Camphor Blocks and Their Healing Properties

Camphor blocks have been used for their natural therapeutic properties for years, and for many have even become a symbol of their grandmother’s old fashioned remedies. Camphor has many faithful followers and they swear blind by its wonderful healing powers and always keep some to hand, for a whole range of purposes.

Camphor originally comes from a tree native to Japan and China and is one the main ingredients in tiger balm. If you have ever used tiger balm, you’ll know how potent and pungent camphor can be! It can also be found in aromatherapy oil form, where it can be used as part of a massage oil or even for burning.

One of the most popular uses for camphor blocks is in helping to sooth chest complaints. Back to grandma’s remedies, it was common for children to wear it hanging around their neck at chest level to ward of any coughs and cold that were around. If you were unfortunate enough to get ill, it could be used in the same way to help clear any congestion on the chest.

Another way to clear the chest is wrap it in a pillow case, a stocking or in muslin and place in the bed beneath the sheets. Again, making sure that the camphor block is wrapped up to avoid direct contact with the skin, it can also be used to great affect to ease aches and pains in the joints. Many athletes have used camphor for just this purpose, making use of its analgesic and anti-inflammatory properties. Because of its strong and pungent aroma, it can also be used for getting rid of musty or damp smells. It is often hung in wardrobes to keep clothes fresh.

But what about using camphor blocks for more spiritual purposes? There are many uses here and it is excellent for blowing away the cobwebs and giving your soul a bit of a spring clean! If you perform spells, rituals or prayers then you can grate camphor blocks and burn them over a charcoal block. This is a very cleansing and purifying process.

For calming down your spirits, if you are feeling very stressed or your nerves are ‘jangly’, place the camphor blocks in the four corners of your room. You will then be literally surrounded with it’s influence and energies and will effortlessly absorb it’s powers.

Camphor blocks have also been associated with psychic and prophetic dreams. You can use the burning method or the placing 4 blocks in your room as you sleep method but if you would like to foretell what is to happen in your life, try concentrating on what you wish to know or the questions you seek answers to before you drift off to sleep. The camphor will help to inspire you. Camphor blocks are also associated with the Chariot tarot card, which represents the ego and self belief. If you feel that you need a boost to your self esteem you can also use camphor blocks for this purpose too.

I would like to end on a serious note. Please do not use camphor blocks if you are pregnant, or use with children unless advised that it is OK by a doctor. Modern camphor blocks often use synthetic materials that can be toxic if consumed directly so it is best to avoid any risk of harm by taking these precautions.

Otherwise, I hope this doesn’t put you off enjoying the wonderful, therapeutic affects of camphor blocks!

Need A Rain Umbrella? What You Need To Know Before Your Next Purchase

In the good old days, if you needed an umbrella, you would wind up with a long stick umbrella. And it would be black. But in recent years there have been several recent innovations and amazing feats of engineering applied to the age old rain umbrella.

Perhaps the most dramatic option for an umbrella is the method of opening. Manual umbrellas are opened and closed by sliding the ring up and down the shaft, at the whim of the user. There have been, for several years now, automatic umbrellas which would pop open at the push of a button, located on the handle. These spring-loaded umbrellas are really handy and can usually open faster than a traditional manual umbrella. Even more recently some ingenious engineers have discovered how to manufacture umbrellas which automatically open and close. These are the ultimate in convenience. A word of caution, being complex mechanical machines, automated umbrellas occasionally will break and become either stuck open or stuck closed. If you wish to take advantage of an automatic umbrella, I recommend getting a higher quality umbrella with a lifetime warranty.

The next amazing innovation for the modern umbrella is the double canopy. This design features overlapping slits in the canopy, the theory being that wind can flow through these slits rather than being captured by the canopy and forcing the umbrella to invert. (Inverting is usually the best sign that you need a new umbrella.) There are many different variations to the double canopy, but in essence they all work the same, and can mitigate damage to this valuable accessory. Most umbrellas with double canopies have been found to withstand winds up to 50 mph (80 kph.) Indeed, if your double canopy umbrella becomes inverted, it’s time to seek immediate shelter and get indoors!

Another option to consider is whether to get a traditional stick umbrella or a folding umbrella. Folding umbrellas are also marketed as compact or ultra compact. The shaft of these umbrellas telescopes out when opened and can provide adequate coverage for individuals, while collapsing down to less than a foot in length for convenient carrying. Traditional stick umbrellas, though certainly bulkier, are also going to be more durable.

The material used for the canopy for an umbrella is worth mentioning. Most umbrellas are manufactured from nylon because of its durability as well as being freely available and cost effective. Pongee (pronounced “Ponj”) is a type of silk cloth. It is rare to find umbrellas made exclusively from Pongee, but you are likely to find Poly-Pongee. This polyester and silk combination is more widely used, and due to the silk content is a little more costly. The advantage to poly-pongee is that it is a lighter weight fabric. You will also find some select umbrellas made from a polyester canopy. Each of these fabrics have been found to provide superior protection from both the sun and rain. Of note for custom imprinting, nylon tends to hold and reflect imprints better. If you are considering putting a logo on an umbrella, it would be best to do so using a nylon canopy.

Do you like to golf in the rain? Umbrella manufacturers often produce purpose built golf umbrellas which are characterized by a larger than average size canopy (typically with 62 or 68 inch arcs,) a longer that usual traditional stick shaft, and finally a straight handle. Golf umbrellas also come in a very large variety as far as colors and patterns. Golf umbrellas have become popular among not just golf clients as they also work well for families.

Another large umbrella to consider are the Doorman Umbrellas, which are purpose built for commercial use by hotels and apartments. Doorman umbrellas are similar to golf umbrellas with the two exceptions that they usually feature a traditional J shaped handle, and come in a limited number of color options. Doorman umbrellas are also well engineered for durability and make a perfect umbrella for families as well.

For the commuter or business worker there are several travel umbrellas. These are compact folding umbrellas which include a convenient carry case or other pouch. Some even incorporate loops and straps so that the umbrella can be carried on ones back like a backpack.

Under the moniker of fashion umbrellas there are several models of umbrellas which are meant to make a personal statement or even match for coordinated apparel. There are few fast rules for fashion umbrellas, and you will find a wide range as far as quality and durability is concerned. When selecting a fashion umbrella (as opposed to a “fad” umbrella) consider using a reputable umbrella company who will endorse their products with a warranty.

In recent years, your options have really expanded as far as purchasing an umbrella.

Before you put money down, it is important to consider your lifestyle and your individual use for an umbrella. Once you understand what features you require in an umbrella, it then becomes a simple exercise in finding the umbrella which best suits you. If you have some trouble finding that perfect umbrella, consulting with umbrella experts like those found at UmbrellasAndBeyond.com can save you time and money in your hunt for appropriate rain protection.

Electronic Music History and Today’s Best Modern Proponents!

Electronic music history pre-dates the rock and roll era by decades. Most of us were not even on this planet when it began its often obscure, under-appreciated and misunderstood development. Today, this ‘other worldly’ body of sound which began close to a century ago, may no longer appear strange and unique as new generations have accepted much of it as mainstream, but it’s had a bumpy road and, in finding mass audience acceptance, a slow one.

Many musicians – the modern proponents of electronic music – developed a passion for analogue synthesizers in the late 1970’s and early 1980’s with signature songs like Gary Numan’s breakthrough, ‘Are Friends Electric?’. It was in this era that these devices became smaller, more accessible, more user friendly and more affordable for many of us. In this article I will attempt to trace this history in easily digestible chapters and offer examples of today’s best modern proponents.

To my mind, this was the beginning of a new epoch. To create electronic music, it was no longer necessary to have access to a roomful of technology in a studio or live. Hitherto, this was solely the domain of artists the likes of Kraftwerk, whose arsenal of electronic instruments and custom built gadgetry the rest of us could only have dreamed of, even if we could understand the logistics of their functioning. Having said this, at the time I was growing up in the 60’s & 70’s, I nevertheless had little knowledge of the complexity of work that had set a standard in previous decades to arrive at this point.

The history of electronic music owes much to Karlheinz Stockhausen (1928-2007). Stockhausen was a German Avante Garde composer and a pioneering figurehead in electronic music from the 1950’s onwards, influencing a movement that would eventually have a powerful impact upon names such as Kraftwerk, Tangerine Dream, Brain Eno, Cabaret Voltaire, Depeche Mode, not to mention the experimental work of the Beatles’ and others in the 1960’s. His face is seen on the cover of “Sgt. Pepper’s Lonely Hearts Club Band”, the Beatles’ 1967 master Opus. Let’s start, however, by traveling a little further back in time.

The Turn of the 20th Century

Time stood still for this stargazer when I originally discovered that the first documented, exclusively electronic, concerts were not in the 1970’s or 1980’s but in the 1920’s!

The first purely electronic instrument, the Theremin, which is played without touch, was invented by Russian scientist and cellist, Lev Termen (1896-1993), circa 1919.

In 1924, the Theremin made its concert debut with the Leningrad Philharmonic. Interest generated by the theremin drew audiences to concerts staged across Europe and Britain. In 1930, the prestigious Carnegie Hall in New York, experienced a performance of classical music using nothing but a series of ten theremins. Watching a number of skilled musicians playing this eerie sounding instrument by waving their hands around its antennae must have been so exhilarating, surreal and alien for a pre-tech audience!

For those interested, check out the recordings of Theremin virtuoso Clara Rockmore (1911-1998). Lithuanian born Rockmore (Reisenberg) worked with its inventor in New York to perfect the instrument during its early years and became its most acclaimed, brilliant and recognized performer and representative throughout her life.

In retrospect Clara, was the first celebrated ‘star’ of genuine electronic music. You are unlikely to find more eerie, yet beautiful performances of classical music on the Theremin. She’s definitely a favorite of mine!

Electronic Music in Sci-Fi, Cinema and Television

Unfortunately, and due mainly to difficulty in skill mastering, the Theremin’s future as a musical instrument was short lived. Eventually, it found a niche in 1950’s Sci-Fi films. The 1951 cinema classic “The Day the Earth Stood Still”, with a soundtrack by influential American film music composer Bernard Hermann (known for Alfred Hitchcock’s “Psycho”, etc.), is rich with an ‘extraterrestrial’ score using two Theremins and other electronic devices melded with acoustic instrumentation.

Using the vacuum-tube oscillator technology of the Theremin, French cellist and radio telegraphist, Maurice Martenot (1898-1980), began developing the Ondes Martenot (in French, known as the Martenot Wave) in 1928.

Employing a standard and familiar keyboard which could be more easily mastered by a musician, Martenot’s instrument succeeded where the Theremin failed in being user-friendly. In fact, it became the first successful electronic instrument to be used by composers and orchestras of its period until the present day.

It is featured on the theme to the original 1960’s TV series “Star Trek”, and can be heard on contemporary recordings by the likes of Radiohead and Brian Ferry.

The expressive multi-timbral Ondes Martenot, although monophonic, is the closest instrument of its generation I have heard which approaches the sound of modern synthesis.

“Forbidden Planet”, released in 1956, was the first major commercial studio film to feature an exclusively electronic soundtrack… aside from introducing Robbie the Robot and the stunning Anne Francis! The ground-breaking score was produced by husband and wife team Louis and Bebe Barron who, in the late 1940’s, established the first privately owned recording studio in the USA recording electronic experimental artists such as the iconic John Cage (whose own Avante Garde work challenged the definition of music itself!).

The Barrons are generally credited for having widening the application of electronic music in cinema. A soldering iron in one hand, Louis built circuitry which he manipulated to create a plethora of bizarre, ‘unearthly’ effects and motifs for the movie. Once performed, these sounds could not be replicated as the circuit would purposely overload, smoke and burn out to produce the desired sound result.

Consequently, they were all recorded to tape and Bebe sifted through hours of reels edited what was deemed usable, then re-manipulated these with delay and reverberation and creatively dubbed the end product using multiple tape decks.

In addition to this laborious work method, I feel compelled to include that which is, arguably, the most enduring and influential electronic Television signature ever: the theme to the long running 1963 British Sci-Fi adventure series, “Dr. Who”. It was the first time a Television series featured a solely electronic theme. The theme to “Dr. Who” was created at the legendary BBC Radiophonic Workshop using tape loops and test oscillators to run through effects, record these to tape, then were re-manipulated and edited by another Electro pioneer, Delia Derbyshire, interpreting the composition of Ron Grainer.

As you can see, electronic music’s prevalent usage in vintage Sci-Fi was the principle source of the general public’s perception of this music as being ‘other worldly’ and ‘alien-bizarre sounding’. This remained the case till at least 1968 with the release of the hit album “Switched-On Bach” performed entirely on a Moog modular synthesizer by Walter Carlos (who, with a few surgical nips and tucks, subsequently became Wendy Carlos).

The 1970’s expanded electronic music’s profile with the break through of bands like Kraftwerk and Tangerine Dream, and especially the 1980’s when it found more mainstream acceptance.

The Mid 1900’s: Musique Concrete

In its development through the 1900’s, electronic music was not solely confined to electronic circuitry being manipulated to produce sound. Back in the 1940’s, a relatively new German invention – the reel-to-reel tape recorder developed in the 1930’s – became the subject of interest to a number of Avante Garde European composers, most notably the French radio broadcaster and composer Pierre Schaeffer (1910-1995) who developed a montage technique he called Musique Concrete.

Musique Concrete (meaning ‘real world’ existing sounds as opposed to artificial or acoustic ones produced by musical instruments) broadly involved the splicing together of recorded segments of tape containing ‘found’ sounds – natural, environmental, industrial and human – and manipulating these with effects such as delay, reverb, distortion, speeding up or slowing down of tape-speed (varispeed), reversing, etc.

Stockhausen actually held concerts utilizing his Musique Concrete works as backing tapes (by this stage electronic as well as ‘real world’ sounds were used on the recordings) on top of which live instruments would be performed by classical players responding to the mood and motifs they were hearing!

Musique Concrete had a wide impact not only on Avante Garde and effects libraries, but also on the contemporary music of the 1960’s and 1970’s. Important works to check are the Beatles’ use of this method in ground-breaking tracks like ‘Tomorrow Never Knows’, ‘Revolution No. 9’ and ‘Being for the Benefit of Mr. Kite’, as well as Pink Floyd albums “Umma Gumma”, “Dark Side of the Moon” and Frank Zappa’s “Lumpy Gravy”. All used tape cut-ups and home-made tape loops often fed live into the main mixdown.

Today this can be performed with simplicity using digital sampling, but yesterday’s heroes labored hours, days and even weeks to perhaps complete a four minute piece! For those of us who are contemporary musicians, understanding the history of electronic music helps in appreciating the quantum leap technology has taken in the recent period. But these early innovators, these pioneers – of which there are many more down the line – and the important figures they influenced that came before us, created the revolutionary groundwork that has become our electronic musical heritage today and for this I pay them homage!

1950’s: The First Computer and Synth Play Music

Moving forward a few years to 1957 and enter the first computer into the electronic mix. As you can imagine, it wasn’t exactly a portable laptop device but consumed a whole room and user friendly wasn’t even a concept. Nonetheless creative people kept pushing the boundaries. One of these was Max Mathews (1926 -) from Bell Telephone Laboratories, New Jersey, who developed Music 1, the original music program for computers upon which all subsequent digital synthesis has its roots based. Mathews, dubbed the ‘Father of Computer Music’, using a digital IBM Mainframe, was the first to synthesize music on a computer.

In the climax of Stanley Kubrik’s 1968 movie ‘2001: A Space Odyssey’, use is made of a 1961 Mathews’ electronic rendition of the late 1800’s song ‘Daisy Bell’. Here the musical accompaniment is performed by his programmed mainframe together with a computer-synthesized human ‘singing’ voice technique pioneered in the early 60’s. In the movie, as HAL the computer regresses, ‘he’ reverts to this song, an homage to ‘his’ own origins.

1957 also witnessed the first advanced synth, the RCA Mk II Sound Synthesizer (an improvement on the 1955 original). It also featured an electronic sequencer to program music performance playback. This massive RCA Synth was installed, and still remains, at the Columbia-Princeton Electronic Music Center, New York, where the legendary Robert Moog worked for a while. Universities and Tech laboratories were the main home for synth and computer music experimentation in that early era.

1960’s: The Dawning of The Age of Moog

The logistics and complexity of composing and even having access to what were, until then, musician unfriendly synthesizers, led to a demand for more portable playable instruments. One of the first to respond, and definitely the most successful, was Robert Moog (1934-2005). His playable synth employed the familiar piano style keyboard.

Moog’s bulky telephone-operators’ cable plug-in type of modular synth was not one to be transported and set up with any amount of ease or speed! But it received an enormous boost in popularity with the success of Walter Carlos, as previously mentioned, in 1968. His LP (Long Player) best seller record “Switched-On Bach” was unprecedented because it was the first time an album appeared of fully synthesized music, as opposed to experimental sound pieces.

The album was a complex classical music performance with various multi-tracks and overdubs necessary, as the synthesizer was only monophonic! Carlos also created the electronic score for “A Clockwork Orange”, Stanley Kubrik’s disturbing 1972 futuristic film.

From this point, the Moog synth is prevalent on a number of late 1960’s contemporary albums. In 1967 the Monkees’ “Pisces, Aquarius, Capricorn & Jones Ltd” became the first commercial pop album release to feature the modular Moog. In fact, singer/drummer Mickey Dolenz purchased one of the very first units sold.

It wasn’t until the early 1970’s, however, when the first Minimoog appeared that interest seriously developed amongst musicians. This portable little unit with a fat sound had a significant impact becoming part of live music kit for many touring musicians for years to come. Other companies such as Sequential Circuits, Roland and Korg began producing their own synths, giving birth to a music subculture.

I cannot close the chapter on the 1960’s, however, without reference to the Mellotron. This electronic-mechanical instrument is often viewed as the primitive precursor to the modern digital sampler.

Developed in early 1960’s Britain and based on the Chamberlin (a cumbersome US-designed instrument from the previous decade), the Mellotron keyboard triggered pre-recorded tapes, each key corresponding to the equivalent note and pitch of the pre-loaded acoustic instrument.

The Mellotron is legendary for its use on the Beatles’ 1966 song ‘Strawberry Fields Forever’. A flute tape-bank is used on the haunting introduction played by Paul McCartney.

The instrument’s popularity burgeoned and was used on many recordings of the era such as the immensely successful Moody Blues epic ‘Nights in White Satin’. The 1970’s saw it adopted more and more by progressive rock bands. Electronic pioneers Tangerine Dream featured it on their early albums.

With time and further advances in microchip technology though, this charming instrument became a relic of its period.

1970’s: The Birth of Vintage Electronic Bands

The early fluid albums of Tangerine Dream such as “Phaedra” from 1974 and Brian Eno’s work with his self-coined ‘ambient music’ and on David Bowie’s “Heroes” album, further drew interest in the synthesizer from both musicians and audience.

Kraftwerk, whose 1974 seminal album “Autobahn” achieved international commercial success, took the medium even further adding precision, pulsating electronic beats and rhythms and sublime synth melodies. Their minimalism suggested a cold, industrial and computerized-urban world. They often utilized vocoders and speech synthesis devices such as the gorgeously robotic ‘Speak and Spell’ voice emulator, the latter being a children’s learning aid!

While inspired by the experimental electronic works of Stockhausen, as artists, Kraftwerk were the first to successfully combine all the elements of electronically generated music and noise and produce an easily recognizable song format. The addition of vocals in many of their songs, both in their native German tongue and English, helped earn them universal acclaim becoming one of the most influential contemporary music pioneers and performers of the past half-century.

Kraftwerk’s 1978 gem ‘Das Modell’ hit the UK number one spot with a reissued English language version, ‘The Model’, in February 1982, making it one of the earliest Electro chart toppers!

Ironically, though, it took a movement that had no association with EM (Electronic Music) to facilitate its broader mainstream acceptance. The mid 1970’s punk movement, primarily in Britain, brought with it a unique new attitude: one that gave priority to self-expression rather than performance dexterity and formal training, as embodied by contemporary progressive rock musicians. The initial aggression of metallic punk transformed into a less abrasive form during the late 1970’s: New Wave. This, mixed with the comparative affordability of many small, easy to use synthesizers, led to the commercial synth explosion of the early 1980’s.

A new generation of young people began to explore the potential of these instruments and began to create soundscapes challenging the prevailing perspective of contemporary music. This didn’t arrive without battle scars though. The music industry establishment, especially in its media, often derided this new form of expression and presentation and was anxious to consign it to the dustbin of history.

1980’s: The First Golden Era of Electronic Music for the Masses

Gary Numan became arguably the first commercial synth megastar with the 1979 “Tubeway Army” hit ‘Are Friends Electric?’. The Sci-Fi element is not too far away once again. Some of the imagery is drawn from the Science Fiction classic, “Do Androids Dream of Electric Sheep?”. The 1982 hit film “Blade Runner” was also based on the same book.

Although ‘Are Friends Electric?’ featured conventional drum and bass backing, its dominant use of Polymoogs gives the song its very distinctive sound. The recording was the first synth-based release to achieve number one chart status in the UK during the post-punk years and helped usher in a new genre. No longer was electronic and/or synthesizer music consigned to the mainstream sidelines. Exciting!

Further developments in affordable electronic technology placed electronic squarely in the hands of young creators and began to transform professional studios.

Designed in Australia in 1978, the Fairlight Sampler CMI became the first commercially available polyphonic digital sampling instrument but its prohibitive cost saw it solely in use by the likes of Trevor Horn, Stevie Wonder and Peter Gabriel. By mid-decade, however, smaller, cheaper instruments entered the market such as the ubiquitous Akai and Emulator Samplers often used by musicians live to replicate their studio-recorded sounds. The Sampler revolutionized the production of music from this point on.

In most major markets, with the qualified exception of the US, the early 1980’s was commercially drawn to electro-influenced artists. This was an exciting era for many of us, myself included. I know I wasn’t alone in closeting the distorted guitar and amps and immersing myself into a new universe of musical expression – a sound world of the abstract and non traditional.

At home, Australian synth based bands Real Life (‘Send Me An Angel’, “Heartland” album), Icehouse (‘Hey Little Girl’) and Pseudo Echo (‘Funky Town’) began to chart internationally, and more experimental electronic outfits like Severed Heads and SPK also developed cult followings overseas.

But by mid-decade the first global electronic wave lost its momentum amidst resistance fomented by an unrelenting old school music media. Most of the artists that began the decade as predominantly electro-based either disintegrated or heavily hybrid their sound with traditional rock instrumentation.

The USA, the largest world market in every sense, remained in the conservative music wings for much of the 1980’s. Although synth-based records did hit the American charts, the first being Human League’s 1982 US chart topper ‘Don’t You Want Me Baby?’, on the whole it was to be a few more years before the American mainstream embraced electronic music, at which point it consolidated itself as a dominant genre for musicians and audiences alike, worldwide.

1988 was somewhat of a watershed year for electronic music in the US. Often maligned in the press in their early years, it was Depeche Mode that unintentionally – and mostly unaware – spearheaded this new assault. From cult status in America for much of the decade, their new high-play rotation on what was now termed Modern Rock radio resulted in mega stadium performances. An Electro act playing sold out arenas was not common fare in the USA at that time!

In 1990, fan pandemonium in New York to greet the members at a central record shop made TV news, and their “Violator” album outselling Madonna and Prince in the same year made them a US household name. Electronic music was here to stay, without a doubt!

1990’s Onward: The Second Golden Era of Electronic Music for the Masses

Before our ‘star music’ secured its hold on the US mainstream, and while it was losing commercial ground elsewhere throughout much of the mid 1980’s, Detroit and Chicago became unassuming laboratories for an explosion of Electronic Music which would see out much of the 1990’s and onwards. Enter Techno and House.

Detroit in the 1980’s, a post-Fordism US industrial wasteland, produced the harder European influenced Techno. In the early to mid 80’s, Detroiter Juan Atkins, an obsessive Kraftwerk fan, together with Derrick May and Kevin Saunderson – using primitive, often borrowed equipment – formed the backbone of what would become, together with House, the predominant music club-culture throughout the world. Heavily referenced artists that informed early Techno development were European pioneers such as the aforementioned Kraftwerk, as well as Yello and British Electro acts the likes of Depeche Mode, Human League, Heaven 17, New Order and Cabaret Voltaire.

Chicago, a four-hour drive away, simultaneously saw the development of House. The name is generally considered to be derived from “The Warehouse” where various DJ-Producers featured this new music amalgam. House has its roots in 1970’s disco and, unlike Techno, usually has some form of vocal. I think Giorgio Moroder’s work in the mid 70’s with Donna Summer, especially the song ‘I Feel Love’, is pivotal in appreciating the 70’s disco influences upon burgeoning Chicago House.

A myriad of variants and sub genres have developed since – crossing the Atlantic, reworked and back again – but in many ways the popular success of these two core forms revitalized the entire Electronic landscape and its associated social culture. Techno and House helped to profoundly challenge mainstream and Alternative Rock as the preferred listening choice for a new generation: a generation who has grown up with electronic music and accepts it as a given. For them, it is music that has always been.

The history of electronic music continues to be written as technology advances and people’s expectations of where music can go continues to push it forward, increasing its vocabulary and lexicon.

How to Fix the Rabbit Corkscrew by Yourself

Those that have a rabbit corkscrew in their homes, will see that in time, it starts acting strangely and instead of rotating the cork upwards it will do the opposite. This basically means that the cork will not pop out anymore, and instead it will be pushed in or broken inside the bottle. If you have noticed this situation, then you have to know how to fix the rabbit corkscrew, and the next steps will help you with this.

Step 1: You have to see how the rabbit corkscrew works when placed on top of the wine bottle. Its two side pins will clamp on the sides of the bottle, and then have to be in the right position, below the handles, so that the screw will not be allowed to rotate in the wrong direction.

Step 2: Once the two pins have been identified, you should focus on the movement of the corkscrew’s handles. When you push them, they should securely place the pins on each side on the bottle. If they aren’t, then the inside bushing that helps them to do that might be deteriorated. This bushing is a small plastic circle that is placed on the inside.

Step 3: The bushing of the rabbit corkscrew should be covered, depending on the model, beneath the pins. You have to take the covers off and then evaluate the state in which the bushings are. In most cases, they travel to the outside of their enclosing area, which makes it difficult for the screw to pull the cork out.

Step 4: If this is the case, and the bushings are placed upper, then all you need to do is to push them back into their original position and the rabbit corkscrew should be fixed. To do this, use any type of tool that comes in handy, which can fit into the housing and can be used to push the bushings backwards. Once you manage to do this, using even a regular kitchen knife, the corkscrew is ready for normal usage again.