridesetih letih prejšnjega stoletja vplivali na omamno obdobje razcveta na Floridi. . Številni tlorisi, sodobne in zgodovinske fotografije ter Rogersove lastne risbe povečujejo razpravo.

Knjiga predstavlja tudi zabavno biografijo Rogersa z informacijami o njegovem šolanju, zgodovino podjetja, ki ga je ustanovil, in njegove družinske povezave z arhitekturno stroko (njegov stric in soimenjak je za univerzo Yale oblikoval več kot 20 stavb). Opisuje njegov uspeh na področjih vladne, vojaške in univerzitetne arhitekture, vključno z načrti za stavbe na Rollins College v Winter Parku, ter ocenjuje njegov vpliv na arhitekturo 20. stoletja na Floridi in po vsej državi.

Soavtorja Patrick in Debra McClane sta preučevala izvirne risbe Rogersa, obiskala njegove domove in intervjuvala stranke in družinske člane. Patrick McClane je v zadnjih letih arhitekta delal v podjetju Rogers in prinaša osebno povezavo s tem delom. Njihova knjiga dokumentira izjemen prispevek k arhitekturni dediščini Floride, življenju in delu človeka, ki je ustvaril elegantne in zaželene domove ter značilne javne zgradbe.

S podrobnim dodatkom, ki navaja datume in naslove za skoraj 275 hiš, od katerih jih je večina še vedno ohranjenih, bo delo služilo kot dokončni vodnik za delo Rogersa v Winter Parku.

Patrick W. McClane je glavni arhitekt pri Smith and McClane Architects v Richmondu v Virginiji. Debra McClane je zasebna svetovalka za arhitekturno zgodovino in ohranjanje zgodovine.

Vzorčno poglavje ni na voljo

"Zanimiva in poučna knjiga, ki jo boste morda želeli vzeti s seboj na ogled Winter Parka."
-The Villageges Daily Sun

"Zgledna biografska študija pomembnega regionalnega arhitekta." "Zelo priporočljivo."
--Izberi

"To dobro raziskano besedilo bo razveselilo novince, ki se zanimajo za arhitekturo, pa tudi bolj razgledanega bralca." "Avtorji tega besedila ... prinašajo s seboj praktičen in estetski pristop ... [in] dobro razumejo vse vidike, ki sestavljajo evolucijo sloga določenega arhitekta, pa tudi realističnega. nujnost dela s strankami. "
-Pregled knjige H-NET, H-Florida


9 Norice

Ko so Evropejci prvič prispeli v Novi svet v poznem 15. in začetku 16. stoletja, so z naprednimi vojaškimi tehnikami naglo osvojili Severno in Južno Ameriko. Prinesli pa so tudi črne koze, ki so imele ključno vlogo pri ubijanju staroselcev.

Evropejci iz starega sveta so imeli dolgo zgodovino bivanja v bližnji okolici z udomačenimi živalmi, pa tudi prehranjevanja in pitja iz podobnih virov. To je povzročilo širjenje številnih bolezni. Toda tisti, ki so preživeli, so razvili impresivno imunost na sicer smrtonosne patogene. Ti posamezniki so bili med prvimi naseljenci America & rsquos, ki so črne črve na celine prinesle že leta 1520.

V povezavi z drugimi boleznimi starega sveta, kot sta gripa in ošpice, so črne koze ubile skoraj 90 odstotkov indijanskega prebivalstva, kar je precej preseglo škodo, ki jo je povzročilo poznosrednjeveško vojskovanje. Ošpice so bile tudi zlobno deformirajoče sredstvo, pri čemer so tisti, okuženi z opaznimi ranami po telesu. [2]

Hitro naprej več stoletij in črne koze so ena izmed le dveh bolezni (druga je goveja kuga), ki jih je treba zaradi prizadevanj za cepljenje v celoti izkoreniniti iz človeške populacije. Danes lahko črne koze najdemo le v zelo varovanih laboratorijskih okoljih.


Rodgers & Hammerstein

Neizbrisni sodelavci Velike ameriške pesmarice, skladatelj Richard Rodgers in avtor besedila Oscar Hammerstein II so bili ena najbolj priljubljenih in vplivnih ekip za pisanje pesmi v zgodovini Broadwaya. Vsak od njih je imel visoko kariero z drugimi pisateljskimi partnerji, preden so se združili v prelomni, z Pulitzerjevo nagrado odrski muzikal Oklahoma!, Ki so ga odprli na Broadwayu leta 1943. Po zgledu iz leta 1927 Showboat (v katerem je bilo besedilo Hammersteina) je pomagalo opredeliti "knjižni muzikal" tako, da pesmi, ki jih vodijo znaki, postavi v kontekst dramatične zgodbe z velikimi vložki. V močnem nasprotju z operetami, glasbami in lahkimi glasbenimi komedijami iz prejšnjega obdobja so v večini svojega dela obravnavali resna družbena vprašanja, kot so rasizem, klasicizem in seksizem, vključno z odrskimi klasikami, kot so Južni Pacifik (1949), The King in I (1951) in Zvok glasbe (1959). Skupaj z obsežnimi, nepozabnimi melodijami in Hammersteinovimi naravnimi, a zelo strukturiranimi besedili (Rodgers bi napisal glasbo na Hammersteinove besede) so te in druge uspešnice Rodgers & amp Hammerstein spremenili v uspešnice Hollywooda. Nekatere izmed njihovih najbolj znanih pesmi vključujejo "Moje najljubše stvari", "Spoznavanje tebe", Nekaj ​​začaranega večera, "Nikoli ne boš hodil sam" in "Edelweiss".

Preden je združil moči z Oscarjem Hammersteinom II, je Richard Rodgers več kot 20 let preživel kot polovica Rodgers & amp Hart z Lorenzom Hartom. Njihovi številni muzikali na Broadwayu so vključevali klasike, kot so A Connecticut Yankee (1927), Babes in Arms (1937) in Pal Joey (1940). "Blue Moon" in "My Funny Valentine" sta bila med številnimi uspešnicami. Hammerstein je medtem produciral uspešnice s skladatelji, med drugim z Jeromeom Kernom, kar je vplival na Rodgersa. S prispevki so-tekstopisca P.G. Največji hit Wodehousea, Kerna in Hammersteina skupaj je bil Show Boat iz leta 1927, posnet po romanu Edne Ferber. V naslednjih desetih letih sta sledili dve filmski priredbi Show Boat, kantavtorska ekipa pa je leta 1941 osvojila oskarja za "The Last Time I Saw Paris" iz filma Lady Be Good.

Zaradi slabega zdravja Harta v zgodnjih štiridesetih letih je Rodgers sodeloval s kolegom iz New Yorka Hammersteinom za muzikal Oklahoma! Oba sta prej sodelovala kot študentka na univerzi Columbia, med drugim tudi na leta 1920 Varsity Show Fly with Me. Oklahoma! odprli v Broadwayjevem gledališču St. James 31. marca 1943. Predstava je trajala več kot pet let in 2000 predstav (takrat rekord), leta 1944 pa je prejela posebno Pulitzerjevo nagrado. V tem času je Rodgers & amp Hammerstein nadaljeval z drugim Broadwayjem uspešnica, vrtiljak in glasbeni film State Fair, oba leta 1945. Državni sejem, edini muzikal, ki sta ga Rodgers & amp Hammerstein kdaj napisala za film, je vključeval "It Might As Well Be Spring", ki je prejel oskarja za najboljši original Pesem. Tako kot mnoge njihove pesmi, je bila to leto top deset uspešnic, tudi tokrat na lestvici s posnetki Dicka Haymesa, Sammyja Kayeja in Paula Westona z Margaret Whiting. V nasprotju s blagajnami prvih dveh Broadwayjevih oddaj se je oktobra 1947 odprl njihov manj znani tretji odrski muzikal Allegro, ki se je julija zaključil. Junija 1948 sta bila skupaj z Deanom Martinom in Jerryjem Lewisom v prvi epizodi dolgoletne raznovrstne predstave Eda Sullivana (takrat imenovane Toast of the Town) Rodgers & amp Hammerstein.

Leta 1949 se je ekipa za pisanje pesmi vrnila na Broadway z južnim Pacifikom. Na podlagi romana Jamesa Michenerja Zgodbe o južnem Pacifiku se je soočil z rasnimi predsodki, predvsem s pesmijo "Moraš biti previdno poučen". Njihov prvi muzikal, ki je bil upravičen do nagrade Tony Awards (ustanovljen leta 1947), je produkcija osvojila najboljšo glasbo, najboljšo partituro, najboljši libreto in vse štiri igralske kategorije. Rodgers & amp Hammerstein je leta 1950 delil Pulitzerjevo nagrado za dramo s soavtorjem iz Južnega Pacifika Joshuo Loganom.

Odkrito raziskovanje rasizma in seksizma, The King and I, priredba romana Margaret Landon Anna in King of Siam, je sledilo leta 1951. Domov je odneslo pet Tonys, vključno z najboljšim glasbenikom in najboljšim igralcem za Yul Brynner. Sledili so mu z manj uspešnimi muzikali na Broadwayu Jaz in Julija leta 1953 in Pipe Dream leta 1955. Po Oklahomi! je bil leta 1955 prilagojen za velika platna, filmska različica filma The King in CinemaScope iz leta 1956 pa sva videla Brynnerja, ki je ponovno odigral svojo vlogo v oskarjevski predstavi. Leta 1956 je izšla tudi filmska priredba vrtiljaka.

Edini muzikal, ki so ga napisali posebej za televizijo, Rodgers & amp Hammerstein's Cinderella, je bil predvajan na CBS 31. marca 1957, ob 14. obletnici Oklahome! V njej je nastopila Julie Andrews, ki je bila nominirana za emmyja zaradi svojega nastopa na televizijski oddaji, prav tako kot rezultat Richarda Rodgersa. Nazaj na Broadwayu sta Rodgers & amp Hammerstein premierno predstavila Flower Drum Song, muzikal z azijsko zasedbo, leta 1958. To je zaznamovalo odrsko režijo Gene Kellyja. Tistega leta je bil Južni Pacifik narejen v hollywoodskem filmu, v katerem sta igrala Rossano Brazzi in Mitzi Gaynor.

Verjetno najbolj priljubljen muzikal Rodgersa in Hammersteina, The Sound of Music, bi se izkazal kot njuno zadnje sodelovanje. V ozadju avstrijskega Anschlussa leta 1938 se je leta 1959 odprlo na Broadwayu in osvojilo pet nagrad Tony, med drugim tudi za najboljši muzikal. "Edelweiss" je postala zadnja pesem, ki jo je ekipa skupaj napisala, ko je Oscar Hammerstein avgusta 1960 umrl zaradi raka na želodcu. Filmska priredba pesmi Flower Drum Song je izšla leta 1961, preden je film z različico The Sound of Music prišel v kina marca 1965. Z Julie Andrews v vlogi Marije je bil to film z največ zaslužki leta in je prejel pet oskarjev, med drugim tudi za najboljši film.

Richard Rodgers je še naprej komponiral pesmi po letu 1960 in med drugim produciral muzikale s Stephenom Sondheimom (1965 Do I Hear a Waltz?) In Martinom Charninom (1970 Two to Two) do svoje smrti leta 1979. Rodgers & amp Hammerstein je bil počaščen z ZDA poštne znamke leta 1999, njihove pesmi pa vzdržujejo po pogosto izvajanih ameriških standardih. Njihovo zapuščino v gledališču lahko ponazorimo z oživljanjem Broadwaya med drugimi produkcijami The Sound of Music leta 1998, South Pacific leta 2008, The King in I leta 2015 in Oklahoma! leta 2019.


Zakonodaja, ki ustvarja žensko vojsko, postane zakon

15. maja 1942 postane zakon o ustanovitvi ženskega korpusa v ameriški vojski zakon, ki ustvarja ženski korpus pomožne vojske (WAAC) in ženskam podeljuje uradni vojaški status.

Maja 1941 je predstavnica Edith Nourse Rogers iz Massachusettsa, prva kongresnica iz Nove Anglije, uvedla zakonodajo, ki bi ženskam omogočala služenje vojske v neborbenih položajih. Rogers je bila v času, ko je bil njen mož John J. Rogers kot kongresnik zelo primeren za to nalogo, je bila dejavna kot prostovoljka za Rdeči križ, Žensko čezmorsko ligo in vojaške bolnišnice. Zaradi njenega dela pri pregledu terenskih in osnovnih bolnišnic jo je predsednik Warren G. Harding leta 1922 imenoval za svojega osebnega predstavnika za inšpekcijske preglede in obiske veteranskih bolnišnic po vsej državi. Na koncu je bila imenovana za odbornico za veteranske in#x2019 zadeve kot predsednica 80. in 83. kongresa.

Predlog zakona o ustanovitvi ženskega korpusa pomožne vojske ne bi bil sprejet eno leto po njegovem uvedbi (bombardiranje Pearl Harbora je bila velika spodbuda). Končno so WAAC -i pridobili uradni status in plačo, vendar še vedno ne vse ugodnosti, ki jih imajo moški. Na tisoče žensk se je prijavilo v luč te nove zakonodaje, julija 1942 pa je bilo iz imena izločeno “uxiliary ”, ženski vojaški korpus ali WAC pa so prejeli polne vojaške ugodnosti v skladu s svojimi moškimi.

WAC so opravljali najrazličnejša delovna mesta, “opustitev človeka za boj, ” kot vojska, ki je bila občutljiva na javne pomisleke glede žensk v vojski. Toda ta dela so segala od uradnika do radijskega operaterja, električarja do kontrolorja zračnega prometa. Ženske so služile v skoraj vseh gledališčih, od Severne Afrike do Azije.

Trajalo bo do leta 1978, preden se bo vojska spolno integrirala, ženske, ki so v vojski sodelovale le kot pomožna roka, pa bodo postale zgodovina. Šele leta 1980 bo 16.000 žensk, ki so se pridružile prejšnjim WAAC, prejelo veteranske ugodnosti.


Zgodovinski posnetek

Dvomestni napredni trener teksaškega severnoameriškega letalstva T-6 je bil učilnica za večino zavezniških pilotov, ki so leteli v drugi svetovni vojni. Napredni trener AT-6, imenovan SNJ s strani mornarice, in Harvard s strani britanskih kraljevih letalskih sil, je bil zasnovan kot prehodni trener med osnovnimi trenerji in taktičnimi letali prve linije. Leta 1948 je bil preimenovan v T-6.

Skupaj je T-6 v obdobju 25 let usposobil več sto tisoč pilotov v 34 različnih državah. Skupno je bilo izdelanih 15.495 letal. Čeprav je bil najbolj znan kot trener, je T-6 Texan prejel tudi priznanja v drugi svetovni vojni in v prvih dneh korejske vojne.

Teksašanin se je razvil iz podjetja & rsquos BC-1 osnovni bojni trener, ki je bil leta 1937 prvič izdelan za letalsko korpus ameriške vojske s fiksno podvozjem po pogodbi, ki je zahtevala 177 letal. Severna Amerika je prototip NA-49 zasnovala kot poceni trener z mnogimi značilnostmi hitrega lovca.

Čeprav ni bil tako hiter kot borec, ga je bilo enostavno vzdrževati in popravljati, imel je večjo vodljivost in ga je bilo lažje upravljati. Pilotsko letalo & rsquos, ki se lahko kotali, Immelmann, zanka, vrti, snap in navpično. Zasnovan je bil tako, da nudi najboljše možno usposabljanje v vseh vrstah taktik, od razbijanja tal do bombardiranja in zračnega boja. Vseboval je tako vsestransko opremo, kot so stojala za bombe, slepi instrumenti za letenje, pištole in standardne kamere, fiksne in prilagodljive puške ter skoraj vsaka druga naprava, ki so jo morali uporabljati vojaški piloti.


6. Razerji Las Vegasa

Pakerji dobijo: QB Derek Carr, izbor prvega kroga 2022, izbor drugega kroga 2022, izbor prvega kroga 2023

Raiders dobijo: Rodgers, izbor četrtega kroga leta 2023

Na nek način so Raidersi smiselni kot pristanišče za Rodgersa. Jon Gruden je imenoval, da ga leta 2005 ni pripravil z Bucsom, "eno največjih obžalovanj v mojem življenju". Raidersi imajo lovilce dovoljenj za delo pri Darrenu Wallerju, Johnu Brownu in prvoligašu leta 2020 Henryju Ruggsu. Čeprav Carr ni imel težav z njihovo ekipo, je Rodgers drugačnega kalibra branilcev. Selitev v Vegas bi ga pripeljala na kratek let v južno Kalifornijo, kjer dela zaročenka Shailene Woodley in kjer je "Nevarnost!" je posneto. Če bi Rodgers dejansko želel hkrati soigralce z ekipo NFL in voditi igro, bi bil Vegas naslednja najboljša lokacija, ki manjka od Los Angelesa.

Hkrati pa nisem prepričan, da Raiders ustreza tistemu, kar bi Packers želeli zunaj selitve Rodgersa v AFC. Na seznamu Las Vegasa ni veliko, kar bi si želeli v trgovini. Raidersi imajo nekaj igralcev, ki jih ne bodo želeli zamenjati (Waller in njihovi nedavni izbori na visokem draftu), in kup prostih agentov, ki niso dobro izgledali glede svojih trenutnih plač. Vegas lahko ponudi izbire osnutkov, vendar bi trgovina pomenila, da se bodo ti izbori vrnili nekje v dvajsetih letih.

"Ne morem dojeti, da [Aaron Rodgers] ni v Green Bayu," je v soboto dejal trener Packersa Matt LaFleur. AP Photo/Morry Gash, datoteka

Carr bi se vrnil k pakirnicam, deloma zato, ker ne more iti drugam. Vsaka ekipa v ligi je bodisi zaprta v veteranskega branilca bodisi v mladega podajalca, ki se ukvarja z novincem. Edina izjema sta lahko tekmeca Broncos, ki najverjetneje ne bosta sklenila medsektorske trgovine, in svetniki, ki si Carra ne morejo privoščiti. Za posel ima še dve leti in nekaj manj kot 40 milijonov dolarjev, zato bi lahko Packersi šli z Carrom leta 2021, preden bi se leta 2022 preselili v Love. Carr bi lahko imel prihodnje leto nekaj trgovske vrednosti, če bo igral dobro v Green Bayu, a res ne bi V okviru tega dogovora ne bo vreden več kot izbira v poznem krogu.

Mislim, da bi Packers to storili le, če bi bili resnično prepričani, da jim Rodgers ne bo nikoli več igral. Carr bi jim dal priložnost, da ostanejo konkurenčni leta 2021, če ne mislijo, da je Love pripravljena, vendar bi to najverjetneje bila enoletna najemnina precej dobrega branilca in kup poznih izbir prvega in drugega kroga. Druge ekipe imajo zanimivejše branilce, igralce, ki bi jih Packers želel na drugih mestih, in/ali bolj razburljive izbire osnutkov, ki bi jih poslali v Green Bay. Če bi imel Rodgers klavzulo o trgovini, bi se lahko usmeril v Las Vegas. Razen če ne želijo samo odpihniti konkurence in ponuditi let prve izbire, mislim, da ne morejo ponuditi najboljše možne ponudbe.



Upoštevajte, da je to arhivirana tema, zato je zaklenjen in nanj ni mogoče odgovoriti. Lahko pa odprete novo temo in se na to temo obrnete s povezavo: http://www.banjohangout.org/archive/348793

Stran: 1 & nbsp & nbsp2 & nbsp & nbsp

Zato sem mislil, da bi bilo zabavno videti, kateri banjo v naših življenjih so bili absolutno najboljši in absolutno najslabši, plus tisti, ki so nam & quotposočali & quot; kot noben drug bendžo.

Najhujši banjo, ki sem ga imel ali igral, je bil moj prvi, za katerega sem takrat, ko sem ga kupil, mislil, da je najboljši banjo za začetnike. To je bil zamašek Oscar Schmidt OB-5. Delno sem ga dobil zaradi dekleta, ki sem ga poznal, ki je igral bendžo, in sicer Randyl McKinney iz Moundridge KS. Prav tako ji dolgujem veliko zaslug kot glavnega navdiha za to, da si želim in sčasoma postanem na pol poti dostojno zvenečega bendžo.

Kakorkoli že, ta Oscar Schmidt OB-5 je bil tako zanič instrument, da se sprašujem, kako sem sploh kdaj prišel z njim. Trnki so bili neželeni. Začnite zategovati matice in kavelj se takoj po tem začne poravnavati. Ni mi bilo žal pustiti tega.

Drugi najslabši je bil še en pokrovček za steklenice, Melody plus openback, za katerega sem oblikoval kose prirobnic (podobno kot Deering Boston) in nanj postavil resonator. Podaril sem ga svojemu prijatelju. Po tem se je kakovost banjojev, ki sem jih dobil/lastila, izboljšala, ko sem izvedel več o tem, kaj iskati in se jim izogniti pri sicer & quotgreat & quot kupčijah.

Četrti najboljši je bil Deering Intermediate iz leta 1980, ki sem ga prodal v začetku tega leta. To je bil moj prvi pravi vpogled v dobro staro kakovost ZDA iz podjetja Deering Banjo Company. Ta banjo sem dobil pri eBayu, od neke dame v Agri, v redu, in sem ga skuhal s Keithovimi uglaševalci iz Derekove velikonočne in drsnim capo Shubb in vanj celo dal prilagojeno RK platišče (nimam pojma, če je RK platišče je še vedno v njem.)

Smešno je, da je član BHO, ki sem mu ga prodal, rekel, da si ga tudi on & quotkinda želi & quot; v temi, ki sem jo objavil, preden sem 23. septembra 2015. postal lastnik (pred njim). Bil sem presenečen in zadovoljen da mu ga prodam. Prepričan sem, da tako uživa kot jaz.

Tretji najboljši je bil prototip Deering Maple Blossom, ki sem ga kupil lani in je trenutno v mestu Greeley, CO. To je bil banjo po meri (eden od petih), ki ga je zgradil Landon Unruh iz zalog Deering/Gibson, v orehovi dolini Festival v Winfield KS, pred nekaj leti. Od Mikea Masona sem zanj kupil prstan Tenn.20, ki je zagotovo izboljšal bendžo. Nanj sem dal tudi RK resonator in komplet Peters D-tunerjev (od člana BHO Klegra.)

Drugi najboljši je moj Gibson Epiphone iz leta 1966, po katerem sem (in sem še vedno) brskal po spletu za kakršne koli zgodovinske podatke. Ta banjo ima za sabo veliko zanimivega in včasih zmedeno zgodovino. Imel je več lastnikov iz Michigana in Mass. In spremenil dele (celo sklop lonca je bil nekajkrat zamenjan in nimam pojma ali slutnje, kje je ali je bil prvotni sklop ali zakaj so ga vzeli (!)) leta pred mojim lastništvom že več kot eno leto (30. november 2017 je bil, ko je prišel.) Voznik UPS -a se je skoraj odpeljal z njim, zato sem ga moral vprašati, ali je v tovornjaku kaj za & quotLuke Myers & quot! Na srečo je našel škatlo (prekrito s fino plastjo prahu, ki je udarila naokoli) in dobil sem banjo! Bilo je tako, kot da bi odprl časovno kapsulo, ko sem odprl ohišje, in počutil sem se, kot da bi se ozrl na povsem drugačen čas, saj je bil banjo nekaj časa neigran. Vsi kovinski deli so bili omadeževani, vendar sem jih v kratkem času videti dobro.

Epiphone je trenutno opremljen s pozlačenimi Keithovimi sprejemniki in konicami na 7.-10.

Za več informacij o tem banjo si oglejte temo & quot; Stran zgodovine za Kalamazoo Epiphone, serijska številka 427538 & quot.

In končno, prvi najboljši je banjo, ki sem ga pravkar končal, hibridni Masterclone Sigma Martin SB-800/Epiphone MB-500/Deering Goodtime. Ta banjo je bil prvotno (in z izvirnimi deli) v lasti posameznika, ki je šel na 25. in 27. festival Walnut Valley, septembra 1996 in 1998. Ta banjo (v nespremenjenem, prvotnem stanju) sem našel v lokalni zastavljalnici in sem zanj lahko zamenjal enega od mojih banžov.

Trenutno ima vrat Sigma Hearts and Flowers (in resonator) na prilagojenem večplastnem lončku Deering Goodtime iz breze/javorja (izrezan je bil prejšnji petek za OPF in tonski obroč), na katerem je nameščen obroč JLS #12, in most Purcell 5/8 Gym Floor ter konice in običajni (ne pozlačeni) uglaševalci Keith iz Tim Davisa. Edini kitajski deli (!) So prirobnica, matice, kljuke in napenjalni obroč ter repni del MB-500.

Ta banjo je boljši od vseh, ki sem jih imel prej, in zagotovo ima odličen zvok. Ta banjo je bil posvečen kot poklon velikemu delu, ki ga je Arthur Hatfield opravil za številne srečne lastnike banjo Hatfield.

Kar se tiče najboljšega bendža, ki ga nimam, ampak sem igral, bi to moralo biti Deering Golden Era. To je en lep banjo.

Za tiste, ki se morda sprašujejo, zakaj o Gibsonih ne vem toliko kot nekateri, je razlog v tem, da moja lokacija nikoli ni bila leglo lastnikov Gibsonovih ploskov, da ne omenjam predvojnih lastnikov Gibsonov. Edini Gibson, ki sem ga kdaj igral, je moj Epiphone iz leta 1966, edini Masterclones/Mastertones, ki sem jih imel, so prototip Maple Blossom, Deering & "Gold Gold Classic Copy", ki sem ga zamenjal za 66 Epiphone (najboljša trgovina, kar sem jih kdaj naredil), banjo ki je prišel skupaj z mojim Epiphoneom (ta banjo je bil Gibson deli banjo s črnim tankim robom, ki NI pripadal Epi, kot se je sprva mislilo), zlato zvezdo GF-85, ki sem jo imel zelo, zelo na kratko, Epiphone iz leta 1966, prilagojena Gibsonova predvojna pretvorba (z uporabo predvojnega lončka za plektrum) in moj trenutni Masterclone po meri.

V lasti sem, brez posebnega reda:

Dva nedelujoča domača banjo (bodisi zažgana ali manjkajo deli), Oscar Schmidt OB5 (pokrovček za steklenico), Melody Plus Openback (pokrovček za steklenice), Fender FB-54, 1980 Deering Intermediate, Hondo Masterclone (ni ravno dober klon!), Iida 231 TPF banjo, predvojni Gibsonov plektrum, predvojni Gibsonov plektrum, prototip Deering Maple Blossom, Zlata zvezda GF-85, snemalni kralj RK-20, japonski epifon EB-99, Johnsonov začetni banjo, Epiphone MB-250, Contessa banjo, Custom Deering Boston banjo, Deering Golden Classic Copy, Epiphone MB-500, Sigma SB-800, starejši Deering Goodtime (MB-500, SB-800 in Deering Goodtime so del mojega najnovejšega banjo po meri) in Gibson deli za banjo. 23 banjos skupaj.

Uredil - bluegrassbanjopicker dne 12.2.2018 18:34:30

Paul R. - Objavljeno - 12.2.2018: 17:57:41

To ni lahka izbira. Imel sem nekaj banž, ki so mi jih dali, vse štiri strune. Dva izmed njih sta "izginila" iz moje šole. Eden je bil banjo-uke Slingerland z razpokano gredico. Morda je bil najslabši moj prvi banjo, pet-struni odprti hrbet pred steklenico z ozkim vratom, vendar bi lahko zvenelo na pol spodobno. Pogasil sem ga na travniku, ko smo se leta 2002 preselili iz Toronta. Nenavadno je, da sem pred nekaj leti kupil Silvertone za petdeset dolarjev in ima precej spodoben zvok

Naredil sem veliko napako, ko sem trgoval z najboljšim, zgodnjim Jakeom Neufeldom z odprtim hrbtom, z dovolj širokim vratom, da bi lahko igral. Moj najboljši trenutek je resonančni del Liberty, ki je nadomestil Neufeld. Nameščen je za igranje po starem.

dfwest - Objavljeno - 12.2.2018: 18:18:27

Najslabše: Kay iz obdobja šestdesetih let. Najboljše, kar lahko rečem o tem, je, da se je dalo igrati.

Najboljše: odprt hrbet Bob Flesher Quadrille. Še vedno sem lastnik tega.

Banjo, ki sem jo najbolj obžaloval pri prodaji, je bil zelo star Dobson v odličnem stanju.

pjfolino - Objavljeno - 12.2.2018: 18:37:54

Najboljše: Kravata med Stelling Staghorn 2013 (na žalost ga je prodala) in mojim trenutnim Stelling Sunflower 2018.

2. najboljši: kravata med predelavo TB100 iz leta 1964 in RK35 iz leta 2012 - še vedno sta v lasti obeh.

Najhuje: nikoli nisem igral bendža, za katerega se mi je zdelo, da je popolnoma grozno. Karkoli je dobro nastavljeno, na splošno ni slabo. Moj Deering Eagle II ni bil tako dober, kot bi moral biti za ceno, IMHO.

revellfa - Objavljeno - 12.2.2018: 20:27:56

Najboljše, kar sem jih kdaj imel. to je težko. Bi pa rekel.

#1 1927 PB-4 Pretvorba brez obroča z obročem. Ton in moč sta bila super.

#2 2004 Deering Golden Wreath-ta bendžo je igral sam in zvenelo je tudi precej dobro.

#3 Nechville Vintage model 2012. Najboljša kombinacija tona in igralnosti, kar sem jih kdaj videl. Ostala sem usklajena od dneva, ko sem jo dobila, dokler se je nisem znebila in pretresla mikrofon in studio, kot da nikogar ne zanima.

Nikoli nisem igral bendža, ki mi ni bil všeč. Vsi imajo kaj ponuditi. Moral bom razmisliti o tem. Prepričan sem, da sem jedel eno ali dve limoni.

jswkingsfield - Objavljeno - 12.2.2018: 22:37:28

Najslabše-hah, to je enostaven odgovor, moj prvi, začetni pokrov Fender FB-54. Dovolj dobro za začetek učenja in želeti zveneti bolje, vendar so njegove omejitve jasne po približno 8 mesecih. Vsaj najcenejša od mojih pridobitev banjo. Ni res, da je instrument kriv, to je res vse, kar naj bi dosegel.

& quotNajboljše & quot je težko. Imam jih več, ki jih vrtim, odvisno od razpoloženja, vsak je nekoliko drugačen. Poskusil kup odličnih inštrumentov, ki so bili iz takšnih ali drugačnih razlogov izseljeni, a nobeden od njih ni bil slab. Pogrešam enega Gibsona RB-4 iz leta 2004, tako sladek orehov, vendar nazaj ni mogel premagati dodatne mase tega.

Uredil - jswkingsfield dne 12.2.2018 22:38:19

dr4dpet - Objavljeno - 12.3.2018: 00:16:51

V lasti imam samo dva banjosa, vendar svojega začetnega MasterCrafta za 300 USD, kitajski uvoz, nisem ocenil kot slabega.

Vendar ni dvoma, da je najboljši od obeh daleč najboljši Recording King R80, ki sem ga pobral osem mesecev po začetku igranja. Mislim, da bi se to lahko štelo za banjo z deli, ker mi je prvotni lastnik povedal, da je zamenjal zvoke. Obroč RK je bil zamenjan s pozlačenim Huberjem HR30, je dejal, da je delo opravil Arthur Hatfield. Prav tako je zamenjal zaloge in matice, naslon za roke in rep za pozlačene. Všeč mi je kontrast med zlatimi in nikljevimi deli. (Lonec moram še razstaviti, da preverim, ali je prstan rekel.:->)

Uredil - dr4dpet dne 12.3.2018 00:19:46

phb - Objavljeno - 12.3.2018: 01:09:25

Enostavno! Najhujši je moj prvi, Rover RB-35, za katerega sem mislil, da je snemalni kralj RK-35, ki so ga vsi tako hvalili. Najboljši je moj drugi banjo, snemalni kralj RK-75.

Najboljši banjo, ki sem ga skoraj igral, je bil Gibson Bruna van Hoeka (RB-1). I didn't dare touch it when he offered me to play it, hence the "almost" (I really don't feel I could make such a great banjo justice with my playing). We did a blindfold test at the "Banjoree" this year with many great banjos in the lot and even though they all sounded really good, I selected his as the clear winner (I think we had ten banjos, I rated them all the same except for Bruno's which was notably better and one which I rated worse which turned out to be an open back).

RB3WREATH - Posted - 12/03/2018: 03:50:48

the worst was an old english banjo with a tunnel 5th string and the best are the pre war RB flatheads

pickn5 - Posted - 12/03/2018: 04:05:12

My first banjo was a Hondo, however, it was free and got me started.

My current banjo is also the second one I've owned. Its a 2007 Deering Sierra I bought used. So far, its a keeper.

hoodoo - Posted - 12/03/2018: 04:25:02

The worst was by far the first one that I owned, an entry level "Alabama". The hooks on the rim fell off regularly, the strings were a real pain to change.

beegee - Posted - 12/03/2018: 04:35:28

I will not own a bad banjo. Among the ones I own, My 28 Granada is my favorite, but I like to swap around among them all.

There are plenty of terrible banjos out there. I try to avoid playing any of them.

Texasbanjo - Posted - 12/03/2018: 04:47:20

Worst: my first banjo. An entry level Iida, no tone ring, tinny sound, hard to keep in tune, but it did help me learn. A friend gave my husband a Bentley banjo. Another entry level, no tone ring, awful sounding.

Next best: Dale Small made me a banjo years ago that had a neck that was 3" shorter and narrower and thinner than a normal banjo. Worked great for me while my arthritis was acting up. Had a good tone ring, good workmanship and sounded pretty good. I still have it.

Best: My Stelling Masterpiece, of course. So far, I haven't played anything that compared except another Stelling.

mhammer - Posted - 12/03/2018: 08:37:42

I have not owned a bad banjo.

My first banjo was an open-back Vega, but it didn't fit 3 finger style (to me at least).

Next Best: There are several that are close, but I have traded many away. Right now, it's a Yates custom, inspired by Crowe's "Banger".

Best: 1929 TB3 Double Conversion with a Burlile Ring Added.

RB3 - Posted - 12/03/2018: 09:26:23

The worst was my first banjo. The name on it was "Kent". I suspect it was made somewhere in Asia. I bought it in a pawn shop in 1966 for $40.

I worked on Cripple Creek for about 6 months, but it never sounded quite like the Cripple Creek on the records I owned. One day I went into the Hocking Valley Music store in Athens, Ohio. There was a nice looking Ode displayed on a music stand and I asked the proprietor if it was okay to play it. He said it was okay as long as I didn't scratch the resonator with my belt buckle. That was the first time that I actually recognized that I was playing Cripple Creek. That was a real epiphany.

The best is the banjo that I have now. It's a Gibson RB3 flat head made in the thirties.

I can't even remember what happened to the "Kent".

CW Spook - Posted - 12/03/2018: 10:06:26

I suppose the worst banjo was my first a long-neck, brand I don''t remember, that I bought at the BX in Hakata, Japan. I never was able to teach myself much of anythng and had no local teacher, so I ended up trading it for some ham radio equipment after I got back to the states a couple of years later. Second worst was the banjo that actually got me started picking again an unremembered name, aluminum pot Asian that I bought from the local pawn shop for $50.

My 'best' banjo from a traditional standpoint is my Deering Hartford that was my 3rd banjo. I still have it. When I bought it I thought I wanted to do Scruggs style picking, but my tastes changed after a trip to Merlefest. I set the Hartford up for a better old-time sound, with Nylgut strings and a John Balch skin head. It's a great banjo, but heavy for me, so it doesn't get played as much as my 1930 Vega Little Wonder with a Jeff Menzies/Wyatt Fawley flush-fret neck. Then I've got a couple of minstrel-style banjos, one by Jay Moscella, and a very early Brooks Masten. I expect my truly best banjo will be the one Ken LeVan is building for me a 12", A-Scale lightweight. Can't wait to get my hands on it.

Judgejeb - Posted - 12/03/2018: 13:17:54

Worst- old kay with a skin head that had been through a fire (my first)
Best- 1990 Gibson RB-4 that I own now.

doryman - Posted - 12/03/2018: 13:18:15

Sometimes it's not that a banjo is "bad" or the "worst," it's just that we (hopefully) get better and the banjo becomes a limiting factor. That's not to say that there aren't bad instruments out there. I remember my first guitar my father bought for me when I was a boy. It was actually unplayable. I think the strings were about half an inch above the frets! I didn't know any better at the time and I thought it was me until I took a lesson and had the opportunity to play my teacher's guitar (Pro-tip and key to a happy life, never play an instrument you can't afford and never look through a rifle scope you can't afford either). I still own my very first banjo (a Kay I bought used in 1981), and while it is my "worst" it's actually not a bad banjo. Great action, but very quiet. Even now, I could play it all day and still learn something from it, but it's too quiet for any jam and it became limiting in that sense.

rcc56 - Posted - 12/03/2018: 14:13:05

I find it interesting that few open-back players have contributed to this thread.

The weakest banjo I ever owned was my first, a Harmony Bakelite banjo. I think they call it a Res-o-tone. But it was still a functional banjo, nothing wrong with it at all, and a good starter instrument.

My favorite banjo is a Bacon ff Professional #1, a plain model, but made by Fairbanks/Vega. I have had others that were fancier, but the Bacon #1 is my "keeper." I won't say that it's the best banjo ever made. It just seems to fit me the best.

The "best" Gibson I ever played was a TB-6 with an original heavy weight flat head tone ring and a 2 pc. flange [a rare instrument indeed]. I played it against some other original flat heads, and thought the 6 was the best. So much for conventional wisdom.

Edited by - rcc56 on 12/03/2018 14:15:22

SaxManiac - Posted - 12/03/2018: 16:50:24

Worst: Hondo II. I was banjo-less and jonesing for a banjo so i bought the first thing I found. It was a t*rd.

Best: TB2 conversion with Ryan ring.

Most regrets: Selling a Stelling Golden Cross I'd gotten from a friend. It hurt his feelings that I sold it. It just never sounded the way I wanted even though it probably had the best neck I'd felt up until then. The friend passed on about 15 years ago, and I still feel bad about hurting him. I will never again sell a banjo built by or bought from a friend.

5 String - Posted - 12/03/2018: 17:00:44

The worst banjo I ever owned was a 1980 Gibson RB-800. Biggest POS that ever come out of the Gibson factory. I'll leave it at that.

The best banjo I ever owned was a 1980 Stelling Bellflower which I fortunately reacquired this past January and have had it completely refurbished. I bought this banjo new in Feb 1981 and sold it in Jan 1985 to help fund the purchase of a new Stelling Staghorn. Now that I have reacquired the Bellflower, I will never sell it again. It is now my main go-to banjo for gigs and practices.

The next best banjos are the other Stellings I own.

Edited by - 5 String on 12/03/2018 17:06:06

Bill Rogers - Posted - 12/03/2018: 17:13:47

Worst—the 1961 Kay I started with. Best—the ca. 1915-25 Essex Concert Grand that has been my main player since 1969.

gbisignani - Posted - 12/03/2018: 19:53:48

my worst is the first banjo I bought in about 1973. I was trying to fingerpick on a tenor when I found out about 5 string banjos. I don't remember if this banjo had a name.

I then bought a Japanese Kasuga that I played for about 4-5 years. It was a great banjo for someone who knew nothing ! I don't even know what I did with it. I kinda wish I still had it.

I now play open back banjos.
My favorite(s) now are my Dean Robinson walnut with Bacon tone ring and believe it or not my Gibson RB 170. This Gibson is loud, easy to play, and stays in tune better than any banjo I've ever owned. It's the only Gibson I have ever owned. I also love my Bacon Special #1 5 string conversion played as an open back and playing in open C tuning.

Rawhide Creek - Posted - 12/03/2018: 20:46:25

The worst: My first, a Harmony.

The best: An Ome Juggernaut that I should never have sold.

Hawk54 - Posted - 12/05/2018: 02:38:33

The best banjo I have ever owned is a maple 2005 Osborne chief . This is why I still have it . It has great tone and playability

O.D. - Posted - 12/05/2018: 10:12:56

Had pretty bad no name and a Saga kit banjo

The rest being all pretty good

Stand outs being a 81 Crowe Goldstar

27 tb 4 conversion ( current)

Edited by - O.D. on 12/05/2018 10:13:50

MacCruiskeen - Posted - 12/05/2018: 10:26:44

I only have one banjo. Not sure yet if it is my best or worst.

A Nobody - Posted - 12/05/2018: 12:46:14

I'll come at this from another direction, leaving out the starters and/or beginning banjos and just talk about the good and the bad after I figured out what a banjo is supposed to be and do.

The worst is easy, it was a Stelling Staghorn from the late 70's. Was supposed to have belonged to Baucom at one time, if so I know why he got rid of it. It was heavy, shrill and harsh. I got it in on a trade for a custom built that I had is the ONLY reason I owned it. and that wasn't for very long.

The best is a LOT harder to say. I have been SO fortunate to have had some killer banjos in my day. But, the three that stand out immediately are the flathead that I own now, the flathead that I sold to help fund the one that I have now and my Skillethead. Those three banjos are my favorites and on any given day it would be almost impossible for me to say which is the absolute best.

jwold - Posted - 12/05/2018: 13:07:34

Worst: Hondo II. I was banjo-less and jonesing for a banjo so i bought the first thing I found. It was a t*rd.

Best: TB2 conversion with Ryan ring.

Most regrets: Selling a Stelling Golden Cross I'd gotten from a friend. It hurt his feelings that I sold it. It just never sounded the way I wanted even though it probably had the best neck I'd felt up until then. The friend passed on about 15 years ago, and I still feel bad about hurting him. I will never again sell a banjo built by or bought from a friend.

Jeez. find that banjo and buy it back. let your 'banjo souls' be at rest!

CW Spook - Posted - 12/05/2018: 13:15:23

I guess the best (or at least most unique) banjo I ever played was the one-of-a-kind Deering Banjosaurus. Greg happened to have it back in the shop for promotional pictures the day I toured the factory back in the early 90s.

Shmockiebaby - Posted - 12/07/2018: 07:03:29

OK, open back player here. First of all, the one I thought was best (and is best made) - my Reiter A scale. Sounds and plays great, just incredibly well built.

But. I picked up a banjo assembled by another Hangout-er earlier this year that has become my favorite player for around the house - cherry block rim, with Zach Hoyt neck. Also a short scale. But with the larger 12" pot and wider fingerboard, it gets a better (fuller?) sound, and the wide fingerboard is easier to play with stiff older hands.

My "worst" has turned out far better than I thought. I was looking around at a pawn shop in NC just a few weeks ago during a trip to the family farm, and quickly looked at a 1970s Kay reso banjo, all blond with the eagle on the reso. Then I looked at a Recording King guitar that needed a minor repair. When I tried to get a discount on the guitar, the salesman said "I'll give it to you for $200 and throw in that banjo I saw you looking at". I thought the price was right, and the banjo was junk, but I took it.

Brought that old Kay home, cleaned it up, adjusted the truss rod, tightened the head, found the right bridge, and. I can't put it down. Plays great. Not a bad tone, either. A friend has been following my adventures learning to play banjo over the last couple of years, and he recently said "you need to find me a banjo!". I think I may let him have the Kay, but I'll miss it.

My first was a Harmony Reso-Tone tenor. Played it for a while, then it sat in a closet. Sold it to an Irish guy in town for NAMM at a guitar show in Orange County 25 years ago, and he loved it.

So I'm in agreement with the earlier post - there is no such thing as a bad banjo.

But I guess that the "best" banjo I own, and the only one that I can 100% guarantee that I will never sell is a 1937 Stromberg-Voisenet / Kay gumby headstock 5 string reso that I inherited from my mother-in-law's cousin. It was her father's, and he ordered it new from Sears catalog in 1937. It was a big day in the family when had to go down from the mountains top where they lived to Elkins WV to pick it up when it arrived (she just turned 90, and remembers the day her father got the banjo). She said she wanted it to go to a clawhammer player, and that's what drove this guitar player to learn banjo. I played for her this past summer, and I came home with that banjo. String spacing is too narrow, but it cleaned up nice, original skin head sounds great, and neck is straight. It's just special. Only gets played once in a while, however. I've told this story here before, but I never get tired of it.

Their all good banjos, in their own way. Just need the right owner or player!

Edited by - Shmockiebaby on 12/07/2018 07:05:28

Tom Meisenheimer - Posted - 12/07/2018: 12:41:44

Odd, isn't it? O.D.'s worst banjo is my best (sound quality and ease of playing) a Saga "kit". My worst is a Deering Good-time but its not really that bad. Another good banjo I have is also a Saga (not a kit).

As for the Saga kit, I like the odd cast aluminum hoop with tone ring and I use Nylegut strings. I bought it back in 1972.
I posted me playing Dixie on my Saga kit. Give it a listen.

O.D. - Posted - 12/07/2018: 13:44:54

Odd, isn't it? O.D.'s worst banjo is my best (sound quality and ease of playing) a Saga "kit". My worst is a Deering Good-time but its not really that bad .Another good banjo I have is also a Saga (not a kit).

As for the Saga kit, I like the odd cast aluminum hoop with tone ring and I use Nylegut strings. I bought it back in 1972.

I posted me playing Dixie on my Saga kit. Give it a listen.

I have one of those vintage Saga banjos from the 70s I guess. Wood rim, flathead tone ring.

Rather light weight. Plays nice and sounds pretty darn good.

Has bowtie in lays and fiddle peghead.

SimonSlick - Posted - 12/08/2018: 04:53:31

In terms of tone or voice, banjos are not best or worst - only different. The only objective difference is in the craftsmanship as concerns intonation, the accuracy of the pitch up and down the neck. Everything else is preference or prejudice.

Veerstryngh Thynner - Posted - 12/31/2018: 10:04:23

I only ever owned two tenor banjos. One was a birthday present, the other its successor

The "Marma" (the birthday present) has been with me for nearly half a century. The "Morris" for a little under half a century. So I can honestly say that I never had a bad banjo, really.

On my search for a replacement for the "Marma", which I outgrew at some point, I came across some pretty bad instruments, though. And let me tell you this: at the low end as well as at the high end. But often enough this worked the other way round as well: instruments tagged at thousands of $ sounding like a dead horse being flogged and under-$50 cheapskates singing like you wouldn't believe.

Unless tested out for real, there's no way of telling "good" from "bad". Not by sight alone, anyway, in my experience.

lazlototh - Posted - 12/31/2018: 10:28:33

Great Thread. My worst, was my first. A Kay. Got it in 1966. It actually sounded great once I tweaked it. The problem was the action was awful and the neck was too narrow.
It hurt to play. I did not know how to adjust the action and was suspicious of the particle board pot. Like I said, it did sound really good.

Best is whatever one I feel like playing. All of my banjos are a bit different and fit the particular place my musical head it at at that moment.

Probably the best sounding one is a Lakefront that my wife dislikes. She has issues with it because it is LOUD. I do play quietly sometimes with it. She is also afraid of knocking it over when she dusts it. It is a heavy one. She will not let dust rest. (They are never dusty!)

HAPPY and HEALTHY NEW YEAR !

steve davis - Posted - 12/31/2018: 10:40:48

Worst has to be my 1951 Sears 5 string.Narrow neck,no tone and hard to fret.
Best has to be my '29 tb-2 conversion.
I still own both of these banjos.

Owen - Posted - 12/31/2018: 10:45:49

Not particularly good: pawn shop "Austin."

Good / Better: Morgan Monroe MNB-1W / Gold Tone BG250-FW

As one has probably gathered, I started with the Austin. while working on a fly-in reserve. I used it for several months, but had the GT waiting for me in Winnipeg, when the school year ended. With the Austin as my basis for comparison, the GT sounded "funny," so hoping my $ wasn't wasted, I took it into a music store. The dude there strummed it, did a roll or two and handed it back with "Yep, sounds like a banjo." He went on to explain that that was how a banjo was supposed to sound, and that I'd likely never need to upgrade. so far he's right on both counts.

FWIW, I'm happy with both the GT and the MM. both stay in tune very well. the MM is about 5 lbs. lighter [I still have all 3, but if anyone really wants the Austin, you could probably talk me into letting it go.]

Edited by - Owen on 12/31/2018 10:56:00

AaronATL - Posted - 01/06/2019: 13:43:06

After 20 years playing electric bass and guitar in a few bands, I decided to pick up the banjo at age 35. I don't really have a "worst" banjo, so mine are good to better/best.

The first one I purchased was the Deering Goodtime Special in maple. This was a great starter banjo, and I appreciate the quality of it. Buying a couple more high-end banjos really made me appreciate the nuances of this banjo more. That said, it was a starter banjo for me and I desired more.

The second banjo I purchased was a Hatfield Special from Arthur Hatfield in Glasgow, KY. I bought this based on several great reviews and the reasonable price. This is a walnut banjo, and the tone is great. Arthur's necks are finished with many coats and very high gloss, but the feel is great.

The most recent banjo I purchased was a Yates RB-75. This is a mahogany beast. The tone is great, and the volume is very powerful. It's an amazing banjo all around.

My go-to is the Yates, but the Hatfield is great to mix up the tone. I don't play the Deering as much as I used to, but it's still impressive when I pick it up.

I have a Cedar Mountain Banjo on order so I can dabble in clawhammer, but my next bluegrass banjos will be Stelling and Huber.

And yes, my wife is very forgiving when it comes to banjos!

KD Banjer - Posted - 01/06/2019: 15:39:12

WORST: I've never had a really horrible sounding banjos (although I've played some dogs at the Guitar Center and at some banjo stores). I'm sure that a basic setup would have drastically improved any or all of those banjos. But, perhaps the closest to "Worst" of what I own is my Deering Vega Old Thyme Wonder open back, but only because it doesn't come close to a bluegrass sound that I wanted when I was trying to play bluegrass with it. I'm sure it would sound fine if I played clawhammer with it.

BEST: Naming the best is a tough one also. One interesting thing is that the banjo I like best seems to change over time (don't know if that is changes in the banjos because of weather, or just changes in my ear and picking. It's definitely not a definitive best, but what I have been really liking over the week or so is my Sullivan roasted maple festival. I hadn't played it for a while (because I've been playing and digging other banjos), but when I came back to it this week it blew me away with its tone, clarity and power. The interesting thing is that I originally purchased the Festival as my "travel" banjo, and paid the least for it (than any of my other resonator banjos): $2,100. But, the banjo that I am drawn to playing the most changes during the year, and I don't quite know why that is. It must be my ear and/or brain.

warpdrive - Posted - 01/07/2019: 09:41:02

"THE DREADED FIRST RUN HONEY COLORED EARL SCRUGGS MODELS MADE WITH STEW-MAC PARTS.

THE ONLY THING WORSE THAN THESE BANJOS, ARE THE OWNERS TRYING TO SELL WHAT'S LEFT ON THE MARKET AS SOUGHT AFTER COLLECTOR BANJOS THAT SOUND GOOD AS THE REWORKED SCRUGGS THAT CAME AFTER THESE POS!
WARP!

banjoman3 - Posted - 01/07/2019: 10:34:29

Best- would have to be my Morgan Monroe Cascade. I absolutely love the tone and the feel and the looks.
Worst- Any fender banjo lol

SimonSlick - Posted - 01/07/2019: 10:36:15

The best I have owned is a Stelling Staghorn I bought from the shop in the late 70's. My second best is one of those "dreaded first run honey colored Earl Scruggs" described by warpdrive as a POS. Here's a clip of that 1984 Gibson ES POS (serial 197) that I dare not try to sell.

spoonfed - Posted - 01/07/2019: 10:51:33

sweetest POS I ever saw/heard, just goes to show "different strokes !"

mbuk06 - Posted - 01/07/2019: 10:51:54

The underlying premise of this thread is based on the idea that the banjo makes the difference: 'best' or 'worst'. That is the realm of hardware obsessives. Sure, a badly set up instrument will frustrate but similarly owning X or Y banjo won't make the owner a musician. Music is not a brand or a commodity that can be bought. Musicality is an expressive and adaptive aspect of the person.

A musician will pick up your 'worst' banjo and compel you to listen rapt to their playing.

Edited by - mbuk06 on 01/07/2019 10:52:58

spoonfed - Posted - 01/07/2019: 11:14:50

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

mbuk06 - Posted - 01/07/2019: 11:23:25

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's glasbo. We do better to develop our sposobnost in musicianship whichever - decently set-up - banjo we play.

Edited by - mbuk06 on 01/07/2019 11:28:19

spoonfed - Posted - 01/07/2019: 11:29:28

well FWIW Mike, if I had access to this forum 30 years ago I would not have thrown much of the money I did at some of the truly awful cheapos that I have owned on my long journey to owning what I do today.

dmiller - Posted - 01/07/2019: 11:48:07

quote:
Originally posted by mbuk06

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's glasbo. We do better to develop our sposobnost in musicianship whichever - decently set-up - banjo we play.

Same way with guns. Some shoot better than others/ some are more accurate/ some feed ammo better than other pistols/ and some have zero "failure to fire" or "failure to eject"/ and some don't. The same goes with banjos. Some are equal to the task and live up to expectations, and some don't. Obdobje. If the owner decides it is is a "POS to them" from what they expected out of it, that is their prerogative to call it such - - not yours.

Edited by - dmiller on 01/07/2019 11:50:55

mbuk06 - Posted - 01/07/2019: 17:09:28

quote:
Originally posted by dmiller

quote:
Originally posted by mbuk06

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's glasbo. We do better to develop our sposobnost in musicianship whichever - decently set-up - banjo we play.

Same way with guns. Some shoot better than others/ some are more accurate/ some feed ammo better than other pistols/ and some have zero "failure to fire" or "failure to eject"/ and some don't. The same goes with banjos. Some are equal to the task and live up to expectations, and some don't. Obdobje. If the owner decides it is is a "POS to them" from what they expected out of it, that is their prerogative to call it such - - not yours.

There's no logic to what you just wrote, because I'm not asking for a naming 'perogative' - I'm not the one referring to a banjo as a 'POS'. An owner can call his banjo his Aunt Nelly as far as I'm concerned. It makes no odds.

Some may read this thread and be falsely influenced to think that their cheaper banjo is not fit for purpose. Some may actually be playing the models that are referred to so negatively here. Is it helpful that they should be made to feel that they need to hurl their 'worthless' banjo in the nearest dumpster and spend more money? No. My guess is that if soundfiles of these alleged 'POS' were available the resnično issue identifiable to discerning and experienced ears might not be entirely the banjo. We can deflect and blame and convince ourselves of pretty much anything if it suits us.


Celebrating Mr. Rogers at the National Archives

WASHINGTON, March 20, 2019 — Fred McFeely Rogers, more fondly known as Mr. Rogers by several generations of children and their parents, became an American icon through his long-running television show. Born on this day in 1928, in Latrobe, Pennsylvania, Rogers was a pioneer in children’s programming for more than 50 years. He worked on several other children’s television shows prior to his most famous—Mister Rogers’ Neighborhood—which catapulted him to legendary status.

Fred Rogers was awarded the Presidential Medal of Freedom by President George W. Bush on July 9, 2002, for his service to the nation and dedication to the education of children.(National Archives Identifier 7431400)

In celebration of Rogers’ birthday, the National Archives and Records Administration highlights several records from our holdings—housed at the National Archives at St. Louis—including Rogers’ draft card and his selective service records, as well as a letter he wrote to the U.S. Commissioner on Education.

Rogers registered for the draft in Greensburg, Pennsylvania, in 1948. When he registered, Rogers was just 20 years old. He was classified as “1A,” meaning he was available for military service. However, his status was changed to unqualified for military service following an Armed Forces physical on October 12, 1950. His World War II draft card and a Selective Service roster, which lists Rogers as number 122, can be found in the image gallery below this article.

Although Rogers did not serve his country in the armed services, he served through his dedication to its children and their education and emotional growth. Rogers was the creator, composer, producer, head writer, and host of the preschool television series that ran for 895 episodes from 1968 to 2001. Viewers became accustomed to his zipped cardigan sweaters, sneakers, and the “Won’t You Be My Neighbor” song that he sang at the start of each episode.

On July 9, 2002, President George W. Bush awarded Rogers the Presidential Medal of Freedom for this service to the nation and contributions to children’s education. Over his lifetime, Rogers received 40 honorary degrees, four Emmy Awards, and a Peabody Award. He was inducted into the Television Hall of Fame in 1999 and was recognized in two congressional resolutions in 2003. Rogers passed away on February 27, 2003.


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